Formenlehre: Einheit 16 – Popularmusik des 20. Jahrhunderts
Musical, Rocksong, Popsong, EDM und Techno; Strophenformen
Zur Startseite | Zurück zu Einheit 15 – Musik nach 1945
Songform im Broadway-Musical
Typisches Formmodell eines Tin-Pan-Alley-Songs der 1920er und 1930er Jahre: Intro – Strophe – Refrain
Der Refrain weist eine standardisierte Struktur auf: meist 32 Takte, die nach dem Formmodell aaba' (Reprisenbarform) oder abac gestaltet sind
Ein aaba'-Refrainverlauf lässt sich auch als Variante des SRDC-Schemas auffassen (statement, restatement, departure, conclusion)
Days can be sunny, with never a sigh, don't need what money can buy.
Birds in the trees sing their day full of song, why shouldn't we sing along?
I'm chipper all the day, happy with my lot,
How do I get that way, look at what I've got.
34taktiger Refrain nach dem Schema aaba'
a – I got rhythm, I got music, I got my man, who could ask for anything more?
a – I got daisies in green pastures, I got my man, who could ask for anything more?
b – Old man trouble, I don't mind him, you won't find him 'round my door.
a' –I got starlight, I got sweet dreams, I got my man, who could ask for anything more.
Klaviersolo über das aaba'-Schema
a (8 Takte) – I got rhythm, I got music, I got my man, who could ask for anything more?
a (8 Takte) – I got daisies in green pastures, I got my man, who could ask for anything more?
b (8 Takte) – Old man trouble, I don't mind him, you won't find him 'round my door.
a' (10 Takte) – I got starlight, I got sweet dreams, I got my man, who could ask for anything more.
George und Ira Gershwin: I Got Rhythm, aus dem Musical Girl Crazy (1930)
Quelle: YouTube
Please forgive this platitude, but I like your attitude;
You are just the kind I had in mind, never could find.
Honey, I'm so keen on you, I could come to lean on you,
Honor and obey, give you your way, do what you say.
32taktiger Refrain nach dem Schema abac
a – Gee, it's all fine and dandy, sugar candy, when I've got you.
b – Then I only see the sunny side, even trouble has its funny side.
a – When you're gone, sugar candy, I get lonesome, I get so blue.
c – When you're handy it's fine and dandy, but when you're gone what can I do?
Cellosolo über die erste Hälfte des Refrains
zweite Hälfte des Refrains
a (8 Takte) – When you're gone, my sugar candy, I get lonesome, I feel so blue.
c (12 Takte) – When you're handy it's fine and dandy, but when you're gone what can I do?
Kay Swift und Paul James: Fine and Dandy, aus dem Musical Fine and Dandy (1930)
Quelle: YouTube
Strophenform in Rocksongs
Verse-Form (AAAA ...) mit mehrfacher Wiederholung einer Strophe; die letzte kann einen Ton aufwärts gerückt werden
Verse-Bridge-Form (AABA bzw. AABABA) mit Wechsel zwischen zwei geringfügig kontrastierenden Formteilen
Der Verse kann eine Refrainzeile enthalten; die Bridge besitzt den Charakter eines Mittelteils (evtl. mit Solo), ist aber kein klar abgesetzter Chorus
Achttaktige Strophe: The warden threw a party in the county jail, the prison band was there and they began to wail,
The band was jumpin' and the joint began to swing, you should've heard those knocked out jailbirds sing.
Refrainzeile über ein achttaktiges Blues-Schema ( IV – IV – I – I – V – IV – I – I):
Let's rock, everybody let's rock, everybody in the whole cell block was dancin' to the Jailhouse Rock.
Spider Murphy played the tenor saxophone, Little Joe was blowin' on the slide trombone,
The drummer boy from Illinois went crash, boom, bang, the whole rhythm section was a purple gang
Let's rock, everybody let's rock ...
Number 47 said to number 3: You're the cutest jailbird I ever did see,
I sure would be delighted with your company, come on and do the Jailhouse Rock with me.
Let's rock, everybody let's rock ...
Gitarrensolo
Sad Sack was sittin' on a block of stone, way over in the corner weepin' all alone,
The warden said: Hey, buddy, don't you be no square, if you can't find a partner use a wooden chair
Let's rock, everybody let's rock ...
Shifty Henry said to Bugs: For heaven's sake, no one's lookin', now's the chance to make a break.
Bugsy turned to Shifty and he said: Nix nix, I wanna stick around a while and get my kicks.
Let's rock, everybody let's rock ...
Elvis Presley: Jailhouse Rock, aus dem gleichnamigen Film (1957)
Quelle: YouTube
ab Takt 11: markantes Gitarrenriff (I – I – III – IV)
Purple haze all in my brain, lately things they don't seem the same,
Actin' funny, but I don't know why, excuse me while I kiss the sky.
