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Movie Title Year Distributor Notes Rev Formats Heaven for Masochist Man 2 2013 Moodyz If There Was a Sexy Restaurant Full of Black Gals 2011 K.M. Produce Lesbian Teaser 2012 Deeps LezOnly Real Gal Fuck 2013 Kira Kira Retirement Special 2013 Kira Kira Rio Sakura Special 2012 Kira Kira has its own function. It may have an introduction at the beginning. Then, the exposition is the first required section. It lays out the thematic material in its basic version. There are usually two themes or theme groups in the exposition, and they are often in contrast styles and keys and connected by a transition. In the end of the exposition, there is a closing theme which concludes the section. The exposition is followed by the development section in which the material in the exposition is developed.
After the development section, there is a returning section called recapitulation where the thematic material returns in the tonic key. At the end of the movement, there might be a coda, after the recapitulation.[11] Forms used in Western popular music Some forms are used predominantly within popular music, including genre-specific forms. Popular music forms are often derived from strophic form (AAA song form), 32-bar form (AABA song form), verse-chorus form (AB song form) and 12-bar blues form (AAB song form).[12] Sectional forms AABA a.k.a. American Popular AB a.k.a. Verse/Chorus ABC a.k.a. Verse/Chorus/Bridge ABAB ABAC ABCD a.k.a. Through-composed Blues Song forms AAB a.k.a. Twelve-bar blues 8-Bar Blues 16-Bar Blues See [12]

Extended forms Extended form are forms that have their root in one of the forms above, however, they have been extended with additional sections. For example: AAAAA AABABA Compound forms Also called Hybrid song forms. Compound song forms blend together two or more song forms.[12] Section names in popular music Introduction a.k.a. Intro Verse Refrain Pre-chorus / Rise / Climb Chorus Post-chorus Bridge Middle-Eight Solo / Instrumental Break Collision CODA / Outro Ad Lib (Often in CODA / Outro) Cyclical forms In the 13th century the song cycle emerged, which is a set of related songs (as the suite is a set of related dances). The oratorio took shape in the second half of the 16th century as a narrative recounted—rather than acted—by the singers.[clarification needed] See also Developing variation List of musical forms by era Song structure Song structure is the arrangement of a song,[1] and is a part of the songwriting process. It is typically sectional, which uses repeating forms in songs. Common forms include bar form, 32-bar form, verse–chorus form, ternary form, strophic form, and the 12-bar blues. Popular music songs traditionally use the same music for each verse or stanza of lyrics (as opposed to songs that are "through-composed"—an approach used in classical music art songs). Pop and traditional forms can be used even with songs that have structural differences in melodies.[clarification needed] The most common format in modern popular music is introduction (intro), verse, pre-chorus, chorus (or refrain), verse, pre-chorus, chorus, bridge ("middle eight"), verse, chorus and outro. In rock music styles, notably heavy metal music, there is usually one or more guitar solos in the song, often found after the middle chorus part. In pop music, there may be a guitar solo, or a solo may be performed by a synthesizer player or sax player. The foundation of popular music is the "verse" and "chorus" structure. More advanced writers use a simple "verse, hook, verse, hook, bridge, hook" method. "Pop and rock songs nearly always have both a verse and a chorus. The primary difference between the two is that when the music of the verse returns, it is almost always given a new set of lyrics, whereas the chorus usually retains the same set of lyrics every time its music appears."[2] Both are essential elements, with the verse usually played first (exceptions abound, of course, with "She Loves You" by The Beatles being an early example in the rock music genre). Each verse usually employs the same melody (possibly with some slight modifications), while the lyrics usually change for each verse. The chorus (or "refrain") usually consists of a melodic and lyrical phrase that repeats. Pop songs may have an introduction and coda ("tag"), but these elements are not essential to the identity of most songs. Pop songs often connect the verse and chorus via a bridge, which as its name suggests, is a section that connects the verse and chorus at one or more points in the song. The verse and chorus are usually repeated throughout a song, while the intro, bridge, 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 an improvised line. Contents 1 Elements 1.1 Introduction 1.2 Verse 1.3 Pre-chorus 1.4 Chorus or refrain 1.5 Post-chorus 1.6 Bridge 1.7 Conclusion or outro 1.8 Elision 1.9 Instrumental solo 1.10 Ad lib 2 AABA form 3 Variation on the basic structure 4 See also 5 References 6 Further reading Elements Introduction This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Song structure" – news · newspapers · books · scholar · JSTOR (February 2020) (Learn how and when to remove this template message) "Jingle Bells"'s introduction About this soundPlay intro (help·info) or About this soundfull song (help·info) Structure: Intro, Verse I, Chorus, Verse II, Chorus, Verse III, Chorus, Verse IV, Chorus, Outro. Main article: Introduction (music) The introduction is a unique section that comes at the beginning of the piece. Generally speaking, an introduction contains just music and no words. It usually builds up suspense for the listener so when the downbeat drops in, it creates a pleasing sense of release. The intro also creates the atmosphere of the song. As such, the rhythm section typically plays in the "feel" of the song that follows. For example, for a blues shuffle, a band starts playing a shuffle rhythm. In some songs, the intro is one or more bars of the tonic chord (the "home" key of the song). With songs, another role of the intro is to give the singer the key of the song. For this reason, even if an intro includes chords other than the tonic, it generally ends with a cadence, either on the tonic or dominant chord. The introduction may also be based around the chords used in the verse, chorus, or bridge, or a stock "turnaround" progression may be played, such as the I–vi–ii–V progression (particularly in jazz influenced pop songs). More rarely, the introduction may begin by suggesting or implying another key. For example, a song in C Major might begin with an introduction in G Major, which makes the listener think that the song will eventually be in G Major. A cliche used to indicate to the listener that this G