Music & Instruments: Section By Section

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• Vocal Sample: (Female humming – Level: Mid)
• Organ Pad: (Low chords – Level: Mid)
• Vinyl Crackle: (Sound effect – Level: Low)

Stay’s intro is both short and sparse, clocking in at 9 seconds and consisting of just three elements – a hummed female vocal sample, a droning organ, and a vinyl crackle effect.

The vinyl crackle effect imparts a Retro feel, which is present throughout the song in addition to its contemporary influences. The hummed vocal establishes the song’s R&B/Soul influence, which along with the droning organ establishes the song’s underlying “heavy heart” vibe that is evident in the lyrics.

Transition Point (Intro to Verse 1): The intro transitions seamlessly into the first verse.

• Vocal Sample: (Female humming – Level: Mid)
• Organ Pad: (Low chords – Level: Mid)
• **Snare Fill: (Ruff on high-pitched snare – Level: Mid)
• Vinyl Crackle: (Sound effect – Level: Low)

**Indicates the first appearance of an instrument in the mix

The core accompaniment from the preceding intro remains in effect throughout the first verse. The “heavy heart” vibe elicited by these elements effectively jibes with Cara’s emotive vocals in accentuating the impact of the downtrodden lyrics.

Transition Point (Verse 1 into Pre-Chorus 1): In the last bar of the verse, a brief ruff on high-pitched snare fill is heard, which marks the transition into the pre-chorus that follows.

• Vocal Sample: (Female humming – Level: Mid)
• Organ Pad: (Low chords – Level: Mid)
• **Sub Bass: (Sine wave bass – Level: Low)
• **Marching Snare (Filtered): (Grooving, syncopated marching pattern – Level: Mid)
• **Clap 1 (Acoustic): (Sixteenth note pattern – Level: Low)
• **Snaps (Acoustic): (Beats 2 & 4, heavy reverb – Level: Mid)
• **Conga (Acoustic): (Played with hands, fill at end of part X – Level: Mid-low)
• Vinyl Crackle: (Sound effect – Level: Low)

**Indicates the first appearance of an instrument in the mix

Same as Part X with the addition of:

• **White Noise Swell: (Filter sweep & volume swell low-to-high and end of section – Level: Mid-low)

The pre-chorus utilizes the core accompaniment from the intro and verse that precede it, and adds a bass and drum/percussion rhythm section for the first time in the song.

Carryover Elements

The utilization of the accompaniment from the intro and preceding verse keeps the underlying “heavy heart” vibe in effect.

New Elements

The addition of the snaps, filtered marching snare and claps provides the pre-chorus with a greater degree of momentum compared to the preceding verse. The addition of the sub bass low in the mix subtly fills out the bottom end.

Common & Atypical Mainstream Elements

The pre-chorus features instruments that are both popular and atypical in today’s Hot 100 Top 10. On the popular end of the spectrum are the snaps, which have been featured prominently in recent hits such as I’m The One, That’s What I Like, and Body Like A Back Road. On the atypical end is the marching snare. Together, these two instruments enable Stay to come across both in a familiar manner to a mainstream audience, and concurrently stand out from the pack.

Transition Point (Pre-Chorus 1 into Chorus 1): A white noise synth swell enters the mix in the last bar of the pre-chorus, ushering the listener into the chorus that follows.

• Organ Pad: (Low chord stabs, low-pass filtered  – Level: Mid)
• **Vocoder: (Works in tandem with chorus vocals – Level: Mid)

Same as Part X with the following additions:

• **Synth Stabs 1 – Filtered: (Keyboard-like synth chords – Level: Mid)
• Sub Bass: (Sine wave bass – Level: Low)
• **Marching Snare (Acoustic – Unfiltered): (Grooving, syncopated marching pattern – Level: Mid)
• **Clock Tick (Acoustic): (Eighth note pattern – Level: Mid)
• White Noise Swell: (Filter sweep low-to-high – Level: Mid)
• **Snare Rim (Hybrid): (Reverb-effected hit at end of section – Level: Mid)

**Indicates the first appearance of an instrument in the mix

The chorus features the most pronounced accompaniment shift in the song thus far, and engages the listener at a heightened level as a result.

In the first half of the section (part X), the core accompaniment from the preceding pre-chorus, verse and intro has been done away with. The only carryover is the organ, which is now playing short stabs on beats 1 and 3 as opposed to sustained chords.

The new addition is the vocoder, which is one of the chorus’s defining characteristics. Along with the organ stabs, it sounds on the last and third-to-last lyric on each line throughout the section, achieving the following:

• It heightens the vibrancy of the section against the less-vibrant organ, which fills out the bottom end.
• Its uniform placement on each line heightens familiarity within the section, thus making it more memorable.
• It provides the section with a funky Retro characteristic, most recently popularized in mainstream music by Daft Punk.
• It’s not a commonly found instrument in mainstream hits. As a result, it helps the song to further stand out and get noticed.
• Along with the organ, it locks in with the vocals to create an engaging rhythmic flow.

New Elements in Part Y

In the second half of the section (part Y), a new synth is added into the mix that provides the vocoder and organ stabs with additional color and a subtly higher degree of impact.

The most noticeable additions to the section, however, are the drums/percussion. The unfiltered marching snare (relative to the filtered marching snare in the pre-chorus) provides the section with more forward momentum as it heads toward the ensuing instrumental break. The ticking clock also adds to the momentum but more importantly provides the section, and the song, with a unique characteristic that helps it to stand out among its mainstream contemporaries in addition to jibing with and accentuating “the clock is tickin’” lyrics.

Side note: The last Hot 100 Top 10 hit to feature a prominent clock tick was Justin Bieber’s What Do You Mean back in late 2015 / early 2016.

Transition Point (Chorus 1 into Instrumental Break 1): Toward the end of the chorus, a white noise synth swell effect is employed, which provides an increase in energy and anticipation as the song heads toward the ensuing instrumental break.  In the last bar, all the accompaniment elements are pulled save for the ticking clock, which remains in effect for the first three beats. Silence ensues on the “and” of beat 3, followed by a reverb-effected snare rim hit on beat 4. The sparseness of the arrangement enables the ensuing instrumental break to hit with increased perceived impact.

