Dance Monkey’s instrumental arrangement is a masterclass on how to capitalize on trends, achieve a unique yet universally appealing vibe and create a dynamic and engaging listening experience that keeps the listener hooked and wanting more.

Instrumentally, the song uses a combination of electronic, acoustic and quasi-acoustic instrumentation that provides an organic vibe while still enabling the song to connect with Electropop and Dance audiences. Among the notable instruments featured in the mix are a combination of electric and acoustic pianos, which play simplistic, repetitive motifs that prime the song for mainstream Pop appeal without overshadowing Tones and I’s unique vocals; synth bass, which delivers the chorus’s foundational hook and locks in with the four-on-the-floor kick, bass, hi hat and vocals in the chorus to create a cohesive, super-infectious dance groove; and both claps and snaps, which, in addition to contributing to the groove, put the song in tune with current trends, enabling it to more easily connect with mainstream audiences.

In addition to the effective instrument choices themselves, the meticulous manner in which the instruments are arranged throughout the song also greatly contributes to its impact, creating a highly engaging and varied structural flow. Peppered with full and partial accompaniment pulls, groovy chorus breakdowns and engaging section-to-section contrast, Dance Monkey takes its listeners on a roller coaster ride that keeps them tuned in for the entire 3 minutes and 26 seconds.

Dance Monkey’s energy flow strikes the perfect balance between minimal, pronounced, and at times unexpected dynamic shifts, creating a highly engaging and memorable listening experience. Looked at holistically, Dance Monkey’s energy arrangement is what one would expect from a Pop hit. It begins with low energy in the intro followed by a series of drops and rises in each of its three cross-section energy “waves,” culminating with a peak in the third and final chorus. However, along the way there is a combination of stagnant chorus breakdowns, jarring accompaniment pulls and unexpected “fakeouts,” all of which function to keep the listener locked in while ensuring that they remain alert and highly engaged.

Key
Wave: Indicates cross-sectional energy level flow from low to high
Pt. (Partial) S.I.A. (Section Impact Accentuator): A part of the accompaniment is removed from the mix (paired with a riser effect where noted in analysis)
Full S.I.A. (Section Impact Accentuator): The full accompaniment is removed from the mix (paired with a riser effect where noted in analysis)

Dance Monkey progresses though three energy level “waves.” Each wave progresses from low to high energy, save for the first stanza of each chorus in waves 1 and 2 and the breakdown in the last two bars of wave 3.

Wave 1

Wave 1 encompasses the intro through the end of chorus 1. It begins with relatively low energy in the intro due to the sparseness of the arrangement and then increases in both subtle and pronounced ways over the course of the first verse as new elements are added to the mix (save for the lower energy, transitional accompaniment pull in bars 7 and 8).

However, unlike most Pop hits, wave 1 does not end with an energy peak. Instead, the energy level drops off slightly in the chorus due to its breakdown arrangement. However, despite the slight reduction in energy, chorus 1 still provides a satisfying payoff following the tension-heightening verses, featuring a head-bobbing, dance-inspired groove that is designed to lock listeners in and get them moving.

Wave 2

Wave 2, which encompasses verse 2 through chorus 2, begins with a lower energy level compared to the chorus that precedes it. Verse 2 then begins to rise in energy in the same manner as it did across verse 1, which creates structural familiarity in the scope of the song. However, this time around, the overall energy level is a notch higher than verse 1, which helps to heighten engagement as the song progresses. Chorus 2 then follows with a slight drop off in energy, just as it did the first time around in chorus 1. However, like verse 2, its energy is also slightly higher than its wave 1 counterpart, keeping it in line with the more energetic wave 2 flow. Further differentiating chorus 2 from chorus 1 is its inclusion of a second stanza, which brings the song’s energy to a peak through the addition of new accompaniment elements and subtle vocal changeups.

Wave 3

Wave 3, which encompasses the vocal break through chorus 3, begins with a stark drop off in energy in the sparsely arranged vocal break. Note that the energy level here is the lowest it’s been since the intro, which provides the song with a much needed energy reprieve to heighten the listener’s engagement against the higher-energy sections that surround it. After gradually building in the second half of the vocal break, the song’s energy is thrust up to a grand peak in chorus 3, which forgoes the chorus 1/chorus 2 breakdown and instead hits with the high-energy arrangement that defined the second stanza of chorus 2 right from the get-go, along with more powerful group vocals. After increasing a touch further in the second stanza of the chorus, the song’s energy diminishes across the last two bars through two gradually sparser accompaniment pulls, bringing the listener gently back to the ground as the song comes to a conclusion.

Dance Monkey uses one main chord progression that is featured in every section of the song and delivered through varied instrumentation. It features a diatonic, easy-to-follow F#m – D – E – C#m (F# minor: i-VI-VII-v) progression with each chord lasting one bar, usually with an additional anticipation one sixteenth note before beat 1 of the next bar. Though the progression is highly repetitive over the course of the song, it is kept interesting through its many delivery methods, ranging from high-end, bouncy electric keys, to sustained synth pads, to groovy, syncopated synth basslines.

Though every aspect of Dance Monkey is strong, the song’s defining quality is unquestionably singer Tones and I’s vocals. While the super-infectious melodies enable the song to easily connect with mainstream Pop audiences – a hallmark of any great Pop hit – it’s the unique manner in which Tones and I delivers the lead and background vocals that puts the song over the top. Not only does this enable Dance Monkey to stand out among its mainstream contemporaries, but Tones and I herself as well. Her unique style puts her in a class of her own, cementing her position alongside other A-list vocalists such as Ariana, Billie and Lizzo.

Dance Monkey features a female lead vocal from Tones and I. While female leads in the Hot 100 Top 10 have trailed their male counterparts for many years, they have been gaining in popularity. Looking specifically at songs outside the Hip Hop genre, songs with a female lead have nearly doubled from 26% in 2016 up to 50% during the first two months of 2020, tying their male counterparts. This is the highest level seen in over five years.

Lead vocal Hot 100 Top 10 (non-hip hop) trends over the past five years: Click Here

Dance Monkey’s most defining factor is Tones and I’s vocal style. Her unique delivery, complete with idiosyncratic pronunciations, groovy rhythmic precision and engaging transitions between vocal registers that give her an almost cartoonish, “Betty Boop” timbre, sets both her and the song apart from their mainstream contemporaries. Tones’s delivery also superbly supports the song’s narrative, striking a perfect balance between soft/breathy passages and in-your-face vocal growls that accentuate the protagonist’s raw emotion.

While Tones and I’s lead vocal is certainly the star of the show, an assortment of background vocals are featured as well that both support the lead and add infectious embellishments to heighten engagement throughout the song. These background vocals range from a natural-sounding “ooh” vocal that serves as an infectious vocal “pad” underneath Tones and I’s lead, to distorted pitch-shifted background vocals that provide her lead with a heightened degree of impact, to a multi-voice group vocal in chorus 3 that provides differentiation from the other choruses and heightens excitement as the song heads toward a conclusion.

