Q1-2015 TOP 10 PLAYLIST>>
THE SONGS>>
VOCALS>>
LYRICAL THEMES>>
SONG TITLES>>
PRIMARY INSTRUMENTATION>>
SONG LENGTH>>
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FIRST SECTION>>
VERSE>>
PRE-CHORUS>>
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INSTRUMENTAL & VOCAL BREAKS>>
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During the first quarter of the 2015, 20 songs charted within the Hot 100 top 10 of which this report is based.  They include:

• All About That Bass:  Meghan Trainor
• Animals:  Maroon 5
• Blank Space:  Taylor Swift
• Centuries:  Fall Out Boy
• Earned It:  The Weeknd
• FourFiveSeconds:  Rihanna, Kanye West, Paul McCartney
• I’m Not The Only One:  Sam Smith
• Jealous:  Nick Jonas
• Lay Me Down:  Sam Smith
• Lips Are Movin:  Meghan Trainor
• Love Me Harder:  Ariana Grande featuring The Weeknd
• Love Me Like You Do:  Ellie Goulding
• Shake It Off:  Taylor Swift
• Style:  Taylor Swift
• Sugar:  Maroon 5
• Take Me To Church:  Hozier
• Thinking Out Loud:  Ed Sheeran
• Time Of Our Lives:  Pitbull featuring Ne-Yo
• Trap Queen:  Fetty Wap
• Uptown Funk: Mark Ronson featuring Bruno Mars

[Header 1 header=”HOOKS, CLEVER ELEMENTS & WOW FACTORS”]

Most of the songs that land within the top 10 are chock-full of infectious hooks, clever elements and WOW factors that help to put them over-the-top, and stand out from their mainstream contemporaries. What follows are some of the most notable examples from Q1:

[Header 3 header=”All About That Bass“]

Vocal:  The “I’m bringin’ booty back” solo vocal lead in to the second verse.

Instrumental:  The prominent featuring of acoustic bass in the mix helps the song to stand out among it’s mainstream contemporaries due to its limited usage.  It also cleverly ties into the “All About That Bass” theme, even though the song isn’t about a bass instrument.

[Header 3 header=”Animals“]

Sectional:  Not only does the bridge heighten the overall engagement factor of the song due to the departure it provides, but it also contributes to the overall storyline without having to lyrically describe what’s going on.  This is achieved primarily by the nature of the toms, which instantly transports the listener to the wild open plains of Africa.  Here, the listener gets the sense that the “hunt” is on during the first half of the section.  The second half puts the “chase” into effect, and culminates with a triumphant “OWWWWW!” vocal at the tail end.  This cleverly and powerfully communicates to the listener that the predator has caught his prey.

Lyrical:  The lyrics convey a “been there, done that” love/relationship theme in a fresh, unique manner.  This was achieved via the song’s animal references and analogies as well as the underlying “predator stalking its prey” theme.

[Header 3 header=”Blank Space“]

Instrumental:  The song’s primary instrumental hook possesses a xylophone characteristic.  This further enables the hook to stand out and resonate with the listener.

Instrumental:  The pen click that follows “and I’ve got a blank space baby…” and precedes “…and I’ll write your name” is an unexpected element that cleverly jibes with the lyrics and takes the song’s impact to the next level.

[Header 3 header=”Centuries“]

Vocal:  The infectious and familiar Tom’s Diner sample serves as one of, if not THE defining hook within the entire song.

Vocal:  The manner in which the “heavy metal broke my” <snare hit/snare hit> “HEART”  line is constructed is exceptionally infectious and unexpected.  Following the lyric “my,” a double snare hit enters the mix which enables the “Queen” influenced, high pitched, “HEART” to really stand out and resonate.

[Header 3 header=”FourFIveSeconds“]

Star Power:  Sometimes WHO appears on a track is just as important as the song itself in order to accentuate its reach and success potential.  In this case, it it’s the combined star power of Rihanna, Kanye West, and especially Paul McCartney.

[Header 3 header=”Love Me Like You Do“]

MTI – “Wait For It” Moment:  The extended transitional lull that occurs between the third and fourth lines in the second pre-chorus takes the anticipation and tension factor to an apex leading into the powerful final chorus of the song (“My head’s spinnin’ around I can’t see clear no more...<wait for it>…what are you waiting for”).  Ultimately this enables the “grand finale” of the song to hit with increased perceived impact.

Vocal:  The “lo-lo-love” and “tou-tou-touch” vocals in the chorus are key infectious elements that help to put the section, and the song, over the top.

Vocal:  The descending, “up/down alternating” vocal melody progression as detailed below perfectly jibes with and accentuates the meaning of the “my head’s spinnin’ around I can’t see clear no more” lyrics within the pre-chorus.

[Header 3 header=”Shake It Off“]

Instrumental:  The ultra infectious “sick beat” hook remains in effect throughout the song

Sectional:  The “Mickey/Valley Girl/cheerleader” influenced bridge provides the song with an additional sectional hook that is every bit as strong, infectious and memorable as the chorus.

[Header 3 header=”Sugar“]

Vocal:  The falsetto nature of Levine’s vocal in the chorus really helps the song’s primary “payoff” to stand out and resonate with the listener.  It also provides stringent, engaging contrast against the other sections within the song.

Payoff Within A Payoff:  Cleverly sandwiched in between the two “Maroon 5 payoff” stanzas (parts X and Z – “your sugar, yes please…”) is Part Y, which bares a striking resemblance to the middle section of Michael Jackson’s “Beat It” chorus.  Essentially, this functions as a “payoff within a payoff” for the listener.

[Header 3 header=”Take Me To Church“]

Lyrical:  The song uses religious references to convey a love/relationship theme in a unique and clever manner.

[Header 3 header=”Uptown Funk“]

Vocal/instrumental:  The pitch shifted “doh, doh, doh” vocal hook is a key infectious element that appears throughout the song.  It’s cleverly emulated by the bass, which gives it increased power and prominence.

Vocal:  The high-pitch “whoo” vocal is the clever response to Mars’s “instruction” within part X of the chorus, “girls hit your hallelujah.” Not only does it function as a key infectious element, but it also functions as an “audience participation” element built directly into the song (i.e. call and response in a live setting).

Sectional:  Following the intense chorus, the song comes to an abrupt full stop in tandem with the “stop, wait a minute” vocal.

[Header 1 header=”LEAD VOCAL”]

Solo male was the most popular lead vocal category in Q1, accounting for 55% of songs.  Solo female trailed at 30%, and duets accounted for just 15% of songs.

[Header 2 header=”Solo Female”]

Pop was the only primary genre category that contained songs featuring a solo female lead vocal.  Accounting for 55% of Pop hits, Meghan Trainor and Taylor Swift were the top representatives, each accounting for two and three songs, respectively.

• All About That Bass:  Meghan Trainor
• Blank Space:  Taylor Swift
• Lips Are Movin:  Meghan Trainor
• Love Me Like You Do:  Ellie Goulding
• Shake It Off:  Taylor Swift
• Style: Taylor Swift

[Header 2 header=”Solo Male”]

Songs featuring a solo male lead vocal stemmed from the Hip Hop/Rap, Pop, R&B/Soul and Rock primary genre categories.  Note that all of the Hip Hop/Rap, R&B/Soul and Rock songs of the quarter feature a solo male lead vocal.

[Header 3 header=”Hip Hop/Rap (100% of songs)”]

• Trap Queen:  Fetty Wap

[Header 3 header=”Pop (27% of songs)”]

• Animals:  Adam Levine
• Jealous:  Nick Jonas
• Sugar:  Adam Levine

[Header 3 header=”R&B/Soul (100% of songs)”]

• Earned It:  The Weeknd
• I’m Not The Only One:  Sam Smith
• Lay Me Down:  Sam Smith
• Thinking Out Loud:  Ed Sheeran
• Uptown Funk: Bruno Mars

[Header 3 header=”Rock (100% of songs)”]

• Centuries:  Patrick Stump
• Take Me To Church:  Hozier

[Header 2 header=”Duet/Group (Female/Male)”]

Pop was the only primary genre category that contained songs featuring a female/male duet/group vocal.

• FourFiveSeconds:  Rihanna, Kanye West, Paul McCartney
• Love Me Harder:  Ariana Grande, The Weeknd

[Header 2 header=”Duet/Group (All Male)”]

Dance/Electronic was the only primary genre category that contained a song featuring an all male duet/group vocal.   The sole representative in Q1 was Time Of Our Lives (Pitbull and Ne-Yo).

[Header 2 header=”Duet/Group (All Female)”]

None of the quarter’s hits feature an all female duet/group vocal.  During Q4, the category was represented by Black Widow, Fancy and Bang Bang.

[Header 1 header=”VOCAL TYPES”]

[Header 2 header=”Repeat & Call/Response Vocals”]

• Animals (chorus):  “you can’t deny-ny-ny-ny, the beast inside-side-side-side”
• Earned It (pre-chorus):  “I’m a care for you, you, you, you”
• Earned It (final chorus):  “Girl your perfect (girl your perfect), you’re always worth it (you’re always worth it)”…
• Jealous (chorus):  “Everybody wants a taste that’s why (that’s why)”
• Lips Are Movin (chorus):  “I know you lie (lie), ‘cause your lips are movin’ (movin’)”
• Love Me Harder (chorus):  “Gotta, gotta, gotta, gotta, got to…” and “love me, love me, love me, harder, harder harder”
• Shake It Off (verse 2):  “I’m dancin’ on my own (dancin’ on my own), I make the moves up as I go (moves up as I go)”
• Shake It Off (chorus):  “I, I, I shake it off, shake it off”
• Shake It Off (chorus):  “heartbreakers gonna break, break, break, break, break”
• Time Of Our Lives (Ne-Yo bridge):  “Everybody gon’ do somethin’ (everybody gon’ do somethin’)”
• Uptown Funk (pre-chorus):  “I’m too hot (hot damn)”
• Uptown Funk (chorus):  “girls hit your hallelujah (whoo!)”