• Organ Pad: (Low chord stabs, low-pass filtered – Level: Mid)
• **Synth Stabs 2 – Bright: (Bright stabs – Level: Mid)
• *Vocoder: (Works in tandem with chorus vocals – Level: Mid)
• **Gliding Synth: (Glides between notes – Level: Mid)
• *Sub Bass: (Sine wave bass – Level: Mid)
• **Bright Snare (Electronic): (Prominent on beat 4 – Level: Mid)
• **Kick (Electronic): (Punchy modern dance kick – Level: Mid)
• **Clap 2 (Acoustic): (Accent on beat 2 – Level: Mid)
• **Drum Fill (Hybrid): (Effected snare/tom fill at end of section – Level: Mid)
• *White Noise Swell: (Small swells throughout – Level: Mid)

Same as Part X with the following additions:

• **Tambourine (Acoustic): (Mixed in with other high percussion – Level: Mid)
• **Hi Hat (Acoustic): (Eighth note pattern – Level: Mid)
• **Shaker (Acoustic): (Eighth note pattern – Level: Low)
• **Bright Hit (Hybrid): (Bright metallic hit – Level: Mid)

*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix

The instrumental break features the fullest arrangement and highest energy level in the song thus far, and provides “the drop.” This is a common feature in contemporary Dance-influenced hits, where after the lower-energy chorus the energy is ramped up to a climax and generally the singer drops out and is replaced by synths and chopped or effected vocals.

The first half of the section (part X) retains the core accompaniment from the preceding chorus, and adds/changes up the following elements:

• Additional synths (bright stabs, vocoder and glides) provide additional color and vibrancy, and mimic the rhythm of the vocals in the preceding chorus.
• The sub bass is featured more prominently in the mix, which provides for a heightened degree of power and bottom end relative to the preceding chorus.
• The kick, snare and claps that double the synth/bass/organ pad/vocoder rhythm provide the section with a heightened degree of power.

New Elements in Part Y

Ushered in by a brief electronic/acoustic hybrid drum fill, the second half of the section (part Y) incorporates additional percussion instruments including tambourine, hi hat, shaker, and a bright metallic hit that provide the section with additional color, texture and forward momentum.

Transition Point (Instrumental Break 1 into Turnaround): A white noise swell enters the mix toward the end of the section followed by a cinematic stomp/trailer hit signals the beginning of the turnaround.

• *Vocal Sample: (Female humming, pickup at end of section – Level: Mid)
• **Stomp/Trailer Hit 1 (Hybrid): (Cinematic percussion effect – Level: Mid)
• *Vinyl Crackle: (Sound effect – Level: Low)

*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix

The turnaround is the shortest section in the entire song, lasting for just two seconds. However, despite its short length its role is important for the following reasons:

• The cinematic stomp/trailer hit at the onset of the section signals that the first sectional progression of the song has come to an end (I-A-PC-B-IB / T /A-PC-B-IB / VB-B-O)
• The stomp acts in the manner of an “exclamation point,” further heightening the pleading connotation of the “so stay” lyrics that define the preceding chorus and instrumental break sections.
• The sparseness of the arrangement (vinyl crackle, “stay” vocal delay tail from the instrumental break, and the vocal hum sample toward the end of the section) brings the energy and the mood back down as the song heads into the second verse and embarks on its next sectional progression.

Transition Point (Turnaround into Verse 2): Another cinematic stomp/trail hit signals the beginning of the second verse.

• Vocal Sample: (Female humming – Level: Mid)
• *Organ Pad: (Low chords – Level: Mid)
• *Marching Snare (Acoustic – Filtered): (Grooving, syncopated marching pattern – Level: Mid)
• *Clap 1 (Acoustic): (Sixteenth note pattern – Level: Low)
• *Snare Fill: (Ruff on high-pitched snare – Level: Mid)
• **Stomp/Trailer Hit 2 (Hybrid): (Cinematic percussion effect at beginning of section – Level: Mid)
• Vinyl Crackle: (Sound effect – Level: Low)

*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix

After kicking off the section on a powerful, dramatic note with a cinematic stomp/trailer hit the second verse features the same core accompaniment as its verse 1 counterpart, which puts the “heavy heart” vibe back into effect, but adds one additional element – filtered marching snare – which achieves the following:

• It provides like-section contrast against its verse 1 counterpart, which heightens the song’s engagement value.
• It kicks up the energy level and provides increased forward momentum.

The filter begins to open as the section progresses, and concludes with the same snare fill utilized at the end of the first verse.

Transition Point (Verse 2 into Pre-Chorus 2): In the last bar of the verse, a brief ruff on high-pitched snare marks the transition into the pre-chorus that follows. Note that this is the same transition method utilized to transition from verse 1 into pre-chorus 1.

• Vocal Sample: (Female humming – Level: Mid)
• Organ Pad: (Low chords – Level: Mid)
• *Sub Bass: (Sine wave bass – Level: Low)
• **Electric Guitar 1: (Filtered – Level: Mid)
• **Acoustic Piano: (Sustained chords – Level: Mid)
• Marching Snare (Acoustic – Filtered): (Grooving, syncopated marching pattern – Level: Mid)
• **Electronic Snare: (Single hit in part X and Y – Level: Mid)
• *Kick (Electronic): (Punchy modern dance kick – Level: Mid)
• Clap 1 (Acoustic): (Sixteenth note pattern – Level: Low)
• **Clap 3 (Acoustic): (Single clap in part X and Y – Level: Low)
• *Snaps (Acoustic): (Beats 2 & 4, heavy reverb – Level: Mid)
• *Tambourine (Acoustic): (Up-beat eighth notes – Level: Mid)
• *Bright Hit (Hybrid): (Bright metallic hit – Level: Mid)
• *Drum Fill (Hybrid): (Effected snare/tom fill at end pt. X – Level: Mid)
• Vinyl Crackle: (Sound effect – Level: Low)

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

Same as Part X with the following additions:

• **Electric Guitar 2: (Not Filtered – Level: Mid)
• *White Noise Swell: (Filter sweep and volume swell low-to-high – Level: Mid)

**Indicates the first appearance of an instrument in the mix
*Indicates a new or significantly changed up instrument in the mix compared to the preceding section

Pre-chorus 2 provides an unexpected accompaniment departure in the scope of the song. Utilizing the core elements from pre-chorus 1, it introduces the following:

• Electric guitar playing a syncopated single-note line processed with a low-pass filter.
• Acoustic piano playing mostly sustained chords.
• Four on the floor kick.
• Additional percussion elements including tambourine playing upbeat eighth notes.

Together, these elements provide the section, and the song, with a driving Retro Disco vibe, which is reminiscent of groups like Chic and more recently Daft Punk’s Get Lucky (which features Chic’s Nile Rodgers). The unexpectedness of this shift heightens the overall engagement value of the song, and accentuates its impact in a club setting.

