Canons vary in complexity. There are simple rounds, then there are intricate compositions. But they are all beautiful for their rhythmic and melodic interplay.

Here, we’ve collected 10 examples of famous canons in music. Have fun reading!

1. “Three Blind Mice”

The popular English nursery rhyme “Three Blind Mice” was first published in 1609. Historians believe the “farmer’s wife” in the lyrics refers to Queen Mary I, also known as “Bloody Mary.” It became part of children’s literature in 1842.

As a canon, “Three Blind Mice” demonstrates musical imitation. When sung, singers are divided into groups. As one group begins singing, another follows a short while later, echoing the melody.

What you get is a delightful overlapping effect. The canon form adds an element of playfulness and charm to this beloved nursery rhyme.

2. Canon in D By Johann Pachelbel

Our next canon is one of the most famous in music. Canon in D was created by the German Baroque composer Johann Pachelbel.

Pachelbel’s Canon is famous for its serene melody and simple, captivating bass line. Its remarkable structure features a repeating bass pattern called a ground bass, or basso continuo.

The instruments enter one by one. The layering effect leads to a cascade of sound, with each one building upon the preceding instruments.

3. “Frère Jacques”

The beloved French nursery rhyme “Frère Jacques” is a prime example of a canon. This musical composition features multiple voices singing the same melody but starting at different times, adding richness to the melody.

The song is about a friar named Jacques who oversleeps and fails to ring the bells for matins, a Christian service held during the early morning hours. Due to its simple and repeating lyrics and playful melody, this song lends itself perfectly to a canon format.

4. “Row, Row, Row Your Boat”

Now we go to “Row, Row, Row Your Boat,” a beloved children’s nursery rhyme and a perfect example of a canon. It comes from American folklore and is often sung as a round (called perpetual canon), where each voice begins the same melody at different times.

This creates an overlapping effect, with one voice starting as another finishes, leading to a continuous, harmonious flow of music. Singing it as a round adds depth and encourages participation, as the repetitive lyrics make it easy for anyone to join in and keep the rhythm and melody.

5. Symphony No. 9 In D Minor, Op. 125 (IV: “Fugato”) By Ludwig Van Beethoven

The final symphony of Ludwig van Beethoven, Symphony no. 9, was composed between 1822 and 1824. It consists of four movements, with the fourth commonly known as Ode to Joy.

This movement features two canons on the main theme and “Seid unschlungen, Millionen!” Here, the singers repeat the melody in overlapping succession. Different sections of the choir enter at staggered intervals.

The use of canon in Ode to Joy serves multiple purposes. First, it enhances a sense of unity among singers. Second, it adds complexity and texture to the music.

6. “Dona Nobis Pacem”

The traditional Latin hymn “Dona Nobis Pacem” translates to “Grant Us Peace.” There was debate over who composed it, with some saying it was Mozart.

The song’s canon format allows a seamless and continuous piece of music that builds in complexity as more voices join in. The repetition of the melody in the canon emphasizes the song’s message of peace and unity.

The canon format highlights the collective desire for peace and is a reminder of music’s power to bring people together.

7. “Sumer Is Icumen In”

Dating back to the 13th century, “Sumer Is Icumen In” is a medieval English round that celebrates the arrival of summer. This piece is known for its celebratory mood.

It consists of two sections: the opening verses and the rota, or round. The former describes the sights and sounds of summer, while the latter consists of the repeating melody sung in a canon.

As more voices join in, the melody overlaps and intertwines, creating a mesmerizing and harmonious effect.

8. “Alleluia” By Randall Thompson

Written in 1940, Randall Thompson’s “Alleluia” showcases the composer’s mastery of the canon format. The word alleluia is sung repeatedly in a canon structure, creating an uplifting effect.

The song begins with a single voice singing the word alleluia, followed by another voice a few beats later. More voices join in, with the melody being repeated in overlapping succession.

What makes “Alleluia” notable is its simplicity and elegance. Despite consisting of only one word, Thompson’s use of harmony and counterpoint lends the piece emotional resonance.

9. Fidelio, Op. 72 By Ludwig Van Beethoven

In Ludwig van Beethoven’s opera Fidelio, the use of canon occurs in the quartet from Act I, known as “Mir ist so wunderbar” (I feel so wonderful). This showcases Beethoven’s skillful use of the canon format in the operatic context.

In the quartet, the four characters express their conflicting emotions through intertwined melodies. The canon occurs when each character sings their own version of the same melody but with different lyrics and emotional nuances.

The use of canon in this piece highlights the complexity of the characters. It also adds texture and richness to the music.

10. “Deo Gratias” By Benjamin Britten

Our last example of famous canons in music is “Deo Gratias” from Benjamin Britten’s A Ceremony of Carols. This choral composition consists of 11 movements and was composed in 1942.

“Deo Gratias” is Latin for “Thanks be to God.” It is one of the most celebratory movements in the collection and features overlapping melodies sung by different voices to create a rich and harmonious texture.

Britten’s use of canon in this song shows his ability to create technically sophisticated and emotionally resonant music. “Deo Gratias” is performed during Christmas concerts and choral performances.

Summing Up Our List Of Famous Canons In Music

In wrapping up, songs that use the canon format offer a glimpse into the intricacies of musical composition. From traditional lullabies to classical masterpieces, the canon format has lent rich and harmonious musical textures.

This list is by no means exhaustive, and we are always looking forward to our audiences’ input. If you know other songs that use the canon format, let us know, and we’ll add them for you!

This iconic musical format is the backbone of many well-loved songs and has given us some of the most remarkable melodies of all time. From Elvis to Clapton, this simple little chord sequence is found in all sorts of genres of music—not just Blues.

And in this post, we’re going to take a look at some 12-bar blues examples to help you understand how the form works, sounds, and feels. Let’s get started!

1. “Johnny B. Goode” By Chuck Berry

Kicking off our list is the explosive “Johnny B. Goode” by none other than the rock ‘n’ roll pioneer Chuck Berry. Released in 1958, this iconic track is not only one of the greatest 12-bar blues songs, but it’s also widely acknowledged as one of the most influential songs in the history of rock music.

The song tells the semi-autobiographical tale of a country boy from the Deep South who plays the guitar “just like a ringing a bell,” painting an inspiring portrait of a talented yet humble musician trying to make it big.

This song has since been covered by countless artists, proving its timeless appeal and the enduring power of the 12 Bar Blues form. It was even featured in the films Home Alone and Back to the Future!

Related: What is 12 bar blues form?

2. “Hound Dog” By Elvis Presley

Another legendary 12-bar blues song that deserves a spot on this list is from the King of Rock ‘n’ Roll, Elvis Presley. “Hound Dog,” released in 1956, is another defining track of the 12-bar blues genre.

Driven by Presley’s energetic and infectious vocal performance, “Hound Dog” is a classic example of 12-bar blues in popular music, with its characteristic I-IV-V progression coming to the fore. The song’s rhythm is accentuated by the driving bass line, clapping and punctuated by the iconic, foot-tapping drumming.

Originally written by Jerry Leiber and Mike Stoller, it was Presley’s cover that truly skyrocketed this tune to international fame. “Hound Dog” remains one of Elvis’s most loved and recognizable songs. It showcases not just his extraordinary vocal talent but also his ability to take a song and make it uniquely his own.

