How to notate popular/contemporary song structures?

Question

A problem I repeatedly run into when notating (either composing or arranging) popular/contemporary (i.e. not classical) music is notating the song structure using an efficient combination of repeats and jumps.

The most that I can manage to notate is an AABA structure, with a normal repeat for the second A section, the B section following straight after (possibly with a 1st and 2nd volta if the ending of the second A section is different to the first), a repeat at the end of the B section going back to the beginning of the A section, and either a 3rd volta or a jump to coda for the ending of the last A section.

But give me a verse-chorus structure (e.g. ABABAB) and I wouldn't have any idea how to notate this. What about songs where the B section is repeated multiple times (e.g. AABABABB)? Where there are more than two sections, such as an instrumental bridge (e.g. AABABCB)? Or any of the other infinite possibilities for song structure?

Is there a standard way to notate such arbitrary structures? How can I notate this without having to resort to either:
a) an unwieldy muddle of repeat signs, voltas, and jumps,
b) non-standard "repeat this bit twice then play one last repetition of the verse" or "go to bridge after second chorus" text written above the staff, or
c) writing the whole thing out in full using no repeats?

Answer 1

But give me a verse-chorus structure (e.g. ABABAB) and I wouldn't have any idea how to notate this. What about songs where the B section is repeated multiple times (e.g. AABABABB)? Where there are more than two sections, such as an instrumental bridge (e.g. AABABCB)? Or any of the other infinite possibilities for song structure?

Verse-Chorus is not difficult. If strophic, simply write out the melodic material for AB with bookended repeats around the whole thing, changing text for "A" with each verse and leaving "B" the same, since it's the chorus. If modified-strophic, through-composed, or just plain silly, you'll need to adapt accordingly – likely won't be able to get away with many repeats; just have to suck it up and write it out.

For the multiple "B"'s example, I'd do this:

A ||:AB:||x3 B

Pretty straight-forward.

For an instrumental bridge:

A ||:AB:||x2 C B

If the structure was unbelievably obnoxious, I could see two possible solutions, one of which you alluded to: writing it all out. The other would be: writing out each discrete section, separating them on the paper, then putting a "key" at the top of the page that shows the order. This is not standard at all in popular music / notation, but it is akin to what is scene for aleatoric music, game music, and sometimes indeterminate music.

Is there a standard way to notate such arbitrary structures? How can I notate this without having to resort to either a) an unwieldy muddle of repeat signs, voltas, and jumps, b) non-standard "repeat this bit twice then play one last repetition of the verse" or "go to bridge after second chorus" text written above the staff, or c) writing the whole thing out in full using no repeats?

Depending on the song structure, I've found that it's typically a mix of "A" and "C". If you're writing a book of text to explain things, you're either Stockhausen or you need to change your notation scheme.

Answer 2

We DO sometimes see pop song copies which resort to complex repeat structures, and even little interior sections marked 'play these bars 2nd and 4th times only' or the like. And it can be the only way to keep a copy down to a managable (and affordable) number of pages. Just do the best you can.

There's a set of rules for music intended for sight-reading on e.g. a film scoring session. Repeats and jumps are forbidden, everything must be aimed at maximum clarity. But no-one's going to be sight-reading a pop song copy. (Well maybe at a Musical Theatre audition, but the prime definition of an audition accompanist is 'one who is used to coping magnificently with un-helpful notation' :-) We can be more forgiving.

Answer 3

Since the question concerns popular music, and since the vocal melody can vary from verse to verse, the use of repeats can be problematic if you are after a faithful notation of the song. We have to deal with the notion of real repeats vs 'notional repeats', or, as Frank Zappa asked, 'Is that a real poncho, or is that a Sears poncho?' It would be a lame rendition of Stairway to Heaven, for example, if you resorted to repeats for the vocal part. If the song is your own, you probably don't want the world to miss out on the subtle nuances in the third iteration of the chorus.

Many have grappled, but few have gained purchase. I have seen published piano sheet music for pop songs that relied upon multiple codas and dal segno segno segnos to get its point across.Brief indications near the repeats/voltas are not frowned upon, but I rely on notation software and rehearsal marks a mundo.