Verse-chorus form is a musical form common in popular music and predominate in rock since the 1960s. In contrast to AABA form, which is focused on the verse (contrasted and prepared by the bridge), in verse-chorus form the chorus is highlighted (prepared and constrasted with the verse). (Covach 2005, p.71)

The chorus often sharply constrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. See: arrangement.

Songs which use different music for the verse and chorus are in contrasting verse-chorus form. Examples include:

• The Ronettes' "Be My Baby" (1963)
• the Beatles' "Penny Lane" (1967)
• Deep Purple's "Smoke on the Water" (1973)
• Buddy Holly's "That'll Be the Day" (1957)
• The Beach Boys' "California Girls" (1965)
• the Beatles' "All You Need Is Love" (1967)
• Jimi Hendrix's "Foxy Lady" (1967)
• Bad Company's "Can't Get Enough" (1974)

Songs that use the same music for the verse and chorus, such as the twelve bar blues, though the lyrics feature different verses and a repeated chorus, are in simple verse-chorus form. Examples include:

• Big Joe Turner's "Shake, Rattle, and Roll" (1954)
• The Kingsmen's "Louie, Louie" (1963 cover), example not using blues form
• Ritchie Valens' "La Bamba" (1959)

Songs which feature only a repeated verse are in simple verse form (verse-chorus form without the chorus). Examples include:

• Santana's "Evil Ways" (1969)
• twelve or other bar blues which are not simple verse-chorus form (above), such as "Heartbreak Hotel", "Jailhouse Rock", "Houng Dog", and "Lucille"

and with a contrasting bridge:

• The Byrds' "Eight Miles High" (1966)
• The Beatles' "Tomorrow Never Knows" (1966)
• Jimi Hendrix's "Purple Haze" (1967). (ibid, p.71-72)

Source

• Covach, John. "Form in Rock Music: A Primer", in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis. New York: Oxford University Press. ISBN 0195170105.