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Introduction:

This section is found at the beginning of a song and is used to set the tone,

feeling or style of the piece.

Every song is different and should be approached with that in mind, but typically

I will play softer and more simply during the introduction to have more room to grow

and develop throughout the piece.

Although this isn't always the case. You should always serve the music.

If the piece is an upbeat, hard-hitting rock song, the introduction should reflect that.

Take a look at the example below from the Beatles hit, "Let It Be".

Before taking a closer look at each section, I wanted to reiterate that every song

is different and should be approached with that in mind. The following chapter is

taking a general look at the popular song form, their basic definitions and tips on

how they can influence your playing.

With that in mind, I'll pass on the best advice my college band director gave to us:

Always serve the music.

Each decision you make as a performer should help support the song, not take away

or distract from it.

This famous introduction sets up a slower tempo song with a heavier, more emotional

meaning behind it. The piano plays mostly long, connected, steady quarter notes to help

set the tone.

Now try to create a few new ways to play through this introduction:

Try one that follows the slower, emotional side to the song and another with the

complete opposite feeling. (Maybe something fast and loud with lots of notes)

SONG FORM

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C G A‹ F D‹ C G F C



4

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Since the Verse is often repeated three or more times throughout the song, it can

be a great opportunity to try out different variations of rhythm, range and inversions

to devlop throughout the course of the song.

Verse:

This section is usually found after the Introduction and is repeated several times

throughout the song with different lyrics that tell an artist's story.

The Verse can act as the "rising or falling action" in our story arc diagram.

It can propell the song going into the powerful Chorus or it be used to

calm things down to a softer sound after a Chorus.

Here I played quarter notes through the progression. This is similar to what the Beatles did.

This works well because the quarter notes create a solid rhythmic foundation without being too busy

and drawing attention away from the singer. The focus should be on the lyrics, not the piano.

Down below are three different ways to play through the Verse chords of "Let It Be".

Verse

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Verse

SONG FORM

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In this example I played a combination of longer and shorter rhythms.

Longer rhythms leave more space in the sound which can put an emphasis on other

instruments or singers and feel softer or slower paced. The combination of long and short rhythms

creates a feeling of space and freedom from the half notes but also has some stability from the quarters.

&

This example leaves the most space by playing primarily half notes. Like the example above,

longer rhythms create a feeling of space, freedom and a softer quality to the music. The lack of sound

puts the listener's focus on the singer. This can be effective for dramatic, emotional moments.

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My brown eyed girl

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4

4&

Look at the example below in Van Morrison's hit, "Brown Eyed Girl". This 8-bar phrase towards

the end of the Verse can be interpreted as the Prechorus. It's a phrase that repeats every time

with the same lyrics and is always found before the famous Chorus (sha-la-la).

Chorus:

This section is also known as the "refrain" or the "hook". The Chorus is usually the most

exciting and energetic part of the song. Typically it will repeat several times throughout the

piece and commonly follows the Verse. This section is often times very catchy and memorable.

Looking at our arc diagram, the Chorus is usually found at the peak of each curve.

Much like the outline for a book or movie, the Chorus can be thought of as the climax of the song.

Occasionally, some pieces will have an additional section after the Verse and before the

Chorus called a Prechorus. Much like a Chorus, the Prechorus is usually repeated

several times throughout the song and gradually builds energy before leading to the Chorus.

The Prechorus is a shorter section and typically about half the length of a Verse or Chorus.

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Bridge:

This section is normally used as a change or contrast from the verse and chorus.

Often times the Bridge features a different chord progression, melody or instrumentation

to set it apart from the verse and chorus. Usually the Bridge is found in the last half

of the song. It is typically only played one time, very rarely is it repeated.

The Bridge can also be used as way to build energy into another section like a Chorus

or it can be used to decrease the excitement and energy before moving into a softer section.

Not every song has a Bridge, but several of them do.

The diagram below is an example of where a Bridge could be found and how it can be used:

In the example above, the Bridge is located towards the end of the song and between

the verse and chorus. In this exampe, it's acting as a transition between the two sections

and could be building energy and excitement before moving into the last chorus.

If a Bridge is gradually building intensity and volume into an exciting Chorus, relect those

changes in your playing. Try to use dynamics, rhythm and range as tools to help shape it.

It's important to remember that every song is different and should be approached with that

in mind. Always try to serve the music.

Let's look at the Bridge in the Beatle's hit, "Here Comes the Sun". This section takes the same

idea of the guitar lick we hear throughout the song, but stretches it out through repetition and

creates fresh sounds by using new rhythms and time signatures. This gives it a sense of change

and development. (A Bridge doesn't have to be this complicated!)