The vocal effects and processing used in Dance Monkey run the gambit, ranging from spacious reverb and delay to distorted pitch-shifting. On the conventional side, the song’s producers used long-tailed reverb and subtle delay to help Tones and I’s unique delivery shine in a natural manner while still contributing to the sonic landscape in the song’s sparser sections. On the unique side, pitch- and formant-shifted octave doubles are added in the choruses to heighten engagement with the lead and add low-end contrast. And perhaps most notable of all, the background vocal featured in the vocal break uses distortion and EQ filtering as well as pitch and formant processing, giving it a trombone-like timbre as it reinforces a line from the chorus in a unique, though essentially unintelligible, manner that heightens engagement and interest within the section.

Key

X: Indicates that a vocal layer is present within a song section
-/-: Separates stanzas
BGV: Background vocal

Along with Tones and I’s unique and intriguing vocals, Dance Monkey’s defining factor is its super-infectious melodies. Writer Tones and I uses just about every technique from the hit song playbook to effectively craft, reinforce and develop melodies over the course of the song, getting them ingrained in the listener’s head without waring out their welcome.

Each section of Dance Monkey firmly adheres to the K.I.S.S. ME principal (Keep It Simple, Singable and Memorable), a highly important component of any hit song melody. The clever recycling of motifs both within and across sections additionally heightens familiarity, cohesiveness and “hookiness,” while subtle changeups help to prevent cookie-cutter monotony. Furthermore, cross-stanza changeups in each section heighten engagement and excitement along with shifts in vocal delivery and accompaniment. And above all, the chorus’s main hook melody (“So I say dance for me, dance for me, dance for me, oh oh oh”) is in and of itself a masterclass in earworm melody composition. Each iteration consists of three distinct melodic parts that function to set up the main hook, deliver the main hook, and provide a bonus “icing on the cake” nonsensical hook at the end, while the line’s melodic symmetry and close adherence to the K.I.S.S. ME principle ensure that it easily connects and resonates with the listener.

Verses

*Note that this table represents verse 1. Verse 2 features an identical melodic structure, albeit with varied lyrics and minor melodic changeups.

Chorus 1

Chorus 2

Vocal Break

Verses

*Note that this graph represents verse 1. Verse 2 features a nearly identical melodic shape with minor changeups.

Chorus 1

Chorus 2

Chorus 3

Vocal Break

Bolstering the impact of Dance Monkey’s infectious melodies and engaging storyline are its methodically structured rhymes. Among the lyrical techniques that writer Tones and I uses are a combination of internal and end-of-line rhymes (both perfect and near), alliteration, repetitive lyrics and cross-line, cross-stanza and cross-section lyrical commonalities. The song also features a strategic syllable structure, which, together with the song’s rhymes and other lyrical devices, heightens the lyric’s ability to connect and resonate with the listener.

At-A-Glance: Primary Rhymes Section by Section

Key

A, B, & C: End-of-line rhymes
X: Non-rhymes
Lyrics: The primary rhyme at the end of each line
Colors and rhyme schemes are unique to each section

At-A-Glance: Syllable Count Section by Section

Key

Numbers: Denotes the total number of syllables in a line
Numbers in parentheses: Denotes the number of syllables in a specific line segment. Segmentation is achieved through melodic or rhythmic contrast within a line or the use of rests between segments. Lines without parenthesis have no segmentation. Reference the Vocal Melody section of the report for further details.
Colors: Reflect song sections (note that they do not relate to the colors used in the rhyme tables)

Compared to other more generic Hot 100 Top 10 hit song titles such as Goodbyes, I Like It and Lover, Dance Monkey leans more toward the attention-grabbing end of the spectrum due to its unique, intriguing nature. This effectively piques the listener’s curiosity to check out the song and find out what Dance Monkey relates to in the scope of the narrative.

In addition to its intriguing title, Dance Monkey stands out from most of its mainstream contemporaries in that the proper full song title is never featured in the narrative. Instead, fragments of the full title – “dance” and “monkey” – are featured independently throughout the song. Over the past five years, only 3% of non-Hip Hop Hot 100 Top 10 hits and 15% of Hip Hop hits did not feature the proper title within their framework.

Dance Monkey is a lifestyle and love/relationships (platonic) themed song about a highly talented street performer who has become frustrated with the repetitive nature of her job and incessant, unappreciative audiences. The narrative follows this protagonist as she ruminates on the comments her audiences make about her and their never-ending requests for her to perform for them again, making her feel like a trained “dance monkey.”

One important thing to note about the narrative is that it is based off of a real-life experience writer/singer Toni Watson went through back when she was a street performer. In her own words, there was one particular night where she had been busking for six hours when “one person ran past and stole [her] money. Someone else leaned over and tried to play [her] keyboard. The whole crowd was drunk and rowdy.” Watson said that at that point, she decided enough was enough and stopped playing. When the audience booed her as a result, she become “so frustrated,” because it showed her that “people didn’t have much patience anymore.” Hence, she felt like a “dance monkey.”

Writing lyrics based on real-life experiences is effective in that it enables performing artists to connect with the narrative on a deeper level, thus enabling them to deliver it in a more believable manner. Furthermore, it also deepens the narrative’s connection value with the listener, giving them a more intimate, personal look into their favorite artists’ lives, which many fans crave. However, note that many of the specific details are actually left out of the narrative, which heightens its universal appeal and allows room for the listener to insert themselves and their own life’s circumstances into the storyline. For example, when the lyric “dance” is substituted for something that pertains directly to the listener such as “paint,” “play,” “sing,” etc., the essence of Dance Monkey can be adapted to anyone who has ever felt underappreciated and overworked.

Among the many elements bolstering the impact of Dance Monkey’s universal storyline are the effective use of the A.I.D.E. principle (action, imagery, detail and emotion); clever lyricism, including the use of repetitive lyrics in the verse and chorus sections that both provide an infectious spin and jibe with the repetitive essence of the narrative; and the atypical repetition of the same lyrics across verse sections, which take on an entirely different meaning when presented in a new context in verse 2.

Key

COMM DIR.: Communication direction (audience/protagonist)
AUD: Communicated from the audience’s perspective
PRO: Communicated from the protagonist’s perspective

Verse 1

Chorus 1

*Note that choruses 2 and 3 each consist of two stanzas that feature essentially the same proper lyrical content as chorus 1.

Verse 2

Dance Monkey possesses a highly effective structure that is both familiar and atypical when compared to other recent Hot 100 Top 10 hits outside the Hip Hop genre. On the familiar side, it begins with an intro, features two verse and three chorus sections, utilizes a “D” (Departure) section that doubles as an infectious post chorus, spends most of its time in the chorus and is in-line with the most popular tempo and song length ranges. However, it goes against the grain by forgoing a pre-chorus and outro and possessing lengthy verse and chorus sections compared to many of its mainstream contemporaries.

While the aforementioned characteristics in addition to others help Dance Monkey to both easily connect with audiences and stand out from the pack, its true structural strength is how seamlessly it leads the listener from section to section and develops familiar material in fresh ways throughout the song, creating a highly memorable and engaging listening experience.

