MUSC 200 Lecture 3 Outline of Last Lecture I. New Mediaa. ASCAPb. Radioc. MoviesII. Musical Style in TPAa. Instrumentation, melody & harmony, rhythm, lyrics, length, formOutline of Current LectureIII. Verse Chorus Forma. Verseb. Bridgec. Chorusd. HookIV. Pieces from Norah Bays & Fred AstairCurrent LectureVerse Chorus Form- Existed before TPA, but TPA explored many different methods/applications of it - Makes direct comparison between industry & music- Verse: |u| - 1 intensity éo In older styles, VCF was not prominento 1st element right after introo Verses tell separate narratives (story song)o Each verse contains words following a specific themeo Tends to have a lower level of intensity Smaller instrumentationinstruments playing softer- Bridge: |u| - 2 intensity ééo Not all VCF’s have a bridgeo =Short section that links verse & choruso Intensity, tempo, etc. starts to ramp up- Chorus: |u| - 3 intensity éééo Greatest |u| of intensity “Where the song lives”o Capture an image (story)o Theme expressed (lyric)o Same melody/chords; usually have the same lyrics- Hook:o Short passage of melody/words that hook the audience into the songo A song can have multiple hookso Writing a hook is VERY difficult- IUCB | UBC | UBC | CCOo Intro – 2, 4, 8 bars; draws the listener ino Outro – small bit; closes out songo 2nd bridge – instrumental“Come Along My Monday” by Norah Bays; TPA 1910’s (Music from NY Stage: Volume 2)o Bridges provide contrast; add tensiono Dynamic |u| – loud & softo Small key change in 2nd verseo Novelty element (bridge) Whistle, clap, yell, etc.o 2nd chorusmore intensityo Polyphony – 2nd melody lines playing at the same time“I’m Old Fashioned” by Fred Astaire; TPA 1930’so Crooning/belting vocal styleo 1920-type lyrics: sophisticated starto Lush accompaniments Orchestra/stylistic Young/metroo “A Fine Romance” by Fred Astaire; TPA