Is there any emphasis on the number of intro bars of pop songs?

I want to ask you, you don't know much about music theory, so you learn to arrange? And do you know harmony? This is a problem with the song form, what you are talking about is that when you listen to pop songs, there are four beats per bar, and you count four bars to finish counting, mainly the general pop songs use a square structure, the number of bars of the square structure is a multiple of 4, and the non-square structure includes symmetrical and asymmetrical, symmetrical such as the first 3 bars, the back is also 3 bars, asymmetrical such as the first 5 bars and the last 3 bars!

These are perfectly fine, but not indiscriminate, and there are also one-sentence passages, mostly two- and four-phrases! 5 6 7 more sentences in a paragraph are OK! When you say that you count a bar like that, it should be a phrase that counts like that!

If you're counting in a measure like that, then if it's 4 4 beats, either you're counting it wrong, or it's your netizen who gets it wrong, and there's another situation where you use a change tempo and it becomes 5 4 beats in that measure!

1.Beats:

Beat refers to the unit of measurement of rhythm, in **, a series of beats with a certain strength and weakness are repeated at certain intervals.

2.Measures: In progress, the downbeat and downbeat always cycle regularly, and the part between one downbeat and the next downbeat is called a measure. In sheet music, bars are separated from each other by short vertical lines (bar lines).

Underbeat measures, also known as incomplete measures, often appear at the beginning and end of a phrase (or piece), and the first and last two incomplete measures are combined into one perfect measure.

The beat is similar to 4/4 of a beat, that is, a 4th note is a beat, and each measure is 4 beats.

A measure is the vertical line that you see separating the notes, and the bar is called a bar between the vertical line.

Using the relationship between strength and weakness to organize ** and repeat in a certain order is called beat.

The part between one downbeat and the next downbeat is called a measure.

Before composing a song, you need to determine how many parts of the song you are going to write.

I've heard three sayings

Count the bars from the lyrics.

Measure counting from the intro.

In general, bars are counted from the lyrics. But if the prelude is within a repeating horn (as an interlude), the measure is counted from the prelude.

For singing the score, I use the third method to calculate the bars, which is both convenient and accurate. Counting the bars of the score is a different matter.

Accounts vary. There must be a range limit to determine that the first subsection is counted from **.

There are six common types, which are 1 4 beats, 2 4 beats, 3 4 beats, 4 4 beats, 3 8 beats, and 6 8 beats.

4 beats: 1 4 beats are 4th notes in one beat, 1 beat per measure.

4 beats: 2 4 beats are 4th notes in one beat, 2 beats per measure, and can have 2 quarter notes. Strong, weak.

4 beats: 3 4 beats are 4th notes for one beat, 3 beats per measure, and can have 3 4th notes. Strong, weak, weak.

4 beats: 4 4 beats are 4th notes in one beat, 4 beats per measure, and there can be 4 4th notes. Strong, weak, sub-strong, weak.

8 beats: 3 8 beats are 8th notes for one beat, and each measure can be a big beat, but there are 3 beats on the realization. There can be 3 8th notes. Strong, weak, weak.

8 beats: 6 8 beats are 8th notes for one beat, and each measure can be divided into two large beats, but in fact, each bar is 6 beats, and there can be 6 eighth notes. Strong, weak, weak. Sub-strong, weak, weak.

The recurrence of the downbeat and the downbeat in ** regularly and periodically is called a beat. For example, accented and unaccented, downbeats alternate with downbeats, or each downbeat should be followed by two downbeats at intervals. Each beat occupies an equal amount of time and is called a beat.

Distinguish according to the pattern of the occurrence of stress.

The beat specifically refers to the total length of the notes in each bar, and the length of each bar is fixed, for example, 3 4 beats is a 4th note for one beat, and each bar is 3 beats, which means that there can be 3 4th notes, or 6 8th notes. The tempo of a piece of music is fixed at the time of composition and does not change.

The cycle of strong and downbeat in each measure is called two beats; The cycle of downbeat, downbeat, and downbeat is called three beats. A symbol that indicates the time value and quantity of the base unit of beats in each measure, called the time signature. The number above the time signature indicates the number of beats per bar, and the number below indicates the hour value of each beat.

For example, 2 4 means 1 beat with 4th note and 2 beats per measure. The actual time in the time signature depends on the tempo of the piece. Among the different beat types, one with only one downbeat per measure is called a single beat, such as 8 is a single 2 beat and 8 is a single 3 beat.

A measure with one downbeat and a sub-downbeat is called a double beat.

The beat specifically refers to the total length of the notes in each measure, and the common ones are 2 4, 3, 4, 4, 6, 8 beats. The length of each bar is fixed, e.g. 3 4 beats is a 4th note in one beat, and each bar is 3 beats, which means that there can be 3 4th notes, or 6 8th notes. The tempo of a piece of music is fixed at the time of composition and does not change.

Of course. As long as it is a complete termination, the song can be over.

The most European** compositions of the Classicist period or earlier were square pieces. 4+4 8+8 like that.

But even in square sections, there may be complementary terminations, declension terminations that do not require the number of bars.

From the Romantic period onwards, the square section was no longer mainstream.

Songwriting doesn't care about odd or even numbers.

There is no fixed rule, and generally it should not exceed the length of the main or chorus. That's a bit of a hubble.