Transition Point (Pre-Chorus 2 into Chorus 2): As is the case at the end of pre-chorus 1, a white noise synth swell enters the mix in the last bar of pre-chorus 2, which begins to usher the listener into the chorus that follows. The difference this time around is that all the accompaniment elements are pulled at the tail end except for the electric guitar and piano, which is followed by a cinematic stomp/trailer hit at the onset of the ensuing chorus. This changeup achieves the following:

• It provides engaging contrast against the first pre-chorus / chorus transition in the song.
• The lull created enables the ensuing chorus to hit with increased impact.

• *Organ Pad: (Low chord stabs, low-pass filtered – Level: Mid)
• *Vocoder: (Works in tandem with chorus vocals – Level: Mid)
• **Distorted Bass: (Edgy low saw tooth bass – Level: Mid)
• *Clock Tick (Acoustic): (Eighth note pattern – Level: Mid)
• *Stomp/Trailer Hit 2 (Hybrid): (Cinematic percussion effect at beginning of section – Level: Mid)
• **Tom (Acoustic): (Heavy low tom hits – Level: Mid)

Same as Part X with the following additions:

• *Synth Stabs 1 – Filtered: (Keyboard-like synth chords – Level: Mid)
• **Synth Pad: (Crescendo at end of section – Level: Low)
• *Marching Snare (Acoustic – Unfiltered): (Grooving, syncopated marching pattern – Level: Mid)
• *Bright Snare (Electronic): (Single hit at end of section – Level: Mid)
• White Noise Swell: (Filter sweep and volume swell low-to-high – Level: Mid)
• **Electro Synth Effect: (Swirling effect – Level: Mid)

*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix

Chorus 2 features the same accompaniment characteristics as its chorus 1 counterpart with the following changeups/additions:

• It begins with a cinematic stomp/trailer hit, which enables the section to hit with a heightened degree of impact compared to the first time around.
• Distorted, saw tooth bass stabs are paired with the organ stabs from chorus 1. This provides the section with a heightened degree of power.
• Acoustic tom sounds in tandem with the organ and bass stabs, also adding to the power of the section.
• The ticking clock is featured in the first half of the section in addition to the second half (it was only featured in the second half of chorus 1). It’s more audible in the first half due to the sparseness of the arrangement, and provides the section with a greater sense of urgency.
• Additional synths are paired with the white noise swell toward the end of the section, which provides subtle contrast compared to the first time around in the song.

Transition Point (Chorus 2 to Instrumental Break 2): The transition from chorus 2 into instrumental break 2 begins in a similar manner as in chorus 1, with the white noise swell (though this time paired with an additional synth). However, this time around, following the swell the ticking clock is pulled from the mix along with all the accompaniment elements, which provides a couple beats of near silence. This adds an element of surprise and leaves extra space for Cara’s prolonged “stay” melisma, which wasn’t featured at the end of the first chorus. A quivering synth effect then enters the mix, followed by a crack of a snare rim that ushers in the instrumental break that follows.

• Organ Pad: (Low chord stabs, low-pass filtered – Level: Mid)
• *Synth Stabs 2 – Bright: (Bright stabs – Level: Mid)
• *Vocoder: (Works in tandem with chorus vocals – Level: Mid)
• *Gliding Synth: (Glides between notes – Level: Mid)
• *Sub Bass: (Sine wave bass – Level: Mid)
• Bright Snare (Electronic): (Prominent on beat 4 – Level: Mid)
• *Kick (Electronic): (Punchy modern dance kick – Level: Mid)
• *Clap 2 (Acoustic): (Accent on beat 2 – Level: Mid)
• *Tambourine (Acoustic): (Single hit at onset of section, consistent pattern in second half – Level: Mid)
• *Hi Hat (Acoustic): (Eighth note pattern – Level: Mid)
• *Shaker (Acoustic): (Eighth note pattern – Level: Low
• *Drum Fill (Hybrid): (Effected snare/tom fill at end of stanza – Level: Mid)
• *Snare Fill (Acoustic): (Plays a ruff at onset of section – Level: Mid)
• *Bright Hit (Hybrid): (Bright metallic hit at beginning of Part X and Y– Level: Mid)
• *White Noise Swell: (Small swells throughout – Level: Mid)

Same as Part X

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

Instrumental break 2 features the same core accompaniment characteristics as its instrumental break 1 counterpart. The main difference is that there is more percussion featured in the first half of the section this time around, which provides subtly increased momentum and texture.

Transition Point (Vocal Break 2 into the Vocal Break): Essentially the same technique utilized to transition vocal break 1 into the turnaround is utilized here – a white noise swell enters the mix toward the end of the section followed by a cinematic stomp/trailer hit signals the beginning of the vocal break. The main difference is that a white noise hit is paired with the stomp/trailer hit, that decays in the first half of the section.

• *Organ Pad: (Low chords – Level: Mid)
• *Electric Guitar 1: (Filtered – Level: Mid)
• *Stomp/Trailer Hit 1 (Hybrid): (Cinematic percussion effect at beginning of section – Level: Mid)
• *White Noise Hit: (Prominent hit at onset of section, decays over the course of the first half – Level: Mid)
• **Downer: (Synth effect that descends in pitch over the course of the section – Level: Mid-low)
• *Vinyl Crackle: (Sound effect – Level: Low)

Same as Part X with the following addition:

• *Electric Guitar 2: (Not Filtered – Level: Mid)
• *Marching Snare (Acoustic – Filtered): (Grooving, syncopated marching pattern – Level: Mid)
• *Marching Snare (Acoustic – Unfiltered): (Grooving, syncopated marching pattern – Level: Mid)
• *Kick (Electronic): (Punchy modern dance kick – Level: Mid)
• *Clap 1 (Acoustic): (Sixteenth note pattern with accents on beat 2 – Level: Low)
• White Noise Swell: (Filter sweep low-to-high – Level: Mid)

*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix

The vocal break provides a pronounced accompaniment departure in the scope of the song by going into breakdown mode. All instruments from the preceding instrumental break are omitted except for the organ, which is now playing low, sustained chords. The section begins with a white noise hit that decays throughout the first half of the section, and the Funk-driven guitar from pre-chorus 2 playing a syncopated single-note line processed with a low-pass filter makes a return. The guitar provides the first  half of the section both with texture AND momentum, since there aren’t any drums/percussion in the mix.

