Song Sections and Arrangement Terms
Arrangement
General
Usually 8-16 measures, around
Verse 30-50 seconds.
Usually 8-16 measures. Center
section of the tune containing the
Chorus hook. Most singable section of the
tune. Beginning of it is a strong
arrival, and the end is a resolution.
Usually 8-16 measures,
development section used
Bridge to provide contrast after two
song cycles of verses, pre
choruses and choruses.
Generally, the refrain is the part
where people sing along. found
in AAA, AABA and AB verse
Refrain sections, it can also be the line in
the chorus that contains the title
or is central idea of the song.
Not more than 12 measures or 15
seconds, provides transition/lift
from verse to chorus. use when vs
Pre-Chorus and chorus have same chords or
similar melody, when lyric needs
further explaining.
Short section (8-16 measures
or around 15-20 seconds) after
Post-Chorus chorus that includes simple
melodic/vocal hook, best when
chorus is wordy or complex.
Usually 8-16 measures, around
Verse for AADA 30-50 seconds, with a refrain
or AAA form appearing, usually as first or last
line, which is most often repeated
songs in subsequent verse sections.
Short (8 measures/15 seconds
maximum) non-vocal section
that establishes tonality and
Intro/Reintro rhythmic feel of song, can
include an instrumental hook
or signature line, needs to
provoke interest in listener.
Lyrics
Sets the stage, characters and
emotional tone, tells the story.
Usually repeated, contains the
title and the tune’s main message.
Summarizes and coins a phrase.
Contains new material,
usually in future or past, from
external to internal or vice
verse. Often has a feeling of
overview of the situation.
The line that contains the lyric
center of the song, often the title/
hook, distillation or essence or
symbol of main emotion of song,
same every time.
Often repeated, but can vary;
often variations will rhyme use
some words from original while
varying others. creates a bridge
from the “story” of the verse to
the universal or central idea in
the chorus, may introduce new
idea or feeling. Often a yearning,
reaching, wishing, or questioning
type emotion.
Rarely more than a few words,
often a non-lyric vocal hook (la-la,
yeah, na na, etc.).
Sets the stage, characters and
emotional tone, tells the story,
leads to or emerges from refrain
as central focus.
None.
Melody
Melody often more conversational,
less so in AABA forms.
Melody often has longer held
tones, in a higher register from
verse or pre chorus. Title line
cadences to the tonic.
Different from previous sections;
if the melody has been rhythmic,
make it more legato, if there’s
been stepwise contour, try interval
leaps. Whatever will contrast with
other sections.
Easy and fun to sing and
remember, often (but not always)
higher range and more formal
melodic rhythm.
Should be more formal (reptition
and syllable match more exact, with
a clear, repeated rhythmic motif.
Singalong part.
Melody in this type of section
is often most “formal”, with
clear melodic rhythm motif.
Refrain melody is memorable
and singable, and often
cadences (resolves).
Melody, if any, will be played on
lead instrument.
Harmony
Either loop or functional harmony
with cadences.
Harmonic cadences under title,
usually at the beginning and/or
end. Frequency spectrum.
Generally (but not always!)
unresolved or unstable harmony,
leading to a resolution into a final
chorus or verse.
Harmonic and melodic cadence
(point of resolution) happens
usually during the most important
syllables/words of the refrain.
Unresolved/unstable harmony
non-tonic chords at beginning
and end.
The most harmonically “home”
part of the song, usually stable
harmony or main loop.
In traditional AABA forms,
harmony will be functional, with
a cadence occuring at the end of
each section. Modern forms rely
less upon cadences.
This is the “establishing shot” of
the movie---whatever the “home”
harmony is, it will be set up here.
Rhythmic
Elements
Usually main rhythm part and
Subdivisions and rhythmic
themes expressed.
minimal additional elements, below
or above vocal range.
Strong intensity, sometimes
A frequency shift always
doubling important syllables
with the title. Leaving
happens. Added density.
each time it’s repeated.
space around the title.
Different from previous section,
Arrangement should work in
but usually meter and tempo
contrast with previous sections.
elements remains the same.
Often contrasting elements from
the rest of the verse, main rhythm
Silence or space around the refrain
parts accentuating with the most
line can give emphasis to it.
important syllables/words of the
refrain line.
Often adding rhythmic figures not Hightening in intensity and
present in the verse, repeated and density by adding elements,
contrasting elements. Creating a using smaller rhythmic
rhythmic build. subdivisions from the verse.
Often dense with lots of high
Hightened intensity and density. frequency elements, vocals will be
doubled or harmonized.
Establishes groove or rhythmic
Arrangement should be sparse
enough to allow listeners to hear
feel of song as it’s always the first
the lyric/vocal, and should support
section heard.
the emotion and story.
Often, but not always, sparse. this
Whatever is played sets up section needs to attract and hold
rhythmic feel/groove. listeners’ attention, so creativity is
key in these.

General
An instrumental improvisation (but
often composed) that, depending
on genre, may last anywhere
from 8 to 32 measures (we don’t
Solo recommend this, but it happens),
and 15 to 30 seconds, usually
on harmonic framework that has
been heard in a previous section.
Acts as a relief from the vocal.
Any song section can be played
as a breakdown to recapture
listeners attention; can also be
a “develpment section” like a
Breakdown bridge. Most instrumentals drop
out leaving only one or two
elements. usually lasts no more
than 8 measures, may layer back
in for up to 16.
This can be a completely different
section from the rest of the
Outro tune, or it can be a reintroduced
bookend idea from the beginning.
Providing space without
Interlude/ vocal. Can often happen at
Instrumental the end of every chorus, or
in the place of a bridge.
Lyrics
None.
Usually material from another
section, most frequently the
chorus, but can also appear in a
bridge with new material.
Often instrumental, or it can be a
repeated hook lyric.
None.
Melody
Improvised, more range,
little repetition.
From previous section
or contrasting.
Can be contrasting idea
altogether, or reintroduce
intro melody.
Can be a hook line played by a
lead instrument.
Harmony
Harmony will be from verse,
chorus or other previous section.
From previous section
or contrasting.
Can be totally contrasting or use
harmony of intro.
Taking the listener somewhere
new. If previous section was
stable, this section will be
unstable and vice versa.
Rhythmic
Rhythmic feel will usually be from
verse, chorus or other previous
section; may go into half time or
other varied feel.
Drums usually play much less, but
tempo and meter remain steady,
expressed by vocal and any
instrument elements.
Ends the rhythmic feel/groove
with a conclusion (fade out, stop
time or fermata).
Ends the rhythmic feel/groove
with a conclusion (fade out, stop
time or fermata).
Arrangement
Elements
Lead instrument is treated like a
vocal, so there are few other lines
or counterpoint to distract.
Less dense and intense, the point
of this section is to expose some
part or idea that has been part of
the tapestry.
Can be an additional new
climactic moment for the tune,
or a conclusion “wrap up” taking
musical elements from the intro or
another section.
None.