Continuing our occasional series on form, let’s take a look at the 32-bar song structure, or AABA form.

You’ve heard it before. Somewhere over the Rainbow is a perfect example, and a large chunk of tin pan alley’s output follows the same structure.

It can sound a little old-fashioned, but I think that might have more to do with the old fashioned harmony at play than the structure itself. Besides which, structure is one of the most dangerous things to be adventurous with. Sticking to well known structures is always a good idea for the songwriter.

Thirty two bars?

Yes, four times eight. That is, a four bar melody (A) that is repeated with different words (A), a contrasting four bar melody (B, sometimes called the bridge) and then a repeat of the original (A).

AABA

Often introductions or codas are added, for example Somewhere over the Rainbow has a coda that repeats part of the melody.

Is that all there is to it? Two four bar melodies?

Not quite. Harmony, that is the choice of notes and chords, can have a huge effect on structure. In the key of C, to end on the note or chord of C brings us home. That sense of rest is what you often get at the end of the A section.

The contrasting B section however is often harmonically unstable, shifting to one or more new keys and finishing on a chord that doesn’t give us that sense of rest, but instead leaves us wanting more. (Listen for the line That’s where you’ll find me to hear this point in Somewhere over the Rainbow).

But Somewhere over the Rainbow sounds so old fashioned!

It was written a long time ago! It is a matter of personal taste, but I find the major key, with it’s dominant seventh chord, more than a little cliched. I’d much rather have modal harmony and more interesting things happening with the key changes.

However, you could choose very different chords and still write a song with an AABA structure. And the basic idea of getting the listener used to one idea, then giving them a contrast, then returning to the original idea, is a very common and very effective one.

In Summary

The 32 bar structure still has legs, and is a great way to inform your own writing. Making it conscious can also give a new kick to your enjoyment when listening to all those old songs, because a thousand effectiv variations on this structure have been written.

And just because you’ve heard it before, doesn’t mean you should avoid it. Structures give us a framework to hang our song on, and making use of something like the AABA form is always a valid option.

Related posts:

1. How to be creative within the pop song structure
2. Carols and Form
3. 3 ways to structure a melody