Hubbry Logo
RefrainRefrainMain
Open search
Refrain
Community hub
Refrain
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
Refrain
Refrain
Refrain
View on Wikipedia
from Wikipedia
Musical notation for the chorus of "Jingle Bells" Playⓘ

A refrain (from Vulgar Latin: refringere, "to repeat", through Old French: refraindre) is the line or lines that are repeated in poetry or in music—the "chorus" of a song. Poetic fixed forms that feature refrains include the villanelle, the virelay, and the sestina.

In popular music, the refrain or chorus may contrast with the verse melodically, rhythmically, and harmonically; it may assume a higher level of dynamics and activity, often with added instrumentation. Chorus form, or strophic form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played

Usage in history

[edit]

Although repeats of refrains may use different words, refrains are made recognizable by reusing the same melody (when sung as music) and by preserving any rhymes. For example, "The Star-Spangled Banner" contains a refrain which is introduced by a different phrase in each verse, but which always ends:

O'er the land of the free, and the home of the brave.

A similar refrain is found in the "Battle Hymn of the Republic", which affirms in successive verses that "Our God", or "His Truth", is "marching on".

Refrains usually, but not always, come at the end of the verse. Some songs, especially ballads, incorporate refrains (or burdens) into each verse. For example, one version of the traditional ballad "The Cruel Sister" includes a refrain mid-verse:

There lived a lady by the North Sea shore,
Lay the bent to the bonny broom
Two daughters were the babes she bore.
Fa la la la la la la la la.
As one grew bright as is the sun,
Lay the bent to the bonny broom
So coal black grew the other one.
Fa la la la la la la la.

(Note: the refrain of "Lay the bent to the bonny broom" is not traditionally associated with the ballad of "The Cruel Sister" (Child #10). This was the work of "pop-folk" group Pentangle on their 1970 LP Cruel Sister, which has subsequently been picked up by many folk singers as being traditional. Both the melody and the refrain come from the ballad known as "Riddles Wisely Expounded" (Child #1).[citation needed])

Here, the refrain is syntactically independent of the narrative poem in the song and has no very direct relationship to its subject. (It describes the tranquil domestic task of renewing or repairing a besom.) The device can also convey material which relates to the subject of the poem. Such a refrain is found in Dante Gabriel Rossetti's "Troy Town":[1]

Heavenborn Helen, Sparta's queen,
O Troy Town!
Had two breasts of heavenly sheen,
The sun and moon of the heart's desire:
All Love's lordship lay between,
A sheen on the breasts I Love.
O Troy's down,
Tall Troy's on fire!

Phrases of apparent nonsense in refrains (Lay the bent to the bonny broom?), and syllables such as fa la la, familiar from the Christmas carol "Deck the Halls with Boughs of Holly", have given rise to much speculation. Some[who?] believe that the traditional refrain Hob a derry down O encountered in some English folksongs is in fact an ancient Celtic phrase meaning "dance around the oak tree". These suggestions remain controversial.[citation needed]

[edit]

There are two distinct uses of the word "chorus". In the thirty-two bar song form that was most common in the earlier twentieth-century popular music (especially the Tin Pan Alley tradition), "chorus" referred to the entire main section of the song (which was in a thirty-two bar AABA form). Beginning in the rock music of the 1950s, another form became more common in commercial pop music, which was based in an open-ended cycle of verses instead of a fixed 32-bar form. In this form (which is more common than thirty-two bar form in later-twentieth century pop music), "choruses" repeated with fixed lyrics are alternated with a sequence of different "verses". In this use of the word, chorus contrasts with the verse, which usually has a sense of leading up to the chorus. "Many popular songs, particularly from early in this century, are in a verse and a chorus (refrain) form. Most popular songs from the middle of the century consist only of a chorus."[2]

While the terms "refrain" and "chorus" often are used synonymously, it has been suggested to use "refrain" exclusively for a recurring line of identical text and melody which is part of a formal section—an A section in an AABA form (as in "I Got Rhythm": "...who could ask for anything more?") or a verse (as in "Blowin' in the Wind": "...the answer my friend is blowing in the wind")—whereas "chorus" shall refer to a discrete form part (as in "Yellow Submarine": "We all live in a..."). According to the musicologists Ralf von Appen and Markus Frei-Hauenschild:[3]

In German, the term "Refrain" is used synonymously with "chorus" when referring to a chorus within the verse/chorus form. At least one English-language author, Richard Middleton, uses the term in the same way. In English usage, however, the term, "refrain" typically refers to what in German is more precisely called the "Refrainzeile" (refrain line): a lyric at the beginning or end of a section that is repeated in every iteration. In this usage, the refrain does not constitute a discrete, independent section within the form.

