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.lazz ancl Popular Phrase and period construction have always been a staple procedure in American popular<br />
N{usic ( 1900-Present) music. Note the strict 8-bar phrases in figure 6.30, a popular song of the 1960s. Each<br />
phrase in this song is divided into two regular phrase members and the entire song is a<br />
doubte period.<br />
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Figure 6.30 . T<br />
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Nelson; "Crazy." \. I<br />
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ar^-;;, -- cra-zy for feel-in'so lone-ly;- I'm cra-zy, -<br />
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cra-zy forteel-in'so blue. I knew--lyou'dlovemeasloltll:]j -:<br />
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and then some-day- you'd leave me for some-bod-y new.<br />
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why do I let my-self wor-ry; - Won-d'rin'- what in the world world did did |<br />
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Cra-zy lbr think - ing that my love could hold you,<br />
I'm Cra-zy for try Cra-zy for cry - in' and I'm Cra-zy for lov - in' you.<br />
Jazz, up to about 1945, had regular phrase structures. but with the rise of Charlie<br />
Parker and other noted improvisers of that period, irregular and unbalanced phrases become<br />
more fashionable.<br />
The 5tructural Flenrents of lVlLrsic<br />
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