Some songs are more creative than others in regard to how specific lyrics or a succession of lyrics are sung.  In all cases, they provide their respective sections (in most cases the chorus) with an additional infectious and memorable twist, which helps to put the song over the top.

Notice that I the case of Earned It and Animals it helps the title lyric/lyrics to further stand out and resonate with the listener.

• Animals (chorus):  “Animals-mals”
• Earned It (chorus):  “Girl you ea-ea-ea / ea-earned it”
• Lay Me Down (chorus):  “Next to you-ou-ou-ou-ou-ou”
• Lips Are Movin (pre-chorus):  “Toni-i-ight”, “good by-by-by”, “deny-ny-ny”
• Shake It Off (verse sections):  “say-ay-ay”, “see-ee-ee”, know-ow-ow”
• Take Me To Church (pre-chorus):  “A-a-a-a-a-ay, A-a-a-a-men, A-a-a-a-men”

[Header 2 header=”Heys, Oohs, Whoo’s, Yeahs, Mmm’s, La’s, Shoo-wop’s, Etc…”]

• All About That Bass (pre-chous):  “shoo-wop-wop”
• Animals (verse 1):  “(HEY) / so what you tryin’ to do to me / (HEY) / It’s like we can’t stop we’re enemies / (HEY)”
• Animals (bridge):  “Yo-oh-oh, whoa-oh-oh…”
• Centuries (chorus):  “hey-ey-ey-ey-ey-ya”
• Love Me Harder (chorus):  “whoo-oo-oo…love me, love me, love me, whoo-oo-oo…harder, harder, harder”).
• Shake It Off (verse sections):  e.g. “that’s what people say-ay-ay, mmm-mmm”
• Shake It Off (chorus):  “I shake it off whoo-hoo-hoo”
• Take Me To Church (chorus):  Prolonged “Oouu” vocals underneath the lead
• Thinking Out Loud (chorus):  Prolonged “Oouu” vocals underneath the lead
• Thinking Out Loud (instrumental break/guitar solo section):  “Ha-la-la…”
• Time Of Our Lives (chorus):  “Oohh, I want the time of my life”
• Uptown Funk (chorus):  “Hey, hey, hey OW!”

[Header 2 header=”Nonsense Vocal Hooks”]

Some songs feature nonsense lyrics that are conveyed in an infectious, memorable manner.  In most cases they serve as an additional key vocal hook.

• Centuries:  The Tom’s Diner “du du du du-du du du / du du du du du-du du du” sample.
• Uptown Funk:  The processed/low-pitch “doh-doh-doh” vocal hook kicks off the song and remains in effect within the majority of sections.

[Header 2 header=”Non-Sung Vocals”]

Non-sung vocals (spoken and rapped) provide infectious contrast against sung vocal sections.  Ultimately the contrasting vocal types take the impact and engagement value of a song to the next level.

• All About That Bass (verse 1):  Trainor’s vocal features a rapped delivery
• Blank Space (verse 1 & verse 2):  The last line within both verse sections features a spoken delivery (“I can make the bad guys good for a weekend” and “’cause darling I’m a nightmare dressed like a daydream”)
• Lips Are Movin:  The entire first verse features a rapped delivery.
• Shake It Off:  The “hey, hey, hey” portion of the bridge is spoken.
• Time Of Our Lives:  The verse sections are rapped by Pitbull.  Additionally, Pitbull’s bridge section features his spoken “inspirational speech.”
• Trap Queen:  Portions of the song feature a rapped delivery
• Uptown Funk:  The “up-town-funk you up” portion of the bridge features a rapped delivery

[Header 1 header=”Vocal Assignment Spotlight: Love Me Like You Do“]

Love Me Like You Do primarily features a solo female lead vocal from Ellie Goulding. In order to provide the song with a heightened degree of coloring, texturing and engagement value, four vocal variations are instituted on specific lines, stanzas and sections:

[Header 4 header=”Solo Lead”]

This is the primary lead vocal conveyed by Goulding. If features a multi-tracked nature within ample reverb and delay which traverse the entire mix. This , along with the nature of Goulding’s voice, provides a soft, sensual vibe that perfectly jibes with and accentuates the love/relationship and sexual nature of the lyrics.

• Sections: All

[Header 4 header=”Harmony Vocal”]

Here Goulding’s lead is accentuated by a harmony vocal that’s on octave up. Note that the higher pitched vocal is lower within the mix than the primary lead. It features ample reverb and delay processing.

• Sections: Chorus one

[Header 4 header=”Group Vocal”]

This multi-participant group vocal consists primarily of women. A male vocal is also featured within the mix, albeit at a relatively low level. Its purpose is to provide bottom end and to “fatten up” the sound.

• Sections: Chorus two & three

[Header 4 header=”Female Backing Vocal”]

This is a high-pitched, prolonged, all female “ahhhh” backing vocal that’s featured underneath the lead vocal. It provides increased coloring, texturing and intensity to the sections in which it’s featured, ultimately heightening their impact.

• Sections: Chorus two & three

[Header 3 header=”Verse 1″]

[Header 4 header=”Part X”]

[Header 4 header=”Part Y”]

The entire section features a solo Goulding lead vocal.

[Header 3 header=”Chorus 1″]

The first three lines of the section feature an octave harmony lead vocal. Notice that this vocal type enables the “payoff” to further stand out and resonate with the listener in relation to the preceding verse.

The last line provides contrast by reverting back to the “standard” solo lead that defines the entire first verse. The contrast enables this key line to further stand out and resonate with the listener in relation to the octave harmony natured lines that precede it.

[Header 3 header=”Verse 2″]

As is the case with the first verse, the entire second verse features Goulding’s solo lead. This provides contrast against the octave harmony vocal that defines the majority of the preceding chorus.

[Header 3 header=”Pre-Chorus 1″]

The entire pre-chorus also features a solo Goulding lead. In order to keep the engagement value at a heightened level, Goulding’s pitch is higher that it was within the verse that precedes it.

[Header 3 header=”Chorus 2″]

[Header 4 header=”Part X”]

[Header 4 header=”Part Y”]

Here for the first time within the song the powerful group vocal is put into effect. This enables both stanzas to prominently jump out and connect with the listener, more so than any other section within the song.

Notice however that there are some instances where the group vocal is pulled and Goulding’s solo lead is put back into effect:

• Lines one & five feature the “like you do” solo Goulding vocal repeat.

• Line six features a solo Goulding “yeah” vocal at the tail end.

• Both stanzas conclude in the same manner as the first chorus via the solo “what are you waiting for” vocal. Again, this provides engaging and contrast relative to the other lines within the section. Additionally, considering that the section is a double and repeated in almost an identical manner, the change up is exceptionally necessary in order to prevent things from becoming overly monotonous.

Additionally, notice that the high-pitch female backing “ahhh” vocal is in effect throughout the section.

[Header 3 header=”Pre-Chorus 2″]

The second pre-chorus reverts back to the “standard” solo Goulding lead vocal. This provides stringent contrast relative to the group vocal that precedes it within the chorus.

[Header 3 header=”Chorus 3″]

[Header 4 header=”Part X”]

[Header 4 header=”Part Y”]

The third and last chorus within the song features the same vocal assignments as the second chorus within the song.

Eight lyrical themes accounted for the 20 songs that charted within the Hot 100 top 10 during the first quarter of the year.

As usual, the most popular was love/relationships.  It was featured as a standalone theme or in conjunction with other themes within 75% of songs.  Hooking up followed at 25%, and inspiration/empowerment rounded out the top three at 20% of songs.

The lyrical themes of Q1-2015 and their associated songs:

[Header 1 header=”Boasting”]

Only one song during the quarter, *Uptown Funk, features a boasting lyrical theme.   This, in addition to its partying/living it up theme perfectly jibes with its old-school Funk & Hip Hop/Rap nature.

[Header 1 header=”Hooking Up (Sex)”]

Hooking up (sex) themed songs stemmed from Pop and R&B/Soul primary genre categories.

[Header 3 header=”Pop (36% of songs – second most popular theme behind love/relationships)”]

• *Animals
• *Love Me Harder
• *Love Me Like You Do
• *Sugar

[Header 3 header=”R&B/Soul (20% of songs)”]

• *Earned It

[Header 1 header=”Inspiration/Empowerment/Perseverance”]

Inspiration/empowerment themed songs stemmed from the Dance/Electronic, Pop and Rock primary genre categories.

[Header 3 header=”Dance/Electronic (100% of songs)”]

• *Time Of Our Lives

[Header 3 header=”Pop (18% of songs – third most popular theme)”]

• All About That Bass
• *Shake It Off

[Header 1 header=”Introspection”]

Only one song, *FourFiveSeconds (Pop), features an introspection theme in addition to love/relationships.

[Header 1 header=”Lifestyle”]

Lifestyle themed songs (those that pertain to the way that one leads one’s life) stemmed from the Hip Hop/Rap and Pop primary genre categories.

[Header 3 header=”Hip Hop/Rap (100% of songs)”]

• *Trap Queen

[Header 3 header=”Pop (9% of songs)”]

• *Shake It Off

[Header 1 header=”Love/relationships”]

Love/relationship themed songs stemmed from every primary genre category except for Dance/Electronic.

[Header 3 header=”Hip Hop/Rap (100% of songs)”]

• *Trap Queen

[Header 3 header=”Pop (82% of songs)”]

• *Animals
• Blank Space
• *FourFiveSeconds
• Jealous
• Lips Are Movin
• *Love Me Harder
• *Love Me Like You Do
• *Sugar
• Style

[Header 3 header=”R&B/Soul (80% of songs)”]

• *Earned It
• I’m Not The Only One
• Lay Me Down
• Thinking Out Loud

[Header 3 header=”Rock (50% of songs)”]

• *Take Me To Church

[Header 1 header=”Partying/Clubbing/Living It Up”]

Partying/clubbing/living it up themed songs stemmed from the Dance/Electronic and R&B/Soul primary genre categories.