In jazz

[edit]

Many Tin Pan Alley songs using thirty-two bar form are central to the traditional jazz repertoire. In jazz arrangements the word "chorus" refers to the same unit of music as in the Tin Pan Alley tradition, but unlike the Tin Pan Alley tradition, a single song can have more than one chorus. Von Appen and Frei-Hauenschild explain: "The term 'chorus' can also refer to a single iteration of the entire 32 bars of the AABA form, especially among jazz musicians, who improvise over multiple repetitions of such choruses."[4]

Arranger's chorus

[edit]

In jazz, an arranger's chorus is where the arranger uses particularly elaborate techniques to exhibit their skill and to impress the listener. This may include use of counterpoint, reharmonization, tone color, or any other arranging device. The arranger's chorus is generally not the first or the last chorus of a jazz performance.[citation needed]

Shout chorus

[edit]

In jazz, a shout chorus (occasionally, out chorus) is usually the last chorus of a big band arrangement and is characterized by being the most energetic, lively, and exciting and by containing the musical climax of the piece. A shout chorus characteristically employs extreme ranges, loud dynamics, and a re-arrangement of melodic motives into short, accented riffs. Shout choruses often feature tutti or concerted writing, but may also use contrapuntal writing or call and response between the brass and saxophones or between the ensemble and the drummer. Additionally, brass players frequently use extended techniques such as falls, doits, turns, and shakes to add excitement.

See also

[edit]
Look up refrain in Wiktionary, the free dictionary.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Refrain

View on Grokipedia
from Grokipedia
A refrain is a line, phrase, or group of lines that is repeated at regular intervals in a , , or other literary or musical work, most commonly at the end of a in or a verse in music, serving to enhance , structure, and thematic emphasis. The term originates from the Old French refraindre, derived from the Latin refringere meaning "to break off" or "to repeat," and it first appeared as a noun in the 1200s to describe repetitions in poetry. Refrains gained prominence in medieval lyric poetry during the Middle Ages, where they were integral to forms like ballads and songs that were often performed with musical accompaniment to aid memorization and oral transmission. In this era, particularly in 13th- and 14th-century French music and poetry, refrains functioned as short, self-contained lyric units—typically one or two verses long—that could be borrowed across works, promoting vernacular expression and musical interconnection. In , refrains provide musicality and reinforce central ideas, evolving from structured medieval forms to appear in later traditions like the or even modern . For instance, in Paul Laurence Dunbar's "A Negro Love Song," the refrain "Jump back, honey, jump back" recurs to evoke and emotional intensity. In music, a refrain is typically a concise repeated phrase at the end of verses, distinguishable from a full chorus by its brevity and integration within stanzas rather than as a standalone section. This device has been essential in folk songs, ballads, and modern compositions, such as the refrain in ' "," which amplifies catchiness and audience participation. Beyond literature and music, refrains extend to speeches and prose for rhetorical effect, as seen in Martin Luther King Jr.'s "I Have a Dream" address, where the repeated phrase builds persuasive momentum and unity. Overall, refrains remain a versatile tool across genres, fostering repetition for emphasis while adapting to evolving artistic needs from medieval chants to contemporary lyrics.

