While “Blue Suede Shoes” is composed entirely of strophes, it is important to note that strophic songs can also contain so-called auxiliary sections such as intros, outros, and codas. The entire song is a repetition of this same basic pattern, or slight variations of it, modeled at 0:19–0:41.Įxample 1 is a bird’s-eye-view sketch of the form of “Blue Suede Shoes” to follow as you listen: timestampĮxample 1. Even the instrumental sections at 0:41 and 1:21 have the same underlying pattern, just a different melody in the form of a guitar solo. Listening a bit more closely, we can hear a similar, but abbreviated, version of the same patterns at the opening of the song. Though the instrumentation and the lyrics change, the section beginning at 0:19 contains the same-or, at least, very similar-melody, harmony, and phrase structure as the sections that begin at 0:58, 1:37, and 1:54. This song contains multiple sections, all of which have the same basic underlying music. Strophic form is more common in early rock-and-roll (1950s–1960s) than in the 1970s and beyond.įor an example of a strophic song, consider “Blue Suede Shoes” by Carl Perkins (1955). Songs that repeat the same basic multi-phrase unit throughout are in strophic form (sometimes abbreviated AAA because the same basic material, A, is repeated), and the basic unit that is repeated is called a strophe. AABA and strophic form both have strophe sections as the main section, which features the primary lyrical and musical content of the song.AABA and strophic form were especially common in older pop music (1960s and earlier).AABA form, also known as 32-bar song form, consists of a twice-repeated strophe (AA), followed by a contrasting bridge (B), followed by another repetition of the initial strophe (A).Strophic form consists only of repeated strophes.(16) It puts an end to the cyclic character of the six strophes and opens the door back into quotidian time. (15) Most celebrated were the Epodes, songs in simple strophes usually made up of a hexameter or iambic trimeter plus one or two shorter cola. (14) Though the poems were in a European habit, Bialik imbues them with Biblical strophes, as well as prophetic metaphor, syntax, and meter. (13) We measured song repertoire size as the number of different song figures in 25 consecutive song strophes. (12) Apparently he also has limited patience for Orff's strophic writing, because he cuts verses from some of the numbers. (11) There is an almost ritual use of repetition in the strophic or modified strophic songs. (10) His poems are written in regular stanzas, either strophic or triadic. (9) In some strophes of the poem I tried to depict the tempest, followed by the calm of the sea. (8) This phrase construction does not interfere with the overall strophic form of the piece. (7) The more reflective, sentimental, strophic Cancion is represented to a lesser extent. (6) For example, in Schubert's HeidenrÔö£├éslein three verses, or strophes, are set to the same melody, with no alterations to the voice part or the piano accompaniment. (5) He believes that the syllable count of poetic lines, strophes, stanzas, and poems was essential to the writing of biblical poetry. (4) The distance between the two vertical arrows indicates the strophe length. (3) An ├ö├ç├┐aria├ö├ç├û was distinguished from a ├ö├ç├┐madrigal├ö├ç├û in having a strophic text, with the same music, or a variation of it, set to each strophe. (2) Frequency and strophe length were measured in narrow and wide band modes, respectively. (1) The order in strophe one appears in stanza two as 6 i, 5 2, 4 3.
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