Every song has a structure; it contains distinct sections. Some of these sections have similar melody and chords; some are truly different. The sections are usually indicated in upper cases (capital letters) in which similar sections get the same name.

Recognizing the structure, the different sections of a song, makes it easier to keep track of where you are in a song: especially handy during solos. Unlike pop music, where verses and choruses are alternated, and all choruses contain the same lyrics as well as melody and chords, jazz standards have a very different structure and the complete structure itself is called a chorus.

AABA

Many jazz standards in the Great American Songbook stem from musical theater from the early to mid-twentieth century and were written by so-called ‘Tin Pan Alley’ songwriters like Gershwin, Berlin, Carmichael, Kern, Mercer, Porter or Fields. They often used the AABA format.

The standard AABA is a structure that contains 4 times 8 measures (or bars), which leads to a length of 32 measures (or bars) in total. The A sections are similar in melody but different in lyrical content, then followed by the bridge (B), which is musically and lyrically different from the A sections. It’s called ‘the Bridge’ because it bridges the mostly identical A parts. The complete structure AABA is called a chorus; two choruses in jazz means twice the entire structure.

Examples of songs with a typical AABA structure are for example: Don’t get around much anymore, It don’t mean a thing – if it ain’t got that swing, Loverman, Lullaby of Birdland, Misty, Body & Soul, You don’t know what love is.

ABAC

Not all jazz standards were written in the AABA format. Some songs lack a bridge, but most of them can still be divided into sections of 8 measures. ABAC is a quite common structure. The two A parts being similar in melody and chords but with different lyrics, the B and C sections being different in chords, melody and lyrics.

Examples of songs with a typical ABAC structure: All of me, Fly me to the moon, How high the moon, There will never be another you and But not for me.

Exceptions

Of course, there are exceptions to the format of 4 x 8 measures. That’s why you should always study the structure because with these different structures it’s easy to lose track when someone is playing a solo and you have to know when to come in afterward. For example ‘They can’t take that away from me’ by Gershwin has an extra four measures in the last A section.

Many songs Cole Porter wrote have a 64 measures form. Or the bluesy ballad Stormy Weather has an extra 2 bars in the second and third A section.

By knowing the structure (or form) of your song well, you will never get lost during a solo. Because for instance, you know that the last A section of a particular song may last 12 measures.

Naturally, you need to have or develop a feel for the structure of a song, by either listening to different renditions a lot or by practicing with the iRealPro app for example.

Assignment

Define the structure of the song you selected.

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