Definition and Etymology

In Poetry

In poetry, a refrain is a repeated line, phrase, or group of lines that recurs at regular intervals, most commonly at the end of each stanza, serving to reinforce the poem's central theme or rhythmic structure. This repetition distinguishes the refrain from mere rhyme, which involves the correspondence of sounds typically at line ends without necessarily repeating exact words, and from meter, which concerns the patterned arrangement of stressed and unstressed syllables to create rhythm. By echoing key ideas or images, the refrain fosters thematic unity across the poem, heightens emotional emphasis on core motifs such as love, loss, or longing, and enhances memorability, allowing readers to internalize and anticipate its return like a resonant echo. The term "refrain" derives from the Latin refringere, meaning "to break off" or "break up," which entered English in the 14th century via Old French refrain, originally denoting a chorus or repeated section in song before its application to poetic repetition. Historically, refrains have been integral to various fixed poetic forms, where their structured recurrence amplifies the form's musicality and cohesion. The villanelle, a 19-line French form revived in English poetry, consists of five tercets and a concluding quatrain, with two refrains—the first and third lines of the opening stanza—alternating as the final lines of succeeding tercets and uniting in the quatrain's close, creating a spiraling intensification of theme. Similarly, the sestina employs end-word repetition across six sestets and a concluding envoi, functioning as an extended refrain that permutes the words to weave intricate connections without relying on rhyme or meter. The virelay, a medieval French form, features three stanzas each preceded and followed by a refrain, with internal sections sharing rhymes to evoke a cyclical, song-like quality. These instances highlight how refrains, analogous yet distinct from their musical counterparts in songs, prioritize literary of emotional depth over auditory performance.

In Music

In music, a refrain is a repeated section of a song, typically the chorus, that features consistent and to provide familiarity and serve as a central for listeners. This repetition reinforces the song's thematic core, making it a key element in composition across genres. Key characteristics of the refrain include the repetition of , , , or , which often contrasts with verses through heightened dynamics, fuller , or increased emotional intensity. These sections commonly span 8 to 16 bars, offering a concise yet impactful that balances repetition with progression. While refrain and chorus are often synonymous in , the terms diverge in classical contexts, where a refrain denotes a specific recurring and chorus refers to a broader section. It differs from the bridge, a non-repeating transitional passage introducing new material for contrast, and from , a shorter, catchy motif embedded within the refrain to boost memorability. The refrain's basic structural function is to anchor the song form, usually positioned after verses to unify the composition, enhance listener retention, and drive commercial appeal through its singable, recurring nature. Musical refrains evolved from poetic precursors, transforming textual repetition into auditory patterns. General examples include "," with its refrain "Jingle bells, jingle bells, jingle all the way," and "," featuring the repeating "O’er the land of the free and the home of the brave."

Historical Development

Early Literary and Folk Uses

The refrain emerged in oral traditions, particularly in folk songs and ballads, primarily functioning as a mnemonic device to aid retention during and to enable communal participation through , singable phrases. In these contexts, refrains reinforced narrative structure and cultural transmission without written aids, allowing performers and audiences to synchronize in group settings. Examples appear in Celtic ballads, where refrains like recurring laments or natural imagery motifs supported storytelling, though their precise origins remain debated due to the lack of firm archaeological or textual predating the medieval period. In and , refrains served as narrative anchors, providing emotional and structural emphasis in and songs. A notable example is the English ballad "The Cruel Sister" (also known as "The Twa Sisters"), which features the repeating refrain "O the wind and the rain," underscoring themes of betrayal and while facilitating oral and audience engagement. traditions in similarly incorporated refrain-like repetitions in forms such as the dansa, blending poetic with musical performance to evoke courtly sentiments. The earliest documented uses of refrains in fixed forms date to around 1300 in French rondeaux, where composer crafted polyphonic settings in manuscripts like , , fr. 25566, featuring syllabic, note-against-note structures that integrated the refrain as a recurring textual and musical unit. These evolved from freer dance-derived rounds into more rigid poetic structures by the , emphasizing the refrain's role in unifying stanzas. During the transition to written forms in 14th- to 16th-century poetry and early printed music, refrains aided , rhythmic consistency, and performative clarity, as seen in English broadside ballads that preserved oral refrains in notated scores. French and Italian traditions significantly influenced the spread of refrains into English carols and hymns, adapting continental forms like the carole for liturgical repetition and communal worship. Franciscan friar William Herebert's 14th-century translations of Latin hymns into English carols, such as those based on "Gloria, laus et honor," incorporated refrains to enhance preaching and group singing, drawing directly from French virelai and rondeau models. This cross-cultural exchange solidified the refrain's utility in sacred contexts, promoting vernacular accessibility in English hymnody.

