At a Glance

Overview, Highlights & Takeaways

Song Structure

[Header 1 header=”Intro (0:00 – 0:16)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• Acoustic Piano (Part 1: Block Chords – Level: mid-high) Primary Placement in the mix: 12:00.
• Trumpet (Mix of short/long notes with vibrato – Level: mid-high) Primary placement in the mix: 12:00

[Header 4 header=”Chord Progression: E – B – A (I – V – IV)”]

[Header 2 header=”Characteristics & Vibe Establishment”]

Clocking in at 16-seconds/8-bars, Cheerleader’s intro lands in the middle of the road when it comes to Top 10 intro lengths (0:01 – 0:09 being the shortest intro length range, and 0:30+ being the longest).

It’s comprised of just two instruments – piano and trumpet – which provides the section with a sparse nature. Together, their characteristics establish the laid-back, jovial, uplifting vibe that defines the entire song.

[Header 2 header=”Engagement & Memorability Accentuators”]

Unlike other Top 10 hits that feature cookie-cutter repetition of a key hook throughout, Cheerleader provides a solid combination of repetitive and contrasting characteristics that functions to keep the listener engaged while at the same time getting the section ingrained in their head.

[Header 3 header=”Repetition”]

• Piano progression
• C# – E beginning of each of the three trumpet parts

[Header 3 header=”Contrast”]

• The manner in which each trumpet part concludes

[Header 2 header=”Instrumental Hook Establishment / Familiarity Factor”]

The intro introduces the listener to one of the song’s two primary instrumental hooks – the I – V – IV piano progression.  Notice that the progression is very similar to the Who’s “Baba O’Reiley”, but down a half step and played with a slightly different rhythm. Nonetheless, the familiarity that it imparts makes it easier for the listener to connect with the song, if  they’ve heard it before.

[Header 2 header=”Unique Identifier/Attention Grabber”]

The key characteristic of Cheerleader’s intro that enables it to easily cut through airwave clutter, instantly engage the listener, and provide the song with a uniquely identifiable nature in relation to most of its mainstream contemporaries is the trumpet.

While other recent songs in the Top 10 have featured a full brass section (“Uptown Funk”), or sax (“Shake It Off”), the solo trumpet is something that is rarely featured in a Top 10 hit.

Transition Point (Intro into Verse 1): In the last bar of the intro the cymbal swell enters the mix and finishes with a crash on the first downbeat of the verse that follows.

[Header 1 header=”Verse 1 (0:16 – 0:32)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix: “]

• Acoustic Piano (same as intro)
• *Congas (Played with hands, slaps and bass tones – Level: mid-high) Primary placement in the mix: Panned 9:00 – 3:00, low to high.

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 4 header=”Chord Progression: E – B – A (I – V – IV)”]

[Header 2 header=” Characteristics”]

The first verse features the piano progression from the intro coupled with two new additions into the mix – OMI’s lead vocal, and the congas.  The trumpet, however, has been omitted for now.

[Header 2 header=” Vibe Continuity & Shift”]

The Jamaican characteristics of OMI’s vocal puts the Reggae vibe of the song into effect, while the addition of the congas provides the song with an exotic island feel.  Along with the piano they maintain the uplifting, jovial vibe that was established in the intro.

Additionally, notice that the song’s uplifting, jovial vibe jibes perfectly with the lyrics (i.e. “When I need motivation, my one solution is my queen ’cause she stays strong”) due to its positive and uplifting nature.

What hasn’t been established yet?  The song’s modern Dance/Club vibe, which will play a primary role in the ensuing sections.

[Header 2 header=” Unique Identifier Accentuator”]

Where the trumpet provides the song with a unique nature in relation to its mainstream contemporaries in the intro, the addition of the congas does the same in the first verse. This is an element that you rarely find in a Top 10 hit.

Transition Point (Verse 1 into Pre-Chorus 1): The same cymbal swell that transitioned the intro into the first verse is utilized to transition the verse into the pre-chorus.

[Header 1 header=”Pre-Chorus 1 (0:32 – 0:40)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• *Acoustic Piano (Part 2: Arpeggio – Level: mid to low) Primary placement in the mix: 12:00
• Congas (same as verse)
• *Bass (Sub bass – bass line 2– Level: mid to low) Primary placement in the mix: 12:00
• *Cymbal (Ride cymbal – Level: low) Primary placement in the mix: 12:00
• *Synth (Rain Stick Effect) – follows the cymbal swell/hit transition at the beginning of the section and is utilized in the transition to Chorus 1 – Level: low) Primary placement in the mix: very wide stereo, 9:00 to 3:00

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 4 header=”Chord Progression: E – A – B – A (I – IV – V – IV)”]

[Header 2 header=”Preceding Section Repetition & Contrast”]

As with the intro and first verse, some elements carryover from the first verse into the pre-chorus, while others are removed from the mix.

[Header 3 header=” Verse – Pre-Chorus Instrumental Carryover”]

• Congas: This keeps the island vibe in effect coupled with a rhythmic continuity between sections.

[Header 3 header=” Verse – Pre-Chorus Instrumental New Arrivals”]

• Bass:  For the first time in the song bass has been added into the mix. Its sub bass quality hints at the more modernistic/electronic direction that the song will take in the ensuing sections, coupled with providing the section with increased coloring, texturing, and of course bottom end.
• Ride Cymbal: In addition to the congas, electronically processed quarter note cymbal hits are added into the mix. They provide the section with increased coloring and texturing as well as increased momentum as the song moves toward the chorus/payoff that follows. Additionally, notice that its processed quality further hints and the electronic direction that the song will take in the chorus that follows, and provide contrast to the primarily acoustic elements that have been the focus thus far.

[Header 3 header=” Verse – Pre-Chorus Changed Up Instrumental Characteristics”]

In addition to the new instrumentation as detailed above, two key characteristics of the song have been changed up relative to the preceding verse and intro:

• Chord progression: Here in the pre-chorus we find an E – A – B – A (I –IV – V – IV) progression, which provides contrast against the E – B – A (I – V- IV) progression that defines the preceding verse and intro.
• Piano:  In contrast to the intro and verse, which feature piano block chords, here in the pre-chorus the piano shifts over to arpeggios. This shift provides the section with a heightened degree of coloring, momentum, and contrast, which keeps the song fresh and engaging.  Also notice that the changeover to arpeggios accentuates the shift in the song’s narrative (i.e. focusing on what “they” say as opposed to what the protagonist says – reference the Story Flow & Meaning section of the report for details).  Additionally, notice that the eighth note rhythm of the piano works in conjunction with and enhances the eighth note rhythm of the vocals, as in the line “do you think I’m pretty, do I make you feel like cheating.”

Transition Point (Pre-Chorus 1 into Chorus 1): The transition into the first chorus begins two bars from the end of the pre-chorus. It starts with a hi-pass filter sweep on the synth (rain stick effect), which functions in the same manner as the cymbal swell from the intro and verse but is more electronic in timbre and less metallic. The usage of a synth in place of a cymbal here provides the song with an additional modern/electronic quality that further moves the song into the more Pop/Club vibe that defines the ensuing chorus. This effect leads right up to the chorus.

The last bar of before the first chorus marks the first appearance of the drum fill that bookends each chorus.  Notice that the drum full adds rhythmic weight to the vocals (it hits with each “no not re-ally cause” lyric) and helps to propel the song forward.

[Header 1 header=”Chorus 1 (0:40 – 0:56)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• *Bass (Sub bass and percussive bass (with moderate reverb) working in tandem with one another – bass line 1 – Level: mid-high) Primary placement in the mix: 12:00 with a wide reverb decay
• *Kick (Electronic/Dance, four on the floor – Level: high) Primary placement in the mix: 12:00
• *Clap (Short electronic clap, enters halfway through the section – Level: low) Primary placement in the mix: 3:00

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 4 header=”Chord Progression: E – A – B (I –IV – V)”]

[Header 2 header=”First Chorus Occurrence”]

Cheerleader’s first chorus arrives at 40-seconds / 22% of the way into the song.  This is inline with the most popular first chorus appearance of Q2-2015’s Top 10 charting hits.

[Header 2 header=”Cross-Section Contrast & Vibe Shift”]

Instrumentally speaking, the first chorus is a major departure from the preceding sections of the song.  There is no trumpet, piano, congas, or cymbals to be found.  In their place, a deep/percussive synth bass combo is instituted, coupled with a driving kick and claps that enter halfway through the section.  Together, they shift the song into a focused, modern Dance/Club/Pop mode as opposed to the more traditional and acoustic “island” vibe that defines the preceding sections of the song.

[Header 2 header=”Cross-Section Sub-Genre/Influencer/Vibe Commonalities”]

Despite the stringent shift in the characteristics of the backing music relative to the preceding sections of the song, notice that certain key characteristics have remained the same:

• The Reggae influence is kept in effect due to the characteristics of OMI’s Jamaican influenced vocal.
• The World vibe of the song is still in effect – just not in the same manner as the preceding sections.  The characteristics of the percussive bass in the mix evokes more of an African type of vibe than the sandy, sundrenched beaches of Jamaica.
• The section as a whole features the same uplifting, jovial vibe that defines the preceding sections.  The addition of the drums and bass get the listener up and moving at an even greater degree, which is part of the purpose of the remix (the other part is to enable the song to connect with a wider mainstream audience).

[Header 2 header=”In-Section Repetition”]

As a whole, the first chorus is exceptionally repetitive. The vocal/lyrics repeat twice in the same manner, and the core foundation of the backing music remains the same throughout. This is well warranted considering their respective infectious characteristics, of which the aim is to get them completely ingrained in the listener’s head.

Additionally, remember that the section is only 16-seconds in length. There is relatively little time for the listener to get bored and tune out.

[Header 2 header=”In-Section Contrast”]

In order to prevent both halves of the section from taking on a “cookie cutter” type quality, low-level electronic claps are added into the mix during the second half.  It may be subtle, but it helps to prevent monotony from setting in.

Transition Point (Chorus 1 into Verse 2): In the last bar of the chorus the drum fill that ushered the section in is used once again to signal the transition into the second verse. Note that it doesn’t line up with the vocals in the same way that it does at the end of the pre-chorus as detailed earlier. It functions in a purely transitional manner coupled with maintaining the song’s heightened MTI level.

