The third optional feature of d listed in Example 14 is emphasis of the subdominant. What do you think or hope will happen next? Although this study brings to light evidence that situates the emergence of the prechorus in the particular historical context of the early s, the argument could be made that the potential for an emergent prechorus resides in every sentential strophe with a tail-refrain.
It takes a second departure phrase, labeled d2, to coax her onward and rebuild momentum. You just need to add a bridge. The form remains strophic. An adaptation of his model is given in Example B: Cause I just need one more shot at forgiveness A: I know you know that I made those mistakes maybe once or twice A: By once or twice I mean maybe a couple a hundred times A: So let me, oh let me redeem, oh redeem, oh myself tonight B: Cause I just need one more shot at second chances Provides some interest, but also a great deal of satisfaction.
Further research would be needed to determine the applicability of these findings to genres not strongly represented in the Top 20 charts e. What is especially interesting about the emergence of the prechorus in the early s is that it seems not to have originated as an extension of the transitional effect already present at the ends of verses.
Nevertheless, the extension of d subtly shifts the narrative focus of the song. Build your second verse and bridge.
Then once you have a basic melody, it can be much easier to add lyrics. Next comes the bridge, which is often, but not always, shorter than the verse. As will be discussed below, these same features are characteristic of prechoruses, and thus bear evidence of the connection between verse-prechorus-chorus form and the sentential strophe.