In the second half of the section, filtered marching snare, claps, and four-on-the-floor kick are introduced, which provide increased power and momentum, and a second electric guitar is paired with the first, which enables its funky qualities to further punctuate through the mix.

Also introduced are a low-to-high white noise sweep, an additional synth effect and unfiltered marching drums that takes the excitement factor of the section to an apex as it heads into the ensuing third and final chorus.

Transition Point (Bridge to Chorus 3): Following a punctuating kick, the full accompaniment save for the vinyl crackle is pulled out from under Cara’s “all you have to do is” pickup into the chorus that follows. This chorus impact accentuator technique enables the chorus to hit with increased impact due to the lull created.

• *Organ Pad: (Low chord stabs, low-pass filtered – Level: Mid)
• *Synth Stabs 2 – Bright: (Bright stabs – Level: Mid)
• *Vocoder: (Works in tandem with chorus vocals – Level: Mid)
• *Gliding Synth: (Glides between notes – Level: Mid)
• **Bell Synth: (Ascending high melody at end of both stanzas – Level: Low)
• *Sub Bass: (Sine wave bass – Level: Mid)
• *Bright Snare (Electronic): (Prominent on beat 4 – Level: Mid)
• *Kick (Electronic): (Punchy modern dance kick – Level: Mid)
• *Clap 2 (Acoustic): (Accent on beat 2 – Level: Mid)
• *Tambourine (Acoustic): (Mixed in with hi hat and shaker throughout – Level: Mid)
• *Hi Hat (Acoustic): (Eighth note pattern – Level: Mid)
• *Shaker (Acoustic): (Eighth note pattern – Level: Low)
• *Drum Fill (Hybrid): (Effected snare/tom fill at end of each stanza – Level: Mid)
• *Snare Rim (Hybrid): (Reverb-effected hit at end of stanza – Level: Mid)
• *White Noise Swell: (Small swells throughout – Level: Mid)
• **Cymbal Decay (Acoustic): (Decay of cymbal hit without the attack – Level: Low)

Same as Part X with the following addition:

• *Snare Fill (Acoustic): (Ruff on high-pitched snare – Level: Mid)

*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix

Chorus 3 differs dramatically from choruses 1 & 2 in that it uses the primary accompaniment from the instrumental breaks rather than the choruses. This both provides engaging like-section contrast in the scope of the song (i.e. chorus 3 vs. choruses 1 and 2), and brings the energy and excitement level to an apex as it nears a conclusion.

Compared to the instrumental breaks, chorus 3 differs as follows:

• All instruments are pulled from the first beat of the section except for the vocoder.
• The vocoder is lower in the mix.
• Ascending arpeggios are added on a “bell synth” at the end of each stanza.
• The percussion elements that were added in for part Y of instrumental break 1 & 2 (shaker, tambourine, hi hat) are in both stanzas.

Transition Point (Chorus 3 to Outro): Essentially the same transition used from the second instrumental break to the vocal break is used here. The only difference is the inclusion of the bell synth arpeggio.

• *Vocal Sample: (Female humming – Level: Mid)
• *Organ Pad: (Low chords – Level: Mid)
• *Stomp/Trailer Hit 1 (Hybrid): (Cinematic percussion effect at beginning of section – Level: Mid)
• *Vinyl Crackle: (Sound effect – Level: Low)
• White Noise Swell: (Filter sweep and volume swell low-to-high at end of section – Level: Mid)
• *White Noise Hit: (Hit with decay at onset of section – Level: Mid)

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

The outro essentially brings the song full-circle by reverting to the sparse characteristics of the intro accompaniment, consisting primarily of the vocal sample, organ, and vinyl crackle. The main differences are as follows:

• A white noise hit decays throughout the section, which provides additional texture.
• A white noise /organ pad swell enters during the fourth bar of the section and cuts off abruptly without decay. The false ending that this effect provides leaves the listener hanging and hopefully wanting more.

Harmonic Progressions

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Rhyme Schemes

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Vocals

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Stay features a host of different vocals that take its impact to a heightened level. Among them are natural-sounding and processed lead, singular and group harmony, vocoder-effected, pitch-shifted, background “hey” shouts and atmospheric “oh’s,” and varying levels of reverb and delay effects.

KEY

• Lead Nat.: Lead vocal that possesses a natural, not heavily-processed quality
• Lead Proc.: Lead vocal that possesses a processed quality
• Harm Group: Group vocals that harmonize with the lead
• Harm Single: Single voice that harmonizes with the lead
• Harm Voc.: Vocoder-processed vocals that harmonize with the lead
• Harm P.S: Pitch-shifted vocal that harmonizes with the lead an octave lower
• Ind. “Hey”: “Hey” vocal that appears independently of the lead
• Ind. “Oh”: Melismatic “oh” sounding vocal that appears independently of the lead
• S: Sung
• SH: Shout
• Bold Lyric: Pronounced delay effect

Verse 1 features Cara’s sung lead. It’s processed with moderate reverb and delay, the latter being featured prominently on the last lyric of each line, as well as at the end of the first phrase on line 4. The delay is set to a quarter note and is filtered to allow only hi-mid frequencies through resulting in a sound similar to a telephone. The delay tail fills the gap between lines, slowly fading until the next line begins.

Pre-chorus 1 features both vocal commonalities and differences with verse 1 that precedes it. The main commonality is Cara’s lead, which is processed with reverb and features pronounced delay at the end of lines and phrases as depicted in the chart above.

The primary difference is the group female harmony that’s employed on the last phrase in lines 1 and 2. It’s featured mid-level in the mix and panned l/r in the stereo field. Its addition provides these vocal segments with a bigger feel, provides engaging contrast compared to the preceding verse, and heightens the memorability factor of the section due to the harmony being added in the same place in both lines.

There is also a “hey” shout that is heard for the first time in the song at the end of line 2. It possesses a similar characteristic to “hey” shouts featured in other mainstream hits, such as the Taylor Swift / Kendrick Lamar duet, Bad Blood.

Additionally, note that while pronounced delay is featured at the end of line 3 and the first phrase on line 4 like in the verse, it is NOT utilized on the last lyric on line 4. The lack of delay here allows the chorus vocals, which pick up at the tail end of the pre-chorus, to be clearly heard and prevents the mix from getting cluttered. The space in the mix created by not using delay here allows one of the most important hooks in the song to cut through.

