In this section, we will discuss some accompanimental rhythms that occur frequently in popular music. The first such rhythm has two chords per measure, with the first chord on beat 1 and the second chord on the upbeat after beat 2.
/
Figure \(\PageIndex{1}\): Marvin Gaye and Ed Townsend, “Let's Get It On” (1973)
You will find a similar rhythm and bass line in the next example.
/
Figure \(\PageIndex{2}\): Ed Sheeran, “Thinking Out Loud” (2014)
The “1 (2) &” rhythm is also found in “Don’t You (Forget About Me),” a song associated with the film The Breakfast Club.
/
Figure \(\PageIndex{3}\): Keith Forsey and Steve Schiff, “Don’t You (Forget About Me)” (1985)
Below are five more examples of block chord accompaniment in the “1 (2) &” rhythm.
/
Figure \(\PageIndex{4}\): Holly Knight, Gene Bloch, Ann Wilson, and Nancy Wilson, “Never” (1985)
/
Figure \(\PageIndex{6}\): Bruno Mars, Philip Lawrence, Christopher Brown, James Fauntleroy, Johnathan Yip, Ray Romulus, Jeremy Reeves, Ray McCullough II, “That's What I Like” (2017)
Notice that the example above (“That's What I Like”) has the same progression as “September” by Earth, Wind, and Fire.
/
Figure \(\PageIndex{7}\): Charlie Puth, Cameron Thomaz, Andrew Cedar, Justin Franks, Dann Hume, Josh Hardy, and Phoebe Cockburn, “See You Again” (2015)
/
Figure \(\PageIndex{8}\): James Arthur, Neil Ormandy, Steve Solomon, “Say You Won't Let Go” (2016)
The example below has the “1 (2) &” rhythm in dimininution.
/
Figure \(\PageIndex{9}\): Justin Bieber, Benny Blanco, and Ed Sheeran, “Love Yourself” (2015)
14.4.2 The “Barbara Ann” Rhythm
It is easier to describe the next block chord accompaniment pattern as the “Barbara Ann” rhytm than the “1 2 3 (4) & (1) & (2) & 3” rhythm. Below are six examples of pieces that use this rhythm, whether with block chords or solely in the bass line.
/
Figure \(\PageIndex{10}\): Fred Fassert, “Barbara Ann” (1961)
/
Figure \(\PageIndex{11}\): Brian Holland, Lamont Dozier, Eddie Holland, “You Can't Hurry Love” (1966)
/
Figure \(\PageIndex{12}\): Sara Allen, Daryl Hall, and John Oates, “Maneater” (1982)
/
Figure \(\PageIndex{13}\): Kimberley Rew, “Walking On Sunshine” (1985)
/
Figure \(\PageIndex{14}\): Nic Cester and Cameron Muncey, “Are You Gonna Be My Girl” (2003)
A slower version of this rhythm occurs in Deep Purple’s “Smoke on the Water.”
/
Figure \(\PageIndex{15}\): Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord, and Ian Paice, “Smoke on the Water” (1973)
14.4.3 Repeated 8th-note Chords
Repeated 8th-note chords occur regularly in “classical” music textures.
/
Figure \(\PageIndex{16}\): W.A. Mozart, Piano Sonata K. 310, I (1778)
/
Figure \(\PageIndex{17}\): Franz Schubert, Winterreise, D. 911“Gute Nacht” (1828)
/
Figure \(\PageIndex{18}\): Robert Schumann, Dichterliebe, “Ich grolle nicht” (1844)
The next example is from the musical Annie. Note the “1 (2) &” rhythm in the bass line.
/
Figure \(\PageIndex{19}\): Charles Strouse and Martin Charnin, Annie, “It's the Hard Knock Life” (1977)
Repeated eighth notes are a standard accompanimental texture in rock.
/
Figure \(\PageIndex{20}\): Geoff Gill and Cliff Wade, “Heartbreaker” (1979)
The repeated eighth-note rhythm is also common in recent popular music. Note that the following example uses the 1950's progression (i.e., II–vivi–IVIV–VV).
/
Figure \(\PageIndex{21}\): Nate Ruess, Andrew Dost, Jack Antonoff, and Jeff Bhasker, “We Are Young” (2011)
14.4.4 Repeated Quarter-note Chords
Repeated quarter-note chords are a common accompanimental rhythm in “classical” and popular music.
/
Figure \(\PageIndex{22}\): George Frideric Handel, “Ombra mai fu,” Xerxes, HWV 40 (1738)
/
Figure \(\PageIndex{23}\): Joe Raposo, Jon Stone, and Bruce Hart, “Can You Tell Me How to Get to Sesame Street?” (1969)
/
Figure \(\PageIndex{24}\): Billy Joel, “She's Got a Way” (1971)
/
Figure \(\PageIndex{25}\): Lou Gramm and Mick Jones, “Cold As Ice” (1977)
/
Figure \(\PageIndex{26}\): Gordon Sumner, “Roxanne” (1978)
/
Figure \(\PageIndex{27}\): Michael Bublé, Alan Chang, and Amy Foster-Gillies, “Haven’t Met You Yet” (2009)
/
Figure \(\PageIndex{28}\): Sara Bareilles, “Love Song” (2007)
In the next section, we will examine accompanimental textures consisting of afterbeats and offbeats.