[Header 3 header=”Dance/Electronic”]

• *Time Of Our Lives

[Header 3 header=”R&B/Soul”]

• *Uptown Funk

[Header 1 header=”Religion”]

Only one song, Take Me To Church (Rock), features a religion based lyrical theme.  However, note that it cleverly pertains to a relationship and is not specifically “religious” in nature.

[Header 1 header=””Lyrical Fusion” Songs”]

The songs above that are preceded by an asterisk feature two or more primary lyrical themes within the mix.   They account for 55% of songs.  Notice that the most popular combination is love/relationships and hooking up (sex).  Together they account for 25% of the quarter’s top 10 hits.

• Animals:  Love/relationships + hooking up
• Earned It:  Love/relationships + hooking up
• FourFiveSeconds:  Love/relationships + introspection
• Love Me Harder:  Love/relationships + hooking up
• Love Me Like You Do:  Love/relationships + hooking up
• Shake It Off:  Inspiration/empowerment + lifestyle
• Sugar:  Love/relationships + hooking up
• Take Me To Church:  Love/relationships + religion
• Time Of Our Lives:  Inspiration/empowerment/perseverance + partying/clubbing/living it up
• Trap Queen:  Love/relationships + lifestyle
• Uptown Funk:  Boasting + partying/living it up

[Header 1 header=”Song Title Word Count”]

The three-word song title category was the most popular during the first quarter of the year, accounting for 30% of top 10 hits.  Representative songs stemmed from the Pop and R&B/Soul primary genre categories, where it accounted for 36% and 40% of songs, respectively.

The one-word song title category followed close behind, accounting for 25% of songs. Representative songs stemmed from the Pop and Rock primary genre categories.

The longest titles of the quarter were Love Me Like You Do and I’m Not The Only One, which contain five words each.

As you can see in the graph above, the vast majority of songs (75%) contain three words or less within their title.  Only 25% contain four or more.  Less has historically been more when it comes to chart-topping titles!

[Header 1 header=”Song Title Appearances”]

The 11 – 15 song title appearance category was the most popular during the quarter, accounting for 30% of songs.  Representative songs stemmed from the Pop, R&B/Soul and Rock primary genre categories, where it accounted for 36%, 20% and 50% of songs, respectively.  Examples include:

• Sugar (Pop):  12 title appearances
• Earned It (R&B/Soul):  11 title appearances
• Centuries (Rock):  12 title appearances

[Header 3 header=”Least Song Title Appearances”]

Interestingly, the second most popular song title appearance category of the quarter was the 1 – 5 category, accounting for 25% of songs.  Typically you would think that this would be one of the least popular categories because you want to get the title reinforced within the listener’s head as much as possible (without overdoing it, of course).

Representative songs stemmed from the Hip Hop/Rap, Pop, and R&B/Soul primary genre categories, where it accounted for 100%, 18% and 40% of songs, respectively.   Examples include:

• Trap Queen (Hip Hop/Rap):  Three title appearances
• Blank Space (Pop):  Three title appearances
• Lay Me Down (R&B/Soul):  Two title appearances

[Header 1 header=”Non-Proper Title”]

Only one song, Time Of Our Lives, doesn’t feature the full proper title within the lyrics.  Instead, the song features “time of my life” within the chorus sections.

[Header 1 header=”Song Title Placement”]

As is typically the case, the majority of songs have their title appearing exclusively within the chorus sections.   However, there were exceptions to the “rule.”  The following songs either do not have their title appearing within the chorus, or have it appearing in multiple sections:

[Header 3 header=”Non-Chorus Sections”]

• Lay Me Down:  Appears with the bridge
• Trap Queen:  Appears within the verse

[Header 3 header=”Multiple Sections”]

• Animals:  Appears within the chorus and bridge sections.
• Jealous:  Appears within the pre-chorus, chorus, bridge and outro sections.
• Uptown Funk:  Appears within the chorus, bridge and outro sections.

[Header 1 header=”Title Placement Examples”]

[Header 3 header=”Earned It“]

Cause girl you’re perfect
You’re always worth it
And you deserve it
The way you work it
Cause girl you earned it
Girl you earned it

[Header 3 header=”Love Me Like You Do“]

So love me like you do, lo-lo–love me like you do
Love me like you do, lo-lo-love me like you do
Touch me like you do, to-to-touch me like you do
What are you waiting for

[Header 3 header=”Centuries“]

Some legends are told
Some turn to dust or to gold
But you will remember me
Remember me for centuries

And just one mistake
Is all it will take
We’ll go down in history
Remember me for centuries

Hey-ey-ey-ey-ey-yah
Hey-ey-ey-ey
Hey-ey-ey-ey-ey-yah

Remember me for centuries

[Header 1 header=”Title Types”]

With the exception of a small handful of songs, the majority of the quarter’s top 10 hits possess a memorable, attention-grabbing title to some degree.  These titles are effective because they pique the prospective listener’s curiosity to check out the song, and resonate in their head as well.

[Header 3 header=”Some of the Q1 titles that really stood out from the pack include:”]

• All About That Bass:  It cleverly jibes with the lyrical focus of the song as well as the featured instrument within the mix
• Centuries:  The listener has absolutely no idea what the title refers to without checking out the song.
• Take Me To Church:  Religion natured titles aren’t something that you typically find within the top 10
• Trap Queen:  There’s only one way to find out what a Trap Queen is all about!
• Uptown Funk:  Just by the name of the song the listener can deduce that they’re going to be in for a good, Funk natured time

[Header 3 header=”Clever/Memorable/Powerful/Non-Typical/Attention Grabbers (of varying degrees)”]

• All About That Bass
• Animals
• Blank Space
• Centuries
• FourFiveSeconds
• Earned It
• I’m Not The Only One
• Lay Me Down
• Lips Are Movin
• Love Me Harder
• Shake It Off
• Style
• Take Me To Church
• Thinking Out Loud
• Trap Queen
• Uptown Funk

[Header 3 header=”Less Captivating & Generic”]

• Jealous
• Love Me Like You Do
• Time Of Our Lives

Nine primary instruments shaped the sound of the 20 songs that charted within the Hot 100 top 10 during the first quarter of the year:

• Prominent bass (acoustic, electric and synth based)
• Claps/snaps
• Prominent drums/beats/percussion
• Guitar (acoustic and electric)
• Organ
• Piano (acoustic and electric)
• Strings (real or synth based)
• Synth
• Wind (brass section and sax)

[Header 1 header=”Prominent Bass (40% of songs)”]

Prominent bass played a role within the Hip Hop/Rap (100% of songs), Pop (45% of songs) and R&B/Soul (20% of songs) primary genre categories.

• All About That Bass (Pop):  Acoustic bass
• Sugar (Pop):  Electric “Funk” bass
• Trap Queen (Hip Hop/Rap):  Synth bass
• Uptown Funk (R&B/Soul):  Electric “Funk” bass

[Header 1 header=”Claps & Snaps (25% of songs)”]

Claps and/or snaps played a role within the Dance/Electronic (100% of songs), Pop (18% of songs), R&B/Soul (20% of songs) and Rock (50% of songs) primary genre categories.

• Centuries (Rock):  Electronic natured group claps
• I’m Not The Only One (R&B/Soul):  Human natured claps
• Lips Are Movin (Pop):  Electronic natured claps
• Time Of Our Lives (Dance/Electronic):  Human natured claps

[Header 1 header=”Prominent Drums/Percussion/Beats (70% of songs)”]

Prominent drums/percussion/beats played a role within every primary genre category.  The following song examples from each primary genre category represent where the nature of the beat or the prominence of drums play a key, song-defining role within the mix.

• Centuries (Rock)
• Shake It Off (Pop)
• Time Of Our Lives (Dance/Electronic)
• Trap Queen (Hip Hop/Rap)
• Uptown Funk (R&B/Soul)

[Header 1 header=”Guitar (70% of songs)”]

Guitar played a role within each primary genre category in varying levels of prominence within the Dance/Electronic (100% of songs), Pop (73% of songs), R&B/Soul (60% of songs) and Rock (100% of songs) primary genre categories.

60% of the quarter’s top 10 hits feature electric guitar within the mix, and 10% feature acoustic guitar.   Examples include:

• Animals (Pop):  Electric guitar plays a role in every section of the song except for the bridge.   It’s one of the core elements that puts the Rock in the Pop/Rock genre mix.
• Blank Space (Pop):  Acoustic guitar in effect within the chorus sections, providing Swift’s original fanbase with a taste of “vintage Swift.”
• FourFiveSeconds (Pop):  Acoustic guitar is the primary instrument featured  within the mix in all sections except for the bridge.
• Style (Pop):  Electric guitar is featured in the mix throughout the song, most prominently within the verse sections and bridge.
• Sugar (Pop):  Along with the bass, the electric guitar provides the song with its retro Funk/Pop vibe.
• Take Me To Church (Rock):  Distortion laden electric guitar plays a key role within this Bluesy, Ballad, Soul influenced Rock song.
• Thinking Out Loud (R&B/Soul):  Electric guitar is one of the key ingredients within this R&B/Soul, Pop influenced Ballad.  The song even includes a guitar solo, which is extremely rare among top 10 charting hits.
• Time Of Our Lives (Dance/Electronic):  Electric guitar is minimal within the mix, but accentuates the late 70s/early 80s vibe of the song via its “Chic/Nile Rodgers” qualities.

[Header 1 header=”Piano (40% of songs)”]

Piano played a role within the Pop (9% of songs), R&B/Soul (80% of songs) and Rock (100% of songs) primary genre categories.  All but one song features acoustic piano within the mix.  The exception is I’m Not The Only One, which features electric piano as well.