As is the case with the preceding sections, chorus 1 features Cara’s lead. However, the vocal processing has been changed up. She sings louder, resulting in a fuller, more present tone. Her voice is more processed (likely due to doubling and heavier compression), and less reverb is utilized. This enables her voice to cut through the mix and helps to give the chorus a unique sonic identity relative to the other sections in the song.

Additionally, the third to last and last lyric on each line feature vocoder-processed background vocals that harmonize with Cara’s lead. This addition achieves the following:

• It provides the chorus with a heightened degree of engagement value.
• It enables the chorus to further stand out among the other sections in the song.
• The uniform line-to-line placement of the vocoder creates additional familiarity within the section, thus making it more memorable.

In contrast to the chorus which features Cara’s lead and interspersed vocoder background vocals on certain lyrics, the instrumental break features two disparate vocals that harmonize on each full line. Cara’s processed lead from the chorus remains in effect, albeit at a lower level in the mix, and is paired with a more prominent, heavily effected/pitch-shifted vocal that harmonizes an octave below her vocals. The addition of this heavily effected vocal provides the instrumental break with an additional unique characteristic in the scope of the song.

Both vocals are in effect throughout the section except for the last lyric on line 1, which omits Cara’s vocal at the end on the lyric, “uh.” However, Cara’s vocal is more prominent on the last lyric on line 2, “stay,” which is treated with a lengthy delay tail that dissipates early in the verse that follows.

Cara’s lead in verse 2 reverts to the more natural-sounding, reverb-laden processing of verse 1. This provides engaging cross-section contrast against the more highly processed chorus and instrumental break that precede it, as well as like-section familiarity due to the similarity to verse 1. The main difference is that the delay effect is NOT employed on the last lyric on line 3, “alone.” This is because it’s sung in a prolonged melismatic manner, and a delay effect would interfere with its impact.

Additionally, a low-level, processed, descending “oh” background vocal is featured at the end of lines 1, 2 and 3. Its addition provides like-section contrast (it wasn’t featured in verse 1), and subtly provides the section with additional color.

Pre-chorus 2 possesses essentially the same vocal qualities as its pre-chorus 1 counterpart. The main difference, like the preceding verse, is that the delay effect is NOT employed on the last lyric on line 3, “why.” This is because it is sung in a melismatic manner, and a delay effect would interfere with its impact.

Chorus 2 possesses essentially the same vocal characteristics as chorus 1, with one difference. The final “stay” on line 8 is sung in a prolonged melismatic manner compared to its chorus 1 counterpart. This both provides engaging like-section contrast, and concludes the section on a highly infectious note.

Instrumental break 2 features the same vocal qualities as its instrumental break 1 counterpart except for two differences:

• The vocoder effect from the chorus is featured on the last lyric on line 2, “stay.” This subtly provides it with increased emphasis and differentiation compared to instrumental break 1.
• The delay on the lyric “stay” at the end of line 2 is more prominent than in vocal break 1. Pinging left and right in the stereo field, this quarter note delay remains audible in the mix through the first half of the vocal break section that follows.

Lead Vocal

In contrast to the preceding instrumental break, which features Cara’s processed lead, her vocals in the vocal break revert to her natural-sounding voice as heard in the pre-chorus and verse sections. Additionally, once the “stay” delay effect from the preceding instrumental break fades in the first half of the section, it returns in a pronounced manner on the lyric “stay” at the end of line 2, and remains audible throughout the section, cutting off as the chorus pickup vocals enter.

Background Vocals

There are a few background vocals featured in the section:

• A processed, reversed vocal swells into the first line.
• On line 2 in conjunction with Cara’s lead on the lyric “stay,” the heavily effected/pitch-processed vocal from the instrumental break is paired with the vocoder vocals from the chorus, which provides the title lyric with increased emphasis and impact.
• Following the lyric “stay” on line 2, a nonsense vocal sung in a prolonged melismatic manner is heard. It features similar qualities to the background vocals heard in verse 2.

In the last bar of the section a 16th note delay-effected vocal enters the mix, along with a vocal swell that crescendo to create a rush of excitement heading into the final chorus.

Chorus 3 differs from choruses 1 and 2 both regarding Cara’s lead vocal and the background vocals:

• After line 1 the vocoder effect is less much less audible in the mix.
• An independent, non-processed Cara background vocal doubles her lead on the lyric “time” on line 2.
• The pitch shift effect is employed on the lyrics “all you have to do is” on line 5. Note that this effect is only utilized in the preceding instrumental and vocal break sections, NOT the chorus sections.
• The processing on Cara’s lead becomes more prominent in the second half of the section. A pitch-shifted vocal an octave below the lead provides her vocal with a more powerful feel.

Line 1 in the outro features similar vocal production to the lead in to the chorus that precedes it. The only difference is that a pronounced delay effect is employed on the lyric “stay,” which remains audible throughout the section.

The “stay” on line 2 differs in that it’s sung in a melismatic manner and is processed with a low-pass filter.

*Note: The vocal melody graph depicts the verse, pre-chorus and chorus sections within the song.

Begins on F3 and ends on the same pitch.

Begins a minor third higher on Ab3 and ends a minor third lower on F3.

Begins a minor sixth higher on Db4 and ends a minor sixth lower on F3.

Begins a minor sixth higher on Db4 and ends a minor sixth lower on F3.

Begins on F3 and ends on the same pitch.

Begins a minor third higher on Ab3 and ends a minor third lower on F3.

Begins a minor sixth higher on Db4 and ends a minor sixth lower on F3.

Begins a minor sixth higher on Db4 and ends a minor sixth lower on F3.

Begins a major second lower on Eb3 and ends a perfect fourth lower on Bb2.

Begins a minor tenth higher on Db4 and ends a minor sixth lower on F3.

Begins a major second lower on Eb3 and ends a perfect fourth lower on Bb2.

• Yellow Fill: Sixteenth note
• Dark Green Fill: Eighth note
• Light Green Fill: Dotted eighth note
• Dark Blue Fill: Quarter note
• Curved Line: Slur across two or more pitches

The vocal melody part assignments in verse 1 and verse 2 are related to one another (e.g. a melodic phrase with a part 1 classification in verse 1 is related to a part 1 classification in verse 2). However, verse part assignments are NOT related to pre-chorus and chorus part assignments.