[Header 1 header=”Verse 2 (0:56 – 1:13)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• Bass (Same as the preceding chorus)
• Kick (Same as the preceding chorus)
• *Acoustic Piano (Block chords – Level: low) Primary placement in the mix: 12:00
• *Cymbal (Ride cymbal – quarter notes – Level: low) Primary placement in the mix: 12:00)
• Claps (Same as the preceding chorus, but enters the mix at the onset of the section)

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 4 header=”Chord Progression: E – B – A (I –V – IV)”]

[Header 2 header=”Vibe Continuity”]

The first thing that you’ll notice about the backing music of the second verse is that it features the core backing music foundation of the preceding chorus.  This keeps the pronounced Dance/Club vibe of the song in effect, and the listener moving as a result.

[Header 2 header=”Cross/Like Section Repetition & Contrast”]

In order to keep the song fresh and engaging while at the same time ensuring that it gets fully ingrained in the listener’s head, the following was done in the second verse:

[Header 3 header=” Reintroduction of the piano hook “]

The “Baba O’Riley” influenced block chord hook from the intro and first verse is reinstituted here in the second verse.  This further gets this infectious element ingrained in the listener’s head. It also provides contrast relative to the preceding chorus, which doesn’t feature piano in the mix.

[Header 3 header=” Omission of the Congas “]

The congas that defined the first verse are omitted from the mix here in second verse.  As a result, this provides stringent “like section” contrast, which ultimately heightens the overall engagement value of the song.

[Header 3 header=” Addition of the Ride Cymbal “]

The quarter note ride cymbal hits from the first pre-chorus are instituted throughout the entire second verse. This provides the section with increased color and texture, greater intensity and momentum, as well as accentuated differentiation relative to the first verse.

Transition Point (Verse 2 into Pre-Chorus 2): A cymbal swell transitions the second verse into the second pre-chorus, just as it had the first time around in the song.

[Header 1 header=”Pre-Chorus 2 (1:13 – 1:21)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• *Acoustic Piano (Part 2: Arpeggiated– Level: mid to low) Primary placement in the mix: 12:00
• *Bass (Sub Bass – bass line 2 – Level: mid to low) Primary placement in the mix: 12:00
• *Trumpet (Quarter notes on beats 2 and 4– Level: mid-low, crescendos throughout) Primary placement in the mix: 11:00 to 1:00 panning slowly.
• Cymbal (Ride Cymbal – Level: low) Primary placement in the mix: 12:00
• *Synth (Rain stick effect – Level: low) Primary placement in the mix: 12:00

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 4 header=”Chord Progression: E – A – B – A (I – IV – V – IV)  “]

[Header 2 header=”Cross/Like Section Repetition & Contrast”]

Just as in the preceding verse, the second pre-chorus features both repetitive and contrasting characteristics relative to the sections that precede it. The repetition further gets the song ingrained in the listener’s head, while the contrast keeps things fresh and engaging.  Note the following:

[Header 3 header=”Pre-Chorus 1 Instrumental Carryovers”]

The second pre-chorus features the same piano arpeggio and synth bass characteristics/progression from the first pre-chorus. The quarter note driven cymbal is in effect as well.

[Header 3 header=”Pre-Chorus 1 Omissions”]

The congas are the sole key instrument that played a role in the first pre-chorus that are omitted from the mix the second time around. In their place the cymbal, as detailed above, functions as the primary drum/percussion rhythmic element in the mix.

[Header 3 header=”Verse 2 Carryovers”]

The sole element from the preceding verse to carryover into the pre-chorus is the quarter note ride cymbal. In addition to its function as detailed above, it also helps to maintain rhythmic continuity between these two starkly different sections.

[Header 3 header=”Verse 2 Omissions”]

Aside from the cymbals, the backing music/instruments that define the preceding verse and chorus have been removed from the mix. As a result, the stringent contrast greatly accentuates the overall engagement value of the song.

[Header 2 header=”Pre-Chorus 2 – New Instrument Arrivals/Changed Up Elements”]

[Header 3 header=”Trumpet”]

The key new addition to the mix in the second pre-chorus is the trumpet, which hasn’t been in play since the intro. Here it’s just playing a repetitive short E4 that increases from a low/mid to relatively high in the mix from start to finish. It functions to provide the section with increased coloring and texturing, as well as provide continuity into the chorus that follows.

[Header 3 header=” Synth Effect Variation “]

In contrast to the first pre-chorus where the “airy” synth swell enters the mix toward the tail end of the section, here in the second it enters half-way through. However, instead of reaching a crescendo near the transition point into the chorus, it drops out of the mix early. Its primary purpose here is more in the coloring/texturing role as opposed to signaling a transition into the section that directly follows.

[Header 2 header=”Necessity Of The Dance Vibe Shift”]

Considering that the Felix Jaehn remix of Cheerleader is primed for the floor, you might think that the backing music characteristics of the chorus and second verse should remain in effect in the second pre-chorus in order to keep the listener moving. However, if it remained the same, the song would become too monotonous and predictable. Consequentially, the shift in the pre-chorus was well warranted.

However, note that this shift does not impede the listener’s desire to keep moving (i.e. they’re not just standing around at this point). Instead, the shift in the backing music provides for a change in HOW they’re dancing as opposed to IF they’re dancing. Here, they could take on more of a “sway” type move than the more invigorated move that would be elicited in the preceding two sections.

So not only is the listener provided with infectious contrast in what they’re listening to, but contrast in the way that they’re moving as well. As a result, the overall impact of the song is heightened.

[Header 2 header=”Chorus Impact Accentuator”]

Another key benefit of the pronounced backing music shift in pre-chorus 2 relative to chorus 2 and verse 2 is how it impacts Chorus 2. If the song remained at a heightened energy state, then the impact of the second chorus would be hampered due to the similarities. However, by pulling the kick/percussion and percussive bass from the mix (subtractive arranging), the chorus that follows hits with greater perceived impact.

Transition Point (Pre-Chorus 2 into Chorus 2): In the same fashion as the transition into the first chorus, the rain stick synth effect sweeps up 2 bars before the chorus (as the piano arpeggio drops out), followed by the drum fill entering in the last bar before the chorus. This creates a two bar set up going into the chorus and really helps to build excitement.

[Header 1 header=”Chorus 2 (1:21 – 1:37)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• *Bass (Sub bass and percussive bass – bass line 1 – Level: mid-high) Primary placement in the mix: 12:00
• *Kick (Electronic, sub with hard upper-midrange attack, quintessential dance kick – Level: high) Primary placement in the mix: 12:00
• Trumpet (Short notes and licks – Level: mid-high) Primary placement in the mix: 12:00
• *Clap (Short electronic clap – Level: low) Primary placement in the mix: 2:00

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 4 header=”Chord Progression: E – B – A (I – V – IV) “]

The second chorus features a return to full on Dance/Club mode, and the listener is once again moving on a more invigorated level.

[Header 2 header=”Like Section Contrast”]

The overall characteristics of chorus 2 are inline with those of chorus 1, which is usually the case with chart-topping hits (and non-top-charting hits, for that matter).

However, “cookie cutter” repetition risks the chance of starting to bore the listener and may cause them to lose interest.  In order to ensure that this doesn’t happen, the following elements were changed up in chorus 2:

[Header 2 header=”Instrumental Hook #2″]

The second chorus reintroduces the trumpet into the mix for the first time since the intro. Here, it delivers Cheerleader’s other primary instrumental hook as detailed in the Primary Instrumentation section of the report.

Its inclusion provides contrast relative to the first chorus, adds increased coloring and texturing to the section, provides the listener with another key infectious element, and ties the song’s multiple influences together.

Additionally, note that the electronic claps are put into effect from the get-go, as opposed to being added into the mix during the second half of the first chorus.

Transition Point (Chorus 2 into Instrumental Break-1): The drum fill that bookends each chorus appears here as well, dividing the chorus from the instrumental break. It enters in the last bar as the vocals drop out.

[Header 1 header=”Instrumental Break 1 (1:37 – 2:10)”]

[Header 3 header=”Part X (1:37 – 1:53) “]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• Kick (Same as preceding section)
• Bass (Same as preceding section)
• Trumpet (Same as the preceding section –  more soloistic material – Level: mid-low)
• *Acoustic Piano (Part 1: Block Chords – Level: mid-low) Primary placement in the mix: 12:00
• *Congas (Level: mid- low) Primary placement in the mix: 9:00 to 3:00
• *Cymbal (Ride Cymbal – Level: mid-low) Primary placement in the mix: 12:00
• Clap (Same as the preceding section, enters at the mid point – Level: low) Primary placement in the mix: 3:00

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 4 header=”Chord Progression (Part X): E – B – A (I –V – IV)”]

[Header 3 header=”Part Y (1:53 – 2:10)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• Trumpet (Same as the preceding section)
• Acoustic Piano (same as preceding section) Primary placement in the mix: 12:00)
• Congas (Same as the preceding section)
• *Synth (Rain stick effect) – Level: low

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 4 header=”Chord Progression (Part Y): E – A – B – A (I – IV – V – IV) “]

[Header 2 header=”Two-Part Structure / Heightened Engagement”]

The first instrumental break section in the song possesses a two-part structure, which is referred to as Parts X and Y. Each part possesses a distinct characteristic, which keeps the section as a whole engaging throughout.

[Header 2 header=”Part X”]

The first half of the instrumental break section, Part X, features the backing music from the preceding chorus plus the following new and changed up elements:

• The driving quarter-note ride cymbal has been added back into the mix.
• The congas have been added back into the mix. They feature the same pattern as indicative of the other sections in the song.
• The block chords from the intro, verse 1 and verse 2 have been added back into the mix.
• The trumpet features characteristics that are both inline and different compared to the preceding chorus. As a result, key aspects of the instrumental hook are kept intact which reinforces it with the listener, while at the same time it possesses more of a soloing nature, which keeps things fresh and engaging.

All in all, instrumental break Part X is like the grand finale of a fireworks show.  All the song’s key infectious elements (minus the vocals) are firing at once, which helps to take the section, and the song, to the next level.

[Header 2 header=”Part Y”]

The second half of the section, Part Y, features a pronounced shift relative to Part X that precedes it:

• The pronounced Dance/Club vibe of the instrumental break Part X section has been done away with.  This is due to bass 1, bass 2, kick, and ride cymbal being removed from the mix.
• The upfront piano block chords, congas and trumpet solo take center stage.  Additionally, the rain stick synth effect enters at a low level, which provides increased coloring and texturing. It drops back out of the mix toward the end of the section.

The resulting shift in the song’s MTI level (i.e. the Dance/Club respite) coupled with the change up in backing music characteristics heightens the song’s overall engagement factor.

Transition Point (Instrumental Break into Bridge): Cymbal swell.