• Centuries (Rock):  Acoustic piano is utilized to dramatic effect within the song’s chorus sections.
• Earned It (R&B/Soul):  Along with strings, acoustic piano defines this “Waltz” influenced Ballad’s sound and vibe.
• I’m Not The Only One (R&B/Soul):  Acoustic and electric piano work in tandem with one another in defining the sound of this R&B/Soul, Gospel influenced Ballad.
• Lay Me Down (R&B/Soul):  Acoustic piano is the primary featured instrument throughout the majority of this R&B/Soul Ballad.
• Lips Are Movin (Pop):  Acoustic piano accentuates the retro early 1960s Doo Wop/Girl Group nature of the song within the pre-chorus and chorus sections.
• Take Me To Church (Rock):  Along with the electric guitar, acoustic piano plays a prominent role in establishing the Bluesy, atmospheric nature of the song.   It’s most prominently featured within the intro.

[Header 1 header=”Strings (25% of songs)”]

Strings played a role within the Dance/Electronic (100% of songs), Pop (9% of songs) and R&B/Soul (60% of songs) primary genre categories.

• Earned It (R&B/Soul):  Acoustic strings are the primary instrument featured within the mix throughout the song.  This is one of the characteristics that enable Earned It to really stand out among its mainstream contemporaries.
• I’m Not The Only One / Lay Me Down (R&B/Soul):  Both of Sam Smith’s Ballad influenced hits feature prominent strings within the mix.
• Love Me Like You Do:  Acoustic strings provide a great counter to the synth-laden nature of the song.  Not only do they provide infectious contrast, coloring and texturing, but they act to heighten the emotional value of the song as well.
• Time Of Our Lives (Dance/Electronic):  Strings enter the mix during the last chorus within the song, accentuating its retro 70s Disco influenced vibe.

[Header 1 header=”Synth (55% of songs)”]

The synth played a role within all of the primary genre categories except for Rock in varying levels of prominence.  Its use was most popular within the Dance/Electronic (100% of songs), Hip Hop/Rap (100% of songs) and Pop (73% of songs) primary genre categories.  Only 20% of the R&B/Soul hits featured a synth within the mix.

• Dance/Electronic:  Time Of Our Lives
• Hip Hop/Rap: Trap Queen
• Pop:  Animals, Blank Space, Jealous, Love Me Harder, Love Me Like You Do, Shake It Off, Sugar, Style.    The exceptions were All About That Bass, FourFiveSeconds and Lips Are Movin.
• R&B/Soul:  Uptown Funk

[Header 1 header=”Wind (25% of songs)”]

Wind instruments played a role within the Pop (36% of songs) and R&B/Soul (20% of songs) primary genre categories.  All but one song features a sax as the primary wind instrument within the mix.

• All About That Bass:  Sax
• Lips Are Movin:  Sax
• Love Me Harder:  Sax
• Shake It Off:  Sax
• Uptown Funk:  Brass section

The average length of a top 10 hit during the first quarter of the year was 3:49.  This was up nine-seconds from the preceding quarter.

The 3:30 – 3:59 song length category was by far the most popular, accounting for 55% of the quarter’s top 10 hits.  It was also the most popular within each primary genre category except for R&B/Soul, where it accounted for just 20% of songs (I’m Not The Only One lands within the 4:00+ category.  It was close though, landing at 3:59).

The longest song of the quarter was once again Thinking Out Loud, which clocks in at 4:39.   It’s the perfect amount of time for ample photo ops during a couple’s first dance at their wedding!  The shortest song of the quarter was Lips Are Movin, which lands at 3:01.

[Header 3 header=”Key:”]

A=Verse, B=Chorus, C=Bridge, IB=Instrumental Break, VB=Vocal Break

[Header 1 header=”A-B-A-B-C-B“]

A-B-A-B-C-B was once again the most popular song form/structure, accounting for 55% of songs.   Representative songs stemmed from all of the primary genre categories except for Dance/Electronic and Hip Hop/Rap:

• Pop (55% of songs):  Blank Space, Jealous, Love Me Harder, Shake It Off, Sugar, Style
• R&B/Soul: (80% of songs):  Earned It, I’m Not The Only One, Lay Me Down, Uptown Funk
• Rock:  (50% of songs):  Centuries

[Header 1 header=”Other Song Forms”]

B-A-B-A-B (All About That Bass, Lips Are Movin – Pop):  Both songs begin with the chorus and then alternate verse – chorus for the duration.

A-B-A-B-C-A-B (FourFiveSeconds):  The song follows the A-B-A-B-C-B form except for the additional verse (Kayne West) that follows the bridge and precedes the final chorus.

A-B-A-B-IB/VB-B (Love Me Like You Do):  In place of a bridge the song features a brief instrumental break/vocal flourish.

A-B-A-B-IB-B (Thinking Out Loud – R&B/Soul):  Instead of a bridge the song features a guitar solo.  It otherwise features the core of the A-B-A-B-C-B form.

B-A-B-A-B-C-B (Centuries – Rock):  After kicking off with the chorus, the song follows an A-B-A-B-C-B form.

[Header 1 header=”First Section Types”]

60% of Q1’s top 10 hits contain an intro within their framework.  Note that this was the lowest amount in over two years.   The other songs immediately kick off with the verse or chorus:

[Header 3 header=”Kicking off with the verse (20% of songs):”]

• FourFiveSeconds (Pop)
• Lay Me Down (R&B/Soul)
• Take Me To Church (Rock)
• Thinking Out Loud (R&B/Soul)

[Header 3 header=”Kicking off with the chorus (20% of songs):”]

• All About That Bass (Pop)
• Animals (Pop)
• Lips Are Movin (Pop)
• Time Of Our Lives (Dance/Electronic)

[Header 1 header=”Intros”]

[Header 2 header=”Intro Length”]

The average length of a top 10 intro during the first quarter of the year was 12-seconds, which is two-seconds longer than the preceding quarter.   The moderately short (0:10 – 0:19) intro length category was the most popular, accounting for 45% of songs.  81% of songs have their intro landing at 19-seconds or less, and none landed over 23-seconds in length.

While having an intro land toward the shorter end of the spectrum is certainly a good rule of thumb, there are of course exceptions.  18% of songs have their intro landing within the moderately long (0:20 – 0:29) range, which is not the norm.  That’s not to say that they weren’t effective, though.  Reference I’m Not The Only One and Love Me Like You Do below for details.

[Header 2 header=”Intro Percent Of A Song’s Total Composition”]

The average amount of time that the intro comprised of a song’s total composition was 5%.  Love Me Harder allocated the least amount of time to the intro (1%), and I’m Not The Only One allocated the most (10%).

[Header 2 header=”Intro Types”]

There were five types of intros that kicked off the quarter’s top 10 hits – the “backing music” intro, the “breakdown/sparse” intro, the “multifaceted” intro, the “narration/artist plug” intro, and the “standout/unique” intro.

This type of intro features elements of the backing music of the section that directly follows.  It instantly establishes the song’s vibe, and provides for a seamless transition between sections.   Note that this intro is typically the most popular among top 10 charting hits.

[Header 3 header=”Examples to listen to:”]

• Earned It (R&B/Soul):  0:12
• Blank Space (Pop):  0:05
• I’m Not The Only One (R&B/Soul):  0:23 – It consists of the backing music from the first stanza of the verse that follows.  Despite its long length, its infectious “Soul nature” easily keeps the listener engaged until the verse takes over.

[Header 2 header=”The Breakdown/Sparse Intro”]

This type of intro features solo or sparse instrumentation without a “full band” backing.  It usually contains characteristics that are found within the section that directly follows (e.g. a song might start off with a solo synth which carries over into the verse that follows coupled with drums and vocals being added into the mix).

[Header 3 header=”Examples to listen to:”]

• Centuries (Rock):  0:07 – The song begins with the infectious and easily recognizable “da, da, da, da…” sample fro Tom’s Diner.  It reoccurs throughout the song in a changed-up manner, preceding the chorus.
• Love Me Like You Do (Pop):  0:20 – This intro consists solely of two synths.  The primary synth plays pronounced block chords, and the secondary synth features a low-level arpeggio nature.  Together they do a great job of establishing the mood and the song’s Ballad/Electroopop/80s retro sub-genre/influencer blend.  Its easily captures the listener’s attention in an airplay environment, and holds their attention via the changing nature of the chord progression, despite it clocking in at a lengthy 20-seconds.
• Love Me Harder (Pop):  0:03 – It begins with a single sustained synth note that slightly increases in level over a period of three seconds.  This is followed by the vocal from the verse coming in on top.
• Shake It Off (Pop):  0:06 – Consisting solely of drums, this intro instantly establishes the song’s “sick beat” hook.

[Header 2 header=”The Multifaceted Intro”]

This type of intro adds multiple elements into the mix throughout which ultimately heightens the engagement value for the listener.

[Header 3 header=”Examples to listen to:”]

• Jealous (Pop):  0:11 – The first half of the intro features solo electronic drums, which provides the backbone within the verse that follows.  Halfway through the section a high-pitched synth effect enters the mix, which increases in level throughout.
• Style (Pop):  0:19 – The first half of the intro features funky guitar and a couple of synths within the mix.  Together, they establish a funky, moody (slightly dark), retro 80s vibe.  Notice that there’s a low to high EQ sweep in effect as well.  The second half of the section adds driving bass and 80s natured drums into the mix, all of which serve as the backing music for the verse that directly follows.
• Uptown Funk (R&B/Soul):  0:17 – The first nine-seconds of the intro features the “doh, doh, doh” vocal hook, Linn drums, and “swoosh” effects.  At nine-seconds in, prominent electric guitar is added into the mix and remains into effect for the duration of the section.  At 15-seconds in a vocal “growl” enters the mix, followed by the double brass/bass/drum hit that ushers in the first verse.