3. “I Got You (I Feel Good)” By James Brown

The Godfather of Soul, James Brown, stamps his indelible mark on our list with “I Got You (I Feel Good),” a bona fide 12-bar blues masterpiece. Released in 1965, this song became one of Brown’s signature tracks, catapulting him to international stardom.

“I Got You (I Feel Good)” is an exhilarating demonstration of Brown’s dynamic vocal style. The song is structured around the 12-bar blues progression, and its brass-driven arrangement carries an undeniable groove that exemplifies Brown’s contribution to the evolution of soul and funk music.

The song has had enduring popularity and impact, featuring in numerous films, commercials, and covers. It continues to be an anthem of feel-good vibes and is a testament to James Brown’s ability to electrify audiences with his powerful voice and unrivaled stage presence.

4. “The Thrill Is Gone” By B.B. King

When it comes to blues, few names resonate as powerfully as B.B. King and his heartbreaking yet soulful rendition of “The Thrill is Gone” certainly secures his place in our list.

Released in 1970, this song has become one of the most enduring anthems of the blues genre, showcasing King’s soul-piercing voice and the virtuosic command of his beloved guitar, Lucille.

“The Thrill Is Gone” is a masterclass in 12-bar blues, its slow-burning, melancholic rhythm reflecting the lament of lost love that the lyrics convey. King’s emotive vocal delivery is accompanied by Lucille’s mournful wails, a testimony to his ability to make his guitar “weep and moan” like a few others.

This song has been covered by various artists from different genres, highlighting its universal appeal. B.B. King’s “The Thrill Is Gone” remains a touchstone of the blues, a poignant reminder of the emotional depth and raw humanity that 12-bar blues can encapsulate.

5. “Rock Around The Clock” By Bill Haley & His Comets

Released in 1954, “Rock Around the Clock,” performed by Bill Haley & His Comets, is a pivotal track in the history of 12-bar blues and rock ‘n’ roll. This high-octane number played a significant role in introducing the raw energy of rock and roll to mainstream audiences worldwide.

Haley’s enthusiastic vocals, coupled with the infectious guitar riffs and driving rhythm section, encapsulate the exuberance of a new musical era that was dawning. “Rock Around the Clock” isn’t just a classic 12-bar blues song; it’s an anthem that marked the birth of a new youth culture.

It was prominently featured in the film Blackboard Jungle and has been covered by numerous artists since its release. This track, with its irresistible dance-inducing rhythm, remains a timeless piece in the annals of popular music.

6. “Stuck In The Middle With You” By Stealers Wheel

Dipping into the realm of folk rock with a bluesy twist, “Stuck In The Middle With You” by Stealers Wheel is a classic 12-bar blues track that’s sure to get your foot tapping. Released in 1972, this song combines a catchy tune with sardonic lyrics that depict an awkward social situation.

Adhering to the 12-bar blues form, the song stands out with its unique blend of acoustic guitar, harmonica, and a distinctive bass line that provides a solid rhythmic backbone. Gerry Rafferty and Joe Egan’s laid-back vocal delivery adds to the song’s overall charm.

This track is perhaps best known for its inclusion in Quentin Tarantino’s Reservoir Dogs, which reintroduced it to a new generation of listeners.

7. “Give Me One Reason” By Tracy Chapman

Released in 1995, Tracy Chapman‘s “Give Me One Reason” is a stirring representation of modern blues music. This song beautifully showcases Chapman’s emotive voice and evocative songwriting while also adhering to the classic 12-bar blues format.

Chapman’s soulful delivery of the lyrics—pleading for a reason to stay in a faltering relationship—resonates powerfully against the simple yet compelling backdrop of guitar riffs. The song masterfully uses the 12-bar blues progression, highlighting the form’s ability to carry strong emotions and stories.

“Give Me One Reason” stands as a modern blues classic and earned Chapman a Grammy Award for Best Rock Song. The track’s minimalistic approach and emotional depth have allowed it to stand the test of time, proving that the essence of the 12-bar blues remains relevant in contemporary music.

8. “Sweet Home Chicago” By Robert Johnson

A list of 12-bar blues songs would not be complete without a nod to one of the genre’s pioneering figures, Robert Johnson. His song, “Sweet Home Chicago,” released in 1937, is an enduring classic and a significant cornerstone of the blues tradition.

While many of Johnson’s recordings leaned heavily into the Delta blues style, “Sweet Home Chicago” features the classic 12-bar blues progression with a catchy guitar riff. The song tells a story of longing for home, with each verse carrying a sense of profound nostalgia that is at the heart of many blues songs.

The song’s influence cannot be overstated. It has been covered by numerous artists across multiple genres, from the blues to rock and roll, including legends like Buddy Guy, Eric Clapton, and the Blues Brothers.

9. “Pride And Joy” By Stevie Ray Vaughan

The 1983 hit “Pride and Joy,” performed by Stevie Ray Vaughan, is an exemplar of the 12-bar blues style within the realm of blues rock. This track quickly became one of Vaughan’s signature tunes and remains a staple in the repertoire of blues guitarists worldwide.

“Pride and Joy” is a vibrant showcase of Vaughan’s superior guitar skills and soulful vocals. It follows the 12-bar blues progression, with Vaughan adding his distinctive flair through the use of aggressive string bends and rapid-fire fingerpicking.

It not only pays homage to the roots of blues but also infuses it with the raw power of rock. This melding of styles has solidified Vaughan’s status as a legendary figure in blues history and has ensured “Pride and Joy” a place as a perennial favorite among blues enthusiasts.

10. “Mustang Sally” By The Commitments

A fictional band from the eponymous 1991 film, The Commitments delivered a potent rendition of “Mustang Sally” that became a hit in its own right. The song, originally written and performed by Mack Rice in 1965 and popularized by Wilson Pickett a year later, is a classic example of the 12-bar blues.

The Commitments’ cover of “Mustang Sally” showcases their raw energy and musical talent. The song’s engaging rhythm and catchy chorus, coupled with a soulful lead vocal, faithfully follow the 12-bar blues progression while adding a fresh layer of cinematic appeal.

The song tells a playful story about a woman, Sally, who is asked to slow down her new Ford Mustang car. “Mustang Sally” by The Commitments is not just a standout track from a critically acclaimed movie soundtrack. But it’s also a vivid reminder of the enduring appeal of the 12-bar blues in popular culture.

11. “I Still Haven’t Found What I’m Looking For” By U2

This 1987 hit from U2‘s seminal album The Joshua Tree is a compelling blend of rock and gospel with roots in the 12-bar blues. “I Still Haven’t Found What I’m Looking For” is a powerful spiritual anthem that showcases the band’s ability to craft deeply emotive and atmospheric music.

While the song doesn’t strictly adhere to the 12-bar blues progression, its essence is unmistakably present. It uses chords I, IV, and V—just like a 12-bar blues—but with a few variations away from the typical form.

“I Still Haven’t Found What I’m Looking For” became one of U2’s most loved songs. It further demonstrates the flexibility and scope of the 12-bar blues form, proving that it can be utilized in a variety of contexts to deliver powerful emotional messages.

12. “Rock And Roll” By Led Zeppelin

Although Led Zeppelin is primarily known as a heavy rock band, “Rock And Roll” exhibits a more bluesy quality that showcases the band’s versatility. The song is built upon the 12-bar blues progression, and they keep to it throughout the entire song.

The blues-inspired quality of Led Zeppelin’s music style shines through in “Rock And Roll,” with its soulful vocal delivery, expressive guitar solos, and the emotive energy that permeates the song.