[Header 1 header=”Bridge (2:10 – 2:26)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• Acoustic Piano (Piano Part 3: Arpeggiated/Block Chords Superimposed – Level: mid to high) Primary placement in the mix: 12:00
• Trumpet (Solo style, similar to previous section – Level: mid-high, crescendos throughout) Primary placement in the mix:12:00
• Congas (Same as the preceding section – Level: mid) Primary placement in the mix: 9:00, 12:00, 3:00
• *Cymbal (Ride Cymbal – Level: low) Placement: 12:00

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 4 header=”Chord Progression: E – A – B – A (I – IV – V – IV)  “]

[Header 2 header=”Sectional Similarities & Contrast”]

The primary function of a bridge is to provide a departure relative to the other sections in the song –instrumentally, vocally, lyrically, and/or in regard to its MTI level.

Vocally and lyrically the bridge takes Cheerleader in a new direction. In regard to the backing music, it reverts back to the general nature of the pre-chorus plus a couple of changed up characteristics:

• Each arpeggio run kicks off with a pronounced block chord.  This wasn’t the case in the pre-chorus sections. As a result, it provides the section with a heightened intensity level.
• The trumpet from the preceding sections remains in the mix. Notice that it features a more active soloing type quality compared to the other sections in the song.  However, it’s lower level in the mix precludes it from overpowering and overshadowing OMI’s lead vocal, which otherwise would have caused the section to come across as too busy and cluttered.

[Header 2 header=”Three-Section Departure”]

The two-part instrumental break AND the bridge provide the song with an engaging and infectious shift for 49-seconds straight. However, their similarities to the other sections in the song keeps flow intact and natural, and the memorability factor at a high.

Transition Point (Bridge into Chorus 3): Same as the pre-chorus/chorus transitions – synth swell and drum fill.

[Header 1 header=”Chorus 3 (2:26 – 2:42)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• *Bass (Sub bass and percussive bass combo – bass line 1 – Level: mid-high) Placement: 12:00
• *Kick (Level: high) Primary placement in the mix: 12:00
• Trumpet (Same as Chorus 2 – Level: mid-high) Primary placement in the mix: 12:00
• Clap (Enters halfway through the section – Level: low) Primary placement in the mix: 2:00

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 2 header=”Cross-section Contrast”]

The third and final chorus in the song is almost a carbon-copy repeat of the second chorus.  The primary difference is that the claps enter halfway through the section, which was indicative of the first chorus.

This returns the song to its Dance/Club vibe, coupled with the infectious trumpet hook.

[Header 4 header=”Chord Progression: E – B – A (I – V – IV) “]

Transition Point (Chorus 3 into Instrumental Break 2): Drum fill – same as the preceding out-of-chorus transitions.

[Header 1 header=”Instrumental Break 2 / Ending (2:42 – 2:58)”]

[Header 2 header=”Primary Instrumentation Featured In The Mix”]

• Bass (Same as preceding section)
• Kick (Same as preceding section)
• Trumpet (Short notes and licks – Level: mid-high) Primary placement in the mix: 12:00
• *Cymbal (Ride cymbal – Level: low) Primary placement in the mix: 12:00
• Clap (Enters halfway through the section – Level: low) Primary placement in the mix: 2:00

*Indicates a new or significantly changed up instrument/vocal in the mix compared to the preceding section

[Header 2 header=”Non-Typical Last Section / Grand Finale Encore”]

Most Top 10 charting hits end in one of two ways – they conclude on the chorus, or they feature an outro in their framework.  Cheerleader, however, features a reversion back to instrumental break 1 Part X.  While this is non-typical, it does reinforce all of the song’s key infectious elements in the listener’s head while at the same time leaving them on an excited high.

Remember – it’s like the grand finale of a fireworks show – except the listener gets a finale encore in Cheerleader.

[Header 2 header=”Changeup At The End”]

Instead of running straight through in the same manner as instrumental break 1 Part X, instrumental break 2 cuts it short and institutes an abrupt change toward the end.

Right before the very end of the song, a cymbal swell/crash enters the mix, followed by all of the elements except for the Trumpet dropping out of the mix. The song finishes with the trumpet alone playing a flutter-tongued long note on G#. Having the trumpet hang over the end allows for interesting transitions in both an airplay and club environment.

Cheerleader features a solo male lead vocal from OMI. Unlike many other mainstream hits such as the recent chart-topper Can’t Feel My Face, Cheerleader doesn’t really change up it’s vocal characteristics throughout the song. There isn’t any pronounced harmony, stringent processing, or multi-tracking to be found. Instead, OMI’s vocal is featured primarily straight up the middle, and processed with moderate reverb and delay which spreads it throughout the mix.

Remember – the original version of this song is straight-up Pop/Reggae, so the vocals lean more toward the more natural end of the spectrum. The remix speeds up the vocals, but leaves the characteristics relatively the same in order to keep the purity of the Reggae vibe intact.

Lines in Cheerleader range from four to fifteen words and four to eighteen syllables.

The pre-chorus contains the shortest lines in the song, each ranging from four to eight syllables.  The chorus is the next step up, with lines ranging from 10 to 12 syllables.   With the exception of line 1 in both verse sections, the verse and bridge feature the longest lines in the song, ranging from 14 to 18 syllables.

Additionally, notice that some lines in the song run straight through with barely a pause, and are a mouthful to sing as a result.  A prime example is the last two lines in the bridge:

Line 3 (11/ 14): Ma-ma loves you too she thinks I made the right se-lec-tion
Line 4 (14 / 15): Now all that’s left to do is just for me to pop the ques-tion 

With the exception of the prolonged “selection” lyric at the end of line three, these lines run straight through.

Segmentation Method Key
(/)=Sixteenth Rest
(//)=Eighth Rest
(////)=Quarter Rest
Bold Font:  Prolonged lyric relative to the lyrics that precede and follow. It provides subtle segmentation in lieu of a rest.

[Header 2 header=”Verse 1″]

Line 1 (4 / 7): When I need mo-ti-va-tion 
Line 2 (12 / 14): // My one so-lu-tion is my queen ’cause she stays strong // yeah, yeah //
Line 3 (12/ 14): She is al-ways in my cor-ner / right there when I want her /
Line 4 (15 / 18):  All these oth-er girls are tempt-ing but I’m emp-ty when you’re gone and they say

[Header 2 header=”Verse 2″]

Line 1 (5 / 6): She walks like a mod-el 
Line 2 (12 / 15): // She grants my wish-es like a ge-nie in a bot-tle /// yeah, yeah //
Line 3 (12 / 14): ‘Cause I’m the wiz-ard of love / and I got the mag-ic wand
Line 4 (15 / 18): All these oth-er girls are tempt-ing but I’m emp-ty when you’re gone and they say 

[Header 2 header=”Pre-Chorus”]

Line 1 (4 / 4): // Do you need me //
Line 2 (5 / 6): Do you think I’m pret-ty
Line 3 (7 / 8): Do I make you feel like cheat-in’
Line 4 (6 / 7): I’m like no / not real-ly ’cause

[Header 2 header=”Chorus”]

Line 1 (9 / 12): Oh I think that I’ve found my-self a cheer-lead-er
Line 2 (9 / 10):  // She is al-ways right there when I need her //
Line 3 (9 / 12): Oh I think that I’ve found my-self a cheer-lead-er
Line 4 (9 / 10): // She is al-ways right there when I need her

[Header 2 header=”Bridge”]

Line 1 (11/ 15): Mmm she gives me love and a-ffec-tion // ba-by did I men-tion //
Line 2 (13 / 14): You’re the on-ly girl for me no I don’t need a next one //
Line 3 (11/ 14): Ma-ma loves you too she thinks I made the right se-lec-tion
Line 4 (14 / 15): Now all that’s left to do is just for me to pop the ques-tion //

( / ): First note of section/last note of section.

Higher Pitch

Lower Pitch

Constant Pitch

[Header 3 header=”Key”]

A=verse, B=chorus, PC=pre-chorus, C=bridge

[Header 1 header=”Sectional Pitch Starting & Ending Points“]

[Header 2 header=”Verse (A-1)”]

Begins on G#4 and ends a third lower on E4 (tonic). The lowest pitch that appears in this section is B3, and the highest is C#5.

[Header 2 header=”Pre-Chorus 1 (PC-1)”]

Begins up a third on G#, and finishes a third higher on B4. The lowest pitch in this section is E4 and the highest is C#5.

[Header 2 header=”Chorus 1 (B-1)”]

Begins a fourth higher on E5 (the highest pitch yet) and finishes on G#4—the first note of the second verse—making for a smooth, seamless transition. The Lowest note of this section is E4, the highest is E5.

[Header 2 header=”Verse 2 (A-2)”]

Same as verse 1.

[Header 2 header=”Pre-Chorus 2 (PC-2)”]

Same as pre-chorus 1.

[Header 2 header=”Chorus 2 (B-2)”]

Same as Chorus 1.

[Header 2 header=”Bridge (C)”]

Begins at a higher pitch on B4 and concludes at the same pitch. The lowest pitch of this section is B3, the highest is C#5, matching the range of the verses.

[Header 2 header=”Chorus 3 (B-3)”]

Same as the previous choruses.

[Header 1 header=”VOCAL MELODY: SECTIONAL ANALYSIS”]

Vocal Melody Graph Key

Yellow Dot:  Sixteenth Note
Green Dot:   Eighth Note
Light Green Dot:  Dotted Eighth Note
Blue Dot:  Quarter Note

[Header 1 header=”VERSE”]

[Header 2 header=”Verse 1″]

[Header 2 header=”Verse 2″]

[Header 2 header=”Verse 1″]

[Header 2 header=”Verse 2″]

[Header 1 header=”Line Reference”]

[Header 2 header=”Verse 1″]

Line 1:  When I need mo-ti-va-tion
Line 2:  My one so-lu-tion is my queen ’cause she stays strong, yeah, yeah
Line 3:  She is al-ways in my cor-ner, right there when I want her
Line 4:  All these oth-er girls are tempt-ing but I’m emp-ty when you’re gone and they say

[Header 2 header=”Verse 2″]

Line 1:  She walks like a mod-el
Line 2:  She grants my wish-es like a ge-nie in a bot-tle, yeah, yeah
Line 3:  ‘Cause I’m the wiz-ard of love, and I got the mag-ic wand
Line 4:  All these oth-er girls are tempt-ing but I’m emp-ty when you’re gone and they say

[Header 1 header=”Lead Vocal Range”]

High: E5
Low: B3

[Header 1 header=”Melodic Structure”]

PART 1

Part 1 represents the descending G# – F# – E motive that occurs at the beginning of lines and phrases in both verse sections.  There are two slight variations to take note of – one being an additional E note at the end, and one being an additional B note at the beginning.