[Header 2 header=”The Narration & Artist Plug Intro”]

An “artist plug” intro serves as “free marketing” built directly into a song.  This is especially important in an airplay environment when an artist is not announced before or after the song is played.

By having the artist plugged directly within the song, it enables the listener to easily track it down and become a fan.  It also heightens the visibility and clout of the artist each and every time the song is played.

A narration intro features spoken dialog.  It’s used to set a scene, plug a featured artist, or in some cases a combination of the two.

• Time Of Our Lives (Dance/Electronic):  Even though the song doesn’t technically contain an intro (it kicks off with the chorus), it wouldn’t be a Pitbull song if “Mr. Worldwide” and the featured artist (Ne-Yo) weren’t announced at some point.  This happens at 21 and 28-seconds into the song, respectively.
• Trap Queen (Hip Hop/Rap):  0:15 – The song features a kid announcing RGF productions at the onset, followed by processed vocal stating “Remy Boyz, yaaahhhhh.” Wap then enters the mix at the tail end with “1738, ah,” before heading into the first verse.  Note that this intro is also technically a “backing music” intro as well, considering that the synths from the intro remain in effect within the first verse.

[Header 2 header=”Stand Out/Unique Intros”]

This type of intro features characteristics that are not found elsewhere within the song, a uniquely indefinable key hook, or a left of center element that cuts through the mix.

Of all the intros of the quarter, Uptown Funk’s “doh, doh, doh” vocal hook, Centuries’ “da, da, da, da” Tom’s Diner Susanne Vega sample hook, Shake It Off’s “sick beat” drum hook and Earned It’s strings/drum “Waltz” type nature are some of the most effective.  This is because they’re instantly recognizable, easily cut through “airwave clutter,” and most importantly engage the listener on a profound level.

[Header 1 header=”Kicking Off With The Chorus”]

Immediately kicking off with the chorus is a risky venture.  This is because technically you’re “showing all your cards” right up front.  Most songs provide a build up to the chorus (payoff) through the intro, verse and sometimes the pre-chorus.  By the time they get to the chorus, they’re totally prepped for it (i.e. the chorus works within the context of the sections that precede it).

The plus side of kicking off with the chorus is that if the listener is into it, chances are that you’ve got them for the duration of the song.  This is because they’ll want to hear it again and again, considering that all of the other sections are equally as strong.

On the minus side, is if the chorus doesn’t connect with them on a profound level, chances are that they’re not going to stick around to hear the rest of the song.

So if you’re going to kick off with the chorus, you better make very sure that it’s exceptionally infectious, engaging and memorable, and can function as a solid stand-alone section outside the context of the other sections within the song.

This was the case with four songs during the first quarter of the year – All About That Bass, Animals, Lips Are Movin and Time Of Lives.

[Header 3 header=”First Chorus Characteristics”]

• All About That Bass (full chorus):  The first chorus is a carbon-copy of the second chorus within the song, featuring vocals, claps and acoustic bass.
• Animals (full chorus):  The first chorus possesses a semi “breakdown”/sparse nature relative to the subsequent chorus sections within the song.  This is primarily due to the drums being left out of the mix.
• Lips Are Movin (partial chorus):  The first chorus features only the second half of the full chorus sections found elsewhere within the song.  Note that this was a good move on the part of the writers because it is arguably the most infectious part of the song (i.e. “if your lips are movin, if your lips are movin…”)
• Time Of Our Lives (full chorus):  While the nature of the vocal melody is the same as the other chorus sections, it differs in regard to the backing music.  In particular, the second half of the section features claps/snaps as opposed to the full dance/club beat that defines this part of the second chorus.  Additionally, “Mr. Worldwide” and Ne-Yo are introduced by Pitbull within the first chorus.

[Header 1 header=”Kicking Off With The Verse”]

Kicking off with the verse instantly thrusts the listener into the “meat” of the song, fully engaging them from the get-go.  While this has been a historical rarity in the top 10, its popularity has grown during the first quarter of the year.  Representatives include:

• Lay Me Down (R&B/Soul)
• FourFiveSeconds (Pop)
• *Thinking Out Loud (R&B/Soul)
• *Take Me To Church (Rock)

(*) These songs were the category’s two representatives during Q4.

[Header 1 header=”Verse Count”]

The vast majority of songs that charted within the top 10, 90%, contain two verse sections within their framework.  There were a couple of exceptions, however:

• Trap Queen (Hip Hop/Rap): Three verse sections (A-B-A-B-A)  Hip Hop/Rap influenced songs are typically the most verse-centric out of all of the primary genre categories.

• FourFiveSeconds (Pop):  Three verse sections (A-B-A-B-C-A-B)  This song features a duet between Rihanna and Kanye West.  An additional verse section was included following the bridge and preceding the final chorus.  It primarily features West, with Rihanna joining in on the final line (“’cause all of my kindness, is taken for weakness”).  Note that this line also appears at the end of the first verse, which is Rihanna’s solo section.

[Header 1 header=”Verse Placement”]

The majority of songs have their first verse appearing at the beginning of the song following an intro, and the second verse following the first chorus occurrence.

[Header 1 header=”Verse Length Uniformity”]

The majority of songs, 65%, possess verse sections of equal length.  Representatives from each primary genre category except for Hip Hop/Rap include:

• Centuries (Rock):  0:21 / 0:21
• Earned It (R&B/Soul):  0:24 / 0:24
• Sugar (Pop):  0:16 / 0:16
• Time Of Our Lives (Dance/Electronic):  0:31 / 0:31

Examples of songs that do not contain verse sections of equal length throughout are:

• FourFiveSeconds (Pop):  0:28 / 0:18 / 0:28 (Rihanna / West / West and Rihanna)
• I’m Not The Only One (R&B/Soul):  0:47 / 0:23
• Take Me To Church (Rock):  0:45 / 0:33
• Trap Queen (Hip Hop/Rap):  0:39 / 0:26 / 0:52

[Header 1 header=”Verse Percent Of A Song’s Total Composition”]

The average amount of time that the verse comprised of a song’s total composition was 25%.  Uptown Funk allocated the least amount of time to the verse at just 13%, and Trap Queen allocated the most by far at 53%.  Again, remember that Hip Hop/Rap songs are typically the most verse-centric.

[Header 1 header=”Vocal Melody”]

Not surprisingly, the K.I.S.S. principal (keep it simple and singable) and copious amounts of repetition are two key vocal melody ingredients that define today’s mainstream hits.   Most songs feature a similar vocal melody within both verse sections of the song.  However, there are of course exceptions to the rule.  What follows are  examples where the at least one of the verse sections greatly differed from the other:

• Trap Queen (Hip Hop/Rap):  The first and third verse sections are very similar to one another, but verse two features a complete stylistic departure.
• Lips Are Movin (Pop):  The first verse features a rap influenced delivery, while the second verse is sung.
• Lay Me Down (R&B/Soul):  The nature of the melody between both verse sections is quite different.
• Take Me To Church (Rock):  While there are melodic and rhythmic similarities between both sections, the nature of Hozier’s delivery is quite different in the second verse (i.e. it’s more animated), coupled with the addition of background vocals.

[Header 1 header=”Music”]

Most songs feature a moderate change up in the backing music between verse sections.  There’s just enough variation to heighten the engagement value of the song, while at the same time not interfering with the memorability factor (i.e. not changing things up so much where it throws the listener for an unmemorable loop).  However, as with the nature of the vocal melody, there are exceptions to the rule.  Examples include:

• Blank Space (Pop):  The general nature of the beat and the “xylophone influenced” synth hook remain essentially the same between both verse sections.  However, guitar strums, a reverb drenched “stomp” and synth bass are added into the mix within the second verse.
• Lay Me Down (R&B/Soul):  The first verse possesses a sparse nature, consisting of acoustic piano and Smith’s vocal.   Drums, bass and strings are added in addition to the piano within the second verse.
• Take Me To Church (Rock):  The first half of the first verse features a sparse nature, consisting of acoustic piano and Hozier’s vocal. The second half adds heavily distorted guitar and sparse drums to the mix.  The second verse features the electric guitar in the mix from the get-go, coupled with a steady, prominent beat.

75% of the quarter’s top 10 hits utilized this “optional” section within their framework, which up slightly from 71% in Q4.

The majority of songs within the Pop (82% of songs) and R&B/Soul (80% of songs) primary genre categories feature a pre-chorus, as well as both songs in the Rock genre.  However, neither song within the Dance/Electronic (Time Of Our Lives) and Hip Hop/Rap (Trap Queen) primary genre categories feature one within their framework.

[Header 1 header=”Pre-Chorus Count”]

All songs except for two contain two pre-chorus sections within their framework.  The exceptions are:

• Centuries (three pre-choruses):  The song features an additional pre-chorus following the bridge and preceding the final chorus.
• Jealous (three pre-choruses):  The song features an additional pre-chorus following the bridge and preceding the last chorus within the song.

[Header 1 header=”Pre-Chorus Length Uniformity”]

All songs except for Lay Me Down contain pre-choruses of equal length.  Its first pre-chorus lands at 20-seconds, and the second lands at 16-seconds

[Header 1 header=”Verse / Pre-Chorus Length Comparison”]

Of the songs that contain a pre-chorus within their framework, a little less than half have them being equal/nearly equal to the length of the verse sections within the song.  Examples include:

• Break Free (Dance/Electronic)
• Animals (Pop)
• Uptown Funk (R&B/Soul)

The rest vary. Examples include:

• All About That Bass (Pop):  The first pre-chorus is the same length as the first verse.  The second pre-chorus is double the length of the second verse due to it being a half-verse.
• Love Me Like You Do (Pop):  The first pre-chorus is half the length of the first verse because the first verse is a double.  Its second pre-chorus is the same length as the preceding verse (it’s a single).
• Shake It Off (Pop):  Both of its pre-choruses are half the length of the verse sections.
• Style (Pop):  Its pre-choruses are one-third the length of the verse sections.
• Take Me To Church (Rock):  Due to the non-uniform length of its verse sections, the first pre-chorus is around a quarter the length of the first verse and the second is around one-third the length of the second verse.
• Thinking Out Loud (R&B/Soul):  Its pre-choruses are half the length of the verse sections.

