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Verse-chorus form is a musical form common in popular music and predominant 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 contrasted with the verse). (Covach 2005, p.71)

The chorus often sharply contrasts 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:

• "Be My Baby" by The Ronettes (1963)
• "Penny Lane" by The Beatles (1967)
• "Smoke on the Water" by Deep Purple (1973)
• "That'll Be the Day" by Buddy Holly (1957)
• "California Girls" by The Beach Boys (1965)
• "All You Need Is Love" by The Beatles (1967)
• "Foxy Lady" by Jimi Hendrix (1967)
• "Can't Get Enough" by Bad Company (1974)
• "About a Girl" by Nirvana (1989)
• "Somethin' Else" by Eddie Cochran
• "Cars" by Fear Factory

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:

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

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

• "Evil Ways" by Santana (1969)
• blues-based songs which are not simple verse-chorus form (above), such as "Heartbreak Hotel", an 8-bar blues, "Hound Dog", and "Lucille", both 12-bar blues

and with a contrasting bridge:

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

Both simple verse-chorus form and simple verse form are strophic forms.

• Covach, John. "Form in Rock Music: A Primer", in Stein, Deborah (2005). Engaging Music: Essays in Music Analysis. New York: Oxford University Press. ISBN 0-19-517010-5.