Line 1: Wait-in’ for the time to pass you by
Line 2: Hope the winds of change will change your mind
Line 3: I could give a thou-sand rea-sons why
Line 4: And I know you, and you’ve got to

High: C4
Low: Ab2

Verse 1 is composed of four lines, three melodic parts, seven pitches (all scale degrees except for the sixth, Db), and spans a tenth from Ab2 to C4. In addition to their infectious rhythmic qualities, the melodic characteristics of each line coupled with Cara’s delivery effectively jibes with and accentuates the connotation of the lyrics.

Lines 1 and 2 are nearly identical, both featuring an alternating long – short rhythmic flow and descending “platform” melodic progression, where each “platform” consists of two notes.

Together, the simplicity of the melody coupled with the equally simplistic and repetitive rhythms makes the line easy to sing and easily connect and resonate with the listener.

Line 3 reverses the direction of the first two lines and ascends, which provides engaging contrast while the rhythmic similarities keep the listener locked in and heighten memorability.

Line 4 differs in that it consists of two melodic phrases separated by a rest, and breaks from the melodic and rhythmic patterns that define the preceding lines.

Verse 1 Melodic Direction: At-a-Glance

Verse 1 Melodic Part Structure: At-a-Glance

The lines in the first verse are almost identical in their respective syllable count. Lines 1, 2 and 3 consist of nine, and line 4 consists of eight.

In-Line Segmentation
(Do lines run straight through without a pause or are they broken into shorter segments by prolonged lyrics and rests?)

Lines 1, 2 and 3 run straight through without a pause. Line 4, however, is broken into two shorter four-syllable segments by a dotted quarter rest.

Cross-Line Segmentation

Each line is segmented from one another by a rest ranging from a dotted quarter to a dotted half in duration.

Line 1: Wait-in’ for the time to pass you by
Line 2: Hope the winds of change will change your mind

Part 1a: “Wait-in’ for the time to pass you by”

Line 1 is composed of part 1a. It spans a minor sixth, consists of five pitches (F, Ab, Bb, C, Eb, which are the first, third, fourth, fifth and seventh degrees of the F minor scale, respectively), nine syllables, and features a combination of sixteenth and dotted eighth notes.

Beginning on the tonic, it follows a descending “platform” melodic progression (each “platform” consists of two notes) from F to Ab, followed by a stepwise ascent to Bb to conclude. Rhythmically, the line alternates dotted eighths and sixteenths, creating a “long-short-long-short” pattern.

• The simplicity of the melodic progression coupled with the equally simplistic and repetitive rhythmic pattern makes the line easy to sing and easily connect and resonate with the listener.
• The conclusion on Bb and ensuing dotted half rest keeps the melody in motion and the listener hanging in anticipation for line 2 that follows.
• The descending melodic progression on both lines coupled with Cara’s delivery jibes with and accentuates the underlying downtrodden connotation of the lyrics.

Part 1a: “Hope the winds of change will change your mind”

Line 2 is composed of part 1a and is essentially a melodic and rhythmic carbon copy of line 1. The sole difference is that the last two notes are eighth notes as opposed to a dotted eighth and sixteenth.

Line 3: I could give a thou-sand rea-sons why
Line 4: And I know you, and you’ve got to

Part 2a: “I could give a thou-sand rea-sons why”

Line 3 is composed of part 2a. It spans a perfect fourth, consists of four pitches (F, G, Ab, Eb, which are the first, second, third and seventh degrees of the F minor scale, respectively), nine syllables, and features a combination of sixteenth and eighth, and dotted eighth notes.

In contrast to lines 1 and 2, line 3 features an ASCENDING “platform” melodic progression from Eb to Ab, followed by a minor third DESCENT to the tonic, F, to conclude. Rhythmically, it is similar to lines 1 & 2 but is embellished with slurs on the first and third beats.

• The ASCENDING “platform” melodic progression on line 3 provides engaging contrast against the DESCENDING “platform” progressions on lines 1 and 2.
• The rhythmic similarities between line 3 and lines 1 and 2 keeps the listener locked in and makes the section more memorable.
• The ascending direction of the melody effectively jibes with and accentuates the emotional context of the lyrics.

Part 3a: “And I know you”
Part 3b: “and you’ve got to”

Line 4 is composed of two melodic parts – part 3a and part 3b –  which are segmented from one another by a dotted quarter rest. It spans a minor sixth, consists of five pitches (F, Ab, Bb, C, Eb, which are the first, third, fourth, fifth and seventh degrees of the F minor scale, respectively), eight syllables, and features a combination of sixteenth, eighth and quarter notes.

Part 3a begins in a similar manner to line 3 with an Eb-F slur. However, it differs in that it then leaps up a perfect fifth to C, followed by a Bb-C progression to conclude. Rhythmically it differs as well, as it consists of longer notes (including the two sixteenth note slur) and forgoes the alternating long-short flow featured on the preceding lines.

Following the dotted quarter rest, the second half of the line, part 3b, begins in the same manner as part 3a, but ends with an Ab-F slurred descent to the tonic on the lyric “to,” which brings the section to a conclusion.

The perfect fifth leaps and higher register on line 4 compared to the other lines in the section takes the excited emotion that was initially introduced on line 3 to an apex, and accentuates the impact of the lyrics in the process.

Line 1: Won’t ad-mit what I al-read-y know
Line 2: I’ve nev-er been the best at let-ting go
Line 3: I don’t wan-na spend the night a-lone
Line 4: Guess I need you, and I need to

High: C4
Low: Ab2

Like verse 1, verse 2 is composed of four lines, three melodic parts, seven pitches (all scale degrees except for the sixth, Db), and spans a tenth from Ab2 to C4. It essentially features the same melodic structure as verse 1 save for some subtle changeups, which prevents cookie-cutter monotony from occurring. The most notable difference is Cara’s multi-pitch melisma that occurs on line 3 on the lyric “alone.” Its addition provides the lyrics with a higher degree of emotion and gives Cara a brief spot to really show off her vocal chops.

Verse 2 Melodic Direction: At-a-Glance

Verse 1 Melodic Direction Reference: At-a-Glance

Verse 2 Melodic Part Structure: At-a-Glance

Lines in the second verse range from eight to 10 syllables, which is very similar to its verse 1 counterpart.

In-Line Segmentation
(Do lines run straight through without a pause or are they broken into shorter segments by prolonged lyrics and rests?)

As is the case in the first verse, lines 1, 2 and 3 run straight through without a pause, and line 4 is broken into two shorter four-syllable segments by a dotted quarter rest.

Cross-Line Segmentation

Also like the first verse, each line is segmented from one another by a rest ranging from a quarter to a dotted half in duration.