Evolution in Western Music

In the Classical era (c. 1750–1820), repeating sections appeared in strophic song forms and operatic arias, where they provided structural unity and emotional emphasis through melodic recurrence. These forms allowed for concise expression, with the repeating section typically returning after a contrasting to heighten lyrical impact without elaborate harmonic variation. During the Romantic period (c. 1815–1910), the refrain expanded in art songs, choral works, and national anthems, emphasizing lyrical repetition to evoke deeper emotional and nationalistic sentiments. Franz Schubert's lieder, such as those in his Vier Refrainlieder (D. 866, 1828), exemplified this by integrating refrains as recurring melodic anchors that intensified poetic themes, blending strophic simplicity with subtle piano interjections for contrast. Similarly, elevated the choral refrain in works like the Ninth Symphony (1824), where repeated sections in the finale's "" served as a unifying, triumphant motif, raising refrain usage to a structural and symbolic pinnacle in large-scale compositions. This era saw refrains evolve from mere repetition to vehicles for expressive expansion, often in through-composed or modified strophic forms that prioritized individual interpretation over strict periodicity. By the early 20th century, Tin Pan Alley's commercialization of sheet music standardized refrains within accessible formats, influencing composed Western music toward more formulaic structures suited to performance and recording. Publishers like those on New York's West 28th Street promoted refrains as catchy, hook-laden sections in popular ballads, shifting focus from verse-led narratives to chorus-dominant designs. Technically, refrains progressed from Classical-era melodic simplicity—often exact repetitions in major keys with basic cadences—to harmonically varied iterations in Romantic and post-Romantic works, incorporating modulations and chromaticism for greater tension and release, as notated in evolving piano-vocal scores. A pivotal development occurred in the 1920s with the widespread adoption of the 32-bar AABA form, where the A sections framed the refrain-like chorus and the B bridge provided contrast, bridging art music traditions to emerging popular genres through its balanced, notation-friendly architecture.

Structural Role

In popular music, the refrain, often synonymous with the chorus, typically appears after one or two verses in the verse-chorus structure, such as the ABAB form, where it functions as the emotional by releasing tension accumulated in the preceding sections. This placement allows the refrain to encapsulate the song's core message, contrasting with the verses' progressive storytelling through differences in , , and intensity. The refrain enhances a song's by incorporating melodic leaps, rhythmic , and simple, tonally strong chord progressions that make it memorable and engaging for listeners. It supports lyrical themes by repeating key phrases that summarize the song's focus, providing a consistent emotional anchor amid the verses' development. Additionally, the pre-chorus builds anticipation toward the refrain, using unique chord progressions or rising melodies to bridge the gap, reinforce its impact, and add structural depth since the mid-20th century. Variations in pop refrains often integrate hooks—short, repeatable motifs—for heightened memorability, while key changes between verses and refrains introduce contrast and . Modulation, such as a half-step or whole-step shift into the refrain, creates dramatic lifts, particularly in final iterations, by elevating the vocal range and harmonic tension without preparatory chords. Commercially, refrains have played a key role in radio-friendly formats since the , when the verse-chorus structure gained prominence in rock and pop, favoring concise, hook-driven designs suited to short durations of around 2-3 minutes. Hit songs from this era and beyond typically feature refrains averaging 4-8 bars, balancing repetition for accessibility with brevity to maintain listener attention. As an "" generator, the refrain leverages repetition to exploit cognitive processes, where recurring melodic intervals and phrases trigger involuntary musical imagery, enhancing memorability as supported by psychological studies on over 3,000 participants analyzing popular tunes from 2010-2013. This effect stems from the brain's tendency to loop simple, repetitive structures, making refrains particularly prone to persistent mental replay.