Introduction

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4

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Outro:

This section is usually found at the end of a piece and is used to wind-down and give

closure to the music. Typically the Outro is similar to the Introduction and acts as

a book-end for the song. However, there are a few exceptions:

The fadeout is a technique typically used by recording studios where a band continues

to play a repeated section and the volume gradually decreases into silence. It is difficult

to perform a fadeout ending in a live setting, but it can happen with enough practice.

Another method to close a song is to use a phrase in the melody or harmony and add a

long note at the end. Much like a period in a sentence. Take "Let It Be" as an example.

The phrase that The Beatles end on is an instrumental melody that usually happens at

the end of the Chorus.

There are also songs that continue to gain excitement and energy until the very end.

Dr. Brad Osborn, a music theorist at KU, calls this "Terminal Climax". A few songs

come to mind with this ending, Phil Collin's "In The Air Tonight", The Beatles "Hey Jude"

and Radiohead's "Paranoid Android" among many others.

Occasionally there are songs that use the Outro as a departure from the rest of the song.

Similar to a coda in classical music, this section can introduce new material at the end

of a song. A couple examples of this is Eric Clapton's"Layla" and The Beatle's "Hello Goodbye"

As we've seen, there are several ways to end a song, but the most common outro is to

repeat and reimagine the introduction with a point of closure.

Take a look at Adele's hit "Hello" in the example below:

In Adele's introduction for "Hello" we hear the same idea in the piano, but it's twice as

long and continues the same rhythms throughout the piece. In the Outro, we hear the

same piano idea, but it's much shorter and has a single point of closure with the held

F minor chord at the end. This type of Outro is a book-end because of its similarity to the

introduction.

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SONG FORM

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RHYTHM AND TRIADS

4

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The chord progression below is one of the most common in Western popular music.

Let's use this progression as an example.

In the past few chapters we've learned to create Major and Minor triads

from our Five-Finger Major scales and use inversions to navigate through

progressions more efficently.

Now let's talk about using different rhythms with our triads to support and

help shape the music.

C G A‹ F

&

For example, if you played this while accompanying a singer on a heartbreaking ballad

you probably wouldn't be called back for the next gig:

When approaching a new song or chord progression, it's important to understand

the style or energy of the music.

This can help us decide what note choices and rhythms would best support the music.

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Instead of getting fired for playing heavy metal piano, maybe this softer approach would

better suit a heartbreaking ballad.

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4

4&

Could you use other rhythms? Absolutely, but it's important to always serve the music.

I like longer rhythms for our heartbreaking ballad because they provide harmony to the song

without being too distracting with more complicated rhythms like our heavy metal debut.

RHYTHM AND TRIADS

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Here I'm gradually using faster rhythms to create more momentum and excitement in our song.

This would be perfect when building energy up to a louder, stronger section of a piece.

We can also use rhythm to change the feeling or energy of a song. Look at the example below:

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Like the example below, faster rhythms will give more energy and add excitement

to our playing, but be aware of your surroundings. Always serve the music.

Try to match the energy of the song and other musicians around you.

Use rhythms to support the music, not distract from it.

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4

4&

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Upbeat Country

For each example below, start with Root Position triads and use inversions to move through the progression.

Then play through the progression with different combinations of rhythms to best suit the style.

Try a different combination each time through the progression to hear how the rhythms

influence the energy and feeling of the song.

WAGON WHEEL - OLD CROW MEDICINE SHOW

RHYTHM AND TRIADS

REAL-WORLD PRACTICE

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For each example below, start with Root Position triads and use inversions to move through the progression.

Then play through the progression with different combinations of rhythms to best suit the style.

Try a different combination each time through the progression to hear how the rhythms

influence the energy and feeling of the song.

(The solutions I've provided are only one of an infinite amount of possible combinations.)

WAGON WHEEL - OLD CROW MEDICINE SHOW

RHYTHM AND TRIADS

REAL-WORLD PRACTICE

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RANGE AND TRIADS

4

4&

Range is an element of music that is often forgotten.

When used effectively, range can enhance the music by providing

new colors and textures by simply changing registers.

When used incorrectly, range can make good note choices sound

unclear and dull.

This exercise shows that the same notes can sound drastically different based

on the octave they are played in.

Much like how rhythm can be used to change the feeling or energy of a song,

we can also use range as a tool of development.

Try this C Major triad in the octaves below:

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First play the progression where it's notated then repeat the progression an octave higher or lower.

This is an easy way to add excitement and a feeling of development to a song without

changing any of the notes or rhythms.

