{"title":"Prechoruses, Bridges, and Auxiliary Sections","authors":"Drew F. Nobile","doi":"10.1093/oso/9780190948351.003.0004","DOIUrl":null,"url":null,"abstract":"This chapter offers a detailed look at the structure and function of prechoruses, bridges, and auxiliary sections including solos, instrumental breaks, intros, outros, postchoruses, and transitions. Though many consider prechoruses and bridges to contain essentially the same structure, this chapter demonstrates that their roles are entirely different within a song’s formal context: prechoruses combine with their preceding verse and ensuing chorus to create a single broad trajectory across the three sections, while bridges exist outside a song’s core cycle. The chapter divides bridges into classic bridges, which begin off-tonic and end with a retransitional half cadence, and groove bridges, which provide contrast but remain on the stable tonic.","PeriodicalId":260154,"journal":{"name":"Form as Harmony in Rock Music","volume":"1 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Form as Harmony in Rock Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190948351.003.0004","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
This chapter offers a detailed look at the structure and function of prechoruses, bridges, and auxiliary sections including solos, instrumental breaks, intros, outros, postchoruses, and transitions. Though many consider prechoruses and bridges to contain essentially the same structure, this chapter demonstrates that their roles are entirely different within a song’s formal context: prechoruses combine with their preceding verse and ensuing chorus to create a single broad trajectory across the three sections, while bridges exist outside a song’s core cycle. The chapter divides bridges into classic bridges, which begin off-tonic and end with a retransitional half cadence, and groove bridges, which provide contrast but remain on the stable tonic.