Part 1a

Verse 1

Verse 2

Part 1b

Verse 2

PART 2

In contrast to Part 1, which occurs at the beginning of certain lines and phrases in both verse sections, Part 2 occurs at the conclusion.  There are six slight variations that occur throughout, with the key commonality in most cases being the G# – G# – F# – F# motive.

Part 2a

Verse 1

Verse 2

Part 2b

Verse 1

Verse 2

Part 2c

Verse 1

Part 2d

Verse 1

Verse 2

Part 2e

Verse 2

Part 2f

Verse 2

PART 3

Part 3 represents the ascending/descending motive that occurs in the first half of line 2 and 4 in both verse sections.  It consists of two variations, with the key commonality being the ascent up to C#, followed by descent down to F# or E via A and G# to conclude, depending on the line.

Part 3a

Verse 1

Verse 2

Part 3b

Verse 1

Part 3c

Verse 2

PART 4

Part 4 represents the conclusion of line 2 in both verse sections.  It consists of a descending F# – C# – B progression with a quarter – sixteenth – sixteenth note rhythm.  Its unique characteristics in both verse sections (i.e. the descent via C# – B) essentially function to help segment/break up the flow between lines 1/2 and 3/4 in each section.

Verse 1

Verse 2

PART 5

Part 5 represents E – F# – E – E eighth note motive that occurs between Parts 3a/3b and 2d in both verse sections.

Verse 1

Verse 2

[Header 1 header=”Line/Section Structure”]

Verse 1: (1a – 2a – 3a – 2b – 4 – 1a – 2a – 1a – 2c – 3b – 5 – 2d)

Line 1:  Part 1a – Part 2a
Part 1a:  When I need
Part 2a:  mo-ti-va-tion

Line 2:  Part 3a – Part 2b – Part 4
Part 3a:  My one so-lu-tion is my queen
Part 2b:  ’cause she stays strong
Part 4:  Yeah, yeah

Line 3:  Part 1a – Part 2a – Part 1a – Part 2c
Part 1a:  She is al-ways
Part 2a:  in my cor-ner
Part 1a:  right there
Part 2c:  when I want her

Line 4:  Part 3b – Part 5 – Part 2d
Part 3b:  All these oth-er girls are tempt-ing
Part 5:  but I’m emp-ty when you’re gone
Part 2d:  and they say

Verse 2: (1a – 2a – 3a – 2b – 4 – 1a – 2a – 1a – 2c – 3b – 5 – 2d)

Line 1:  Part 1a – Part 2a
Part 1a:  She walks
Part 2a:  like a mod-el

Line 2:  Part 3a – Part 2b – Part 4
Part 3a:  She grants my wish-es like a ge-nie
Part 2b:  in a bot-tle
Part 4:  Yeah, yeah

Line 3:  Part 1b – Part 2e – Part 1a – Part 2f
Part 1b:  ‘Cause I’m the wiz-ard
Part 2e:  of love
Part 1a:  and I got the
Part 2f:  mag-ic wand

Line 4:  Part 3c – Part 5 – Part 2d
Part 3c:  All these oth-er girls are tempt-ing
Part 5:  but I’m emp-ty when you’re gone
Part 2d:  and they say

[Header 1 header=”PRE-CHORUS”]

[Header 1 header=”Line Reference”]

Line 1:  Do you need me
Line 2:  Do you think I’m pretty
Line 3:  Do I make you feel like cheatin’
Line 4:  I’m like no not really ’cause

[Header 1 header=”Lead Vocal Range”]

High: C#5
Low: E4

[Header 1 header=”Melodic Structure”]

PART 1

Part 1 represents the first line in the pre-chorus.  It begins with a G# – B leap, followed a drop down to two F# notes to conclude.  Rhythmically, it features an all eighth-note delivery up until the last lyric, which is a quarter note.

PART 2

Part 2 represents line 2.  It possesses both similar and contrasting characteristics compared to line 1/Part 1 that precedes it.

Contrast

The line begins a step down from line 1 with two consecutive E notes.  This is in contrast to line 1, which began at a higher pitch with a single G# note.

Similarity

Following the E note run, the melody leaps up to A, followed by a descent down to two F# notes to conclude.  This is similar to the leap up to B followed by the drop down to two F# notes on line 1.

Additionally, notice that the entire line possesses an eighth-note rhythm, which is inline with the bulk of line 1.

PART 3

Part 3 represents the third line in the section.  It also possesses similar and contrasting characteristics relative to lines 1 and 2 that precede it.

Beginning of the line

It begins in a similar manner as lines 1 and 2 via a leap.  The initial leap is the same as line 1, via G# – B.  However, from this point on is where it differs:

• The B note possesses a sixteenth note value as opposed to an eighth note.
• The ascent then continues for one more note to where it reaches C#, which is the highest pitch in the section. Notice that this note is also prolonged for a longer duration relative to all of the other lyrics/syllables via its dotted-eighth value.

[Header 5 header=”Infectious Colorizer”]

Notice that the G# – B – C# / eighth – sixteenth – dotted eighth flourish that occurs on the first three lyrics, “do I make,” provides a quick burst of infectious coloring that takes the impact of the section to the next level.  This is also in part due to the contrast this run possesses relative to the other lines in the section.

Balance of the line

Following the aforementioned ascent, the melody embarks on an all eighth-note descent, which is inline with lines 1 and 2.  However, considering that line 3 is longer than lines 1 and 2, the descent is prolonged.  In this case it features two melodic “platforms,” consisting of A – A – G# – G#, followed by an F# to conclude.  Note that the F# conclusion is also the same as on lines 1 and 2.

PART 4

Part 4 represents the first three lyrics/syllables in line 4, which is the last line in the section.  The reason for its separate Part classification is twofold:

• The phrase consists of a three-note run, consisting of E – F# – E.  This is the only point in the section where this progression occurs.
• This short phrase is followed by an eighth rest, which separates it from the balance of the line.

[Header 5 header=”Lyrical Emphasizer #1 / Rhythmic Break”]

Together, the melodic changeup coupled with the rest as detailed above enables this important phrase to further stand out and connect with the listener, even though line 3 runs straight into it without a pause:

“Do I make you feel like cheatin?”  “I’M LIKE NO”

Additionally, notice that this rest finally provides the listener with a break from the continuous run that started back at the beginning of line 2.  Without this rest, the section of as a whole would come across as a mouthful and as a result potentially lose its impact with the listener.

PART 5

Part 5 represents the balance of line 4 following the “I’m like no” phrase and subsequent eighth rest.

It begins in a similar as the other lines in the section via a melodic ascent.  In this case, it begins on G#, which is the same starting point as lines 1 and 3, and ascends up to B, which is the same as line 1.  However, note that the characteristics of the ascent have been changed up:

The lyric “not” is stretched over two pitches.  As a result the full ascent follows a G# – A – B progression.

The progression follows a dotted eighth – sixteenth – eighth note rhythm.  This is in contrast to the all eighth – eighth and eighth – sixteenth – dotted eighth run that defines lines 1 and 3, respectively.

[Header 5 header=”Lyrical Emphasizer #2″]

As was detailed earlier, the rest that follows the “I’m like no” phrase enables it to further stand out and connect with the listener.  However, notice that it also enables the phrase that FOLLOWS to stand out and resonate equally as much.  The importance of this phrase is just as great, because it counters the definitive “no” statement with unsurety via “not really” in regard to if the protagonist “feels like cheatin.'” Reference the Story Flow & Meaning section of the report for further details.

Balance of the line

Following the G# – A – B ascent, the balance of the line initially continues on with another B note, which differs from the other lines because the progression doesn’t immediately descend.  The next two notes then act to provide a lead in to the chorus that follows.

[Header 5 header=”Chorus Set Up & Lead In”]

The last lyric in the pre-chorus, “’cause,” is very important because of what it achieves lyrically as well as how it melodically sets up the chorus that follows:

Melodic Lead In

Following the B note that precedes it, the first part of the stretched “’cause” lyric, “‘cau-,” features a drop down to G#.  It then leaps back up to B at  the end on “-se.” This puts into effect a melodic ascent (E major arpeggio) to E5, which is the first note in the beginning of the chorus.

Lyrically

The lyric “’cause” functions to bridge the pre-chorus into chorus.

“not really ’cause oh I think that I’ve found myself a cheerleader”

Melody & Lyrics Together

Together, the melodic ascent and lyrical “bridge” provides for a seamless and very effective transition into the chorus that follows.

[Header 1 header=”Line/Section Structure”]

Pre-Chorus: (1 – 2 – 3 – 4 – 5)

Line 1:  Part 1
Part 1:  Do you need me

Line 2:  Part 2
Part 2:  Do you think I’m pretty

Line 3:  Part 3
Part 3:  Do I make you feel like cheatin’

Line 4:  Part 4 – Part 5
Part 4:  I’m like no
Part 5:  not really cause

[Header 1 header=”CHORUS”]

[Header 2 header=”Chorus 1″]

[Header 2 header=”Chorus 2″]

[Header 2 header=”Chorus 3″]

[Header 1 header=”Line Reference”]

Line 1:  Oh I think that I’ve found myself a cheerleader
Line 2:  She is always right there when I need her
Line 3:  Oh I think that I’ve found myself a cheerleader
Line 4:  She is always right there when I need her

[Header 1 header=”Lead Vocal Range”]

High: E5
Low: E4

[Header 1 header=”Melodic Structure”]

PART 1

Part 1 represents the bulk of lines 1 and 3, minus the “cheer-lead-er” lyric at the tail end.  Both lines possess an almost identical melodic and rhythmic nature (they’re lyrically the same as well). However, subtle differentiation is employed in order to prevent the section from taking on a “cookie cutter” type quality. For this reason, we will look at both lines independently, as Parts 1a and 1b.

Part 1a

Following the G# – B ascent at the end of the pre-chorus, the chorus begins at the highest pitch in the song, on E5.  It then drops down to B on the lyric that directly follows, “I.”

[Header 5 header=”Chorus Impact Accentuators”]

For the most part, the pre-chorus and the bridge consist primarily of an eighth note rhythm. In order to accentuate the chorus’s ability to grab the listener’s attention at the onset, the first two notes feature a prolonged nature via quarter notes. This, coupled with the pronounced E – B drop enables the chorus to stand out in an independent manner from the preceding section at the onset, which heightens its overall impact with the listener.

Balance of Part 1a

Following the attention grabbing intro to the section as detailed above, the balance of the part embarks on a “hilly” type progression that starts on C#, descends to G#, ascends to B, and descends back down to G# to conclude.  The entire run features an eighth note rhythm, which provides contrast against the beginning of the line, as well as the end of the line as well (we’ll be getting into that in a bit).