C

Try out the chord progression below:

G A‹ F

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Middle RegisterHigh Register

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RANGE AND TRIADS

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High Register - This register has a clear, lighter quality. Since these notes are

so high, they often times stick out of the texture and are easily heard above other

lower notes. The notes at the very top of the piano can have a piercing or shrill

quality because they are so high.

Most chords work well in the higher register, but sometimes can lack the fullness

or power from the lower registers.

Middle Register - This register has a full, rich sound that will work great for

just about any type of chord and genre.

It is the "meat and potatoes" of the piano where most of melodies and harmonies

are played.

Low Register - This register produces a deep, heavy sound from the piano.

Since the notes are so low, the sound will resonate and be clearly heard from

even the softest of dynamics.

Chords in this register generally sound better if the notes are more spread out.

It is great for single note melodies and harmonies in fifths or octaves.

(There is a technique for playing chords more effectively in the low register

that I call spread triads, but we'll look at that in a later chapter.)

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RANGE AND TRIADS

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4

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Similar to our approach with rhythm, we can use range to support and help develop the music.

Look at the example below:

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C G A‹ F

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In the first line, we can see a dimminuendo pulling the music back as we move into the

second line. This dynamic change could suggest a new, softer section of the song.

By simply changing registers in the second line, we are developing along with the music.

In this example, I chose to move up an octave for a lighter texture and to bring a softer quality

to the music.

(This is only one example of how to use range. The same example could be played several

different ways depending on the the song and how you want to shape the phrase.)

Like our rhythms, it's important to always serve the music.

Register changes can also help define the different sections of a song and make them more

effective.

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For each example below, choose an octave in the Middle or High registers to work through the progression.

Play through each example at least twice and try moving an octave up or down on each repeat.

Use the dynamics as guides to help influence your octave choices.

Listen to the progression as you change registers and ask yourself these questions:

How does it change the sound? Does it match the same energy or feeling of the song?

RADIOACTIVE - IMAGINE DRAGONS

RANGE AND TRIADS

REAL-WORLD PRACTICE

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PIANO MAN - BILLY JOEL

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For each example below, choose an octave in the Middle or High registers to work through the progression.

Play through each example at least twice and try moving an octave up or down on each repeat.

Use the dynamics as guides to help influence your octave choices.

Listen to the progression as you change registers and ask yourself these questions:

How does it change the sound? Does it match the same energy or feeling of the song?

RADIOACTIVE - IMAGINE DRAGONS

RANGE AND TRIADS

REAL-WORLD PRACTICE

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4

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Medium Rock

q = 86

Each example below has a specific style, tempo and section. Use your knowledge of inversions,

range, rhythm and song form to create a piano part that supports the music.

(Remember that my answers are only suggestions. It's okay to have a different interpretation!)

In the past few chapters we've taken a closer look at the basic song form found in popular

music. We've also learned how rhythm and range can be used as tools to develop our playing

and better support the music.

Now it's time to bring all of those elements together with real-world examples.

Remember that this workbook is meant to provide the tools necessary in order to create and

compose your own music. There are countless ways to interpret and perform a song and my

examples are only suggestions.

I encourage you to try out new things, make your own interpretations, discover fresh ways to

play and find your own voice in music. Trust yourself, use your ears and be creative!

FREE FALLIN' - TOM PETTY AND THE HEARTBREAKERS

VERSE

BRINGING IT ALL TOGETHER

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CHORUS

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Leading into a soft Verse

V V V V V V V V V V V V V V V V





B¨ F A¨ E¨

E¨‹ B¨ C F B¨

B¨ F A¨ E¨

E¨‹ B¨ C F B¨

C F

G F C

F C

F G

G

&

Ballad

q = 70

MAKE YOU FEEL MY LOVE - BOB DYLAN

INTRODUCTION

&

VERSE

&

&

Leading into a strong Chorus

&

Upbeat Blues Rock

q = 150

GREAT BALLS OF FIRE - JERRY LEE LEWIS

VERSE

&

&

BRIDGE

&

&

Leading into a strongVerse










2


F C D‹ C F C G

F C D‹ C F C G

C F C F

C F C F C

G E G E

G A G E

G D C G D C

G D C F D

&

Soft Rock

q = 74

TINY DANCER - ELTON JOHN

CHORUS

&

&

OUTRO

&

&

Bluesy, Soulful

q = 104

SITTIN' ON THE DOCK OF THE BAY - OTIS REDDING

CHORUS

&

BRIDGE

&

&

Leading into a soft Verse



V V V V V V V V

V V V V V V V V V V V V





3


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