Form as Harmony in Rock Music

Abstract

This book offers a theory of form aimed at rock and pop songs of the 1960s, 1970s, and 1980s. The core claim is that rock form derives from the interaction between thematic design and harmonic structure. Many aspects of a rock song—lyrical structure, instrumental texture, melodic design, etc.—ultimately trace back to the relationship between harmonic trajectory and formal layout. The book begins with a theory of rock harmony rooted in an adaptation of Schenkerian analysis and proceeds to demonstrate that rock music is based on a small set of formal-harmonic patterns used consistently across genres and decades. It is these formal-harmonic patterns—not generic successions of sections—that define rock’s individual forms. These forms provide a backdrop framing interpretations of specific songs, a lens through which we may comprehend their particular lyrical narratives, timbral signifiers, and broad expressive content. Though broadly theoretical in scope, this book is deeply analytical, demonstrating the value and utility of close reading of rock songs. Ultimately, the book defends a structural approach to rock analysis, arguing not only that such an approach is an important and valuable mode of engagement for rock but also that rock’s structural aspects deeply affect the way we perceive and interact with the repertoire.