Play with Closing Markers: Cadential Multivalence in 1960s Prechoruses and Related Schemas

Abstract

Abstract In 1960s pop/rock, the end of a prechorus often uses text, breakaway from harmonic loops, hypermeter, or a change of melody to heighten expectation for tonic harmony and create structural closure. Songs harness this heightened expectation to underscore the importance of the chorus and illustrate the singer’s lyrics. These closing markers provide a wide range of expressive and formal options by creating various cadential effects, including a closed cadence overlapping with the chorus, an open cadence before the chorus, or—in passages often depicting marked emotional states—conflicting formal cues.