“Rock And Roll” provides a solid framework that pays homage to the blues genre while still maintaining Led Zeppelin’s signature rock sound. With the unconventional yet creative blending of genres, this 1971 track was dubbed as the “most dynamic hard-rock song” by music critic Robert Christgau.

Summing Up Our List Of Songs That Are 12-Bar Blues

That’s it for our list of 12 bar blues songs. We hope you found it interesting and discovered some new songs that use this timeless chord sequence. It’s been a crucial foundation for a wide range of music across many decades.

From the raw, emotive tunes of blues pioneers like Robert Johnson and B.B. King to the electrifying rock ‘n roll of Chuck Berry and Elvis Presley, all the way to modern interpretations from Tracy Chapman and U2, the influence and versatility of this simple yet profound structure are evident.

Do you have other songs in mind that you think should be included here? Let us know, and we’ll add them!

Each of the three parts is typically self-contained, both in terms of tonality and themes. Ternary form may appear in a “compound” form, and here, either A or B (or both) comprises two or more parts.

To help you learn more about this 3-part form, here are 12 examples of pieces in Ternary form:

Related: For more information, check out our guide to Ternary form here.

1. Andante in Eb Major – Mozart

Mozart’s London Sketchbook contains short pieces that the child prodigy wrote while on tour in London, and his Andante in Eb major is a great starting point for learning about ternary form.

The piece has a clear ABA structure, with each section being 8 bars long. As is customary, each section is repeated.

Section A begins in Eb major and ends with an authentic cadence.

Section B introduces a new theme with a contrasting melody and ends on a half cadence.

A repeats after B to complete the ternary form structure.

2. Nocturne No. 4 in F Major – Frédéric Chopin

A “nocturne” is a piece that is supposed to evoke the feeling of the night, and many of Chopin’s nocturnes are in ABA form.

His Nocturne No.4 in F major begins with a gentle, dreamy melody in the tonic major key.

The calm melody is accompanied by a triplet pattern in the left hand. 

However, in what is the music equivalent of the saying, “after the calm comes the storm,” section B ushers in an extremely contrasting theme in the tonic minor key.

While A is marked “andante cantabile” or “in a flowing, song-like manner,” B is marked “con fuoco,” literally, “with fire”!

As opposed to the Mozart example above, here, each section is longer than 8 bars and of unequal length.

3. Winter Wonderland – Bing Crosby

Packed with jazzy harmonies and many modulations (key changes), Bing Crosby’s Winter Wonderland can be divided into two parts, each of which is in ternary form.

After a brief introduction, the song’s first verse starts in Ab major.

It repeats, and then you have fresh, contrasting material in C major.

The initial music in Ab major rounds up this section, leaving you with a structure of AABA. 

The second part of the song follows the same ternary structure, but because of the modulations, it would be more appropriate to summarize it as A’A’B’A’’.

The song ends with a coda.

4. The Trumpet Shall Sound – George Frideric Handel

‘The trumpet shall sound’ by Handel is a ‘da capo aria’, a form of aria popular in the baroque era.

Importantly, the da capo aria is cast in ternary form.

The contrasting section provides an opportunity for a new key and texture, and within the context of an aria, this gives the composer a chance to paint different emotions of the character.

Handel’s setting starts in regal fashion, with the trumpet, an instrument evoking the divine, and a soloist that sings a joyous, uplifting melody.

The orchestra accompanies the A section. The second section, B, is in a minor key, is much more somber, and is accompanied by a “continuo.”

The original theme returns and ends in a triumphant fashion with Handel’s ornate melody.

5. Symphony No. 47 in G Major “The Palindrome” – Joseph Haydn

The third movement of Handel’s Symphony No. 47 in G Major is a minuet and trio, a dance form written in ternary form.

You have a “trio” sandwiched between two occurrences of the minuet.

Both trio and minuet are in triple meter, and the addition of the trio to the minuet is a way of extending the dance movement while also accommodating musical variety.

Haydn brilliantly constructs his minuet and trio as a palindrome, and the piece can be written as AA’BB’AA’.

The amazing fact here is that A’ is A in reverse, and B’ is B in reverse!

Section B is in the same key, G major, but starts with the horns and oboes, and thus with a different texture. 

Because each part of the 3-part piece (AA’ and BB’) is in binary form, this is an example of compound ternary form.

6. Alleluia (Ostende Nobis Domine) – Gregorian Chant

Gregorian chants are another great type of music that usually demonstrates the ABA template of the ternary form.

The Gregorian Alleluia is an example. Here, it is not so much the melody or harmony that lends structure to the piece.

Rather, the text decides the sections.

The A sections have the word “Alleluia,” whereas the B section has an antiphon, which is generally a verse taken from the psalms.

7. Somewhere, Over The Rainbow – Harold Arlen

Sung by Judy Garland, the classic ballad Somewhere, Over The Rainbow by Harold Arlen was written for the movie “Wizard of Oz”.

The song is in ternary form with a coda at the end.

Section A begins with an octave leap in the melody as the singer sings, “Somewhere over the rainbow…”. 

Section B introduces a contrasting, quicker melody as the singer sings, “someday I’ll wish…”.

When the first theme reappears, it does not repeat, and hence, the form of the song is AABA + coda.

8. Glasgow Kiss – John Petrucci

An instrumental track, “Glasgow Kiss,” is widely regarded as a masterpiece and broadly fits into the structure of the ternary form.

The composition starts with a solid theme that frequently recurs in section A (0:00-3:04). 

In the second section, B, the texture of the piece varies, and the melody line is more “searching”, even soulful.

When section A reappears (5:00), the introductory theme begins and then quickly veers into a variation.

When simplified, what you have is a form of ABA’.

Interestingly, the first section, A, can itself be broken into three blocks of through-composed form.

9. Body and Soul – Billie Holiday

Many 32-bar jazz standards are in AABA format, and just like the minuet and trio in which A is not repeated when it reappears, these can be classified as being in ternary form. 

The classic ballad Body and Soul as sung here by Billie Holliday, is a prime example.

For the purpose of analysis, the first 2:05 minutes of the recording are important.

Each block of section A ends with the words “body and soul.”

You have 8 bars of A, another 8 bars of A, 8 bars of B (the bridge), and finally, 8 more bars of A.

10. O Magnum Mysterium – Morten Lauridsen

Morten Lauridsen’s simple, splendid, and sumptuous setting of the text ‘O magnum mysterium’ can be reduced to an ABA structure.

Lauridsen begins with dense, inverted triads, setting the first two verses to the same melody and harmony. 

The third verse (begins at 3:10 in the video) ushers in the contrasting section, B.

On the word ‘Virgo,’ Lauridsen uses a non-chord tone that does not belong to the key, a note he specifically chooses to highlight the pain of the Blessed Virgin Mary.

This section introduces new melodies and harmonies.

When section A repeats, Lauridsen has the sopranos sing “Alleluia,” and while the harmonies resemble that of the opening, here, in A’, the choir begins with a root position chord.

A’ ends with an “Alleluia” coda.

11. Sonata in C, K. 545, Allegro – Mozart

The sonata form originally began as an extension of the binary form. However, today, we analyze it as having three different sections based on their thematic material.

You have the exposition, development, and recapitulation. 

As you will hear in this recording (0:00 – 2:57), Mozart introduces two subjects in the exposition, one in C major and the other in G major (the dominant).