Dance Monkey contains seven sections in its framework:

• One intro section
• Two verse sections
• Three chorus sections
• One vocal break section (the vocal break is both a post chorus and a departure section)

Post Chorus Section Classification

A post chorus is the classification of a song section that follows a chorus and functions as an additional “hook center” in the song’s framework. Dance Monkey’s post chorus is its vocal break, which follows the second chorus and doubles as the song’s “D” (Departure) section. It features the piano motif in its second half, which was initially introduced in the intro, as well as two repeated vocal hooks: the “ooh” background vocal from the second verse, now treated as a lead vocal, and the “do it all again” hook from the preceding choruses, now treated as a highly processed background vocal. The combination of similarities and differences compared to their first occurrence counterparts helps reinforce these hooks in both a familiar and fresh manner. Additionally, singer Toni Watson’s newly introduced “woah-oh” vocal adlibs provide the section with a new infectious spin.

Note that the popularity of post choruses among non-Hip Hop Hot 100 Top 10 hits diminished greatly between 2017 and 2018 due to the rise of Hip Hop, which does not commonly feature post choruses. However, there was a post chorus resurgence in 2019 due to Pop’s increased prominence in the Top 10.

Use of a Post Chorus in Non-Hip Hop Hot 100 Top 10 Hits: 2015 – 2019

“D” (Departure) Section Classification

A “D” (Departure) section is the classification of a song section that provides a pronounced vocal, lyrical, instrumental, and/or energy level departure compared to other sections in the song, usually occurring around two-thirds of the way in. The departure is then typically followed by the return to familiar territory in the next section, which is usually a chorus.

Dance Monkey’s “D” section is its vocal break, which also doubles as a post chorus. It occurs at 71% of the way through the song, which is the exact spot of the Hot 100 Top 10 2019 non-Hip Hop average, and features a breakdown arrangement consisting of familiar material presented in a fresh manner. The section’s unique qualities in the scope of the song greatly heighten engagement, while its familiar aspects effectively heighten infectiousness and memorability. Following the “D” section, the song returns to entirely familiar territory by heading back into a third and final chorus.

Note that while the inclusion of a “D” section is very common in genres outside of Hip Hop, bridges are far more common than bridge surrogates, which are sections that provide a departure in lieu of a narrative-advancing bridge, such as a vocal or instrumental break. In 2019, 55% of songs contained a bridge compared to just 29% with a bridge surrogate, of which Dance Monkey was one. However, note that the vocal break was the most popular type of bridge surrogate section over the last few years save for 2019, where it was slightly edged out by the third verse bridge surrogate.

Bridge Surrogate Sections in Non-Hip Hop Hot 100 Top 10 Hits: 2015 – 2019

No Outro

Outros have by far been the most common concluding song section over the last five years and accounted for 78% of overall Hot 100 Top 10 hits in 2019. When looking at specific genre subsets, however, note that the use of an outro in Hip Hop hits increased to 95% of songs in 2019, but decreased outside of the Hip Hop genre from 81% in 2018 down to 68% in 2019. This was due to the increased number of songs that ended with a chorus, which nearly doubled to 29% of songs in 2019 including Dance Monkey.

Last Section in Non-Hip Hop Hot 100 Top 10 Hits: 2015 – 2019

No Pre-Chorus

Over the past five years, the vast majority of non-Hip Hop Hot 100 Top 10 hits have included a pre-chorus in their framework. Dance Monkey goes against the grain by not using one. However, the percentage of non-Hip Hop hits that forgo a pre-chorus more than doubled in 2019 to 37% of songs, essentially meaning that more songs are getting to their first chorus faster (the average amount of time shortened from 45 seconds into the song in 2018 down to 39 seconds in 2019). Other major 2019 hits that forgo the pre-chorus are Bad Guy, Circles, Girls Like You and Senorita, among others.

Use of a Pre-Chorus in Non-Hip Hop Hot 100 Top 10 Hits: 2015 – 2019

Dance Monkey’s energy flow strikes the perfect balance between minimal, pronounced, and at times unexpected dynamic shifts, creating a highly engaging and memorable listening experience. Looked at holistically, Dance Monkey’s energy arrangement is what one would expect from a Pop hit. It begins with low energy in the intro followed by a series of drops and rises in each of its three cross-section energy “waves,” culminating with a peak in the third and final chorus. However, along the way there is a combination of stagnant chorus breakdowns, jarring accompaniment pulls and unexpected “fakeouts,” all of which function to keep the listener locked in while ensuring that they remain alert and highly engaged.

These qualities, along with the song’s other highly infectious, engaging and memorable characteristics, greatly contributed to Dance Monkey’s stellar success around the world.

Key

Wave: Indicates cross-sectional energy level flow from low to high
Pt. (Partial) S.I.A. (Section Impact Accentuator): A part of the accompaniment is removed from the mix (paired with a riser effect where noted in analysis)
Full S.I.A. (Section Impact Accentuator): The full accompaniment is removed from the mix (paired with a riser effect where noted in analysis)

Dance Monkey progresses though three energy level “waves.” Each wave progresses from low to high energy, save for the first stanza of each chorus in waves 1 and 2 and the breakdown in the last two bars of wave 3.

Wave 1

Wave 1 encompasses the intro through the end of chorus 1. It begins with relatively low energy in the intro due to the sparseness of the arrangement and then increases in both subtle and pronounced ways over the course of the first verse as new elements are added to the mix (save for the lower energy, transitional accompaniment pull in bars 7 and 8).

However, unlike most Pop hits, wave 1 does not end with an energy peak. Instead, the energy level drops off slightly in the chorus due to its breakdown arrangement. However, despite the slight reduction in energy, chorus 1 still provides a satisfying payoff following the tension-heightening verses, featuring a head-bobbing, dance-inspired groove that is designed to lock listeners in and get them moving.

Wave 2

Wave 2, which encompasses verse 2 through chorus 2, begins with a lower energy level compared to the chorus that precedes it. Verse 2 then begins to rise in energy in the same manner as it did across verse 1, which creates structural familiarity in the scope of the song. However, this time around, the overall energy level is a notch higher than verse 1, which helps to heighten engagement as the song progresses. Chorus 2 then follows with a slight drop off in energy, just as it did the first time around in chorus 1. However, like verse 2, its energy is also slightly higher than its wave 1 counterpart, keeping it in line with the more energetic wave 2 flow. Further differentiating chorus 2 from chorus 1 is its inclusion of a second stanza, which brings the song’s energy to a peak through the addition of new accompaniment elements and subtle vocal changeups.

Wave 3

Wave 3, which encompasses the vocal break through chorus 3, begins with a stark drop off in energy in the sparsely arranged vocal break. Note that the energy level here is the lowest it’s been since the intro, which provides the song with a much needed energy reprieve to heighten the listener’s engagement against the higher-energy sections that surround it. After gradually building in the second half of the vocal break, the song’s energy is thrust up to a grand peak in chorus 3, which forgoes the chorus 1/chorus 2 breakdown and instead hits with the high-energy arrangement that defined the second stanza of chorus 2 right from the get-go, along with more powerful group vocals. After increasing a touch further in the second stanza of the chorus, the song’s energy diminishes across the last two bars through two gradually sparser accompaniment pulls, bringing the listener gently back to the ground as the song comes to a conclusion.

