In order to reveal normative prototypes undergirding various formal sections, this article introduces the ‘Anchoring vi Schema’: a medium length major-mode passage (typically eight or 16 bars) that initiates on an unambiguous hypermetric downbeat (for example, the beginning of a verse or chorus). The Anchoring vi Schema must begin with tonic harmony and deploy submediant harmony at its midpoint – the second most hypermetrically strong beat. The identification of the Anchoring vi Schema enables closer readings of phrase expansion and deletion in popular music. A comparison of the common harmonies used in eight- and 16-measure passages reveals some striking similarities, particularly in terms of where tonic and subdominant chords are likely to occur. Although the endings of formal sections can take a variety of paths – including arriving at various tonal goals within a range of possible times – hypermetrically accented beginnings and midpoints show greater consistency in their organisation.

为了揭示支撑各种形式部分的规范原型，本文介绍了“锚定 vi 模式”：一个中等长度的大调模式段落（通常为 8 或 16 小节），以明确的超度量强拍开始（例如，诗句或副歌）。锚定 vi 模式必须从主音和声开始，并在中点部署次中音和声——第二个最超音域的强节拍。锚定 vi 模式的识别使得能够更仔细地阅读流行音乐中的短语扩展和删除。对八小节和十六小节乐段中使用的常见和声进行比较，可以发现一些惊人的相似之处，特别是在主和弦和次属和弦可能出现的位置方面。尽管正式部分的结尾可以采取多种路径 - 包括在一系列可能的时间内达到不同的音调目标 - 高度度量强调的开头和中点在其组织中显示出更大的一致性。