Examples and Variations

In 1960s rock, ' "" exemplifies an extended refrain designed for audience engagement, featuring the repetitive "na na na" coda that lasts over four minutes and invites communal singing with handclaps and orchestral swells. This structure transforms the song's intimate into a , emphasizing participation over lyrical depth in live performances. Shifting to 1980s-2000s pop, Michael Jackson's "" employs a rhythmic refrain—" is not my lover / She's just a girl who claims that I am the one / But the kid is not my son"—that recurs after verses, bolstered by harmony vocals, synth strings, and funk guitar for emphatic denial. The refrain's 12-beat phrasing integrates seamlessly with the song's verse-chorus form, heightening tension through added instrumentation in later iterations. Post-2010 variations in EDM and hip-hop fusions highlight dynamic refrains, as in Adele's "Rolling in the Deep," where the chorus—"We could have had it all / Rolling in the deep"—builds energy with upward melodic motifs, background vocals, and intensified drums for emotional swells. In trap music, minimalistic repeating hooks prevail, such as the looped "Drop" vocal sample in Baauer's 2012 track "Harlem Shake," which sustains simplicity amid heavy 808 bass and hi-hat patterns to drive repetitive intensity. Unique adaptations include call-and-response refrains in R&B, where a lead vocal prompts a choral reply, as in James Brown's "Say It Loud – I'm Black and I'm Proud" (1968), with the singer's lines met by a unified "I'm black and I'm proud" affirming communal identity. Multilingual refrains appear in global pop, blending languages for broader appeal, exemplified by Luis Fonsi's "" (2017), whose Spanish "Despacito / Quiero respirar tu cuello despacito" mixes with English elements in remixes to dominate international charts. Queen's "" (1975) offers a breakdown of refrain-like sections defying conventional form, comprising an intro, verses, operatic ensemble (with overlapping vocal lines mimicking refrains), outburst, and reflective outro, creating a arc without a singular repeating chorus. This multi-sectional approach, spanning six minutes with key shifts from to , prioritizes dramatic progression over repetition, influencing structures.

Applications in Jazz

Standard Chorus

In jazz, the standard chorus refers to a single iteration of the song's form, typically a 32-bar such as AABA, which provides the foundational framework for both ensemble playing and individual . This form consists of two repeated A sections (each 8 bars), a contrasting B section or bridge (8 bars), and a final A section, creating a balanced cycle that supports harmonic progression and melodic development. The chorus serves as the repeating unit in many jazz standards, enabling musicians to navigate the tune's chord changes while allowing for creative variation within a fixed . In performance, the standard chorus plays a central role in "head charts," where the melody—known as the "head"—is first stated in unison by the ensemble, followed by successive choruses dedicated to improvised solos by individual players, and concluding with a restatement of the head. This structure is exemplified in standards like "Autumn Leaves," a 32-bar AABC form often treated as a chorus cycle in jazz settings, where soloists improvise over its ii-V-I progressions after the initial presentation. The approach emphasizes collective and solo expression, with each chorus maintaining the song's core harmony to facilitate seamless transitions between players. Historically, the standard chorus emerged during the 1920s as jazz evolved toward larger ensembles in the era, drawing from song forms, and was formalized in the 1940s movement, where small groups used it to structure extended improvisations on familiar tunes. A key characteristic is its consistent harmonic framework, which permits thematic variation and rhythmic complexity without deviating from the refrain's essential outline, fostering innovation within tradition. Notably, in , a "chorus" denotes one full cycle of this form, distinguishing it from the lyrical refrain in , which serves as a simpler, hook-like section rather than an improvisational scaffold.