Note that throughout the song, both full and partial accompaniment pulls are utilized as transitional elements between stanzas and sections, as well as at the very end of the song. They function on several levels, primarily to heighten engagement, tension and the impact of subsequent sections due to the volume and accompaniment contrast they create.

Dance Monkey features methodical fluctuations in loudness, which, along with the song’s other energy-affecting qualities, creates a dynamic and engaging listening experience. Loudness levels range from -19 LUFS in the intro (quietest) to -7 LUFS toward the end of the song in the second stanza of chorus 3 (loudest). With the exception of chorus 1, each section in the song traverses through multiple loudness levels, each of which correlates with shifts in the arrangement.

Verses 1’s first stanza sits at -12 LUFS, followed by a leap up to -9 LUFS in the denser, more energetic second stanza. Then, in the last bar, the level drops to -15 LUFS due to the implementation of a full accompaniment pull, helping to maximize the impact of the ensuing -11 LUFS chorus. The 8-bar chorus then remains at a consistent -11 LUFS over the course of the section, which is in-line with the consistency in the arrangement and vocals. Together, these unchanging qualities enable the listener to lock into the chorus’s head-bobbing groove and focus on the infectious vocals for the entirety of the section without any distraction.

Verse 2 follows with essentially the same loudness pattern as verse 1, though its first stanza and last bar are 1 LUFS louder due to the fuller accompaniment changeups.

Chorus 2 begins at a mid-level -10.5 LUFS in the first stanza before jumping up to -8 LUFS in the denser, more energetic second stanza, where it remains for the duration of the section. This is followed by a slight decrease in loudness in the ensuing vocal break, which sits at -10 LUFS in the first stanza and -9 LUFS in the second. The last bar of the vocal break then starkly drops to -12 LUFS along with its section-ending accompaniment pull, which helps the subsequent high-loudness, high-energy chorus to stand out even further in comparison.

The third and final chorus begins significantly louder at -7.5 LUFS, followed by a second stanza increase to -7 LUFS. Note that this is the loudest point in the entire song, which, along with the dense, energetic arrangement, takes energy and excitement to a grand peak. However, in the last two bars of the third chorus, the level decreases to -8.5 LUFS along with a thinning of the arrangement, followed by another significant drop off to -14 LUFS in the last bar, bringing the song to a conclusion on a more subtle note featuring nothing but Tones and I’s solo vocals.

Intro (I)

Dance Monkey’s intro features the sparsest arrangement, lowest energy and lowest loudness in the scope of the song. The section is defined solely by the eighth note-driven electric piano motif, which sets the song into motion at a fairly low energy level set to a 99 BPM tempo. In regard to loudness, the intro sits at -19 LUFS, 12 LUFS lower than the song’s loudest peak in chorus 3. Note that this technique of starting a song with a low energy and loudness level is highly common among Pop song intros, as it allows room for the song to grow in subsequent sections both in terms of energy and volume.

In the third bar of the intro, a riser effect is employed leading into a full accompaniment pull on the last beat of bar 4. The riser effectively heightens tension and anticipation for the ensuing verse, while the full accompaniment pull it leads into creates an energy lull that helps the verse to hit with greater perceived impact.

Verse 1 (A1)

Stanza 1

Following the accompaniment pull at the end of the intro, verse 1’s arrival is punctuated with a piano stab right on the first downbeat, which instantly kicks up the song’s energy along with the introduction of Tones and I’s lead vocal. These developments are joined by a leap in loudness to -12 LUFS, which helps the section to further stand out and connect with the listener. The energy remains constant across the first four bars of the verse due to the stagnancy of the arrangement, followed by a slight increase in bars 5 and 6 as backbeat-developing snaps are introduced to the mix.

Following the slight energy increase in bars 5 and 6, a pronounced and unexpected shift takes place in bars 7 and 8. Instead of developing the groove and heightening energy further, the snaps and electric piano motif are abruptly pulled from the mix and replaced by two sustained acoustic piano chords under Tones and I’s vocal. This unexpected arrangement changeup results in a significant reduction in energy, effectively heightening the listener’s engagement and enabling the more energetic second stanza to hit with increased perceived impact (reference the Music and Instruments section of the report for more information about the “fake out” effect this development creates).

Stanza 2

Following the lower-energy breakdown in bars 7 and 8, stanza 2 thrusts the verse’s energy back up. Here, several key changeups take place: the addition of kick, sub bass and claps provide heightened power and forward momentum; a low-level synth pad subtly heightens tension; the acoustic piano stabs of the first verse switch to doubling the electric piano motif, providing the section with even more drive and forward momentum; and Tones and I’s vocal now possesses a fuller, more animated quality. These characteristics along with a jump in loudness to -9 LUFS take energy and tension to a new level, greatly heightening the listener’s anticipation for the impending chorus as a result.

In the last bar of the verse, the full accompaniment is abruptly pulled save for a synth/reverse cymbal riser effect. The abruptness of the pull and resulting drop in energy and loudness to -15 LUFS serves to greatly heighten the listener’s engagement, while the riser provides a transitional element that effectively leads the listener into the first chorus.

Chorus 1 (B1)

Following the S.I.A. technique employed at the end of verse 1, the chorus turns the song on its head with a completely revamped accompaniment that forgoes the forward-moving, piano-driven groove of the verse and instead consists solely of a grooving synth bass hook, a simplified four-on-the-floor kick, snaps and low-level high hat. This sparser arrangement along with Tones and I’s more subdued vocal interestingly come in at a slightly lower energy level than the verse, which goes against the “big chorus payoff” notion that many people still have when it comes to Pop hits (i.e. Wrecking Ball, Stronger, Roar, etc.). Instead, Dance Monkey’s first chorus is in line with more recent Pop hits such as Dua Lipa’s Don’t Start Now and Khalid and Disclosure’s Talk, which forgo the “big” payoff in favor of a more restrained, infectious, groove/vibe-based payoff.

The chorus then concludes with a cymbal riser effect, which serves to heighten tension and energy leading into the ensuing verse.

Verse 2 (A2)

Stanza 1

Following the chorus, the first stanza of verse 2 brings the song’s energy down a notch as it reverts back to the less driving, piano-driven accompaniment that defined verse 1, albeit with new elements including snaps, the light synth pad, a newly-introduced rhythmic synth, and additional low-end power in the acoustic piano across the first four bars. These new and modified elements provide verse 2 with a greater sense of power, forward momentum and tension right out of the gate compared to verse 1, thus heightening engagement and excitement for the listener.

In bars 7 and 8, the same in-section S.I.A. technique that was used in verse 1 is employed once again. This breakdown to two sustained acoustic piano chords results in the same reduction in energy as verse 1, effectively heightening engagement and amplifying the arrival of the more powerful second stanza when it hits.

Stanza 2

Verse 2’s second stanza kicks the song’s energy up several notches, just as it did in verse 1. However, while the loudness of stanza 2 is on par with its verse 1 counterpart, it is a notch higher in terms of overall energy. This is due to the addition of several new elements into the mix, including the “ooh” background vocal, shaker and reverse vocal effect, all of which provide the section with heightened density and subtly increased power.