The development is rather short and ventures into new keys, G minor, D minor, and A minor.

The recapitulation has the exposition’s subjects reappear, this time in the keys of F major and C major.

The form of the piece, then, can be reduced to ABA’.

12. Everything is Awesome – Shawn Patterson & The Lego Movie

Everything is Awesome by Shawn Patterson is from the popular animated kid’s film The Lego Movie. And it’s a great example of music that is in ternary form.

If analyzing its form, we can see that it is A-B-A-(C-B)-A-D-A and thus can be categorized as a rondo. However, it is also an example of a compound ternary form.

Some may argue that the middle section does not provide sufficient contrast; however, on paper, a division into 3 parts, with the outer sections containing the choruses, looks neat.

Here, A-B-A forms what would normally be section A, and A-D-A becomes A’.

So, yes, A and A’ are themselves in ternary form.

The middle section, that is, C+B, comprises what would be section B, and C-B ends up being in binary form.

Final Thoughts

The ternary form offers composers a medium to convey a message by juxtaposing contrasting musical ideas.

You’re likely to encounter elements of the ternary form in songs you listen to.

Whenever you do, step back and think about what cohesive message the composer is trying to express through these contrasting ideas.

You can think of a strophe as being the musical equivalent of a verse in poetry. What is important in strophic form is that, strictly speaking, the underlying harmony and melody of each strophe or musical block remain the same.

The lyrics can change and most often do. Composers may sometimes tweak the melody or key of the song, and this leads to what we can call a modified strophic form (A A’ A’’).

In this post, we’re going to look at 12 examples of songs in strophic form to help you better understand it. Let’s get started.

Related: For more information check out our guide to strophic form here.

1. Itsy Bitsy Spider – Nursery Rhyme

Because a strophe is analogous to a verse in a poem, a good place to find songs in strophic form is a book containing children’s nursery rhymes. ‘Itsy bitsy spider‘ is a good example.

The text of the poem remains the same throughout, and so do the melody and accompanying chords.

Another example of a rhyme that repeats the same text is ‘Row, row, row your boat’.

In nursery rhymes like ‘The wheels of the bus,’ the text of strophe changes.

The music in the video above, by Twinkle Little Songs, features a very brief introduction and interlude, which are auxiliary sections.

2. Michael Row the Boat Ashore – Peter, Paul, and Mary

Traditional folk music, sung by the educated and unlettered alike, ought to be simple in its structure, and that’s why you’ll often find folk songs cast in strophic form.

One that dates back to at least the mid-19th century is ‘Michael row the boat ashore’.

The Afro-American spiritual can be traced back to an island off South Carolina and has a catchy, memorable melody to which various versions of lyrics have been sung.

3. Salve Mundi Domina – Brebeuf Hymnal

Hymns that do not have a “chorus” or “refrain” are generally strophic in form.

Since the melody of each strophe is the same, you can simply add the verses one below each other.

If you ever encounter sheet music formatted this way, you know the piece is in strophic form.

Take a look at the video to see a hymn with the text of each verse written below a common melody.

Popular hymns in strophic form include ‘Amazing grace’ and ‘Be Thou my vision’. 

4. Adoro Te Devote – Saint Thomas Aquinas

Chants, too, can be in strophic form.

‘Adoro te devote’ dates back to the 13th century and is actually a hymn in chant form. 

This piece provides a chance to explore how strophes are constructed: The melodic contours of the lines accompanying the 4-line verses reveal 4 phrases.

Each group of four phrases comprises a strophe.

It’s important to remember that each strophe must be a complete multi-phrase segment, which is then repeated to build the piece.

5. Worried Man Blues – Midnight Run

Songs that have a “refrain” or “chorus” often are structured as ABABAB.

However, it is also possible for songs with refrains to be in strophic form, so long as B is a variation of A or uses the exact melody of A.

Worried man blues, played by Midnight Run, features a modified strophic form.

The chorus is built on the same musical material used for the verse.

The verses and choruses are A, whereas the instrumental sections, which use the same harmonic vocabulary as the verses, can be looked on as A’.

6. Blowin’ in the Wind – Bob Dylan

The great songwriter Bob Dylan used the simplicity of the strophic form as a vehicle, leaving his listeners with memorable tunes laced with powerful messages.

In some of his songs, you can see the refrain sewn to the end of each block of text.

Here, the entire verse-refrain block forms a strophe.

In ‘Blowin’ in the wind’ by Bob Dylan, you can hear the AAA structure clearly, with brief mouth organ interludes interspersing each block.

Another Bob Dylan song that accommodates a refrain at the end of each verse is ‘Times are a-changin’.

7. 12 Variations on Ah vous dirai-je, Maman – W. A. Mozart

In this piece, Mozart displays a range of variation techniques, applying them to the popular melody of ‘Twinkle twinkle little star’.

For instance, you have melodic variation in the first variation, rhythmic in the fifth, and harmonic in the seventh.

All but the last variation are 24 bars in length.

A modified strophic template of A A’ A’’… seems to be apt for this “theme and variations”.

However, it can be argued that some variations, for instance, the one in the minor mode, alter the music too much to be still considered a close relative of the strophe.

8. Qu’on me parle plus – Pierre Guédron

The “air de cour” or “court air” is a genre of vocal music that dates back to the royal courts of 16th and 17th century France.

It features elements of Baroque and Renaissance music, and in many of these secular songs, you have one or two voices accompanied by a harpsichord or lute.

In ‘Qu’on me parle plus’ by Pierre Guédron (c. 1565 – 1620), you can hear successive verses of the text sung to the same melody.

The instrumental intro and outro can be looked at as auxiliary sections.

9. Heidenröslein – Franz Schubert

The German “lied”, which in the time of Franz Schubert (c. 1797 – 1828) referred to the musical setting of Romantic poetry, often finds itself in strophic form.

“Heidenröslein” or “rose on the heath” talks about love rejected and was penned by Johann Wolfgang von Goethe in 1789.

Schubert sets it in duple time for voice and piano in 1815.

Though the music is essentially the same for all three verses, the third is treated differently in terms of the dynamics, with the soprano singing with increased intensity.

10. String Quartet in B-flat Major, Op.50, No.1 – Joseph Haydn

Joseph Haydn, the “father of the string quartet” and a contemporary of Mozart, was known to use the strophic variation form in his quartets.

Here, it appears in the slow, second movement “adagio non lento”.

The framework of the strophic form demarcates the playing ground within which Haydn masterfully crafts variations that successively showcase the skill of the individual performers.

The movement ends with a coda.

11. Blue Suede Shoes – Carl Perkins

A rock and roll classic, and a hit in the 1950s, ‘Blue suede shoes’ is in strophic form, or modified strophic form one may say.

The entire song can be divided into sung and instrumental strophes, with the same harmony structure undergirding each basic unit.

While the guitar solos provide melodic variety, the chord progression is still intact, and so the sung sections can be termed A and the instrumental ones A’.

Blue suede shoes is an example of how the 12-bar blues is extremely compatible with the strophic form.

12. Take Me Back to Jamaica – The Jolly Boys

Like American folk, you can find the strophic form used in other cultures, such as Jamaican folk.

Reggae music has roots in the “mento” music of Jamaica, and this form of music features guitars, banjos, light percussion, and the strophic form.