[Header 1 header=”Pre-Chorus Length Uniformity”]

All songs contain pre-choruses of equal length throughout.

[Header 1 header=”MTI Levels:  First Pre-Chorus Within The Song”]

[Header 2 header=”Lift”]

The majority songs have their first pre-chorus providing an MTI level (momentum/tension/intensity) lift relative to the verse that precedes it.  This is brought about via a shift in the nature of the backing music, vocal delivery, or both.  In most cases its just slightly more intense.

Examples to listen to:

• Earned It (R&B/Soul):  Provides a slight increase due to the falsetto nature of the vocal
• Love Me Harder (Pop):  Provides an increase due to the addition of the kick, bass and claps
• Love Me Like You Do (Pop):  Provides a slight increase due to the higher pitch of Goulding’s vocal and additional instrumentation within the mix.
• Sugar (Pop):  Provides an increase due to Levine’s faster vocal delivery (i.e. the 16th notes at the beginning of each line) and the addition of prominent deep bass into the mix.
• Uptown Funk (R&B/Soul):  Provides a slight increase due to the additional instrumentation and vocals that have been added into the mix.

[Header 2 header=”Constant”]

The following songs have their first pre-chorus MTI level remaining pretty much on par with that of the preceding verse:

• Lips Are Movin (Pop)
• Shake It Off (Pop)

[Header 2 header=”Decrease”]

The following songs have their first pre-chorus MTI level being lower than the preceding verse:

• Centuries:  It’s initially brought down during the “Tom’s Diner” sample and ramps back up toward the end due to the low to high pitch synth swell that’s added into the mix.
• Style:  The powerful drums from the preceding verse are pulled from the mix, which results in a lower MTI level.
• Take Me To Church:  The MTI level is brought down due to the section’s sparse nature relative to the preceding verse (i.e. piano and “amen” vocal).

[Header 1 header=”Verse/Pre-Chorus:  Vocal Melody”]

All of the songs during the quarter have their pre-chorus providing a shift in the nature of the vocal melody relative to the preceding verse.   In most cases it’s just as infectious and memorable as the preceding verse.

[Header 1 header=”Verse/Pre-Chorus:  Backing Music”]

[Header 2 header=”Slight To Moderate Shift”]

The vast majority of songs have their pre-chorus providing a slight to moderate shift in the nature of the backing music relative to the preceding verse.  In most cases, the core musical foundation of the verse will remain intact, with additional instrumentation being added into the mix to provide engaging contrast.

[Header 3 header=”Examples :”]

• All About That Bass (Pop):  Electric guitar is added into the mix
• Lips Are Movin (Pop):  Piano is added into the mix.
• Love Me Like You Do (Pop):  Additional synths are added into the mix
• Sugar (Pop):  Prominent deep bass is added into the mix
• Uptown Funk (R&B/Soul):  Guitar and synth are added into the mix on top of the drums from the preceding verse.

[Header 2 header=”Constant/Relatively Constant”]

Only one song, Animals (Pop), has the backing music of its first pre-chorus remaining pretty much in line with that of the preceding verse.  However, note that the 16th note electric guitar run is more prominent within the mix

[Header 2 header=”Big Shift”]

Two songs have their first pre-chorus providing a stringent musical shift relative to the verse that precedes it:

• Centuries (Rock):  The powerful drums and electric guitar from the preceding verse are removed from the mix.  In their place a thin, trebly snare enters the mix in conjunction with a low to high pitch synth swell and the Tom’s Diner “da, da, da, da” vocal.
• Style (Pop):  The powerful drums and bass from the preceding verse are removed from the mix.  The “funky” guitar remains in effect in conjunction with prominent acoustic piano block chords that support Swift’s changed up vocal.

[Header 1 header=”First Chorus Occurrence”]

Getting to the first chorus (“payoff”) of a song ASAP is of the utmost importance.  During the first quarter of the year, the average amount of time that it took was 40 seconds / 17% of the way into a song.

The most popular first chorus occurrence category was the moderately late (0:40 – 0:59) category, which accounted for 45% of songs.  This was followed by the late (1:00+) category at 25% of songs.  It just goes to show that so long as the sections that precede a chorus are equally as strong, the listener will hang in there until the “payoff” pays off.

On the flip side, the two least popular categories were the early (0:02 – 0:19) and moderately early (0:20 – 0:39) categories.  Each was represented by just one song – Centuries and FourFiveSeconds, respectively.

[Header 1 header=”Kicking Off With The Chorus”]

There were a handful of songs (25%) that wasted no time at all and got to the chorus either immediately or following an intro.  They include:

• *All About That Bass (Pop)
• *Animals (Pop)
• Centuries (Rock) – the chorus follows a brief seven-second intro.
• *Lips Are Movin (Pop)
• *Time Of Our Lives (Dance/Electronic)

Those preceded by an asterisk immediately begin with the chorus.

[Header 1 header=”Chorus Count”]

The vast majority of songs (80%) contain three chorus sections within their framework.  The exceptions are:

[Header 3 header=”Two Chorus Sections”]

• Trap Queen (Hip Hop/Rap):  A-B-A-B-A

[Header 3 header=”Four Chorus Sections”]

• Animals (Pop):  B-A-B-A-B-C-B
• Centuries (Rock):  B-A-B-A-B-C-B
• Time Of Our Lives (Dance/Electronic):  B-A-B-A-B-C-C-B

[Header 1 header=”Chorus Length Uniformity”]

35% of songs have their chorus sections being of equal length.  Examples include:

• Blank Space (Pop):  0:40 / 0:40
• Take Me To Church (Rock):  0:30 / 0:30
• Earned It (R&B/Soul):  0:24 / 0:24
• Time Of Our Lives (Dance/Electronic):  0:32 / 0:32 / 0:32 / 0:32
• Trap Queen (Hip Hop/Rap):  0:26 / 0:26

Examples of songs that have their choruses varying in length include:

• All About That Bass (Pop):  0:14 / 0:14 / 0:43
• Animals (Pop): 0:20 / 0:20 / 0:40 / 0:40
• Shake It Off (Pop):  0:24 / 0:36 / 0:50
• I’m Not The Only One (R&B/Soul):  0:24 / 0:24 / 0:48

[Header 1 header=”First Chorus Structure”]

This section details the types of different types of “parts”/stanzas within the first chorus of a song.

[Header 2 header=”X”]

This is where the full chorus consists of just one specific “part”/stanza.  It was by far the most popular, accounting for nearly half of the quarter’s top 10 hits.

• All About That Bass (Pop)
• Animals (Pop)
• Earned It (R&B/Soul)
• FourFiveSeconds (Pop)
• I’m Not The Only One (R&B/Soul)
• Lay Me Down (R&B/Soul)
• Love Me Like You Do (Pop)
• Take Me To Church (Rock)
• Thinking Out Loud (R&B/Soul)

[Header 2 header=”X-X”]

This is where the first “part”/stanza repeats a second time around in the same/nearly the same manner.

Example: Trap Queen (Hip Hop/Rap)
[Header 4 header=”Part X”]

And I get high with my baby
I just left the mall, I’m getting fly with my baby, yeah
And I can ride with my baby
I be in the kitchen cooking pies with my baby, yeah

[Header 4 header=”Part X”]

And I can ride with my baby
I just left the mall, I’m getting fly with my baby, yeah
And I can ride with my baby
I be in the kitchen cooking pies with my baby, yeah

[Header 2 header=”X-X2″]

This is where just the lyrics are changed up during the second “part”/stanza.  The core nature of the vocal melody and backing music remain essentially the same:

• Blank Space (Pop)
• Shake It Off (Pop)

Example:  Blank Space
[Header 4 header=”Part X”]

So it’s gonna be forever
Or it’s gonna go down in flames
You can tell me when it’s over
If the high was worth the pain
Got a long list of ex-lovers
They’ll tell you I’m insane
‘‘Cause you know I love the players
And you love the game

[Header 4 header=”Part X2″]

‘Cause we’re young and we’re reckless
We’ll take this way too far
It’ll leave you breathless
Or with a nasty scar
Got a long list of ex-lovers
They’ll tell you I’m insane
But I’ve got a blank space baby
And I’ll write your name

[Header 2 header=”X-Y2″]

This is where the nature of the vocals change, but the core nature of the backing music remains essentially the same during the second “part”/stanza:

• Jealous (Pop)
• Love Me Harder (pop)

Example: Love Me Harder
[Header 4 header=”Part X”]

‘Cause if you want to keep me, you gotta, gotta, gotta, gotta, got to love me harder
And if you really need me, you gotta, gotta, gotta, gotta, got to love me harder
Baby, love me harder

[Header 4 header=”Part Y2″]

Ooh, ooh, ooh, oooh
Love me, love me, love me
Ooh, ooh, ooh, oooh
Harder, harder, harder

[Header 2 header=”X-Y3″]

This is where both the nature of the vocals and backing music are changed up relative to the first “part”/stanza:

Example: Lips Are Movin (chorus 2 – the first chorus is a partial chorus that kicks off the song)
[Header 4 header=”Part X”]

I know you’re lyin, ’cause your lips are movin
Tell me do you think I’m dumb
I might be young, but I ain’t stupid
Talking round in circles with your tongue
I gave you bass, you gave me sweet talk
Sayin’ how I’m your number one
But I know you’re lyin’, ’cause your lips are movin
Baby don’t ya know I’m done

[Header 4 header=”Part Y3″]

If your lips are movin, if your lips are movin, if your lips are movin, then you’re lyin’, lyin’, lyin’, babe
If your lips are movin, if your lips are movin, if your lips are movin, then you’re lyin’, lyin’, lyin’, babe

[Header 2 header=”X-Y1-Y3-X3″]

Centuries is the sole representative of this particular chorus structure.  Here, the second “part”/stanza possesses the same general vocal melody as the first stanza, but the backing music is slightly changed up and the lyrics differ.  The “part”/stanza that follows features a complete departure on all levels (i.e. vocal, lyrical and musical).  The last line of the section reverts back to the lyrics and vocal melody that initially kicked the section off. However, the backing music is a continuation of the differentiated “part”/stanza that precedes it.

