![]() While “Blue Suede Shoes” is composed entirely of strophes, it is important to note that strophic songs can also contain so-called auxiliary sections such as intros, outros, and codas. The entire song is a repetition of this same basic pattern, or slight variations of it, modeled at 0:19–0:41.Įxample 1 is a bird’s-eye-view sketch of the form of “Blue Suede Shoes” to follow as you listen: timestampĮxample 1. Even the instrumental sections at 0:41 and 1:21 have the same underlying pattern, just a different melody in the form of a guitar solo. Listening a bit more closely, we can hear a similar, but abbreviated, version of the same patterns at the opening of the song. Though the instrumentation and the lyrics change, the section beginning at 0:19 contains the same-or, at least, very similar-melody, harmony, and phrase structure as the sections that begin at 0:58, 1:37, and 1:54. This song contains multiple sections, all of which have the same basic underlying music. Strophic form is more common in early rock-and-roll (1950s–1960s) than in the 1970s and beyond.įor an example of a strophic song, consider “Blue Suede Shoes” by Carl Perkins (1955). Songs that repeat the same basic multi-phrase unit throughout are in strophic form (sometimes abbreviated AAA because the same basic material, A, is repeated), and the basic unit that is repeated is called a strophe.
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