‘Take me back to Jamaica’ offers a taste of mento music, and the simple tonic-dominant-subdominant harmonies provide a foundation for instrumental and vocal parts.

Even when the solo instrument deviates from the vocal melody line, the strophe is clear as the harmony is as simple as it is apparent.

Wrapping Things Up

Now that you have a better grasp of what music in strophic form sounds (and looks) like, you’re likely to bump into it as you listen to your favorite songs.

If you are a composer, explore the potential that the simplicity of the strophic form offers – it helps draw attention to the lyrics and offers fertile ground for subtle melodic variations!

Commonly, the rondo takes the form A-B-A-C-A-B-A. Because of its simple structure, the rondo can appear in pieces that are stylistically very different and in compositions both ancient and modern.

Here are 13 classical and modern songs that use the rondo form.

1. La Raspa – Mexican Dance Tune

La Raspa is a Mexican folk dance that has roots in the city of Veracruz. The catchy melody and easy dance steps make for a fantastic combination, and you’re likely to hear this tune at celebrations around the world.

The melody has trumpets alternating with violins. While the trumpets keep returning with the main theme, the violins usher in fresh material, albeit in the tonic key.

The simplicity of La Raspa makes it easy to understand what rondo form is essentially about.

The version in the video features a pattern of A-B-A-C-A-D-A.

2. Für Elise – L. Beethoven

Bagatelle No. 25 in A minor, a.k.a. Für Elise, is probably one of Beethoven’s most recognized piano pieces of all tie.

Despite its fame, the composition itself has somewhat of an unknown history. It wasn’t actually discovered until 40 years after Beethoven’s death, and the identity of who exactly “Elise” is still a mystery today.

Nevertheless, what is clear is that it is written in rondo form, and to be more specific, 5-part rondo form, with a pattern of A-B-A-C-A. 

Beethoven uses simple I-V chords for section A, and the opening melody repeats a total of 16 times in the short piece! Section B brings in subdominant harmony and rhythmic variety. Section C is still more harmonically complex, with pedal tones in the bass and chromaticism in the melody.

3. Rondo alla Turca – W.A. Mozart

The rondo form was formalized in the Classical period, the time of Mozart. 

Rondo “alla Turca” or the “Turkish Rondo” is among Mozart’s most popular pieces. It is said to draw inspiration from the music of Turkish Janissary bands. 

However, despite the name, ‘Rondo alla Turca’, the structure of the piece is not that simple. In fact, it is what we would call a sonata rondo.

A rondo has the main theme “A” alternating with contrasting episodes. A sonata, on the other hand, has an exposition, development, and recapitulation.

Rondo alla Turca has a pattern of A-B-A-C-D-E-D-C-A-B-A-C-Coda, with:

• Exposition: A-B-A-C
• Development: D-E-D-C
• Recapitulation: A-B-A-C

4. Every Breath You Take – The Police

The iconic song from the 80s Every Breath You Take won multiple accolades and brought Sting and The Police into newfound fame.

It can be looked upon as a “pop ballad” but from the lens of musical form, it is a good example of a rondo. 

The song appears to have a form of A-A-B-A-C-B-A, if you pay attention to the lyrics.

However, if you look closely, between “C” and “B”, section “A” is repeated, albeit without any accompanying words. The song, then, has a structure of A-A-B-A-C-A-B-A+coda.

Have a listen!

5. The Entertainer – Scott Joplin & The Sting

The composition The Entertainer by Scott Joplin has roots in American ragtime music as well as Western classical music.

The song was released in 1902 as piano music, but you can find versions of the popular tune for guitar, mandolin, and even instruments like the cello.

The Entertainer, today, enjoys universal fame after featuring in the Oscar-winning film The Sting. In the 1973 film soundtrack, Marvin Hamlisch adapted Scott Joplin’s score for orchestra.

The soundtrack showcases a rondo pattern of: Intro-A-A-B-B-A-C-C-A.

6. March of the Siamese Children – Frank Strozier & King and I

Music in rondo form often displays symmetry and when you have a piece in A-B-A-C-A-B-A form, section “C” can take centre stage.

The King and I, a musical by Rodgers and Hammerstein uses this quality of the rondo masterfully in “The March of the Siamese Children”. 

Here, the king introduces his children to their new teacher, Mrs. Anna.

While all his children walk into “A” and “B”, the regal section “C” is reserved for the crown prince alone.

7. Hocus Pocus – Focus

A crowd favourite, Hocus Pocus by the band Focus is one of the more eccentric pieces of music you’ll hear. It’s got sections for the guitar, flute, accordion, yodelling, and crazy vocalisms.

In a way, it’s hard to predict what you’re going to hear next and as such, the song seems to have no structure.

However, the one common thread through the piece is the opening guitar riff.

If you “focus” on that, then what you have is a song that comprises a riff that repeats (A), with solo sections (B, C, D, etc.) that can be interpreted by the musician/ vocalist liberally.

8. The Raider’s March – John Williams & Raiders of the Lost Arc

The Raider’s March or the “Indiana Jones theme” featured in Raiders of the Lost Ark, a Steven Speilberg film. 

The Raider’s March emerged from two themes that John Williams wrote. Steven Speilberg on hearing them asked John Williams if he could use both.

So, the first theme ended up becoming section “A” and the second theme, section “B”. 

The film soundtrack has a contrasting section “C” sprinkled in between, giving the score a rondo structure of Intro-A-B-A-C-A.

9. Everything is AWESOME!!! – Shawn Patterson & The Lego Movie

The theme song of The Lego Movie, features a structure that resembles a rondo.

A rondo is actually an instrumental music form harkening back to the classical era.

So, there is a risk when analysing a piece of music from the perspective of the music and lyrics, and trying to fit 21st century electronic/dance music into a form that was in vogue 100s of years back. 

Nevertheless, with some caveats you’ll find that the recurring “Everything is awesome” chorus gives the piece a structure of A-B-A-(C+B)-A-D-A. 

10. Concerto for Cootie – Duke Ellington

Duke Ellington is one of the greatest Jazz musicians of the 20th century and led and founded the Duke Ellington Orchestra back in the 1920s.

In 1940 the group recorded Concerto for Cootie. “Cootie” refers to Cootie Williams, the group’s solo trumpeter, famous for his “growl” style. 

After an introduction, Cootie Williams plays an 8-note melody. This motive will recur throughout the piece and form the material for the main section (A).

The first (B) occurs when Cootie introduces the “growling” effect. The second deviation (C) has Williams playing on the high register with rich accompaniment.

The overall structure you have, then, is Intro-A-B-A-C-A-coda.  A lot of Jazz music uses this template: a theme that recurs after solo sections.

11. Colonel Bogey March – Lieutenant F. J. Ricketts

Perhaps the most famous march ever written, Colonel Bogey March is cast in rondo form.

The tune was written in 1914 and is said to be based on Rickett’s experience of a colonel who preferred to whistle a descending minor third rather than shout “fore” when playing golf.

The main theme (A), then, starts in this comical fashion, with each phrase beginning with a minor third.

The march is very simple in its structure and the contrasting episodes “B” and “C” lead to a pattern of: A-B-A-C-A-coda 

12. Spring – Antonio Vivaldi 

The “Allegro” of Antonio Vivaldi’s Spring has a structure that resembles a rondo. The piece opens with the strings playing with vigour, and this theme (A) will recur time and again in the piece. 