Line 1: Won’t ad-mit what I al-read-y know
Line 2: I’ve nev-er been the best at let-ting go

Lines 1 and 2 are composed of part 1b and part 1c, respectively. Both feature the same core melodic and rhythmic structure as their verse 1 counterparts, which heightens the song’s memorability. However, there are some subtle differences as well, which prevents cookie-cutter monotony from occurring:

• Line 1 doesn’t conclude with an ascent to Bb, and instead concludes on Ab.
• Line 2 begins with a one note pickup on C. This doesn’t occur in any of the other lines in either verse section.

Line 3: I don’t wan-na spend the night a-lone
Line 4: Guess I need you, and I need to

Lines 3 and 4 are the same as their verse 1 counterparts except for one difference that occurs on line 3. It concludes with the multi-pitch melisma on the lyric “alone,” which achieves the following:

• It provides additional contrast relative to verse 1.
• It provides the line with a heightened degree of emotion, which accentuates the connotation of the lyrics.
• It provides Cara with an opportunity, albeit brief, to show off her vocal chops.

*Note: The analysis will focus on pre-chorus 1, as its melodic characteristics are almost identical to pre-chorus 2.

Line 1: Make it on your own but, we don’t have to grow up, we can stay for-ev-er young
Line 2: Liv-in’ on my so-fa, drink-in’ rum and co-la, un-der-neath the ris-in’ sun
Line 3: I could give a thou-sand rea-sons why
Line 4: But you’re go-in’, and you know that

Line 1: Make it on my own but, I don’t wan-na grow up, we can stay for-ev-er young
Line 2: Liv-in’ on my so-fa, drink-in’ rum and co-la, un-der-neath the ris-in’ sun
Line 3: I could give a mil-lion rea-sons why
Line 4: But you’re goi-n’, and you know that

High: C4
Low: F2

The pre-chorus features a very similar melodic structure as the verse sections. It is composed of four lines, three melodic parts, utilizes all scale degrees, and spans a twelfth from F2 to C4.

As is the case with the verse sections, the first two lines feature a descending “platform” melodic progression. The difference is that there are more notes in some of the “platforms,” and they possess a differentiated rhythmic structure, with each “platform” alternating between a succession of short and long notes. The last two lines in the section are melodically identical to the last two lines in both verse sections.

Together, the lines in the pre-chorus heighten both familiarity and memorability in the scope of the song due to their similarities to the verse sections, while their differences help to keep things fresh and engaging.

Note that pre-choruses 1 and 2 feature the same melody with one exception –  the “why” on line 3 in pre-chorus two is sung in an extended melismatic manner compared to pre-chorus 1.

Pre-Chorus Melodic Direction: At-a-Glance

Verse 1 Melodic Direction Reference: At-a-Glance

Verse 2 Melodic Direction Reference: At-a-Glance

Pre-Chorus Melodic Part Structure: At-a-Glance

Consisting of 19 syllables each, lines 1 and 2 are not only the longest lines in the pre-chorus, but the entire song. Lines 3 and 4 consist of nine and eight syllables, respectively, which are in-line with their line 3 and 4 counterparts in both verse sections.

In-Line Segmentation
(Do lines run straight through without a pause or are they broken into shorter segments by prolonged lyrics and rests?)

Lines 1 and 2 employ strategically placed quarter notes that provide stress points that stand out relative to the eighth notes that surround them. This provides subtle in-line segmentation, breaking these lengthy 19 syllable lines into three shorter, easier to digest and remember segments, consisting of 6, 6 and 7 syllables, respectively.

• Line 1 (6 / 6 / 7): “Make it on your own but / we don’t have to grow up / we can stay for-ev-er young”
• Line 2 (6 / 6 / 7): “Liv-in’ on my so-fa / drink-in’ rum and co-la / un-der-neath the ris-in’ sun”

Cross-Line Segmentation

Each line is segmented from one another by a rest ranging from a quarter to a dotted quarter in duration.

Line 1: Make it on my own but, I don’t wan-na grow up, we can stay for-ev-er young

Part 1a: “Make it on my own but, I don’t wan-na grow up, we can stay for-ev-er young”

Line 1 is composed of part 1a. It spans a tenth, consists of five pitches (F, Ab, Bb, C, Eb, which are the first, third, fourth, fifth and seventh degrees of the F minor scale, respectively), 19 syllables, and features a combination of sixteenth, eighth and quarter notes.

Beginning on Ab3, which is a minor third above where the verse ends, it follows a descending “platform” melodic progression down to Bb2, followed by a mostly stepwise descent down to the tonic via C-Bb-Ab-F to conclude.

“Platform” Melodic Structure

The first “platform” features a succession of four Ab sixteenth notes then drops down a minor third to the second platform, which consists of two F eighth notes. The third and fourth “platforms” feature a similar structure, beginning with a succession of four Eb sixteenth notes, followed by a drop down to two C eighth notes. Together, the shape and rhythmic structure of these “platforms” creates an engaging and infectious pattern that easily gets ingrained in the listener’s head.

The last “platform” begins in a similar manner to platforms one and three with a succession of three Bb sixteenth notes, but is followed by a four-note descent down to the tonic to conclude.

Note that the shape of the “platform” progression is similar to lines 1 and 2 in both verse sections, with the main difference being that there are more notes in the first, third and fifth platforms (these contain three or four, while the verse only contains two in each “platform”). As a result, the similarities accentuate the memorability factor of the song, while the differences, along with the rhythmic changeups, help to keep things fresh and engaging.

Line 2: Liv-in’ on my so-fa, drink-in’ rum and co-la, un-der-neath the ris-in’ sun

Part 1b: “Liv-in’ on my so-fa, drink-in’ rum and co-la, un-der-neath the ris-in’ sun”

Line 2 features the same melodic and rhythmic structure as line 1, with the sole exception being that it concludes on Ab as opposed to the tonic, F. This keeps the melody in motion as it heads into line 3.

Line 3: I could give a mil-lion rea-sons why
Line 4: But you’re goi-n’, and you know that

Lines 3 and 4 feature the same melodic and rhythmic structure as lines 3 and 4 in the first verse. This, along with the lyrical commonalities on line 3 heightens the memorability factor of the song.