However, notice that the lyric “found” is stretched past its normal syllable count via “fou-nd,” consisting of two eighth notes.  This prolongment functions to break up the otherwise all eighth note run, making the melody as a whole easier to digest and heightening its infectious nature as well.

Part 1b

Part 1b, which represents the bulk of line 3, possesses the same overall characteristics as Part 1a.  However, there are a few differences to take note of:

• In line 1, the lyric “oh” is a single E quarter note. In line 3, it’s stretched over E – B, each possessing an eighth note value.
• In line 1, the lyric “that” is a step below the lyric that precedes it (C# – B). In line 3, it instead drops down to G#.
• In line 1, the lyric “fou-nd” is stretched via A – B, each possessing an eighth note value. In line 3 it features a sixteenth – dotted eighth rhythm.
• In line 1, the lyric “a” is a G# note consisting of an eighth note value. In line 3, it’s prolonged via G# – F# with a sixteenth note rhythm.

These differences might be subtle, and in some cases barely noticeable. However, together they prevent the section from becoming overly monotonous.

[Header 5 header=”Line Set 2 Impact Accentuator”]

The drop down to F# at the end of line 2 (“ne-ed he-r”) enables the repeated second half of the section to enter with increased perceived impact due to the stringent leap up to E at the onset.  This results in heightened engagement value for the listener.

PART 2

Part 2 represents the last segment in each line of the chorus. There is a subtle difference in the manner in which lines 1 and 3 conclude compared to lines 2 and 4. As a result we will look at each independently, as Parts 2a and 2b, respectively.

Part 2a

[Header 5 header=”Song Title Accentuator #1″]

Part 2a represents the last lyric/syllables on lines 1 and 3, which also happens to be the song’s title.  In order to enable this exceptionally important lyric to really stand out and resonate with the listener, the following was done:

• It begins at the lowest pitch on the line, F#.  It then leaps up to B, and concludes via a drop down to G#.  This pronounced leap/decent provides stringent contrast against the smaller step/flowing nature of the line segment that precedes it.
• The lyric possesses a more prolonged and syncopated nature relative to the other lyrics on the line (two dotted-eighths and a quarter note).

Together, these two characteristics enable “cheerleader” to connect and resonate with the listener at a heightened level, and accentuate the infectious nature of the section as a result.

Part 2b

Part 2b represents the last lyrics/syllables on lines 2 and 4 – “need her.” Note that these lyrics are cleverly stretched past their normal syllable count in order to get them to tie in with “cheer-lead-er” on lines 1 and 3.

The segment in line 2 initially features the same F# – B – G# progression as lines 1 and 3 via “ne-ed he-“ However, the “-r” in the stretched “he-r” lyric concludes the line with a drop down to F#. This helps to set up the beginning of line 3 that follows, which begins a step up on G#.

The segment in line 4 features the same overall progression as line 2. However, it concludes on G# as opposed to dropping down to F#.

Rhythmically, lines 2 and 4 differ from their lines 1 and 3 counterparts. They possess a faster all eighth note delivery as opposed to dotted eighths and a quarter.

[Header 5 header=”Melodic Similarity Attributes]

The melodic similarities between “cheer-lead-er” and “ne-ed her” achieves the following with the listener:

• It reinforces the title in the listener’s head, even with the changed up lyrics on lines 2 and 4.
• It acts as an additional hook in the section, which accentuates the song’s infectious nature.
• It acts as an additional key “identifier” for the song due to the manner in which it “sticks out” in the section.
• The fact that it’s repeated at the end of each line accentuates the section, and the song’s, overall memorability factor.

PART 3

Part 3 represents the bulk of lines 2 and 4, minus the “need her” lyrics at the end.  It possesses both similar and contrasting characteristics relative to its line 1 and 3 counterparts.

Contrast

Part 3 begins with G# – B leap.  This is in contrast to the E – B drop at the beginning of Part 1.

Similarity

The progression in both Parts then descends down to G#. However, note that the notes in the descent differ to a degree in both parts, but the trajectory is the same.

Contrast

The balance of the segment in Part 3 is basically the inverse of Part 1. The progression in Part 1 essentially goes “up and over a hill,” while Part 3 goes “into and out of a valley.”  This provides the each line set (lines 1 & 2 / lines 3 & 4) with an engaging flow:

Part 1 (lines 1 & 3): (G#) – A – B – B – A – G
Part 3 (lines 2 & 4): (G#) – E – E – F#

[Header 1 header=”Line/Section Structure”]

Chorus: (1a – 2a – 3 – 2b – 1b – 2a – 3 – 2b)

Line 1:  Part 1a – Part 2a
Part 1a:  Oh I think that I’ve found my-self a
Part 2a:  cheer-lead-er

Line 2:  Part 3 – Part 2b
Part 3:  She is al-ways right there when I
Part 2b:  need her

Line 3:  Part 1b – Part 2a
Part 1b:  Oh I think that I’ve found myself a
Part 2a:  cheer-lead-er

Line 4:  Part 3 – Part 2b
Part 3:  She is al-ways right there when I
Part 2b:  need her

[Header 1 header=”BRIDGE”]

[Header 1 header=”Line Reference”]

Line 1:  Mmm she gives me love and a-ffec-tion, ba-by did I men-tion
Line 2:  You’re the on-ly girl for me no I don’t need a next one
Line 3:  Ma-ma loves you too she thinks I made the right se-lec-tion
Line 4:  Now all that’s left to do is just for me to pop the ques-tion

[Header 1 header=”Lead Vocal Range”]

High: C#4
Low: B3

[Header 1 header=”Overview/Highlights”]

Copy

[Header 1 header=”Melodic Structure”]

PART 1

Part 1 represents the first vocal segment on line 1, “hmmm she gives me-e”  It descends from B at the onset down to F# at the conclusion.

It begins with two consecutive B notes, the first of which is prolonged for a quarter note duration (i.e. “hmmm”). It then drops down to G#, and is then followed by a G# – F progression on the stretched lyric, “me-e.”

It functions as a pickup to the section, beginning in the measure that precedes the bridge. Additionally, note that the bridge is the only section in the song where the vocal begins on a B note.

PART 2

Part 2 represents the last segment in each line of the bridge, as well as the second half of the first segment in line 1.  All possess a very similar nature, but possess differentiated qualities as well. For this reason we will look at each independently, as Parts 2a, 2b, and 2c.

Part 2a

Part 2a represents the first of the repetitive E – G# – G# – F# – B motives that occurs throughout the section.  Notice that it has a soothing, infectious, “nursery rhyme” type quality about it.

It begins with an E quarter note, and is followed by a leap up to two faster G# eighth notes.  A drop down to a prolonged F# quarter note then ensues, followed by a more pronounced drop to a B eighth note to bring the line to a conclusion.

Part 2b

Part 2b represents the last phrase on lines 1, 2, and 3. It follows the same motive that was established in Part 2a except for the additional E eighth note that’s tacked onto the beginning, coupled with the E note that follows possessing an eight value as opposed to a quarter.

Line 1: “ba-by did I men-tion”
Line 2: “I don’t need a next one”
Line 3: “made the right se-lec-tion”

Note that the only line where it appears in an independent manner is on line 1, since it follows an eighth rest.  On lines 1 and 2 it’s part of the continuous line as a whole.

Part 2c

Part 2c represents the last segment in the bridge. It begins in the same manner as Part 2b via E – E – G# – G#.  However, instead of concluding via a F# – B descent, it instead climbs up to B on the lyric “ques-tion” with the same quarter – eighth note rhythm. The rhythmic similarity helps to keep the memorability factor at a high, while the octave difference provides contrast.

[Header 5 header=”Lyric Impact Accentuator”]

By concluding the last line in the bridge an octave up from the other Part 2 segments, it accentuates the excitement factor and impact of the very important “pop the question” lyrics.

Part 2d

Part 2d is unique because it features E – E – G# – G# – F# motive at the BEGINNING of a line (line 3) as opposed to at the end which is indicative of Parts 2a, 2b, and 2c.  The key difference occurs at the tail end.  Instead of the F# being a quarter note and then dropping down to B to conclude, the F# is an eighth note and is followed by a G# – F# G# progression which is represented in Part 4.

PART 3

Part 3 represents the first half of lines 2 and 4.  Both possess a very similar nature, but contain contrasting characteristics as well. For this reason we will look at both independently, as Parts 3a and 3b.

Part 3a

Following the two consecutive Part 2 motives in line 1, (“love and affection, baby did I mention”), the first half of line 2 provides stringent contrast via the initial leap up to C#5 followed by the mostly eight note driven step descent down to E and a bump up to F# at the tail end.  The nature of the progression invokes a jovial type of vibe, which perfectly jibes with the lyrics “you’re the only girl for me.”

Part 3b

Part 3b follows the Part 2 motive at the end of line 3, “made the right selection.” It follows the same overall progression as Part 3a, with just a couple of differences:

• It begins on B, which is the same note that concludes line 3 that precedes it. However, it then leaps up to C#, which is the same as Part 3a.
• Part 3a features the stretched lyric, “fo-r,” which consists of two sixteenth notes across F# – E.  The lyric that follows, “me” is also an E note. In Part 3b, there isn’t a stretched lyric, so the melody just descends via F# – E via two eighth notes on the lyrics “is just” (i.e. there isn’t an additional E note in the line).

PART 4

Part 4 represents the middle section of line 3. Consisting of a G# – F – G# progression, it functions to bridge the two Part 2 motives in a continuous manner that occur at the beginning and end of the line:

Part 2d: “Mama loves you too” (E – E – G# – G# F#)
Part 4 “Bridge”: “she thinks I” (G# – F – G#)
Part 2b: “made the right se-lec-tion” (E – E – G# – G# – F# – B)

[Header 1 header=”Line/Section Structure”]

Bridge: (1 – 2a – 2b – 3a – 2b – 2d – 4 – 2b – 3b – 2c)

Line 1:  Part 1 – Part 2a – Part 2b
Part 1:  Mmm she gives me
Part 2a:  love and a-ffec-tion
Part 2b:  ba-by did I men-tion

Line 2:  Part 3a – Part 2b
Part 3a:  You’re the on-ly girl for me no
Part 2b:  I don’t need a next one

Line 3:  Part 2d – Part 4 – Part 2b
Part 2d:  Ma-ma loves you too
Part 4:  she thinks I
Part 2b:  made the right se-lec-tion

Line 4:  Part 3b – Part 2c
Part 3b:  Now all that’s left to do is just for
Part 2c:  me to pop the ques-tion

Lyrics & Title

---

[Header 1 header=”Lyric Types”]

This section highlights the types of lyrics and phrases that appear within each section of the song. Notice that some of the lyrics and phrases appear in more than one category.

