Verse-chorus form is a musical form common in popular music and predominant in rock since the 1960s. In contrast to AABA (thirty-two-bar) form, which is focused on the verse (contrasted and prepared by the bridge), in verse-chorus form the chorus is highlighted (prepared and contrasted with the verse). 
The verse and chorus are considered the primary elements. Each verse usually has the same melody (possibly with some slight modifications), but the lyrics change for most verses. The chorus (or "refrain") usually has a melodic phrase and a key lyrical line which is repeated.
Pop songs may have an introduction and coda ("tag"), but these elements are that part essential to the identity of most songs. Pop songs that use verses and choruses often have a bridge, which, as its name suggests, is a section which connects the verse and chorus at one or more points in the song. The chorus often sharply contrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. See: arrangement.
The verse and chorus are usually repeated throughout a song though the bridge, intro, and coda (also called an "outro") are usually only used once. Some pop songs may have a solo section, particularly in rock or blues influenced pop. During the solo section one or more instruments play a melodic line which may be the melody used by the singer, or, in blues or jazz influenced pop, the solo may be improvised based on the chord progression. Contrasting verse-chorus form Songs which use different music for the verse and chorus are in contrasting verse-chorus form. Examples include:
- "Be My Baby" by The Ronettes (1963)
- "Penny Lane" by The Beatles (1967)
- "Smoke on the Water" by Deep Purple (1973)
- "That'll Be the Day" by Buddy Holly (1957)
- "California Girls" by The Beach Boys (1965)
- "All You Need Is Love" by The Beatles (1967)
- "Foxy Lady" by Jimi Hendrix (1967)
- "Can't Get Enough" by Bad Company (1974)
Simple verse-chorus formEdit
Songs that use the same music for the verse and chorus, such as the twelve bar blues, though the lyrics feature different verses and a repeated chorus, are in simple verse-chorus form. Examples include:
- "Shake, Rattle, and Roll" by Big Joe Turner (1954)
- "Louie, Louie" by The Kingsmen (1963 cover), example not using blues form
- "La Bamba" by Ritchie Valens (1959)
Simple verse formEdit
Songs which feature only a repeated verse are in simple verse form (verse-chorus form without the chorus). Examples include:
- "Evil Ways" by Santana (1969)
- blues-based songs which are not simple verse-chorus form (above), such as "Heartbreak Hotel", "Jailhouse Rock", "Hound Dog", and "Lucille"
and with a contrasting bridge:
- "Eight Miles High" by The Byrds (1966)
- "Tomorrow Never Knows" by The Beatles (1966)
- "Purple Haze" by Jimi Hendrix (1967). 
Both simple verse-chorus form and simple verse form are strophic forms.
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