We don't talk about this. Why not?

[Malcolm35]

Just ran across the following site. Been looking for this.


Volume is a problem. Stick with it, I gained some understanding I did not have before seeing this, I think you will like what he is telling us.

The 32 bar AABA format and what chords could be used for thousands of songs.

When they say the next one is in C, ready 1 and 2 and 3...

A Guide To Song Forms - AABA Song Form - Songstuff

Examples of AABA song form:

1. "Harlem On My Mind" (1933, by Irving Berlin)
2. "Blue Moon" (1934, by Richard Rodgers and Lorenz Hart)
3. "Heart And Soul" (1938, by Frank Loesser and Hoagy Carmichael)
4. "Blue Moon" (The Marcels by Mel Torme)
5. "Over The Rainbow" (Judy Garland, 1938, by by Harold Arlen and E.Y.Harburg)
6. "Crazy" (1961, Patsy Cline, by Willie Nelson)
7. "That'll Be The Day" (1958, Buddy Holly)
8. "From Me To You" (1963, The Beatles, Paul McCartney and John Lennon)
9. "Yesterday" (The Beatles, 1965, by Paul McCartney)

Have fun.

 

[mambo4]

Is it really so rarely discussed?
The 32 bar AABA form should be familiar to anyone whose learned a few Jazz standards.
It's why I always suggest beginners learn both the 12 bar blues and rhythm changes.(which is AABA)

Usually the ideas crop up in isolation around here. Connecting the dots and presenting the theory and role of the I, IV ,V and the secondary dominant in the context of an AABA form is not something we often see. Perhaps because the questions usually posted revolve around specifics and not this general pattern of theory in song form.

 

[FatStringer52]

Is it really so rarely discussed?

+1

I run across it quite frequently in jazz studies.

However, the video, as well as the accompanying article, that @Malcolm35 posted, have a lot of great information included in them. All bassists, at the very least, should be familiar with the AABA form. And any bassist pursuing jazz studies should do a deep dive into the form and learn just how malleable it can be!

 

[Malcolm35]

Usually the ideas crop up in isolation around here. Connecting the dots and presenting the theory and role of the I, IV ,V and the secondary dominant in the context of an AABA form is not something we often see. Perhaps because the questions usually posted revolve around specifics and not this general pattern of theory in song form.

I think I was too quick calling up fake chord sheet music. So tied up with the trees that the forest (the 32 bar format) slipped past me. Another tool in the tool chest.

 

[BassChuck]

There's this point of view.