Vivaldi ushers in a variety of contrasting material in an effort to paint a picture of a vibrant spring season.

What is interesting is that section A repeats once in a minor key. It isn’t ordinary for the main theme of a classical rondo to appear in other keys.

The main sections, as the video below shows, would more properly be termed “ritornello”, and the rondo is said to have developed from the baroque ritornello form. 

13. Responsorial Psalm – Roman Catholic Church

Part of the liturgy of the word, the responsorial psalm lends itself very well to the structure of the rondo.

It has a “refrain” that repeats after every few stanzas of psalm text.

It is normally chanted to “psalm tones”, tunes that derive from Gregorian chant, and while the refrain (A) has a fixed melody, the verses that follow, may or may not have a common tune, depending on the length of each stanza and the creativity of the composer. 

If every verse is different from the rest, the responsorial psalm leaves you with a pattern of A-B-A-C-A-D-A, etc. That’s a rondo at every liturgy!

Summing Up Our List of Rondo

We hope this list of pre-classical, classical, and modern songs, including everything from chant and baroque to jazz, pop, rock and electronic, helps you understand rondo form better. 

Now that you know what rondo form is you’re likely to spot it as you listen to genres you love.

What’s more, if you are a composer, you can follow great composers in using the rondo form to bring unity and variety to your compositions!

In this article, we investigate one of the older forms of music and discover how the 1970’s group, The Beach Boys, borrowed a theme from children’s bedtime songs, to produce one of their hit songs.

And we clear up the mystery involving rounds and toast, and why we need to catch it.

So, hold on tight as we launch you onto the wonderfully colorful merry-go-round of canons, rounds, fugues, and pervading imitation.

First, we need to cover exactly what is a round in music?

Definition of a Round

The round, also known as “rondo” in Italian, has been an element in western music since the 1100s.

A round in music is a composition in which 3 or 4 voices sing exactly the same melody at the unison or octave with each voice starting at different times.

The round is therefore a simplified canon.

The song may be repeated many times until called to an end, although there are many with fixed endings that are notated by a fermata.

This might seem like a recipe for disaster, but the timing of the entrance by each voice is carefully matched to the melody.

This ensures that the entrance of the different parts coincides to produce a harmonious sound that can be repeated an infinite number of times.

History of the Round

We find reference to rounds in Europe from the 12^th century onwards.

They regained popularity in the mid-1700s, reaching notoriety in the glee clubs.

Established in 1762 and offering prizes for rounds (catch, canon, serious glee, and cheerful glee compositions), the Noblemen and Gentlemen’s Catch Club proved a big hit with the drinking crowd.

And as to our mystery surrounding toast?

The singing of rounds (catches) whilst making toasts to good health is what is being referred to in the lyrics of the song, “And let the catch and toast go round.”

The gentlemen certainly approved of this amateur singing combined with copious drinking.

Here’s an example of what you could encounter if you chose to attend a Gentleman’s Club:

Round vs Canon vs Fugue vs Catch

Various terms are sometimes used interchangeably to describe rounds.

A canon is a composition for several voices or instruments that sing or play the same melody but start at different times.

The most famous of which is probably Pachelbel’s Canon in D Major.

So, the round is actually a special type of canon also known as a perpetual canon or infinite canon.

The round exactly repeats or imitates the subject of the song without introducing new material.

Fugues can be confused for rounds, but the two are not the same.

A fugue will move on to different material after voicing the melody, which may be repeated or imitated by 3 or 4 voices.

However, the structure of a fugue includes the repeats at intervals or not at all and does not make up the whole of the composition.

The catch is a particular type of round that historically had a secular theme, although there are many that include devotional material.

Its defining characteristic is that a different phrase emerges when the lyrics are separated into individual voices.

This opportunity for vulgarity and innuendo gave rise to its popularity in the gentlemen’s clubs of the mid-1700s.

What is Pervading Imitation?

Pervasive imitation involves all the voices in repeating the same melody.

It became the dominant musical texture in sacred music of the late fifteenth and sixteenth centuries.

Many, if not all of the phrases begin with imitation.

As it developed in the course of the 15^th century, it became the precursor to what we now associate with a round.

Examples of Rounds

Currently, rounds can be used to teach children how to sing a melody and to listen carefully to what the rest of the choir is singing.

Known as solfege rounds, ordinary rounds are used to help young musicians sing and play in harmony without having to learn more complex parts.

By singing or playing the same music, groups start at different times to learn how to combine with their counterparts.

Each voice enters using the same notes, after a set interval of time, and using the same pitch.

The round works so well because different notes in the same chord are sung in harmony, creating a familiar rhythm and lacking any jarring combinations.

Let’s start with some simple rounds with which you are familiar:

“Row, Row, Row Your Boat” (for 4 voices)

“Frère Jacques”

“Three Blind Mice”

 “God Only Knows” by The Beach Boys

Here are some examples by classical composers:

Benjamin Britten

J.S. Bach

Wolfgang Amadeus Mozart

Ludwig van Beethoven

Final Thoughts

Finally, we need to look at how you can read a round in your musical score. The opening melody is referred to as a “leader” or “dux.”

The notation for rounds is usually shown as one melodic line. Asterisks are then used to denote where the followers start.

Each of the other followers or parts, use the same melody as they enter the song.

The round usually continues for a set number of repetitions and then ends.

In some canons, the “leader” (melody) is an exact copy of each of the other parts.

While in others, the harmony is helped by altering the melody slightly.

Canons developed into fugues through the joining of other parts at different intervals, such as a fifth lower, for instance.

Although it’s relatively easy to remember a single melody with limited lyrics, as the new musicians get involved with their new lines in the song, it becomes far more challenging to remember and concentrate on singing your own lines.

This is why rounds are such a great tool for young musicians to learn from and practice.

There are lots of different types, and in this article, we’ll look at exactly what constitutes a musical canon, its history, and some famous examples, some of which you may already be familiar with without having realized that you were listening to a canon.

Definition of Canon in Music

A Canon is a form of composition technique in which an initial melody is imitated by one or more other parts. This imitation might be an exact replica of the original melody, or it might be altered in some way.

There are many types of canon, but one of the most common is the round. A good example is the children’s songs “Row, Row, Row Your Boat” or “Frere Jacques.”

As the the initial melodies are repeated, they create counterpoint as they overlap and interact with each other.

What Is Counterpoint?

Canons are an example of counterpoint. Counterpoint refers to the relationship between two or more simultaneously played melodic lines – also known as voices – which have a shared harmonic reference point but are independent in their rhythm and melodic shape.

Perhaps the most famous examples are in the polyphonic music of Baroque composers such as J.S. Bach and George Frideric Handel, where multiple independent voices often weave a complex web of melodies to mesmerizing effect.

But there are numerous examples of counterpoint from across the history of Western classical music dating back to the Medieval period.

How a Canon Works

First, the melody is stated. This is called the leader, or the dux, which is followed by the imitative melody, or the comes, which is played or sung by a different voice.

This might be an exact, unchanged repetition of the original melody, or it may have been transformed in some way.

The note values might have been augmented, meaning “made longer”, or diminished, meaning “made shorter”.

The pitches might be read in reverse, to create what is called a retrograde of the original melody, or the intervals might all be flipped to create a mirror image of the original melody.

A whole piece might be written as a canon or just a single part of it.

We’ll see a few musical examples in this article where it is just used as a compositional device in a single movement of a larger piece, for example.