What follows are a couple of examples from each section within the song.  Reference the Story Flow & Meaning section of the report for a full rundown.

[Header 2 header=”Detail/Imagery Lyrics & Phrases”](These lyrics “paint a picture” in your mind and/or provide detail as to what’s happening within the story – literally, metaphorically, or both)

[Header 3 header=”Verse 1″]

Line 2:  My one so-lu-tion is my queen ’cause she stays strong, yeah, yeah
Line 3:  She is al-ways in my cor-ner

[Header 3 header=”Verse 2″]

Line 1:  She walks like a mod-el
Line 2:  She grants my wish-es like a ge-nie in a bot-tle, yeah, yeah

[Header 3 header=”Pre-Chorus”]

Line 2:  Do you think I’m pret-ty
Line 3:  Do I make you feel like cheat-in’

[Header 3 header=”Chorus”]

Line 1:  Oh I think that I’ve found my-self a cheer-lead-er
Line 2:  She is al-ways right there when I need her

[Header 3 header=”Bridge”]

Line 1:  Mmm she gives me love and a-ffec-tion
Line 5:  She thinks I made the right se-lec-tion

[Header 2 header=”Place & Time Lyrics & Phrases”](These lyrics reflect places and the timeline within the story – directly or indirectly)

[Header 3 header=”Verse 1″]

Line 1:  When I need mo-ti-va-tion  (non-specific time)
Line 3:  She is al-ways in my cor-ner
Line 4:  Right there when I want her (refers to “corner”)
Line 5:  All these oth-er girls are tempt-ing but I’m emp-ty when you’re gone (another place other than with the protagonist)

[Header 3 header=”Verse 2″]

Line 2:  She grants my wish-es like a ge-nie in a bot-tle, yeah, yeah
Line 5:  All these oth-er girls are tempt-ing but I’m emp-ty when you’re gone

[Header 3 header=”Pre-Chorus”]

None

[Header 3 header=”Chorus”]

Line 2:  She is al-ways right there when I need her

[Header 3 header=”Bridge”]

None

[Header 3 header=”Bridge”]

Line 1:  Mmm she gives me love and a-ffec-tion
Line 4:  Ma-ma loves you too

[Header 2 header=”Action Based Lyrics & Phrases”](These lyrics inform the listener of what the characters within the story have gone through, are going through, will go through, have done, are doing or will do – directly or indirectly)

Header 3 header=”Verse 1″]

None

[Header 3 header=”Verse 2″]

Line 1:  She walks like a mod-el

[Header 3 header=”Pre-Chorus”]

Line 3:  Do I make you feel like cheat-in’ (alludes to the potential act of cheating)

[Header 3 header=”Chorus”]

None

[Header 3 header=”Bridge”]

Line 7:  Is just for me to pop the ques-tion (potential future action)

P.O.V.

Key

First Person

Second Person

Third Person

Specific

Cheerleader is communicated in both the first, second, and third person narrative. 

• Verse Sections: Primarily the first and third, plus the second on line 5.
• Pre-Chorus: First and third.
• Chorus:  First and third.
• Bridge: First, second, and third.

[Header 2 header=”Verse 1″]

Line 1:  When I need motivation
Line 2:  My one solution is my queen ’cause she stays strong, yeah, yeah
Line 3:  She is always in my corner
Line 4:  Right there when I want her
Line 5:  All these other girls are tempting but I’m empty when you’re gone
Line 6:  And they say

[Header 2 header=”Verse 2″]

Line 1:  She walks like a model
Line 2:  She grants my wishes like a genie in a bottle, yeah, yeah
Line 3:  ‘Cause I’m the wizard of love
Line 4:  And I got the magic wand
Line 5:  All these other girls are tempting but I’m empty when you’re gone
Line 6:  And they say

[Header 2 header=”Pre-Chorus”]

Line 1:  Do you need me
Line 2:  Do you think I’m pretty
Line 3:  Do I make you feel like cheatin’
Line 4:  I’m like no not really ’cause

[Header 2 header=”Chorus”]

Line 1:  Oh I think that I’ve found myself a cheerleader
Line 2:  She is always right there when I need her
Line 3:  Oh I think that I’ve found myself a cheerleader
Line 4:  She is always right there when I need her

[Header 2 header=”Bridge”]

Line 1:  Mmm she gives me love and affection
Line 2:  Baby did I mention
Line 3:  You’re the only girl for me no I don’t need a next one
Line 4:  Mama loves you too
Line 5:  She thinks I made the right selection
Line 6:  Now all that’s left to do
Line 7:  Is just for me to pop the question

Rhyming Schemes

Key

In-line rhyming:  Rhymes that occur within a specific line
Cross-line rhyming:  Rhymes that occur across two or more lines within a specific section
Cross-stanza rhyming:  Rhymes that occur across two or more stanzas within a specific section
Cross-part rhyming:  Rhymes that occur across two or more specific parts within a specific section (e.g. chorus part X and part Y)
(Parenthesis) indicates a background vocal

[Header 2 header=”Verse 1″]

[Header 4 header=”A-A-A/X-A”]

Rhyme Set 1

Line 1:  When I need mo-ti-va-tion
Line 2:  My one so-lu-tion is my queen ’cause she stays strong, yeah, yeah

Rhyme Set 2

Line 3:  She is al-ways in my cor-ner, right there when I want her

Rhyme Set 1

Line 4:  All these oth-er girls are tempt-ing but I’m emp-ty when you’re gone and they say

The first verse features a combination of in-line and cross-line rhyming schemes.
The characteristics of each “rhymer” relates in part to the manner in which they’re sung, in this case with a Jamaican accent. Note that this is indicative of the other sections of the song as well.

[Header 3 header=”Cross-Line Rhyming”]

Rhyme Set 1:  Lines 1, 2, and 4 are connected via the emphasized “ahn” sounding rhyme that occurs at/near the end of each line (minus the “yeah, yeah” tack-on at the end of line 2, and the “and they say” phrase at the end of line 4).

Additionally, notice that even though the lyric “solution” on line 2 ends with “-ion,” it’s not sung in the same manner as the other “rhymers” in the group, and is therefore not connected.

Line 1:  “mo-ti-va-tion“
Line 2:  “strong”
Line 4″  “gone“

[Header 3 header=”In-Line Rhyming”]

Rhyme Set 2:  Lines 3 features the “ah” sounding rhyme that occurs at the tail end of both phrases via “corner” and “her.”  Notice that “-er” isn’t enunciated in the typical “western” manner.

[Header 3 header=”Additional Rhymer”]

All of the lines are connected via the “ah” sounding rhyme as follows:

Line 1:  “motivation”
Line 2:  “strong”
Line 3:  “corner”, “her”
Line 4:  “gone”

The connection between line 3 (“ah”) and the other lines in the section (“on”) isn’t as tight as their respective individual sets because of the “n” addition on lines 1, 2 and 4.  However, the connection is there.

[Header 3 header=”Non-Rhymer / Pattern Breaker”]

Notice that the last phrase on line 4 stands out independently from the other phrases and lines in the section. This breaks the rhyme pattern as the song heads into the first pre-chorus.

[Header 2 header=”Verse 2″]

The second verse features a combination of in-line and cross-line rhyming schemes
Plus cross-section repetitive lyrics that accentuate the connectability and memorability factor of the song as a whole.

[Header 4 header=”A-A-B-B”]

Rhyme Set 1

Line 1:  She walks like a mod-el
Line 2:  She grants my wish-es like a ge-nie in a bot-tle, yeah, yeah

Rhyme Set 2

Line 3:  ‘Cause I’m the wiz-ard of love, and I got the mag-ic wand
Line 4:  All these oth-er girls are tempt-ing but I’m emp-ty when you’re gone and they say

[Header 3 header=”Cross-Line Rhyming”]

Rhyme Set 1:  Lines one and two are connected via the “-odel” / “-ottle” rhyme that occurs at the tail end.

Rhyme Set 2:  Lines three and four are connected via the “ahn” sounding rhyme that occurs at the tail end in the lyrics “wand” and “gone.”

[Header 3 header=”In-Line Rhyming”]

Rhyme Set 2:  Lines 3 features the “ah” sounding rhyme that occurs at the tail end of both phrases in the lyrics “lOve” and “wAnd.”  Notice that “love” is sung more like “lAHve” as opposed to “lUve.”

[Header 3 header=”Additional Rhymers”]

All of the lines are connected via the “ah” sounding rhyme as follows:

Line 1:  “model”
Line 2:  “bottle”
Line 3:  “love”, “wand”
Line 4:  “gone”

[Header 3 header=”Non-Rhymer / Pattern Breaker”]

As is the case with the first verse, the last phrase on line 4 stands out independently from the other phrases and lines in the section. This breaks the pattern as the song heads into the second pre-chorus.

[Header 3 header=”Cross-Section Repetitive Lyrics”]

It’s quite rare in the Top 10 to find songs that have full lines repeating in the same manner in both verse sections.  This is more indicative of pre-choruses, and most certainly choruses.  However, Cheerleader is one of the rare exceptions. The last line in both verse sections repeats in the same manner:

Line 4:  All these oth-er girls are tempt-ing but I’m emp-ty when you’re gone and they say

As a side note, this is the reverse of what we saw in our previous HSD report, Can’t Feel My Face Deconstructed.  In that song, the first two lines in both verse sections were identical as opposed to the last two.

Additionally, line two in both verse sections concludes in the same manner via “yeah, yeah.”

[Header 2 header=”Pre-Chorus”]

The pre-chorus features a combination of cross-line rhyming as well as the use of repetitive lyrics.

Note that the cross-line rhyming scheme occurs on lines 1, 3, and 4.  Line 2, although it LOOKS like it should feature a strong connection with the others, doesn’t.

[Header 4 header=”AXAA”]

Line 1:  Do you need me
Line 2:  Do you think I’m pret-ty
Line 3:  Do I make you feel like cheat-in’
Line 4:  I’m like no not real-ly ’cause

[Header 3 header=”Cross-Line Rhyming”]

Lines 1, 2, and 4 are all connected via the “ee” sounding rhyme in the following lyrics:

Line 1:  “me“
Line 3:  “cheatin'”
Line 4:  “really”

On line 1, the rhymer is the last letter in the last lyric, “me,” which occurs at the tail end of the line.  On line 3, the last lyric is also the rhymer, but notice that the rhyme occurs in the middle of the lyric “cheatin.'”  On line 4, the rhyming lyric, “really,” is the second to last on the line, not the last as on the other lines.  And as is the case with line 3, the rhyme occurs in the middle of the lyric.