Major section is in fact the dominant chord of another key area is to add the dominant seventh, which in this case would shift the harmony to a G7 chord. In some cases, an introduction contains only drums or percussion parts that set the rhythm and "groove" for the song. Alternately the introduction may consist of a solo section sung by the lead singer (or a group of backup singers), or a riff played by an instrumentalist. The most straightforward, and least risky way to write an introduction is to use a section from the song. This contains melodic themes from the song, chords from one of the song's sections, and the beat and style of the song. However, not all songs have an intro of this type. Some songs have an intro that does not use any of the material from the song that is to follow. With this type of intro, the goal is to create interest in the listener and make them unsure of what will happen. This type of intro could consist of a series of loud, accented chords, punctuated by cymbal, with a bassline beginning near the end, to act as a pitch reference point for the singer. Verse "Jingle Bells"'s verse About this soundPlay verse (help·info) or About this soundfull song (help·info) Main article: Verse–chorus form In popular music, a verse roughly corresponds to a poetic stanza because it consists of rhyming lyrics most often with an AABB or ABAB rhyme scheme. When two or more sections of the song have almost identical music but different lyrics, each section is considered one verse. Musically, "the verse is to be understood as a unit that prolongs the tonic....The musical structure of the verse nearly always recurs at least once with a different set of lyrics."[3] The tonic or "home key" chord of a song can be prolonged in a number of ways. Pop and rock songs often use chords closely related to the tonic, such as iii or vi, to prolong the tonic. In the key of C Major, the iii chord would be E Minor and the vi chord would be A Minor. These chords are considered closely related to the tonic because they share chord tones. For example, the chord E Minor includes the notes E and G, both of which are part of the C Major triad. Similarly, the chord A Minor includes the notes C and E, both part of the C Major triad. Lyrically, "the verse contains the details of the song: the story, the events, images and emotions that the writer wishes to express....Each verse will have different lyrics from the others."[4] "A verse exists primarily to support the chorus or refrain...both musically and lyrically."[5] A verse of a song, is a repeated sung melody where the words change from use to use (though not necessarily a great deal). Pre-chorus An optional section that may occur after the verse is the pre-chorus. Also known as a "build", "channel", or "transitional bridge", the pre-chorus functions to connect the verse to the chorus with intermediary material, typically using subdominant (usually built on the IV chord or ii chord, which in the key of C Major would be an F Major or D minor chord) or similar transitional harmonies. "Often, a two-phrase verse containing basic chords is followed by a passage, often harmonically probing, that leads to the full chorus."[6] Often, when verse and chorus use the same harmonic structure, the pre-chorus introduces a new harmonic pattern or harmony that prepares the verse chords to transition into the chorus. For example, if a song is set in C Major, and the songwriter aims to get to a chorus that focuses on the dominant chord (G Major) being tonicized (treated like a "home key" for a short period), a chord progression could be used for the pre-chorus that gets the listener ready to hear the chorus' chord (G Major) as an arrival key. One widely used way to accomplish this is to precede the G Major chord with its own ii–V7 chords. In the key given, ii of G Major would be an A minor chord. V7 of G Major would be D7. As such, with the example song, this could be done by having a pre-chorus that consists of one bar of A minor and one bar of D7. This would allow the listener to expect a resolution from ii–V to I, which in this case is the temporary tonic of G Major. The chord A minor would not be unusual to the listener, as it is a shared chord that exists in both G Major and C Major. A minor is the ii chord in G Major, and it is the vi chord in C Major. The chord that would alert the listener that a change was taking place is the D7 chord. There is no D7 chord in C Major. A listener experienced with popular and traditional music would hear this as a secondary dominant. Harmonic theorists and arrangers would call it V7/V or five of five, as the D7 chord is the dominant (or fifth) chord of G Major. Chorus or refrain "Jingle Bells"'s chorus About this soundPlay chorus (help·info) or About this soundfull song (help·info) Main article: Refrain "The difference between refrain and chorus is not always cut-and-dried; both refer to passages of unchanging music and text providing a periodic sense of return."[7] "At times, the term 'refrain' has been used interchangeably with 'chorus.' Technically, the refrain may be considered anything that's not the verse....a song part that contains the hook or title and appears more than once in a song is usually called 'a chorus.'"[8] "The chorus contains the main idea, or big picture, of what is being expressed lyrically and musically. It is repeated throughout the song, and the melody and lyric rarely vary."[4] A refrain is, "a repeated line or musical phrase that ties a song together...A refrain is only a phrase, or a word, while a chorus contains many more words."[9] A refrain is a repetitive phrase or phrases that serve the function of a chorus lyrically, but are not in a separate section or long enough to be a chorus.[5] For example, refrains are found in The Beatles' "She Loves You" ("yeah, yeah, yeah") AC/DC's "You Shook Me All Night Long", Paul Simon's "The Sound of Silence", and "Deck the Halls" ("fa la la la la").[9] The chorus or refrain is the element of the song that repeats at least once both musically and lyrically. It is always of greater musical and emotional intensity than the verse. "The chorus, which gets its name from a usual thickening of texture from the addition of backing vocals, is always a discrete section that nearly always prolongs the tonic and carries an unvaried poetic text."[10] In terms of narrative, the chorus conveys the main message or theme of the song. Normally the most memorable element of the song for listeners, the chorus usually contains the hook.[citation needed] Post-chorus Main article: Post-chorus An optional section that may occur after the chorus is the post-chorus (or postchorus). The term can be used

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