Role
The bridge is often used to contrast with and prepares for the return of the verse and the chorus. "The b section of the popular song chorus is often called the bridge or release." For example, the B of AABA in thirty-two-bar form, with the verse surrounding the whole. While the bridge in verse-chorus and other forms is C, for example: ABABCAB. Lyrically, the bridge is typically used to pause and reflect on the earlier portions of the song or to prepare the listener for the climax. The term may also be used to refer to the section between the verse and the chorus, although this is more commonly referred to as the pre-chorus or link. The theme "The Song That Goes Like This" from the musical play Spamalot spoofs in its lyrics the abuse of the bridge in romantic songwriting: Now we can go straight / into the middle eight / a bridge that is too far for me. Similarly, in the Axis of Awesome song "This Is How You Write a Love Song", the lyrics humorously map the movement of the song from chorus to chorus using bridges. Additionally, Led Zeppelin makes an in-joke regarding the use of bridges in popular music in their song "The Crunge", asking, at the end, "Where's the confounded bridge?" The song, humorously, does not have a bridge.
Read more about this topic: Bridge (music)
Famous quotes containing the word role:
“Scholars who become politicians are usually assigned the comic role of having to be the good conscience of state policy.”
—Friedrich Nietzsche (1844–1900)
“Of course, some men are very effective caregivers [of elderly parents]. But this situation occurs far less frequently for males than females, because it is a role reversal. For women, caregiving is an expected duty; for men, it is an unexpected expression of love or devotion.”
—Tish Sommers (20th century)
“Women’s battle for financial equality has barely been joined, much less won. Society still traditionally assigns to woman the role of money-handler rather than money-maker, and our assigned specialty is far more likely to be home economics than financial economics.”
—Paula Nelson (b. 1945)