In the last bar of the second verse, the same full accompaniment pull / riser S.I.A. technique that was used to transition verse 1 into chorus 1 is used once again, this time to transition the listener into chorus 2 in the same manner.

Chorus 2 (B2)

Stanza 1

While the first stanza of chorus 2 and the entirety of chorus 1 are identical in terms of their instrumental arrangement and feature almost the same loudness (chorus 2, stanza 1 is only .5 LUFS louder than chorus 1), there are a few changeups in Tones and I’s vocals that provide chorus 2 with a slightly higher energy level. Forgoing the breathier vocal heard in chorus 1, singer Tones and I kicks off chorus 2 with a crisper, more powerful and full-bodied vocal, which subtly heightens energy right from the get-go. The first stanza of chorus 2 also introduces a new, highly unique and engaging element to Dance Monkey’s vocal production: a pitch- and formant-shifted background vocal. The result is a distinctive lower-octave doubling effect, which provides engaging variation and heightened low-end power compared to the otherwise highly similar chorus 1. A cymbal swell riser effect is then employed in the last bar of the stanza, which heightens tension and energy leading into the newly added second stanza that follows.

Stanza 2

Stanza 2 changes things up drastically through the addition of verse elements including electronic claps, shaker and both pianos, as well as new elements, most notably a snare joining the claps on the backbeat. Along with Tones’s more powerful, doubled lead vocal and an increase in loudness to -8 LUFS, these additions provide the second stanza with a heightened degree of power, intensity and drive compared to the first, and take the song’s energy to a new peak. In the last bar of the second chorus, a cymbal riser effect is once again employed to heighten tension and energy leading into the ensuing vocal break.

Vocal Break (VB)

Following the dense, high-energy second stanza of chorus 2, the vocal break provides a pronounced departure, breaking down to the following elements across the first four bars: snaps, which maintain momentum and keep the listener locked into the 99 BPM groove; the synth pad, which creates a spacious, airy and atmospheric vibe; and the vocals, including both the highly effected background vocal and Tones and I’s subdued “ooh” lead vocal. This breakdown results in a dramatic drop in energy that greatly heightens the listener’s engagement in the scope of the song. However, despite the prominent accompaniment breakdown, note that the vocal break’s loudness decreases by only 2 LUFS compared to the preceding chorus. Though the vocal break is much more subdued than the preceding chorus, this relatively similar loudness level is warranted to maintain a semblance of uniformity across disparate sections. Note that this is largely a result of mastering and compression, both of which work to even out volume levels in streamed and downloaded music files.

The three bars that follow add back in elements from the verses including kick, sub bass, electric piano and claps, the latter of which replaces the snaps on the backbeat. In addition to heightening structural familiarity in the scope of the song, as the preceding verse sections also featured similar mid-section additions, these added elements along with the rise in loudness to -9 LUFS provide increased energy and forward momentum, effectively heightening the listener’s anticipation for the impending third and final chorus.

In the last bar of the vocal break, another full accompaniment pull is employed along with a riser effect. The resulting lull in energy enables Tones and I’s vibrant vocal adlib to shine through, further heightening engagement and leading the listener into the subsequent chorus. Furthermore, note that although this accompaniment pull technique has already been used several times throughout the song, the resulting energy lull and drop in loudness to -13 LUFS creates even starker, more impactful contrast than preceding SIAs, as it is directly followed by the densest and most powerful arrangement in the entire song in chorus 3.

Chorus 3 (B3)

Stanza 1

The third and final chorus thrusts the song’s energy up to a near peak right from the get-go. This is due in part to the complete omission of the bass/drum breakdown groove that began choruses 1 and 2, instead launching right into the powerful chorus 2, stanza 2 accompaniment in the first stanza. Also heightening energy are the multiple vocal layers added under Tones and I’s lead, giving the impression of a large group singing along with her and creating a heightened sense of excitement as the song heads toward a conclusion. The stanza concludes with the same cymbal swell riser that was used to transition between stanzas in chorus 2.

Stanza 2

The second stanza, which is the last segment in the entire song, takes Dance Monkey’s energy to a grand peak. With the elements from the first stanza remaining in effect, energy is heightened slightly as Tones and I’s vocals again become more animated, just as they did in the second stanza of chorus 2, along with the addition of the background “ooh”s initially heard in the verse and vocal break sections.

Though stanza 2 brings the song’s energy to an all-time high, this does not last through the end of the song. In the second to last bar of the section, another partial accompaniment pull is utilized, breaking down to just the two pianos under Tones’s chorus of vocals. This is followed by a full accompaniment pull in the last two beats of the song, dropping down to solo vocals and effectively winding the song down to a conclusion following 14 bars of sustained intensity.

Many of today’s hits feature a combination of different genres, sub-genres and influences. Effective sub-genre fusion is a powerful way to:

Primary Instruments

Dance Monkey’s instrumental arrangement is a masterclass on how to capitalize on trends, achieve a unique yet universally appealing vibe and create a dynamic and engaging listening experience that keeps the listener hooked and wanting more.

Instrumentally, the song uses a combination of electronic, acoustic and quasi-acoustic instrumentation that provides an organic vibe while still enabling the song to connect with Electropop and Dance audiences. Among the notable instruments featured in the mix are a combination of electric and acoustic pianos, which play simplistic, repetitive motifs that prime the song for mainstream Pop appeal without overshadowing Tones and I’s unique vocals; synth bass, which delivers the chorus’s foundational hook and locks in with the four-on-the-floor kick, bass, hi hat and vocals in the chorus to create a cohesive, super-infectious dance groove; and both claps and snaps, which, in addition to contributing to the groove, put the song in tune with current trends, enabling it to more easily connect with mainstream audiences.

In addition to the effective instrument choices themselves, the meticulous manner in which the instruments are arranged throughout the song also greatly contributes to its impact, creating a highly engaging and varied structural flow. Peppered with full and partial accompaniment pulls, groovy chorus breakdowns and engaging section-to-section contrast, Dance Monkey takes its listeners on a roller coaster ride that keeps them tuned in for the entire 3 minutes and 26 seconds.

*Click image to enlarge

Electric Piano

The electric piano is heard in every section of the song save for the abridged chorus 1 and features a high-end, quasi-acoustic timbre that gives it an organic feel, while its more rounded, electronic characteristics keep it in an Electropop/Dance space. It primarily delivers Dance Monkey’s i-VI-VII-v chord progression with a bouncy, staccato eighth-note pattern and is processed with generous reverb to give it a bit more space and depth, both on its own and in the scope of the mix.

While catchy, note that the electric piano motif is more melodically restrained and less unique compared to notable foundational hooks such as the bass used in Bad Guy, the electric guitar and bass hook featured in Sucker and the mallets featured in Shape Of You. This actually works in the song’s favor, as it allows for the primary focus to be on Tones and I’s unique and infectious vocals rather than a separate instrumental hook.