[Header 4 header=”Part X”]

Some legends are told
Some turn to dust or to gold
But you will remember me
Remember me for centuries

[Header 4 header=”Part Y1″]

And just one mistake
Is all it will take
We’ll go down in history
Remember me for centuries

[Header 4 header=”Part Y3″]

Hey-ey-ey-ey-ey-yah
Hey-ey-ey-ey
Hey-ey-ey-ey-ey-yah

[Header 4 header=”Part X3″]

Remember me for centuries

Some songs possess exceptionally simplistic choruses that feature the repetition of a specific lyric or lyrics.  These choruses are very effective in getting the infectious “payoff” completely ingrained within the listener’s head.  Examples include:

Because you know I’m all about that bass, ’bout that bass, no treble
I’m all about that bass, ’bout that bass, no treble
I’m all about that bass, ’bout that bass, no treble
I’m all about that bass, ’bout that bass

[Header 3 header=”Lips Are Movin (Part Y of the chorus)”]

If your lips are movin
If your lips are movin
If your lips are movin
Then you’re lyin’, lyin’, lyin’, babe

[Header 3 header=”Love Me Like You Do“]

So love me like you do, lo-lo-love me like you do
Love me like you do, lo-lo-love me like you do
Touch me like you do, to-to-touch me like you do
What are you waiting for?

[Header 3 header=”Shake It Off (Part Y/second stanza within the second & third choruses)”]

Shake it off, I shake it off
I, I, I shake it off, I shake it off
I, I, I shake it off, I shake it off
I, I, I shake it off, I shake it off

[Header 3 header=”Uptown Funk (note that this is not a “traditional” Pop chorus – reference the Uptown Funk Deconstructed report for details)”]

Girls hit your hallelujah (whoo)
Girls hit your hallelujah (whoo)
Girls hit your hallelujah (whoo)

‘Cause uptown funk gon’ give it to ya
‘Cause uptown funk gon’ give it to ya
‘Cause uptown funk gon’ give it to ya
Saturday night and we in the spot
Don’t believe me just watch come on

Don’t believe me just watch uh
Don’t believe me just watch uh
Don’t believe me just watch uh
Don’t believe me just watch
Don’t believe me just watch
Hey hey hey oh

[Header 1 header=”First Chorus Transitions”]

There were six primary methods utilized to transition into a first chorus (non-song starter) during the first quarter of the year.  The three most popular were turning on a dime, a transitional pause/lull, and a vocal lead in.

[Header 2 header=”Vocal Lead In”]

This type of transition features the full or partial first line of the chorus preceding the section’s “official” start (i.e. beginning within the preceding verse or pre-chorus).  In most cases it’s featured in conjunction with a transitional pause/lull.

Examples include:

• All About That Bass:  “Because you know I’m” is followed by the bass and claps entering the mix on “all about that bass.”
• Animals:  “Baby I’m” is followed by the full backing music hitting on “preyin’ on you tonight”
• Style:  “You got that” is followed by the full backing music hitting on “James Dean”

Instrumental Lead In

• Style:  Quick guitar riff + synth effect at the transition point
• Take Me To Church:  Quick guitar riff following the “amen” pre-chorus

[Header 2 header=”Transitional Pause/Lull”]

This is a technique that’s utilized to enable a chorus to hit with increased perceived impact.

In most cases, it works hand in hand with the vocal lead in transition as detailed above where most or all of the backing music is pulled out from under the vocal followed by the full chorus hitting.

[Header 3 header=”Examples include:”]

• All About That Bass:  The song comes to a brief full stop at the end of the pre-chorus.
• Lips Are Movin:  The song comes to a brief full stop at the end of the pre-chorus.
• Trap Queen:  Most of the backing music is pulled out from under the “I ain’t never lettin’ go” vocal at the end of the verse, followed by the full backing music hitting at the onset of the chorus.

[Header 2 header=”Swell (Synth and/or Cymbal)”]

• Blank Space
• Centuries
• Uptown Funk (in this case, it’s almost like a reverse swell where the synth follows a descending progression that jibes with the “break it down” proclamation leading into the breakdown nature of the chorus.

[Header 2 header=”Drum Fill”]

• Centuries
• Jealous
• Shake It Off

[Header 2 header=”Turning On A Dime/Seamless Transition”]

• Earned It
• I’m Not The Only One
• Love Me Like You Do

[Header 1 header=”First Chorus MTI”]

What follows is a breakdown of songs by how their first chorus MTI level (momentum/tension/intensity) relates to the section that precedes it.  As is usually the case, the majority (60%) have their first chorus being slightly to moderately more intense.

[Header 2 header=”Less Intense”]

• All About That Bass
• Love Me Like You Do:  The song goes into breakdown mode primarily due to the drums begin pulled from the mix

[Header 2 header=”Relatively On Par”]

• Earned It
• FourFiveSeconds:  For the most part it’s pretty much on par with the preceding section.  Note however that the additional vocals that were added into the mix provide for a very slightly more intense nature.
• Thinking Out Loud (“wedding songs” need to have an even flow throughout)

[Header 2 header=”Slightly To Moderately More Intense”]

• Blank Space (note that the MTI level further increases within chorus part Y)
• Centuries:  The MTI level following the verse is briefly brought down during the “Tom’s Diner” sample pre-chorus.  The chorus that follows possesses a more intense nature.
• Style:  The pre-chorus possesses a partial breakdown quality primarily due to the removal of the drums from the mix.  The full backing music slams in at the onset of the chorus.
• Sugar:  Its higher MTI level is due to the falsetto nature of the vocal, additional instrumentation within the mix, and higher overall levels.
• Trap Queen

[Header 2 header=”Less Intense / More Intense”]

These choruses begin with a lower MTI level relative to the preceding section and then kick back up for the duration.

• Time Of Our Lives:  The first half of the chorus features a breakdown/sparse nature primarily due to the drums and bass from the preceding section being pulled from the mix.  The song kicks back into “dance mode” when the drums and bass are reintroduced during the second half.
• Uptown Funk:  The section begins in breakdown mode during the first half of Part X.  The MTI level increases during the second half, and releases into the intense, driving nature of Part Y.  The “hey, hey, hey OW!” vocal at the end of Part Z brings the MTI level of the section to a climax.  Reference the Uptown Funk Deconstructed Report for details.

[Header 2 header=”More Intense/Less Intense”]

• Lips Are Movin:  Part X is slightly more intense, and Part Y that follows is slightly less intense due its breakdown nature.

The primary role of a bridge is to provide an engaging departure/twist relative to the other sections within a song.  This can be achieved via a changeup in the lyrics, vocal melody, backing music, or a combination of the three.  Additionally, the bridge should also provide an MTI level (momentum/tension/intensity) shift relative to the other sections.  Any or all of these changeups will take the impact and engagement factor of a song to the next level.

In Q1, 75% of songs featured a bridge within their framework, which is up from 67% during Q4.  Examples of songs that DO NOT contain a bridge include:

• All About That Bass (Pop) B-A-B-A-B:  The triple final chorus provides a departure from the other chorus sections within the song.
• Lips Are Movin (Pop) B-A-B-A-B:  The breakdown segment within part X of the final chorus provides a departure from the other sections within the song.
• Thinking Out Loud (R&B/Soul)  A-B-A-B-Gtr. Solo-B:  The rare guitar solo provides the departure in lieu of the bridge.
• Trap Queen (Hip Hop/Rap) A-B-A-B-A:  The song possesses a solid blend of repetition and contrast throughout.

[Header 1 header=”Bridge Placement”]

As is typically the case, the majority of songs have their bridge following the second or third chorus (depending on the form) and followed by a chorus as well, which is usually the last one within the song.  However, there are a couple of exceptions to note:

• FourFiveSeconds (Pop):  A-B-A-B-C-A-B
• Time Of Our Lives (Dance/Electronic):  B-A-B-A-B-C-C-B

[Header 1 header=”Q1 Bridge Examples”]

[Header 3 header=”Animals“]

Following the intense nature of the chorus, the bridge immediately shifts gears by taking on a sparse nature, consisting of drums (toms), a shaker, a low level droning/rumbling synth, and Levine’s “yo-oh-oh” / “whoa-oh-oh” vocals.

The first half of the section features Levine’s infectious “yo-oh” and “whoa-oh” vocals, which channels the essence of Sting.  The second half of the section cleverly revisits the last line within both stanzas of chorus part X, “just like animals, animals like animals-mals.”  Note, however, that it’s being sung at a higher pitch and possesses a more processed nature, which differentiates it from the chorus.  This reinforces the title hook within the listener’s head, keeps things fresh and engaging via its contrasting nature, and accentuates the overall vibe of the section as well.

Additionally, notice that the background “hey” vocals from the verse are also reintroduced during the second half of the section.  They provide an underlying “tribal” type quality, which perfectly jibes with the section’s overall vibe.

Once the vocal transitions over to “just like animals…,” notice that an electronic tambourine enters the mix, which increases the overall momentum of the section.  This is followed by the synth becoming more prominent and increasing in pitch, which acts to take the tension level to an apex.  Combined, they paint a picture that not only has the “hunt begun”, but the “chase” is now full on.

At the tail end of the section, the pitch of the synth drastically shoots up and peaks, followed by the backing music coming to a halt save for some residual ringing.  This takes the anticipation level to an apex for a brief moment, which is then followed by Levine’s triumphant “OWWWW!” vocal.  This cleverly gives the impression that the predator has caught his prey, without the need to lyrically describe what’s going on.