A canon uses two or sometimes more voices.

Rounds

The most simple form of a cannon is the round.

This is where the imitations are identical to the original voice, so essentially, it is the same melody being sung by multiple parts, starting at different times.

“London’s Burning” is a famous example of this.

It is popular with children’s choirs because the leader can teach everyone a relatively simple melody.

Each voice or group of voices then begins singing two bars after the previous entry, and the ultimate effect can be very impressive.

“Frère Jacques” and “Row, Row, Row Your Boat” are also well known songs that work well as rounds:

Early History of the Canon

The earliest known canon is Sumer is icumen in, an English song from the 13th Century in which four voices sing an imitative canon based on a single melody above two other voices that form a ground bass.

In the 14th Century, French and Italian hunting songs often made use of canons.

Se je Chant is a famous French example, while composers like Jacob de Senleches and Guillaume de Machaut used canons in more formal compositions around this time.

In the 15th Century canons were used in settings of the Mass, a traditional part of the Catholic church service.

Johannes Ockeghem’s famous Missa prolationum is an example of a mensuration canon (also known as a prolation canon), in which the main melody is accompanied by imitations of that melody played at different speeds to create a complex rhythmic texture:

However, despite these earlier examples, the word canon was not actually used until the 16th Century.

Canons in the Baroque Period

One of the characteristics of the Baroque period is polyphonic music with intricate counterpoint between multiple parts, so it makes sense that some of the most famous canons are from this era.

In J.S. Bach’s Goldberg Variations, every third variation is written in canon form.

Furthermore, To add an additional layer of complexity, each one starts one note higher in relation to the original melody.

So in Variation 3, the second entry starts on the same note as the first, then in Variation 6 the second entry starts a tone above the first entry, and in Variation 9 the second entry starts a third above the first entry.

This continues all the way until Variation 27, where the follower starts a ninth above the leader.

Bach took a mathematical, often puzzle-like approach to writing canons.

This video demonstrates the workings of his incredible “crab canon”, in which the initial melody is later accompanied by that same melody played backward, like a kind of musical palindrome:

Pachelbel’s Canon in D Major, perhaps the most famous canon of all, is written for three violins and basso continuo.

It begins with a simple melody in the bass part, which is then passed to the upper parts where it becomes gradually more complex.

Most of the music written by the German Baroque composer Johann Pachelbel was all but forgotten until recordings of this piece in the 1960s and ‘70s helped restore it to public attention.

The Canon in D is one of the most recognisable compositions in the pantheon of Western classical music, and has become a popular choice as a piece of music for weddings:

Canons in the Classical and Romantic Eras

In the Classical and Romantic periods composers continued to use the canon as an occasional musical device within some pieces.

Wolfgang Amadeus Mozart’s Auf das Wohl aller Freunde, a canon for three voices, uses a similar technique to the one used in Bach’s Goldberg Variations, where the second voice enters a tone above the initial melody, then the third voice enters a sixth below.

Mozart utilised clever techniques like this in a number of pieces, but always managed to make them sound completely natural, despite them being based upon strict rules or mathematical ideas.

Joseph Haydn uses a more straightforward two-part canon in the third movement of his String Quartet in D minor, Opus 76.

The two violins play a melody in parallel octaves, followed by an imitation by the viola and cello, also in parallel octaves, one bar behind them.

Ludwig van Beethoven’s sole opera Fidelio includes Mir ist so wunderbar, an intricate canon for a quartet of singers:

Romantic composers also sometimes used canonic writing, although it was often obscured by the rich chordal textures that were typical of that period.

Johannes Brahms, Robert Schumann and others made subtle use of the technique, although it is more clearly audible in the choral piece Lerchengesang by Felix Mendellsohn, who was deeply influenced by Bach.

Modern Canons

The serialistic work of the Second Viennese School took a rather mathematical approach to music, and was also concerned with melodic counterpoint.

Canons, therefore, were a perfect fit, and Anton Webern was particularly noted for his use of them.

His Symphonie No. 21 from 1925 puts a double canon (a canon that unfolds two canonic themes simultaneously) in an atonal context.

Igor Stravinsky’s Double Canon for string quartet also makes use of twelve tone techniques, while Arvo Pärt took inspiration from Medieval plainchant when writing Cantus in Memoriam Benjamin Britten, another 20th Century canon.

Steve Reich has often used canons in his minimalist music.

Clapping Music, a duo piece for two clapping musicians, is written in strict canon:

Summary

So, that concludes our look at the history of canons in Western classical music.

Although the most famous examples are probably J.S. Bach’s Goldberg Variations and Pachelbell’s Canon in D Major, which both come from the Baroque period, it’s important to remember the term canon refers to a compositional technique, rather than a specific style.

So there are canons that date back to the Medieval period, as well as some weird and wonderful examples of the genre from the 20th Century and beyond.

This post will specifically look at AABA Form – what it is, how it functions, and some examples of songs that use it. First, let’s recap exactly what form in music is in general.

What is Form in Music? 

In music, the term form refers to the organization and structure of a specific piece.

The best way to analyze the form of a piece of music is by looking at the what in the music repeats.

For example, on the smallest level, beats repeat usually in groups of four, creating the standard 4/4 bar. 

On a larger level, we can look at what sections of the music repeat, how many times, and how frequently.

For example, in pop music you would hear on the radio the song would probably have a section known as a verse, which could then be followed by a chorus.

How often the verses and chorus repeat, whether there is a bridge or not, these factors are what influence the form of the song.

Within a single verse or chorus, you can have phrases and passages.

These are short to medium-length melodic lines, and in most pop music there’s 4 phrases per verse/chorus.

How is Form Analyzed? 

The most popular way to analyze the form of a piece of music is to look at the sections or passages in it.

We can then assign each unique section or passage a letter – A, B, C, etc. – and write out the structure that way. 

For example, the first verse in a pop song could be given the letter A.

Then the next section that plays is verse 2, which we can still label as A, because it’s the same structure as verse 1.

If the chorus is next, we would label that B, because it’s different from the previous verses.

If there’s a new section after this, we can call it C, and then D, and so on. 

The Definition of AABA Form

AABA Form, which is also commonly referred to as 32-bar form, is a popular song form with 4 sections.

The 4 sections take 32 bars in total, so each one is 8 bars long. 

The reason it is called AABA is because the first, second, and fourth section are all melodically and harmonically very similar, and the third section is different from the rest. 

A famous example of AABA form is “Somewhere Over the Rainbow”.

It has three 8-bar sections, all starting with the words “Somewhere over the Rainbow…”, that have the same melody, and one 8-bar section with “someday I’ll wish upon a star…” that has a totally unique melody: 

This AABA structure gives us the form of one verse.

This verse can then be repeated multiple times to make up the entire song.

If that is the case, the form of the whole song looks like this: 

AABAAABAAABA…

Sometimes just the second half of the form is repeated, in which case the song would have an AABABA structure.

The song “Make You Feel My Love” by Bob Dylan has almost two full AABA sections, producing an AABAABA form: 

The A sections don’t necessarily all have the exact same melody or harmony; sometimes filler notes or chords are added or artistic license allows the performer to sing or play one section a bit different from the other.

For example, the first A section in “Great Balls of Fire” by Jerry Lee Lewis has no piano playing behind the sung melody, but the second A section has piano throughout: 

However, the A sections are all going to be essentially the same, and the B section is going to be different and unique enough that the AABA form is fairly obvious when you hear it. 

