Example 16. Form of the passage from “The Brain Dance,” by Animals as Leaders. More

Figure 1. Form in the Finale of Shostakovich's Symphony No. 4, as schematized by Bobrovsky 1990: 203 (all parenthetical labels are mine, but based on Bobrovsky's discussion on 199–204). More

Example 6. Ruth Brown, “It's All for You” (1951). ABB´ poetic form and 7,6,5 phrase rhythm, with interior rhymes in the A line (underlined) and refrain fragments, labeled r, in the B lines. (a) Third verse (1:14). (b) Second verse (0:37). More

Example 15. Ray Charles, “Lonely Avenue” (1956, by Doc Pomus). AB/R(CD/EFr) poetic form and 8,8,6 phrase rhythm. The “Caldonia”-like opening is transposed to the second phrase and the vocal responses fuse with the caesuras. More

Example 18. Chuck Berry, “School Day” (1957). AB/CD/EF poetic form with lines spanning a weak upbeat position and the following strong downbeat position. On the level of the beat the lines stretch across beats 2, 3, 4, and 1 in every weak-strong pair and the instrumental responses have the same More

Example 19. Chuck Berry, “Johnny B. Goode” (1958). AB/CD/EF poetic form and 8,8,8 phrase rhythm. More

Example 21. Ray Charles, “Greenbacks” (1957, by Renald Richard). Twenty-bar form with AB/CD/EF/R(G/H) poetic form and 8,8,8,5,5 phrase rhythm. More

Figure 5. Transformation of the standard form into the “Caldonia” and “Payday” types. More

Example 32. Hypothetical versions of “300 Pounds of Joy” as (a) standard form and (b) “Caldonia” type. More