3. Blues form Traditional blues songs are written in a 12 bar form with a unique melodic and harmonic structure. While blues melodies are distinctive in their use of "blue notes", blues harmonies follow, or are variations on, the following standard blues chord pattern. Pia wy i vW mom (z7) ESSE SPP TEE PPDITET EET EET PPS While many older "rock-and-roll" songs strictly follow this 12 bar blues form, contemporary pop song writers often incorporate blues melodies and harmonies in a "verse-chorus" format. 4. Hook Since 1960, the expression "hook" has come to mean the principal musical and lyrical component of a pop song. It is the part of the song that the casual listener most easily remembers and therefore, for marketing purposes, is usually the part of the song that generates the song title. Although the "hook" may occur anywhere in the song form, it is usually found in the chorus so as to allow frequent repetition and musical enphasis. 5. Refrain In older songs, particularly folk and gospel music, the refrain is the phrase in the lyric that is repeated at intervals Of the song. In show tunes and jazz standards written in complex binary form, the term "refrain" is synonymous with chorus. In contemporary popular music, the refrain is a type of "nook" that is found at the end of each verse. B, ARRANGEMENT FORM It is the arranger's responsibility to present the essential formatic elements of a song in a way that: ~ is exciting and provocative for the listener ~ fulfills a time-frame predetermined by the performer or record producer and ~ preserves the song's musical (and lyrical) integrity. To achieve these ends, arrangers often: = manipulate the song form in order to bring out a song's best elements = repeat the song form to allow for additional instrumental or vocal variations and/or improvised solos and = add to the song form by composing new sections called introductions, interludes and endings or tags.