The song “Surfer Girl” by The Beach Boys is in AABA form, but the final A section is in a different key.

However, the chord progression and melody all stay the same, relative to the key, so it still counts as the same section as the previous two: 

AABA song form is also very popular in Jazz standards and Tin Pan Alley songs.

The song “I Got Rhythm” by George Gershwin is a famous example, and the chord progression it featured is so widely-known and used that it is now simply called “Rhythm” changes: 

Another classic AABA Jazz song is “Anthropology” by Charlie Parker.

This song follows a similar structure to most Jazz standards, which is to play through the main melody twice (first 2 A sections), then play a quick bridge (B section) and finally repeat the main melody once again (final A section) before going into the solos: 

That’s It for AABA Form

To sum up, AABA form is a widely-known popular song form that has 4 8-bar sections over a 32-bar verse.

Three of the four sections are the same, and the third section is unique and usually has a more interesting harmonic progression and melody.

We hope this post was helpful and informative. Let us know if you have any questions or if you have a favorite song in AABA form! 

This post will cover everything you need to know about refrains in music so you can know what to look for.

The Definition of Refrain

The term Refrain comes from the old French word “Refraindre”, which means “to repeat”.

In music, a refrain is a repeated line or verse.

It has two parts – the melody of the music and the written lyrics. 

In a pop song, this could be the chorus of the song, because the chorus is often repeated many times.

Here is “Call me Maybe” by Carly Rae Jepsen, and you can hear what the chorus is because it’s different rhythmically, harmonically, and melodically than the verses that come before or after it.

It’s repeated about 8 times throughout the song, making it a great example of a refrain. 

However, it doesn’t have to be the full chorus of a pop song.

Here is the song “Why Did It Have To Be Me?” by Abba.

It doesn’t have a true chorus but all of the main verses end with the two lines “It’s only natural, but why did it have to be me?”

These two lines are the refrain of the piece, even though it doesn’t have a chorus.

A piece with Strophic Form will often have a refrain at the end of each verse.

This is very common in old traditional songs, like “Swing Low, Sweet Chariot”.

The refrain “coming for to carry me home” is sung in the middle and at the end of each verse.

Other more contemporary folk songs, like “A Hard Rain’s A-gonna Fall” and “The Times They Are A-changing” by Bob Dylan, have refrains (the lyrics of the refrains are the title of the song) that end each verse.

Some musicologists think that the term refrain should only be considered as a repeated line of lyrics and melody that is part of a larger section, like the end of each verse in the two Bob Dylan songs above, as well as others like “Blowin’ in the Wind” and “It Ain’t Me, Babe”.

On the other hand, only the word chorus should be given to the main repeated section of a pop song, like the example of “Call me Maybe” shown above. 

However, refrain can be used for both of those options, whereas chorus is only used as the main non-verse section. So – all choruses are refrains, but not all refrains are choruses.

Refrains In Jazz Music

In Jazz music there are multiple different types of refrains, or choruses.

For example, in 32-Bar Form, the whole 32-Bar main section of the song is called the chorus.

This section would then be repeated many times and that’s the whole song.

The song “Somewhere Over the Rainbow” is in 32-Bar Form.

Other uses of the terms refrain and chorus in Jazz music are the “Arrangers Chorus” and the “Shout Chorus”, both of which are used in big-band jazz.

In the “Arrangers Chorus”, the arranger of the piece shows off by adding in a lot of reharmonization and extra technical flourishes.

It’s usually not the first or last chorus of a song.

The “Shout Chorus” is typically the last chorus of a jazz song, and it’s where the whole band plays loudly and energetically.

The trumpets hit their high notes and the trombones play heavy accented bursts, and the song ends with lots of energy.

In Summary

A refrain is a common musical term, one that you will now be able to understand and take note of whenever you hear one.

It can be used in place of the term chorus, as well as other times, like at the end of each verse in a lot of folk or traditional music.

You’ve probably heard it used like the terms verse or chorus as another section in basic song structure. In this post, we’ll look at exactly what the term bridge means in music with examples.

The Definition Of Bridge In Music

The most comprehensive definition of the term bridge is that it’s a section of contrasting musical material that then prepares for, and returns to, the original material section.

The original use of the word bridge comes from German medieval music, sung by Meistersingers starting in the 15th century.

It used to be called steg (the German word for “bridge”) and would describe a transitional section of the music as it moved from one phrase or passage to another.

As German composers fled to America before and during World War II, they brought the term with them, translating it to bridge in English. 

How Bridges Are Used In Different Styles Of Music

There are many different styles of music, like pop music, jazz, and classical, and the bridge section is different in all three styles.

Let’s look at how it is used in all three, starting with pop music.

Use In Pop Music

You have most likely heard the term bridge with regard to pop music.

It has by far the most popular use of bridges — almost every song heard on the radio nowadays has one.

Here’s the bridge to “Blank Space” by Taylor Swift to give you an example: 

In pop music, songs can often be broken up into distinct sections, and the three main ones are the verses, the chorus, and the bridge.

Most songs follow a similar form: Verse 1 → Chorus → Verse 2 → Chorus (repeated) → Bridge → Chorus (last time).

So most of the time, if you want to hear the bridge of a song, listen through it until the second chorus and the bridge should come up next.

Some bridges sound similar to the verses or chorus, with the same chord progressions and rhythms used. For example, in “Castle on the Hill” by Ed Sheeran, the bridge could just be another verse.

However, the bridge can also be a totally different feel from the verses and the chorus, and therefore stand out more in its own right. Listen to this bridge from “Fat Lip” by Sum 41 as an example.

This clip starts at the chorus to give you an idea of how the song sounds and how the bridge at 1:42 sounds very different.

Bridges have been staples of pop songs for decades.

The Beatles are probably the band that has the most famous and written-about bridges.

Their songs “Here Comes the Sun,” “We Can Work it Out,” and “A Hard Day’s Night” are all great examples of their unique and interesting bridges. 

Here is “Something” by The Beatles, as probably their most revered bridge. 

Use In Classical Music

In the Classical era, a bridge is called a transition or bridge-passage.

It is commonly found in sonata form in the opening “Exposition” section as a transition between the two main themes.

Listen to this Mozart Sonata in F Major, K.332, which has the transition section starting around 0:30.

In another example, here is a short (three-bar) bridge in Bach’s Fugue in G Major, BWV 860. The bridge starts around 1:25.

Use In Jazz Music

There are a few different ways bridges are used in jazz music.

In 32-bar AABA form, which a lot of jazz standards and swing pieces are written in, the B section is often considered as the bridge.

Pieces like “I Got Rhythm” by George Gershwin or “What’ll I Do” by Irving Berlin are classic examples, as well as “Great Balls of Fire” by Jerry Lee Lewis, the bridge of which is below.

The other bridge in jazz is more of a turnaround, which is when a sequential chord progression is played at the end of a verse or section in order to lead back to the beginning of the section.

For example, in C major, there would be a progression of seventh chords that lead around the circle of fifths (E-A-D-G-C) to point back to C and the beginning of the piece again.

Summing Up Bridges

There are many different uses of the word bridge in music.

You’ll most likely hear it regarding pop songs and the little section following the second chorus, but really it just means any section of contrasting musical material that then points to and leads back to the main material of the song.

We hope that this post has helped figure out exactly what a bridge is and how it’s used.