The rhyming exception in the section occurs on line 2.  Instead of “pretty” being enunciated as “prettEE,” it’s pronounced as “prettEH.”

[Header 2 header=”Chorus”]

[Header 4 header=”AAAA”]

Line 1:  Oh I think that I’ve found my-self a cheer–lead-er
Line 2:  She is al-ways right there when I need her
Line 3:  Oh I think that I’ve found my-self a cheer–lead-er
Line 4:  She is al-ways right there when I need her

The chorus features a combination of cross-line rhyming and repetitive lyrics.

[Header 3 header=”Cross-Line Rhyming”]

Each line is connected via the “-eeder” sounding rhyme that occurs at the tail end in the lyrics “leader” and “need her.”  Notice that once again it comes down to the manner in which OMI sings certain lyrics in order to make them rhyme with one another.  In this case, he sings “her” more like the “–er” in “leader” as opposed to “hUHr.”

[Header 3 header=”Repetitive Lyrics”]

The entire chorus features two sets of lines that repeat in the same exact manner.  Reference above for details.

[Header 3 header=”Rhyme Accentuator”]

Take note of the melodic similarities between “cheer-lead-er” on lines 1 and 3, and “ne-ed her” on lines 2 and 4.  The similar, infectious manner in which they’re sung helps to accentuate the impact of the rhyme, and the memorability factor of the section as well.  Reference the Vocal Melody section of the report for specifics.

[Header 2 header=”Bridge”]

The bridge features a combination of in-line and cross-line rhyming schemes.

[Header 4 header=”AAAA”]

Line 1:  Mmm she gives me love and a-ffec-tion, ba-by did I men-tion
Line 2:  You’re the on-ly girl for me no I don’t need a next one
Line 3:  Ma-ma loves you too she thinks I made the right se-lec-tion
Line 4:  Now all that’s left to do is just for me to pop the ques-tion

[Header 3 header=”Cross-Line Rhyming”]

[Header 4 header=”Rhyme Set 1″]

Each line in the section is connected via the “uhn” sounding rhyme that occurs at the tail end in the following lyrics:

Line 1:  “mention“
Line 2   “one“
Line 3:  “selection“
Line 4:  “question“

*Notice that in contrast to the first verse where the “o” in lyrics such as “motivation” was pronounced as “ah,” here in the bridge it’s pronounced as “uh.”

Additionally, notice that each line is further connected via the lyric/syllable that precedes the “on” rhymer as detailed above.  The key commonality that they all share is the “eh” sounding rhyme:

Line 1:  “a-ffec-tion,” “men-tion“
Line 2   “next one“
Line 3:  “se-lec-tion“
Line 4:  “ques-tion“

[Header 4 header=”Rhyme Set 2″]

Lines 3 and 4 are further connected via the “ou” sounding rhyme in “too” and “do.”  Notice that the rhyme occurs at the end of the first phrase on each line as opposed to the very end of the line:

Line 3:  Ma-ma loves you too (she thinks I made the right se-lec-tion)
Line 4:  Now all that’s left to do (is just for me to pop the ques-tion)

[Header 3 header=”In-Line Rhyming”]

Both phrases in line one are connected via the “-ection” / “-ention” rhyme that occurs in the lyrics “se-lec-tion” and “mention.”  Notice that the rhyming lyric occurs at the end of both phrases.

Word Cloud

Song Title

[Header 2 header=”Clever/Powerful or Universal/Generic“]

Song titles fall within one of two categories – those that are unique, clever, attention grabbing and/or possess a powerful nature (e.g. “FourFiveSeconds”, “Can’t Feel My Face”), and those that possess more of a universal/generic nature (e.g. “See You Again”, “Love Me Like You Do”).

Cheerleader arguably falls right in the middle. While it’s not as unique and attention grabbing such as “Can’t Feel My Face,” it does invoke emotion and pique the listener’s curiosity to find out what “Cheerleader” is all about.

[Header 2 header=”Title Appearances & Placement“]

“Cheerleader” appears twice in each of the song’s three chorus sections.   It’s featured as the last lyric on the first and third lines as follows:

Line 1:  Oh I think that I’ve found my-self a cheer-lead-er
Line 2:  She is al-ways right there when I need her
Line 3:  Oh I think that I’ve found my-self a cheer-lead-er
Line 4:  She is al-ways right there when I need her

[Header 2 header=”Title Impact Accentuators”]

As a title, “Cheerleader’s” impact is reinforced in three primary ways with the listener:

• The infectious manner in which it’s sung compared to the lyrics that precede it on lines 1 and 3 it enables it to stand out.
• Melodic reinforcement in the non-title lines (lines 2 and 4) via the similar manner in which the lyrics “need her” are sung coupled with their placement (reference the Vocal Melody section of the report for specifics):

Lines 1 & 3:  “cheer-lead-er” (F# – B – G#)
Lines 2 & 4:  “ne-ed he-r” (F# – B – G# – F#)

• Rhyming reinforcement via “cheerleader” and “need her“

[Header 1 header=”Story Flow & Meaning”]

[Header 2 header=”Primary Lyrical Theme”]

Cheerleader is a love/relationship themed song with a strong motivational/inspirational message.

[Header 2 header=” Narrative Flow: In A Nutshell”]

[Header 3 header=” Verse 1″]

• Line 1 and the first half of line 2 establish that a specific woman provides the protagonist with his motivation.
• The second half of line 2 and all of line 3 details HOW this woman provides the protagonist with his motivation.
• Line 4 establishes that the protagonist is tempted by other women. It also provides the lyrical lead in to the pre-chorus that follows.

[Header 3 header=” Pre-Chorus”]

• The narrative on lines 1 – 3 shifts to the temptresses posing questions to the protagonist to see if he’s tempted to cheat.
• The last line features the protagonist’s unsure answer, “no, not really ’cause.” This provides the lyrical lead in to the chorus that follows.

[Header 3 header=” Chorus”]

• The chorus provides the reason why the protagonist might not cheat – because he thinks that he found his “cheerleader.”

[Header 3 header=” Verse 2″]

• Lines 1 and 2 provide additional attribute detail regarding the protagonist’s queen/cheerleader.
• Line 3 provides a shift in the narrative, featuring the protagonist boasting about his “Casanova” type qualities.
• The last line in the section is carbon copy repeat of the last line in the first verse. This reinforces the protagonist’s temptation by other woman, and provides the lead in to the pre- chorus that follows.

[Header 3 header=” Bridge”]

• The bridge provides a lyrical departure from the other sections of the song. It features the protagonist making up his mind and possibly heading into marriage.
• Line 1 provides additional attribute detail regarding the protagonist’s queen/cheerleader.
• Lines 2 details that the protagonist doesn’t want any other woman except for this one.
• Lines 3 communicated that “mama” approves of this woman.
• Now that everything is seemingly in place, the last line details that there is only one thing left to do – “pop the question.” Whether he does or not we may never know.

[Header 3 header=” Darker Interpretations”]

While the story line seems to be all-positive at first glance, there are some underlying “darker” interpretive qualities that provide the storyline with increased depth and impact. Some of these include the protagonist’s usurety that he’s found his “cheerleader,” the protagonist blaming this woman for his temptation to cheat, the possibility that he has and still may cheat, and his seemingly chauvinistic qualities.

Examples:

• “She is always in my corner, right there when I WANT her“
• “All these other girls are tempting BUT I’m empty when you’re gone“
• “Do I make you feel like cheatin’ / I’m like no, NOT REALLY ’cause”
• “Oh I THINK that I’ve found myself a cheerleader”
• “She GRANTS MY WISHES like a genie in a bottle”

[Header 3 header=” Contradictions”]

There are certain lines throughout the song that seem to contradict one another. Example:

On line 3 in the first verse the protagonist states that this woman is “always right there when he wants her.”  However, on line 4 the listener learns that this isn’t always the case because he’s “empty when she’s gone.” This is a key reason why he’s tempted to be with other women.

[Header 1 header=”Verse 1″]

Line 1:  When I need motivation
Line 2:  My one solution is my queen ’cause she stays strong, yeah, yeah
Line 3:  She is always in my corner, right there when I want her
Line 4:  All these other girls are tempting but I’m empty when you’re gone and they say

The narrative in the first verse consists of three premises:

• Lines 1, 2, & 3:  The first three lines relate to the attributes of the protagonist’s love interest and detail why he’s into her.
• Line 4:  The last line relates to the protagonist’s temptation into infidelity as well as a reiteration of how much this woman means to him. It also acts to lyrically set up the pre-chorus that follows.

[Header 2 header=”Opening Line”]

The first line in a song is among the most important.  Why?  It needs to instantly grab the listener’s attention and pique their curiosity for what comes next.  The first line in Cheerleader does just that:

“When I need motivation”

What makes this line effective is that it functions in the manner of a cliffhanger. When the protagonist “needs motivation,” what does he do?  This piques the listener’s curiosity to find out what comes next.

Additionally, the use of the lyric “motivation” adds a state-of-mind element into the mix, which accentuates the line’s power to connect with and intrigue the listener (i.e. people are always looking for new motivational methods).

[Header 2 header=”Line 2:  The Answer & Impact Accentuator “]

On the line that directly follows, the listener learns what, or in this case who, provides the protagonist with his motivation:

“My one solution is my queen…”

Notice that two key elements in the line take its impact to the next level:

• Element 1:  “My one solution” (there’s nothing that provides the protagonist with more motivation than this woman”).
• Element 2:  “Queen”:  The fact that the protagonist refers to this woman as his “queen” instantly communicates to the listener the importance she has in his life.

[Header 2 header=”Lines 2 & 3:  How She Provides Motivation “]

The balance of line 2, as well as all of line 3, detail his “queen’s” motivational” qualities and establish WHY she is his “queen”:

Line 2:  She “stays strong” (i.e. she’s his rock)
Line 3 (First Half):  She’s “always in his corner”  (she’s got his back)
Line 3 (Second Half):  She’s “right there when he wants her”

The second half of line 3 is interesting in the sense that it can be construed in one of two ways – one being positive and one being negative:

• Positive:  She’s always there for him.
• Negative:  The use of the lyric “want” can be interpreted as the woman being there to serve at his beck and call.

[Header 2 header=”Lines 2 & 3:  Title Theme Establishment “]

Notice that the aforementioned attributes coupled with the fact that they provide the protagonist with “motivation” jibe with and establish the “Cheerleader” theme of the song.