[call and response]
Purple haze, all around, don't know if I'm comin' up or down,
Am I happy or in misery? What ever it is, that girl put a spell on me.
[call and response]
Gitarrensolo
Help me, help me, oh, no, no ... oh, ah, yeah
Purple haze all in my eyes, don't know if it's day or night,
You got me blowin', blowin' my mind, is it tomorrow, or just the end of time?
[call and response]
Gitarrensolo, anknüpfend an die Bridge
Oh, help me, ah yeah, purple haze ... oh no, oh help me, tell me, purple haze
Jimi Hendrix: Purple Haze, vom Album Are You Experienced (1967)
Quelle: YouTube
Strophenform in Popsongs
Verse-Chorus-Form (AABAB, AABAAB, ABABABB etc.) oder Verse-Chorus-Bridge-Form (ABABCBB etc.)
Wechsel zwischen zwei deutlich kontrastierenden Formteilen: schlichterer Verse, intensiverer Chorus (evtl. mit Prechorus)
Merkmale eines Chorus gegenüber einer Bridge: Einsatz neuer Singstimmen oder Instrumente, ggf. wiederholter Text
Close your eyes and I'll kiss you, tomorrow I'll miss you,
Remember I'll always be true,
And then while I'm away, I'll write home every day,
And I'll send all my loving to you.
I'll pretend that I'm kissing the lips I am missing,
And hope that my dreams will come true,
And then while I'm away, I'll write home every day,
And I'll send all my loving to you.
All my loving I will send to you,
All my loving, darling, I'll be true.
Gitarrensolo
Close your eyes and I'll kiss you, tomorrow I'll miss you,
Remember I'll always be true,
And then while I'm away, I'll write home every day,
And I'll send all my loving to you.
All my loving I will send to you,
All my loving, darling, I'll be true.
The Beatles: All My Loving, vom Album With The Beatles (1963)
Quelle: YouTube
I've been cheated by you since I don't know when,
So I made up my mind, it must come to an end,
Look at me now, will I ever learn? I don't know how, but I suddenly lose control,
There's a fire within my soul.
Just one look and I can hear a bell ring,
One more look and I forget everything, oh, oh.
18taktiger Chorus nach dem Schema aaba
a – Mamma mia, here I go again, my my, how can I resist you?
a – Mamma mia, does it show again, my my, just how much I've missed you?
b – Yes, I've been broken-hearted, blue since the day we parted, why, why did I ever let you go?
a – Mamma mia, now I really know, my my, I could never let you go.
[kurze Passage aus der Intro]
I've been angry and sad about things that you do,
I can't count all the times that I've told you we're through,
And when you go, when you slam the door, I think you know that you won't be away too long,
You know that I'm not that strong.
Just one look and I can hear a bell ring,
One more look and I forget everything, oh, oh.
a – Mamma mia, here I go again, my my, how can I resist you?
a – Mamma mia, does it show again, my my, just how much I've missed you?
b – Yes, I've been broken-hearted, blue since the day we parted, why, why did I ever let you go?
a – Mamma mia, even if I say bye-bye, leave me now or never,
a – Mamma mia, it's a game we play, bye-bye doesn't mean forever.
[...]
a – Mamma mia, now I really know, my my, I could never let you go.
ABBA: Mamma Mia, vom Album ABBA (1975)
Quelle: YouTube
Dramaturgie in EDM und Techno-Tracks
Additive Form: Patterns (repetitive Strukturen aus Melodiesegmenten, Akkordfolgen, Drumloops) werden zu Formteilen zusammengesetzt
An Stelle eines Verse: ein oder mehrere sich in Wellen steigernde Teile (build-up), gesteuert durch die Basslinie und kick drum
An Stelle einer Bridge: ruhigerer oder sphärischer Mittelteil (break) ohne Drums, gefolgt vom Eintritt der Hookline und Rückkehr der Drums (drop)
Hookline: melodisch und / oder harmonisch definierter Hauptteil (tritt an die Stelle des Chorus), führt zum Höhepunkt des Titels
Steigerung über Akkordpattern
Textteil A: Deep in the bosom of the gentle night ...
Einsatz Kickdrum über Akkordpattern
Einsatz Streicher, Basslinie verebbt zum Break
Textteil B: I used to worry, thought I was going mad in a hurry ...
Hookline: Pizzicato-Akkordfolge (I – I – V – VI), Steigerung über Drumroll
Refrain-Text: I can't get no sleep ...
Einsatz Kickdrum über Hookline
Refrain-Text: I need to sleep, I can't get no sleep ...
Faithless: Insomnia, vom Album Reverence (1995)
Quelle: YouTube