Electric Piano Motif

Appears in:

• Intro
• Verses 1 and 2
• Choruses 2 and 3
• Vocal Break

Acoustic Piano

Acoustic piano is delivered in a variety of ways throughout the song, ranging from short, resonant stabs to full, sustained chords that serve to heighten engagement and cross-section variation. The piano primarily stays in its low end, which provides the sections in which its featured with increased power and depth, though at times sparse high-end eighth notes and mid-range sustained chords are also utilized to fill out the frequency spectrum. The acoustic piano is processed with a mid-length reverb to provide a sense of space and fill out the mix, which is particularly noticeable in the sparser verse sections.

Appears in:

• Verses 1 and 2
• Choruses 2 and 3

Light Synth Pad

The light pad synth is featured in the second stanza of verse 1 and both stanzas of verse 2, working to both heighten energy and fill out the mix. It has a light, airy timbre that remains stagnant throughout the song, keeping it low in the listener’s ear while providing subtle variation and fullness. It plays a highly simple part, holding out a continuous F# that effectively heightens tension over the course of each four-bar chord progression cycle.

Appears in:

• Verses 1 and 2

Rhythmic Synth

This rhythmic synth plays a very low-level, sixteenth note-focused pattern in the first stanza of verse 2, serving as a subtle sonic enhancement that differentiates the second verse from its verse 1 counterpart, as well as the first stanza from the second. It features a rounded timbre and an EQ sweep that subtly adds in high-end frequency information as the stanza progresses, giving the synth movement and subtly heightening energy and thickening the mix. It is processed with light delay and reverb and is panned to the left and right within the stereo field.

Appears in:

• Verse 2

Organ Synth Pad

The organ synth pad is the main pad heard in the second stanza of chorus 2 and all of chorus 3. It features an electric organ-like timbre that primarily sits in the high-mid range of the frequency spectrum, and is additionally panned center and processed with a light reverb to help it blend with the rest of the mix. The pad primarily serves to deliver the song’s harmonic progression along with both pianos, holding out sustained whole notes to fill out the mix.

Appears in:

• Choruses 2 and 3

Lush Synth Pad

This synth is heard exclusively in the vocal break, helping to differentiate the song’s “D” (Departure) section from all other sections in the song’s framework. It is panned center and possesses a lush, warm timbre with a slight amount of sawtooth buzz that is reminiscent of 80s hits such as Alphaville’s Forever Young and Cyndi Lauper’s Time After Time, among others. It delivers the section’s chord progression with mid- and low-range voicings, creating depth in the bass-less first half of the section and allowing the vocal and electric piano to occupy the higher frequency space without distraction.

Appears in:

• Vocal Break

Synth Bass 1

This 808-style synth bass is featured in the verse, chorus and vocal break sections and features a rounded, subby tone that fills out the low end of the frequency spectrum. It plays a fairly simple pattern illustrated by the sheet music below and is joined by the kick on each hit, helping to heighten the impact of the full groove.

In the verse sections, the bass is doubled, albeit inexactly, by the acoustic piano, helping to fill out the low end of the frequency spectrum with both an acoustic and electronic sound. The bass is panned center and is left fairly dry in the mix throughout, a common mixing practice as bass reverb tends to muddy the low end of mixes.

Appears in:

• Verses 1 and 2
• Vocal Break

Synth Bass 2

This synth bass is present in all three choruses and plays the song’s sole foundational hook, an eighth- and sixteenth-based pattern that plays only the roots of each chord with upward octave jumps on the upbeats.

It possesses a biting, buzzy tone that has more high-end information compared to the more subby synth bass 1. This is particularly effective considering this bass functions as more of a melodic element, which enables it to take center stage in the sparse chorus 1 and first stanza of chorus 2. Synth bass 2 is panned center and, like synth bass 1, features little to no reverb, which keeps it forward in the mix with a sense of directness.

Synth Bass 2 Foundational Hook

Appears in:

• Choruses 1, 2 and 3

Synth Bass 3

This bass is featured in all three choruses as a low-level sub bass accompanying the four-on-the-floor kick. Though it does not play distinguishable pitches, its presence heightens the power of each kick hit as well as the section’s overall energy and danceability.

Appears in:

• Choruses 1, 2 and 3

Kick (Electronic)

This fat, thuddy electronic kick is present in every section of the song save for the intro. In the verse sections, it primarily doubles the bass hits in addition to sixteenth-note kicks in each bar. The choruses, however, switch to a straight ahead four-on-the-floor groove, heightening the section’s prominent Dance influence. The kick features no reverb or notable processing, giving it a punchy, defined quality to cut through the mix with ease.

Appears in:

• Verses 1 and 2
• Choruses 1, 2 and 3
• Vocal Break

Snare (Electronic)

The electronic snare is panned center, features a tight, punchy timbre and is processed with a short-tailed reverb, all of which helps keep the snare sharp and at the front of the mix while still blending in sonically. It hits on beats 2 and 4 in the second stanza of chorus 2 and the entirety of chorus 3, helping to bolster the excitement value of the chorus “hook center” in the scope of the song.

Appears in:

• Choruses 2 and 3

Claps (Electronic)

Electronic claps are featured in the verse, second and third chorus and vocal break sections. They play exclusively on beats 2 and 4, adding energy to the song’s backbeat that heightens the song’s overall impact and danceability. Though they are electronic, the claps feature an acoustic timbre modeled after live claps, and are layered and processed with a similar mid-length reverb to the snaps to create a cohesive mix.

Appears in:

• Verses 1 and 2
• Choruses 2 and 3
• Vocal Break

Snaps (Electronic)

Layered electronic snaps play exclusively on beats 2 and 4 throughout the song and have a bright, clear tone that easily cuts through the mix. Like the claps, these snaps are electronic but feature a timbre modeled after live, acoustic snaps, giving the song an organic feel to balance out its primarily electronic instrumentation.

The snaps are processed with an EQ’d mid-length reverb that creates a sense of space in the mix and becomes more prominent in the choruses, creating cross-section variation. This is particularly noticeable and effective in the first chorus and the first stanza of the second chorus, where the snaps are joined only by the reverb-less bass, kick and low-level hi hat. The snaps are panned center and feature a bright EQ, which further helps them stand out against the darker bass and kick.

Appears in:

• Verses 1 and 2
• Choruses 1 and 2
• Vocal Break

Hi Hat (Electronic)

Hi hat is featured in two different manners throughout the song: playing low-level upbeats in chorus 1 and the first stanza of chorus 2, and playing a more prominent, slightly swung pattern in the second stanza of chorus 2 and all of chorus 3. The initial upbeat pattern heightens the song’s Dance influence, paying homage to such 1970s Disco hits such as Gloria Gaynor’s I Will Survive, while the shift in prominence and pattern helps to heighten energy and provide engaging in-section contrast. The hat has a bright timbre reminiscent of an acoustic hi hat and is processed with very little reverb, keeping it tight and short in the mix.

Appears in:

• Choruses 1, 2 and 3

Shaker (Acoustic)

Acoustic shaker is featured very low in the mix and panned hard right, functioning as a subtle groove and textural enhancement. It plays a sixteenth note pattern and features little to no processing.

Appears in:

• Verse 2
• Choruses 2 and 3

Percussion Embellishment

This percussive embellishment is heard in the full-arrangement sections of choruses 2 and 3. It features a “scrape”-sounding quality that functions almost as a mini riser leading into select snare drum hits, helping each hit to stand out in the groove.