And therein lies what makes this bridge so special. It heightens the engagement factor of the song via the departure it provides, while at the same time contributing to the overall storyline without having to lyrically describe a thing (i.e. I’m chasing this person, I’m about to get them, got ‘em!).  This is what hit songwriting is all about.

[Header 3 header=”Blank Space“]

Following the intense nature of the chorus, an abrupt shift takes place where the MTI level of the song takes a stringent dive due to all of the backing music being removed from the mix except for the snare.   This allows for the highlight of the section, the repetitive “boys only want love if it’s torture…” vocal to take center stage.  To counter the repetition, additional layers of vocal harmony are added throughout, which ultimately puts the section over the top.  Reference the Blank Space Deconstructed report for additional details.

[Header 3 header=”Centuries“]

Following the intense nature of the chorus, the MTI level takes a dive during the first half of the bridge primarily due to the guitar and drums being pulled from the mix.  It’s kicked back up during the second half once the claps and prominent thumping bass are instituted.  Vocally, the lyrics at the beginning and end of each line are infectiously prolonged, which provides pronounced contrast relative to the preceding chorus.   Following the bridge, the song goes back into the Tom’s Diner “da,da,da,da” pre-chorus.  Notice that the last “da,da,da,da” features a solo Vega vocal, which brings the MTI level all the way down.  This enables the intense nature of the following chorus to slam in with increased perceived impact.

[Header 3 header=”Lay Me Down“]

Following the lush, light, evocative nature of the chorus, the direction of the song takes an abrupt turn within the bridge.  Consisting of “march” natured drums, propulsive strings and the “lay me down tonight, lay me by your side” vocals, the song takes on an infectiously driving nature that bares no resemblance to the other sections.  Additionally, note that its here in the bridge where the song title is featured, NOT in the chorus which is indicative of most other top 10 charting hits.

[Header 3 header=”Shake It Off“]

Shake It Off’s bridge provides a stringent departure relative to all of the other sections within the song both vocally and musically.  Vocally, it begins in a low-fi spoken manner (“hey, hey, hey”…), and is followed by the “cheerleader/Valley Girl/Mickey” influenced “my ex-man brought his new girlfriend…” segment for the duration.

Musically, In contrast to the full band (sax, synth, bass, drums), full fidelity nature of the preceding chorus, the bridge instantly shifts the song back into “breakdown” mode (the first time was at the beginning of the second verse), consisting solely of drums and claps.  This gets the “sick beat” further ingrained within the listener’s head.  Combined, the vocal and backing music serves as an additional payoff for the listener that is just as strong as the chorus.

[Header 3 header=”Time Of Our Lives“]

This song technically contains two back-to-back bridge sections, both of which provide a departure relative to the other sections.  The first features Ne-Yo, which brings the MTI level of the song back down following the dance/club nature of the preceding chorus.  The first half possesses a more sparse, grooving R&B nature, consisting of a changed-up beat, synth bass and simplistic/infectious/repetitive lead and background vocals.  The second half goes further into “breakdown” mode, consisting solely of the lead vocal, background vocal, bass and claps.   Snare and electric guitar reenter the mix toward the end in conjunction with a low to high EQ sweep.

Instead of slamming back into the chorus, Pitbull enters the mix during the second bridge to deliver his spoken “inspirational message” over a synth and some background effects.  A synth swell and drum fill enters at the tail end, which leads into the final dance/club influenced chorus of the song.

[Header 3 header=”Uptown Funk“]

Following the intense chorus, the MTI level of the song is brought back down at the onset of bridge part X due to the reversion back to the “doh, doh, doh” vocal hook, straight-ahead kick/snare combo, and Mars’s “before we leave…” narration.

It’s kicked up a notch for the duration of the part once Mars starts rapping the “up-town funk you up” lyrics coupled with the hats and bass “flourish” being added into the mix.

As soon as bridge part Y hits, the MTI level is kicked up another couple of notches primarily due to the “funky natured” electric guitar that has been added into the mix. This helps to take the excitement factor of the section to the next level and provide additional infectious coloring and texturing.

The MTI level reaches a peak toward the tail end once the section reverts back to the intense nature of  the “it’s Saturday night and we in the spot…” segment which defines the conclusion of chorus part X.

During the first quarter of the year only a couple of songs featured an instrumental and/or vocal break within their framework:

Following the intense nature of the chorus, the listener is given a “breather” as the song moves back into “serene mode” within this brief instrumental/vocal break section.

Now, the question is – does this section technically qualify as being an instrumental/vocal break?  The answer is both yes and no.

While it’s not a “full standalone” section such as the EDM natured instrumental break within Wake Me Up or Ke$ha’s “whoa” vocal break section within Timber, it does provide a solo instrumental run coupled with Goulding’s “ahhh-hhha” vocal flourish.

Additionally, within the timeline of the song it appears independently of the preceding chorus and the pre-chorus that follows.   For this reason, we consider this to be a brief instrumental/vocal break as opposed to an “extended intro” into the pre-chorus that follows.

[Header 3 header=”Thinking Out Loud (Instrumental Break)”]

Thinking Out Loud features a rare 25-second guitar solo that appears where you would typically expect to find the bridge.  (A-B-A-B-Gtr. Solo-B)

During the first quarter of the year, 60% of songs concluded on the chorus. As you can gather, it’s quite effective to leave the listener with a final taste of the song’s primary “payoff.”  The other 40% of songs featured an outro within their framework.

[Header 1 header=”Outro Length”]

The most popular outro length category of the quarter was the long (0:30+) category, accounting for 38% of songs.  Representatives stemmed from the Hip Hop/Rap and R&B/Soul primary genre categories including Earned It, Trap Queen and Uptown Funk.

The least popular was the short (0:01 – 0:19) category, which accounted for 13% of songs.  Representatives include All About That Bass, Love Me Like You Do and Sugar.   Notice that this is essentially the reverse of the intro length “rule of thumb” (i.e. short was more popular than long).

[Header 1 header=”Outro Types:”]

[Header 2 header=”Vocal Play:  Outros that feature a vocal effect or narration”]

• All About That Bass:  Giggle
• Trap Queen:  The entire section features a spoken vocal coupled with an RGF Productions plug.

[Header 2 header=”Vocal and/or Instrumental change up on the preceding section”]

• Jealous (Pop):  The backing music from the preceding chorus remains in effect.   Vocally, Jonas repeats “oh, that’s why…I still get jealous.”
• I’m Not The Only One (R&B/Soul):  With the core nature of the backing music from the preceding chorus still in effect, Smith repeats “I know I’m not the only one” throughout the outro.  The second to last occurrence features the prolonged “and I know and I know and I know…” vocal which provides the section with an engaging twist, and prevents it from becoming overly monotonous as well.
• Trap Queen (Hip Hop/Rap):  The backing music from the preceding chorus remains in effect coupled with a changed up spoken vocal that is unique to the section.
• Earned It (R&B/Soul):  The general nature of the backing music from the preceding chorus remains in effect, with additional strings being added into the mix.   Vocally, vocal “flourishes” are added into the mix coupled with The Weeknd’s vocals becoming a lot more processed while he sings lines from the chorus.  The last line is the “earned it” line from the chorus as the section as a whole fades out.  The song comes to a conclusion before the fade is complete, leaving the listener hanging considering that it doesn’t resolve on the tonic.

[Header 2 header=”Vocal and/or Instrumental change up on a non-preceding section”]

• Sugar (Pop):  The song essentially reverts back to the backing music that defines the second pre-chorus coupled with Levine’s Michael Jackson influenced “whoo!” vocal flourish and laugh.

[Header 2 header=”New type of section (characteristics not found in the other sections of the song)”]

• Love Me Like You Do (Pop):  Following the MTI level apex that defines the third chorus, the listener is gently put back down on the ground within the outro.  Note that this is the only section that consists entirely of strings, which provides stringent contrast relative to all of the other sections within the song.   Ultimately, the strings elicit a vibe akin to the end of a TV/movie love story (which essentially is what Love Me Like You Do is).   Following one last Goulding vocal flourish, the strings fade from the mix, and the song comes to a conclusion.

[Header 1 header=”Endings”]

• All About That Bass:  While the guitar rings out, a final acoustic bass run is featured in conjunction with Meghan Trainor’s “giggle.” The song resolves on the tonic.
• Centuries:  The backing music is pulled out from under the last lyric within the chorus, “Centuries.”  This enables the title to really stand out and resonate with the listener.
• FourFiveSeconds:  Following the last line of the chorus, “that’s all I want,” the song comes to an abrupt full stop.  There’s no delay or reverb trail.
• I’m Not The Only One:  The song concludes with a smooth resolve at the end of the chorus, followed by a six-second piano ring out.
• Jealous:  Following the last lyric within the chorus, “Jealous,” the backing music is pulled and a solo delay processed “Jealous” vocal repeats four times as it fades from the mix.
• Lay Me Down:  The song comes to a smooth resolve at the end of the final chorus with a piano/string ring that lasts for seven-seconds.
• Take Me To Church:  The last distorted/feedbacking guitar note from the chorus rings out in dramatic fashion for 12-seconds.
• Thinking Out Loud:  The last line of the chorus, “we found love right where we are” repeats three consecutive times as opposed to just once as is the case within the other chorus sections of the song.  The final one features a sparse/breakdown nature, which helps the song come to a smooth resolve. Notice that the repeat of this line was well warrated as opposed to the featuring of the title considering its “wedding song ready” nature.
• Time Of Our Lives:  The song comes to an abrupt end when the backing music is pulled out from under the last lyrics within the chorus, “let’s get it now” followed by a brief delay ring out on the lyric, “now.”
• Trap Queen:  Toward the end of the outro the “RGF productions” plug is once again stated, followed by the backing music being pulled out from under the “sssssscuqal” vocal.