Arranger's Chorus

In jazz big band arrangements, the arranger's chorus refers to an internal iteration of the —typically the second or third chorus—that features a recomposed version of the form through intricate , serving as a composed "solo" to enhance textural depth and variety. Unlike improvised solos, it is fully notated to prioritize collective precision and cohesion across the . This section elaborates on the standard chorus by introducing deliberate and melodic deviations, such as substitutions or reharmonizations, while adhering to the underlying . Key techniques in the arranger's chorus include counterpoint between instruments, call-and-response patterns dividing the band into sections, and layered voicing that assigns specific roles to instrumental families. For example, woodwinds—often saxophones and clarinets—may carry the primary melodic line, while the section (trumpets and trombones) supplies harmonic support or rhythmic punctuations, fostering a sense of dialogue and momentum. In Duke Ellington's arrangement of "It Don't Mean a Thing (If It Ain't Got That Swing)" (1932), these elements are evident in the mid-chart exchanges between reed and sections, creating subtle contrasts that highlight the band's unified sound without relying on or intensity. The primary purpose of the arranger's chorus is to generate mid-performance tension and , bridging the initial statement of the theme and later improvisational sections without dominating the overall . Historically, this device gained prominence in the 1930s and 1940s , closely associated with Fletcher Henderson's pioneering work in , where he integrated such internal variations to elevate playing beyond simple repetition. Henderson's charts, influential on subsequent arrangers, demonstrated how these choruses could sustain listener engagement through sophisticated interplay, solidifying their role in the evolution of form.

Shout Chorus

The shout chorus represents the climactic final refrain in a arrangement, typically performed at maximum volume by the full ensemble in a style, incorporating riffs, growls, and improvised flourishes to build intense energy. This section serves as the pinnacle of the performance, often positioned after solos to deliver a raucous, unified outburst that resolves the piece with heightened excitement. The term "shout" draws from traditions, where ecstatic, chant-like expressions influenced the rhythmic and emotional intensity of jazz riffs and ensemble playing. Key techniques in a shout chorus include sharp brass stabs for rhythmic punctuation, the use of plunger mutes to produce growling timbres in the trumpet and trombone sections, and propulsive walking bass lines that maintain swing momentum. Dynamics typically escalate from softer piano textures to explosive forte passages, with the ensemble often employing call-and-response patterns between sections to amplify the drive; in some arrangements, the tempo may double to heighten the frenzy. These elements create a layered, high-volume texture that emphasizes harmonic development through close voicings and motif variations. Emerging in the 1930s , the shout chorus evolved as a tool to energize audiences in large venues, marking the end of improvisational sections with a collective release that blended orchestral precision and raw vitality. It provided structural resolution while showcasing the band's cohesive power, often building on earlier arranger's choruses for progressive intensity. A representative example is the final shout chorus in Count Basie's "" (1937), where riff-based brass and sax interplay delivers a shouting call-and-response climax that epitomizes swing. This format became a staple in swing ensembles, influencing later styles through its ecstatic, communal spirit.