Appears in:

• Choruses 2 and 3

Music & Instruments: Section By Section

Key

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

Level: The level at which an instrument is heard in the mix relative to other instruments (excluding vocals)

Like-Section: Refers to same section types within the song (i.e. verse 1 and verse 2)

Cross-Section: Refers to differing section types within the song (i.e. verse 1 and chorus 1)

• *Piano (Electric): Quasi-acoustic, high-end electric keys – Level: High
• *Pitched Riser: Airy pitched riser – Level: Swell, Mid to High

Dance Monkey’s intro is the sparsest section in the entire song, consisting solely of electric piano and a pitched synth riser effect that enters towards the end of the section.

The electric piano establishes the song’s F#m – D – E – C#m chord progression delivered through the eighth note-based motif, setting the song into motion with an infectious 99 BPM repetitive groove. The simplicity and repetitiveness of the motif primes the song for mainstream Pop appeal, while its syncopated lower-register melodic fragments add subtle excitement and interest. Additionally, the minor tonality of the progression works against the upbeat, lively sound and tempo of the intro, effectively setting a more serious tone that jibes with the trials and tribulations the protagonist faces within the narrative.

The electric piano’s timbre is quasi-acoustic, which bridges the gap between the song’s two disparate timbral qualities: the organic sound of the acoustic piano and select percussive instruments, and the electro-influenced sound of the various synths, basses and drums used throughout the song. Furthermore, note that the use of electric piano is quite atypical among recent Hot 100 Top 10 hits, which helps Dance Monkey to further stand out among its contemporaries. In 2019, the instrument was used in only a few, albeit high-profile, songs, including Billy Eilish’s #8 hit everything i wanted, Post Malone and Swae Lee’s #1 smash Sunflower (Spider-Man: Into The Spider-Verse) and Ariana Grande’s chart-topper Thank U, Next.

Additionally, the sparseness of the intro’s arrangement both heightens the impact of the unique piano timbre and allows room for the song to build in the ensuing sections.

Digging deeper into trends, Dance Monkey’s intro combines several commonly used techniques; it establishes the backing music of the section that directly follows, features a sparse arrangement and is entirely instrumental, all of which have been the three most popular intro characteristics among non-Hip Hop Hot 100 Top 10 hits over the past five years.

Intro Characteristics of the Hot 100 Top 10: 2015 – 2019 (Non-Hip Hop)

Intro Instrumental/Vocal Trends of the Hot 100 Top 10: 2015 – 2019 (Non-Hip Hop)

Intro Arrangement: At-A-Glance

Transition Point (Intro into Verse 1): In the third bar of the intro, a pitched synth riser effect is employed. It gradually increases in volume until reaching a peak in beat 3 of bar 4, where a full accompaniment pull is employed for the last beat. This riser/accompaniment pull combination serves multiple purposes: it heightens tension and anticipation for the verse that follows, enables Tones and I’s unique vocal pickup to cut through and connect with the listener on a more profound level, separates the two instrumentally similar sections and maximizes the impact of the ensuing verse’s pronounced kickoff piano stab. Additionally, note that the swell is pitched to an F#, which is Tones and I’s starting pitch in the subsequent vocal pickup, helping the transition between the two sections flow smoothly.

• Piano (Electric): Quasi-acoustic, high-end electric keys – Level: High
• *Piano (Acoustic): Punchy acoustic piano – Level: High
• *Snaps (Electronic): Layered, acoustic-modeled snaps – Level: High

Stanza 2 features the same instrumentation as stanza 1 (save for the omitted snaps) with the addition of:

• *Kick (Electronic): Fat, thuddy electronic kick – Level: High
• *Claps (Electronic): Layered, acoustic-modeled claps – Level: High
• *Synth Bass 1: Subby synth bass – Level: High
• *Light Synth Pad: Light, airy synth pad – Level: Low
• *Cymbal Swell Riser: Bright reversed cymbal riser – Level: Swell, Mid to High
• Pitched Riser: Airy pitched riser – Level: Swell, Mid to High

Stanza 1

Verse 1, which is composed of two stanzas, begins in a sparse manner with the continuation of the electric piano motif from the intro along with two new elements – acoustic piano stabs and snaps.

As mentioned in the instrument section, note that the electronic piano motif’s lack of melodic content or standout qualities compared to through-and-through foundational hooks, such as the bass used in Bad Guy or the mallets featured in Shape Of You, actually works in the song’s favor. This simplicity effectively allows Tones and I’s vocal melody to stand out over the accompaniment, whereas a complex instrumental hook could have made the song too busy upon entry of the vocal.

Accompanying the electric piano motif are acoustic piano stabs, which are played primarily in the low register of the piano but are doubled several octaves higher, as well. These stabs play a sparse, repetitive pattern outlining the chord progression on beats 1 and 4 as well as the upbeat of beat 2. In addition to providing the verse with a greater degree of intensity and forward momentum, the fully acoustic timbre and wide range of these stabs provides engaging contrast against the electric piano, giving the song an even more organic vibe and filling out the frequency spectrum. Note that both pianos are processed with prominent reverb, which helps to both give the mix a polished sound and fill out the relatively sparse arrangement.

In bars 5 and 6, layered electronic snaps are added to the mix, sounding on beats 2 and 4. As the first percussion element featured in the song, their addition develops the backbeat, further locking the listener into the infectious groove in addition to providing engaging in-section contrast. The use of snaps also has a couple of other important implications: their acoustically-modeled quality contributes to the song’s mix of electronic and organic timbres, and the use of snaps in general, regardless of timbre, puts the song in tune with current Hot 100 Top 10 trends. Since 2016, roughly one quarter to one third of non-Hip Hop hits have featured snaps in the mix. Some other high-profile hits from 2019 that feature snaps are chart-toppers Bad Guy, Girls Like You, Senorita, Sucker and Without Me.

Use of Snaps in the Hot 100 Top 10: 2015 – 2019 (Non-Hip Hop)

• Kick (Electronic): Fat, thuddy electronic kick – Level: High
• Snaps (Electronic): Layered, acoustic-modeled snaps – Level: High
• *Hi Hat (Electronic): Bright, closed electronic hi hat – Level: Mid
• *Synth Bass 2: Biting, melodic synth bass – Level: High
• *Synth Bass 3: Sub bass in unison with kick – Level: Low
• Cymbal Swell Riser: Bright reversed cymbal riser – Level: Swell, Low to Mid

Following the employment of the full accompaniment pull / riser S.I.A. technique at the end of verse 1, the chorus abruptly shifts gears and breaks down to only synth bass, four-on-the-floor kick, snaps and low-level hi hat, which greatly heightens engagement.

The most notable changeup is the newly introduced synth bass foundational hook (synth bass 2) that takes the place of the electric piano motif from the preceding sections. Pattern-wise, in contrast to the staccato, eighth note-focused piano motif, the synth bass hook possesses a slightly swung, infectious eighth and sixteenth note-based pattern that provides the chorus with cool, head-bobbing swagger. The bass exclusively plays octaves of each chord’s root note, outlining the chord progression in a simplistic and repetitive manner – a commonality shared with the verse’s electric piano motif.