Line 1: All you have to do is stay a min-ute
Line 2: Just take your time
Line 3: The clock is tick-in’
Line 4: So stay

Line 5: All you have to do is wait a sec-ond
Line 6: Your hands on mine
Line 7: The clock is tick-in’
Line 8: So stay

High: Db4
Low: F3

The chorus is composed of two stanzas, consists of eight lines, four melodic parts, five pitches (F, Ab, Bb, C, Db, which are the first, third, fourth, fifth and sixth degrees of the F minor scale, respectively), and spans a minor sixth from F3 to Db4. Compared to the verse and pre-chorus sections, the chorus uses the fewest pitches, spans the most limited range, and is sung in a higher register.

It features an infectiously fragmented melodic structure consisting of short, melodically limited phrases that are segmented from one another primarily by eighth rests. This provides the chorus with a unique, standout characteristic both within the song itself as well as compared to many of its mainstream contemporaries.

Additionally, the simplicity and repetition in the section (including the 5x repetition of the song title melody) enables the listener to easily sing along and remember.

Note that choruses 2 and 3 feature essentially the same melody as chorus 1 with the following changeups:

Chorus 2

• Line 2: “Your time” is sung in a slightly higher register
• Line 6: The lyric “hands” is sung in a melismatic manner
• Line 8: The lyric “stay” is sung in an extended melismatic manner

Chorus 3

• Line 2: “Your time” is changed up relative to both choruses 1 and 2 as it is in a higher register than chorus 1 and “time” is stretched across two pitches

Chorus Melodic Direction: At-a-Glance

Verse 1 Melodic Direction Reference: At-a-Glance

Verse 2 Melodic Direction Reference: At-a-Glance

Pre-Chorus Melodic Direction Reference: At-a-Glance

Chorus Melodic Part Structure: At-a-Glance

Aside from the first line in each stanza, which consists of 10 syllables, the lines in the chorus feature the shortest syllable counts in the entire song, ranging from two to five.

In-Line Segmentation
(Do lines run straight through without a pause or are they broken into shorter segments by prolonged lyrics and rests?)

Each line in the chorus except for lines 4 and 8 (which are comprised of just two syllables – “so stay”) features in-line segmentation, which is put into effect by a rest ranging from an eighth to a dotted eighth in duration. Considering that these lines aren’t very long, the primary purpose of the segmentation is to provide them with an infectious rhythmic spin, which further enables the chorus to stand out in the scope of the song. Reference the melodic part table and sheet music above for reference.

Cross-Line Segmentation

Each line is segmented from one another by a rest ranging from an eighth to a quarter in duration.

Line 1: All you have to do is stay a min-ute
Line 2: Just take your time
Line 3: The clock is tick-in’
Line 4: So stay

Part 1: “All you have to do is”
Part 2a: “stay”
Part 3: “a min-ute”

Line 1 is composed of three melodic parts – part 1, part 2a and part 3. It spans a minor sixth, consists of five pitches (F, Ab, Bb, C, Db, which are the first, third, fourth, fifth and sixth degrees of the F minor scale, respectively), 10 syllables, and features a combination of sixteenth and eighth notes.

*Note that even though part 2a is connected to part 1, for purposes of analysis it was provided with its own part assignment to illustrate how the song title melody is reinforced throughout the section.

Part 1, which represents the first six notes in the section, “all you have to do is,” is a pickup in the last measure of the pre-chorus. It begins with a succession of sixteenth notes down the scale from Db to Ab, followed by two Ab-Bb eighth notes. This kicks the chorus off on an excited note.

Part 2a represents the title lyric that follows, “stay.” It’s slurred across two eighth notes, Ab-F. This is the first instance of the song title melody that returns five additional times throughout the section.

Following the eighth rest, part 3a begins a minor third higher on Ab, and ascends a major third up to C by way of an Ab-Bb slur. Note that concluding on the fifth scale degree keeps the section in motion and the listener anticipating what comes next.

Part 2b: “Just take”
Part 4: “your time”

Line 2 is composed of two melodic parts – part 2b and part 4 – which are segmented from one another by an eighth rest. It spans a minor third, consists of two pitches (F and Ab, which are the first and third degrees of the F minor scale, respectively), four syllables, and features an eighth note rhythm.

The first segment, part 2b, begins with an Ab eighth note and is followed by a descending eighth note Ab-F slur on the lyric, “wait.” This reinforces the song title melody that was previously established by way of part 2a on line 1.

Following the eighth rest, the second segment, part 4, features a monotone Ab eighth – quarter note rhythm on the lyrics, “your time.”

Part 4: “The clock”
Part 3: “is tick-in’”

Line 3 is composed of two melodic parts – part 4 and part 3 – which are segmented from one another by a dotted eighth rest. It spans a major third, consists of three pitches (Ab, Bb, C which are the third, fourth and fifth degrees of the F minor scale, respectively), five syllables, and features an eighth and sixteenth note rhythm.

Both parts are recycled from other lines within the section, which heightens the familiarity and memorability factors. The first segment, part 4, is the same as the last segment of line 2 that precedes it. The second segment, part 3, is the same as the last segment of line 1.

Part 2b: “So stay”

Line 4 is a verbatim repetition of the melody that occurs at the beginning of line 2 (“just take”), as well as a lyrical and melodic repetition of the title “stay” as featured in line 1.

Line 5: All you have to do is wait a sec-ond
Line 6: Your hands on mine
Line 7: The clock is tick-in’
Line 8: So stay

The second stanza (lines 5-8) features the same melody as the first stanza (lines 1-4). The difference is that some of the lyrics have been changed up, which helps to keep things fresh and engaging despite the verbatim melodic repetition.

The sporadic vocals featured in the instrumental break are essentially repetitions of part 1 and part 2 from the chorus, coupled with the addition of the syncopated “uh” vocal, which appears only in this section.

The vocal break recycles lyrics from the chorus in a changed up manner. It begins with many repetitions of the title lyric, stay, on quarter notes that gradually fade out over the first four bars of the section. The second and third measures feature a changed-up repeat of the lyrics “all you have to do is stay.” This repetition is loosely based on parts 1 and 2 from the chorus, but in a lower register, and is rhythmically augmented and extended (see notation below). At the end of the fourth bar and carrying over into the fifth is a repeat of “so stay” – part 2 from the chorus. This is followed a measure later by two melismatic “yeah” vocals that lead into a pickup into the final chorus, with a verbatim repeat of part 1 from the chorus – “all you have to do is.”

Following the decay of the delay-processed “stay” vocal from the preceding chorus, a sole melismatic “stay” is sung. Spanning Eb3 to Bb2, the softer tone and low-pass filter processing harkens back to the vocal qualities featured in the vocal break section.

• Begin on Eb3 and end on Bb2
• Melismatic vocal in a softer tone