[Header 2 header=”Lines 4:  Narrative Shift “]

The fourth line in the section provides a shift in the section’s narrative.  Instead of the protagonist continuing on with detailing his “queen’s” attributes, he instead shifts gears and communicates his temptation for other women on the first half of the line:

“All these other girls are tempting…”

However, notice that the second half of the line counters this with reinforcement of what his “queen” means to him:

“…but I’m empty when you’re gone”

He cares so much about her that he feels “empty when she’s gone”

This shift does a great job of providing the overall storyline with more depth and intrigue.  It’s not just about the protagonist gushing over this woman, it’s about his temptations and how she remains the one for him.

[Header 5 header=”Reversal – Interpretive Contradiction “]

On line 3 the protagonist states that this woman is “always right there when he wants her.”  However, on line 4, the listener learns that this isn’t always the case because he’s “empty when she’s gone.”  So obviously what he states on line 3 doesn’t always hold up.

Additionally, notice that the use of the lyric “but” functions to put the protagonist’s “excuse” for being tempted by other women into effect:

“All these other girls are tempting BUT I’m empty when you’re gone”

Otherwise translated, if she was “always there when he wanted her” he wouldn’t feel “empty,” and therefore be tempted by other women to provide him with “motivation.”  He’s alluding to the fact that it’s his “Queen’s” fault.

[Header 2 header=”Line 4:  Pre-Chorus Set Up “]

The last line in the section, and particularly the last phrase, “and they say,” functions to set up the narrative shift that takes place in the pre-chorus that follows.  The argument can be made that this line functions in the manner of a pre-pre-chorus. This is especially due to the fact that it repeats in the same manner at the end of the second verse as well.

[Header 1 header=”Pre-Chorus”]

Line 1:  Do you need me
Line 2:  Do you think I’m pretty
Line 3:  Do I make you feel like cheatin’
Line 4:  I’m like no not really ’cause

[Header 2 header=”Engaging Narrative Shift / Dialogue “]

Now that we know that the protagonist is tempted by other women as was established in the first verse, here in the pre-chorus an engaging narrative shift takes place with the listener finding out what “they” (i.e. the “other girls”) have to say.

The first three lines feature the girls posing three questions to the protagonist.  The last line contains the protagonist’s response.  This dialogue takes the impact of the storyline, and engagement value of the song, to the next level.

[Header 2 header=”Cross-Sectional Line Ties “]

The questions posed in the first three lines of the pre-chorus cleverly tie into lines in both verse sections of the song as follows:

Line 1:  “Do you need me?”:  No – he doesn’t need her because his “queen” fulfills his “motivational needs” (verse 1, line 1) as stated as follows:

• Verse 1, Line 2:  She “stays strong” (i.e. she’s his rock)
• Verse 1, Line 3:  She’s “always in his corner”
• Verse 1, Line 3:  She’s “right there when he wants her”
• Verse 2, Line 1:  She “walks like a model”
• Verse 2, Line 2:  She “grants his wishes”

Line 2:  “Do you think I’m pretty?”:  He already has his “model” as stated on line 1 in the second verse.

Line 3:  “Do I make you feel like cheatin’?” This line ties into the “all these other girls are tempting” phrase on line 5 in both verse sections.

[Header 5 header=”Interpretive Contradiction “]

On line 4 in both verse sections the protagonist states, “all these other girls are tempting.”  However, on line 3 in the pre-chorus when he’s asked, “do I make you feel like cheatin’,” his answer is “I’m like no.”  If he’s “tempted,” they’re making him feel like “‘cheatin’.”  His answer should have been, “yes, but…”

Additionally, the answer to the question posed on line 1, “do you need me,” should have been yes…but only when he’s feeling “empty” when his “queen” is gone.  He needs someone to provide his “motivation,” but it doesn’t mean that he’ll actually act on it.

[Header 2 header=”Answer To The Questions / Chorus Set Up “]

The last line in the section, “I’m like no not really ’cause,” provides the answer to the aforementioned questions.  What’s interesting, however, is that there are actually two answers on the same line:

• “I’m like no”:  This is definitive.  He doesn’t need these other women, he doesn’t think they’re pretty, and they don’t make him feel like cheating.  This is because his “queen” has everything that he wants and needs.
• “Not really”:  Directly following his definitive statement of “no,” the protagonist eases off a bit and adds a degree of unsurety into the mix via his “not really” statement.  As you’ll see, this ties into the chorus section as follows.

The very last lyric in the section, “cause,” leaves the listener hanging and as a result provides the perfect lyrical lead in to the chorus that follows.

[Header 1 header=”Chorus”]

Line 1:  Oh I think that I’ve found myself a cheerleader
Line 2:  She is always right there when I need her

Line 3:  Oh I think that I’ve found myself a cheerleader
Line 4:  She is always right there when I need her

[Header 2 header=”Payoff”]

To briefly recap, the listener has learned the following up until this point:

• This woman has all of the qualities that the protagonist wants/needs.
• The protagonist is tempted by other women when his “queen” isn’t around to provide his “motivation.”
• He doesn’t need other women or want to cheat on her (to what degree is disputable)

Consisting of just two sets of repetitive lines, the chorus provides the listener with the summation of the narrative that traversed the verse and pre-chorus sections that precede it.

[Header 2 header=”Song Title Tie In”]

Here in the chorus is where the listener is first introduced to the song’s title as part of the narrative.  Notice that the lyric “Cheerleader” embodies all of his “queen’s” qualities as detailed in the verse sections, and ties into his need for “motivation” as depicted in the very first line of the song.  This is what a “cheerleader” does – provide motivation.

[Header 2 header=”Another Dose Of Unsurety” – I think?]

While the lyrical connotation of the section comes across as being all-positive at first glance, there is a key lyric that puts a cast of doubt into the equation:

“think”

The fact that the protagonist states “I THINK that I’ve found myself a cheerleader” as opposed to “I KNOW” or just simply “I’VE FOUND,” casts some doubt that he has actually found his “cheerleader.”  Notice that this ties into “not really” as opposed to “no” when it comes to cheating as depicted in the preceding pre-chorus.

This all harkens back to the fact that his “queen” isn’t always right there when he needs or wants her as depicted on line 5 in both verse sections (i.e. “I’m empty when you’re gone”).

[Header 5 header=”Interpretive Contradiction “]

Once again we find a contradiction to a line found in the other sections of the song.  On lines two and four the protagonist once again states, “she is always right there when I need her.”  However, we know that this is not always the case.

[Header 1 header=”Verse 2″]

Line 1:  She walks like a model
Line 2:  She grants my wishes like a genie in a bottle, yeah, yeah
Line 3:  ‘Cause I’m the wizard of love, and I got the magic wand
Line 4:  All these other girls are tempting but I’m empty when you’re gone and they say

[Header 1 header=”Lines 1 & 2″]

The first two lines expound on the attributes of the protagonist’s “queen” as begun in the first verse:

• For the first time in the song he refers to her looks and the manner in which she carries herself.  This is conveyed on line 1 via “she walks like a model.”
• The second line relates to her doing/giving the protagonist what he wants.  This is conveyed in a clever and powerful manner via “she grants my wishes like a genie in a bottle.”

Additionally, as is the case with line 3 in the first verse (“right there when I WANT her”), line 2 in the second verse can also be construed as a demeaning negative.  The fact that she “grants his wishes” can be looked at as her being subservient to him.

[Header 1 header=”Line 3″]

Line 3 finds the protagonist boasting about his “casanova” type qualities.  Notice the multi-line tie-in that’s going on:

• Lines 2 and 3:  “She grants his wishes like a genie in a bottle ’cause he’s the wizard of love”
• Line 3 – Both Phrases: The use of the lyric “wizard” on line three is connected to “magic wand.”
• Lines 3 is connected to line 4 due to his irresistible nature that leads all of these other temptresses to him.

[Header 1 header=”Line 4″]

The last line in the second verse is the same as the last line in the first verse (temptation, feeling empty when she’s gone, and setting up the pre-chorus)

[Header 1 header=”Bridge”]

Line 1:  Mmm she gives me love and affection, baby did I mention
Line 2:  You’re the only girl for me no I don’t need a next one
Line 3:  Mama loves you too she thinks I made the right selection
Line 4:  Now all that’s left to do is just for me to pop the question

The bridge provides a lyrical departure relative to all of the sections in the song.  Here, there’s no unsurety or temptation by other women being mentioned.  Instead, we find  the protagonist making up his mine that his “queen’s” the one.  Instead of “thinking” that he found his “cheerleader,” now he KNOWS that he found her.

[Header 2 header=”Line 1: More Good Qualities”]

The first line in the section follows suit of the verse sections by communicating to the listener another core quality of this woman – specifically that she provides him with “love and affection.”  These, as you can gather, are two core qualities that you want in someone if you plan to “pop the question.”

[Header 2 header=”Line 2: No More Unsurety”]

In contrast to specific lines in the verse, pre-chorus, and chorus which cast doubt in the protagonist’s desire to not cheat and settle down, here on line 2 we find him communicating directly to his “queen” that “she’s the only girl for him and he “doesn’t need a next one.”

[Header 2 header=”She Most Likely Knows About His Temptations”]

The fact that the protagonist needs to communicate to his “queen” that he “doesn’t need a next one” leads the listener to believe that she knows that he’s tempted by other woman and has possibly cheated on her in the past.  Additionally, this could have been the cause for her not being around as depicted on line 4 in both verse sections.  This can also be construed as being part of his apology to reconcile.

[Header 2 header=”Line 3: Mama Enters Into The Equation”]

The introduction of “mama” into the narrative substantiates the protagonist’s desire to settle down with this woman.  She loves her and approves.  Now there’s only one thing left for the protagonist to do, and the listener finds out on the last line of the section.

[Header 2 header=”Line 4: The One Thing Left To Do”]

The last line in the section is the culmination of what the bridge has been leading to – the protagonist “popping the question.”  What’s interesting is that it’s not definitive, which is inline with the other sections of the song.  He doesn’t come outright and say “now I’m going to pop the question.”  He prefaces it with “now all that’s left to do.”  Will he or won’t he?  We may never know.

As a side note, an interesting thing that OMI could have done in the ensuing chorus would be to remove the word “think.”  This would have cleverly substantiated for the listener that the protagonist was going to go ahead with the proposal.  Instead, he leaves them hanging, which is an equally good way to conclude the section.

[Header 2 header=”Clever & Engaging Flow”]

Take note of the development of events that transpires in the bridge.  Together, they take the engagement value of the section, and the song, to the next level:

• Line 1:  Statement of important marriage type qualities that his “queen” possesses.
• Line 2:  The protagonist doesn’t need anyone else but her – he’s apparently ready to settle down.
• Line 3:  Mama approves (an important step in the journey into marriage)
• Line 4:  The culmination of the events depicted in the preceding lines.  Now that everything in place, there’s only one thing left to do – get married (maybe).