References

  1. https://www.litcharts.com/literary-devices-and-terms/refrain
  2. https://www.poetryfoundation.org/education/glossary/refrain
  3. https://study.com/academy/lesson/refrain-in-music-definition-examples.html
  4. https://www.cambridge.org/core/books/refrain-and-the-rise-of-the-vernacular-in-medieval-french-music-and-poetry/introduction/7CE1944AEFFD135B191AE76177259F73
  5. https://www.poetryfoundation.org/poems/44198/a-negro-love-song
  6. https://www.ebsco.com/research-starters/literature-and-writing/refrain-poetry
  7. https://poetry.harvard.edu/guide-poetic-terms
  8. https://www.etymonline.com/word/refrain
  9. https://www.oed.com/dictionary/refrain_n1
  10. https://www.poetryfoundation.org/education/glossary/villanelle
  11. https://www.britannica.com/art/virelai
  12. https://aimm.edu/music-production-glossary/chorus/
  13. https://education.seattlepi.com/refrain-mean-music-6899.html
  14. https://blog.soundtrap.com/measure-in-music-theory/
  15. https://pressbooks.nebraska.edu/openmusictheory/chapter/aaba-and-strophic-form/
  16. https://human.libretexts.org/Bookshelves/Music/Ethnomusicology/Music_-_Its_Language_History_and_Culture_%28Cohen%29/01%253A_Elements_of_Sound_and_Music/1.03%253A_Elements_of_Music
  17. https://starspangledmusic.org/wp-content/uploads/2014/04/SSME-TheBannerCarr1stEdition-1814-Cmaj.pdf
  18. https://publish.iupress.indiana.edu/read/the-study-of-folk-music-in-the-modern-world/section/a5a7cdc5-93e8-47eb-ba27-5bc4c386e50b
  19. https://www.irish-folk-songs.com/a-history-of-irish-ballads.html
  20. https://mainlynorfolk.info/frankie.armstrong/songs/thetwasisters.html
  21. https://www.cambridge.org/core/journals/early-music-history/article/polyphonic-rondeau-c-1300-repertory-and-context/3994C1D7D680102A9A59FB1CF3AADF9A
  22. http://www.pbm.com/~lindahl/ballads/music.html
  23. https://www.cambridge.org/core/journals/early-music-history/article/friar-william-hereberts-carols-reconsidered/A46AD1138C915D690EF5665AB3E96D39
  24. http://hymnology.hymnsam.co.uk/e/english-carols
  25. https://www.britannica.com/art/vocal-music/The-17th-20th-centuries
  26. https://oxfordsong.org/song/vier-refrainlieder
  27. https://www.jstor.org/stable/766192
  28. http://parlorsongs.com/issues/2007-4/thismonth/feature.php
  29. https://d-nb.info/1069484245/34
  30. https://mtosmt.org/issues/mto.21.27.4/mto.21.27.4.carter.pdf
  31. https://www.masterclass.com/articles/songwriting-101-learn-common-song-structures
  32. https://www.secretsofsongwriting.com/2019/05/16/writing-an-effective-song-refrain/
  33. https://www.izotope.com/en/learn/the-power-of-the-pre-chorus
  34. https://blog.landr.com/refrain-vs-chorus/
  35. https://www.bmi.com/news/entry/using-chords-and-modulations-as-musical-hooks-in-your-songs
  36. https://www.nytimes.com/interactive/2021/03/14/opinion/pop-music-songwriting.html
  37. https://sessionville.com/articles/the-structure-of-popular-songs-part1-parts-and-phrases
  38. https://www.apa.org/news/press/releases/2016/11/earworms
  39. https://www.theguardian.com/music/2018/aug/21/how-hey-jude-became-our-favourite-beatles-song
  40. https://theartofrockmusic.voices.wooster.edu/wp-content/uploads/sites/180/2015/01/Billie-Jean-Michael-Jackson-1983-1.pdf
  41. https://www.secretsofsongwriting.com/2011/03/08/adeles-rolling-in-the-deep-why-it-works/
  42. https://bassgorilla.com/best-trap-music/
  43. https://www.masterclass.com/articles/what-is-call-and-response-in-music
  44. https://www.theguardian.com/music/2019/apr/06/latin-spanish-pop-takes-over-from-english-language
  45. https://bohemianrhapsodysheetmusic.com/music-theory-behind-queens-bohemian-rhapsody/
  46. https://www.carnegiehall.org/Education/Programs/Link-Up/National-Program/The-Orchestra-Swings/Forms-That-Swing
  47. https://jazzfuel.com/aaba-song-form/
  48. https://www.jazzinamerica.org/lessonplan/8/6/209
  49. https://www.jazzguitar.be/blog/autumn-leaves-melody-and-solo/
  50. https://hancockinstitute.org/2024/08/dr-dyas-in-downbeat-jazz-a-way-to-run-your-business-a-way-to-lead-a-successful-life/
  51. https://docdrop.org/download_annotation_doc/Pease---2003---BERKLEE-PRESS-JAZZ-COMPOSITION-3ot0m.pdf
  52. https://jazz.org/wp-content/uploads/2024/04/Playing_Ellington.pdf
  53. https://academic.oup.com/book/36390/chapter/320007285
  54. https://riverwalkjazz.stanford.edu/program/riffs-and-shouts-building-blocks-jazz
  55. https://nextbop.com/jazz-glossary
  56. https://scholarblogs.emory.edu/jazztheory/files/2015/01/MUS-245-Jazz-Terms.pdf
  57. https://www.whitmorehigh.org/wp-content/uploads/2020/03/AS-Jazz-Music-revision-PP.pdf
  58. https://www.evanrogersmusic.com/blog-contents/big-band-arranging/the-shout-chorus
  59. https://webcontent.indianhills.edu/_myhills/courses/MUS205/documents/lu05_swing_lecture.pdf
Add your contribution
Related Hubs
Contribute something
User Avatar
No comments yet.