Timbre-wise, the bass possesses a biting, buzzy tone that both provides engaging contrast against the more rounded, subby synth bass from the first verse (synth bass 1) and enables the infectious pattern to further cut through the mix and engage the listener. Furthermore, the bass’s purely electronic timbre helps to further establish the song’s Electropop influence, helping the song to better connect with the Electropop audience subset.

As for percussion, the kick, in contrast to the preceding verse, plays a straight-up four-on-the-floor pattern, which provides the chorus section with a more overt Dance/Club vibe. It is paired with the newly-added synth bass 3, which, in lieu of playing audible pitches, subtly provides each kick hit with a greater degree of power, impact and bottom end. The Dance influence is further bolstered by the hi hat, which sounds at a low level on upbeats and provides the section with a subtle retro Disco influence á la Gloria Gaynor’s I Will Survive, and the quasi-acoustic snaps, again playing on beats 2 and 4 to provide locked-in backbeat. In contrast to the more in-your-face electronic claps that defined the backbeat of verse 1 stanza 2, the switch back to snaps accentuates the chorus section’s minimalist groove. Also note that the snaps are processed with a more prominent reverb than in the verses, which provides the sparse arrangement with a greater sense of space and depth.

Furthermore, the chorus’s accompaniment remains constant throughout the entirety of the section. This effectively helps the infectious bass groove get completely ingrained in the listener’s head, maintains danceability, and enables Tones and I’s infectious vocals to connect with the listener without distraction from overly- busy accompaniment.

Lastly, one of the choruses core strengths is the manner in which the bass and kick work in tandem with the vocals to establish a super-infectious groove. When comparing the bass and vocals (see sheet music below), each iteration of the “dance for me” and “move for me” vocal melodies rhythmically lines up perfectly with the bass pattern, particularly the “for me” lyrics, the first word of which lines up with the bass’s accented, higher-octave sixteenth notes. Additionally, the pickup lyric “they say” found at the end of the first four-bar cycle is sung on eighth notes directly on beats 3 and 4, allowing it to line up perfectly with both the four-on-the-floor kick and the bass, which briefly switches to straight eighth notes under the two-beat lyric.

Chorus 1 Vocals (Bars 1-4)

Chorus 1 Bass Hook (Bars 1-4)

Chorus 1 Instrumental Arrangement: At-A-Glance

Transition Point (Chorus 1 into Verse 2): In the last bar of the chorus, a reverse cymbal riser effect is once again employed to help transition the listener back into the verse. While its use creates structural familiarity with the verse-to-chorus riser transition that precedes it, note that this time around, the pitched synth swell used in conjunction with the cymbal riser in verse 1 is omitted.

• Kick (Electronic): Fat, thuddy electronic kick – Level: High
• Claps (Electronic): Layered, acoustic-modeled claps – Level: High
• Snaps (Electronic): Layered, acoustic-modeled snaps – Level: High
• Light Synth Pad: Light, airy synth pad – Level: Low
• *Rhythmic Synth: Rounded, mallet-like synth with delay – Level: Low
• Piano (Electric): Quasi-acoustic, high-end electric keys – Level: High
• Piano (Acoustic): Punchy acoustic piano – Level: High
• Cymbal Swell Riser: Bright, reversed cymbal riser – Level: Swell, Low to Mid

Stanza 2 features the same instrumentation as stanza 1 (save for the omitted snaps and rhythmic synth) with the addition of:

• *Shaker: Low-level acoustic shaker – Level: Low
• Synth Bass 1: Subby synth bass – Level: High
• *Reverse Vocal Effect: Breathy, reversed vocal sample – Level: Low
• Pitched Riser: Airy pitched riser – Level: Swell, Mid to High

Following the pronounced accompaniment changeup in chorus 1, verse 2 brings the listener back to familiar territory with a reversion to many of the characteristics that defined verse 1. This effectively heightens the song’s like-section familiarity and memorability factors.

However, though similar, the verse 2 accompaniment is not an identical repeat of verse 1. Instead, the accompaniment has been developed, adding in new elements to keep the song sounding fresh and engaging against the near-identical verse 1/verse 2 vocals.

Stanza 1

The first stanza of verse 2 features the same core piano-driven accompaniment as the first stanza of verse 1. However, in contrast to verse 1, verse 2 adds additional elements right from the get-go, including snaps, the light synth pad, and the rhythmic synth, which makes its first appearance in the song here. This newly-introduced synth is heard at a very low level and has a soft, rounded timbre, playing bouncy eighth notes that are processed with delay. Additionally, note that the acoustic piano is processed with additional low-end this time around, giving it a deeper, more powerful and impactful timbre with a harder transient. Together, these instruments provide verse 2 with a greater sense of forward momentum, power, color, texture and tension right out of the gate compared to verse 1’s slower development.

In bars 5 and 6, kick drum is added to the mix, and electronic claps take the place of the snaps in the backbeat. While the positioning of this development creates structural familiarity with verse 1 (where snaps were added to the mix at the same place in bars 5 and 6), the stanza 1 inclusion of elements that didn’t appear until stanza 2 in verse 1 heightens engagement and energy due to the like-section contrast imparted.

Also like verse 1, in the last two bars of the stanza – bars 7 and 8 – the same partial accompaniment pull technique is employed, breaking down to just acoustic piano. Again, this effectively heightens structural familiarity by following the same basic arrangement formula as verse 1’s first stanza. However, despite these similarities, there are a couple of key differences to note:

• While the verse 1 accompaniment pull “faked out” the listener by leading them to believe the chorus was going to follow as opposed to a second verse stanza, verse 2’s pull does not. This is because the listener knows what to expect at this point in the song.
• Verse 2’s accompaniment pull features the cymbal riser leading into the next stanza, an element that was not used in verse 1’s transitional pull. This riser is then reversed at the top of the next bar and carried over into the beginning of stanza 2, helping the two stanzas flow together seamlessly.

Stanza 2

With the kick, clap, synth bass, light synth pad and piano accompaniment from stanza 1 in place, stanza 2 additionally adds a low-level shaker that is panned hard right in the mix and a reverse vocal effect that traverses the stereo field. The shaker’s overtly acoustic timbre contrasts the primarily electro-influenced instrumentation, adding to the organic side of the song’s vibe, while the highly-processed reverse vocal effect adds two unique two-beat swells to each bar. Note that both of these elements are very low in the mix, making their impact on the song’s energy minimal; however, they do subtly provide a heightened degree of texture and forward momentum that leads into the same breakdown used to transition from verse 1 into chorus 1.

Verse 2 Instrumental Arrangement: At-A-Glance

Transition Point (Verse 2 into Chorus 2): Like the verse 1 – chorus 1 transition, verse 2 again uses an accompaniment pull and both the cymbal and pitched synth risers to maximize the impact into the ensuing chorus, this time also adding in the delay tail left by the reverse vocal effect.

• Kick (Electronic): Fat, thuddy electronic kick – Level: High
• Snaps (Electronic): Layered, acoustic-modeled snaps – Level: High
• Hi Hat (Electronic): Bright, closed electronic hi hat – Level: Mid
• Synth Bass 2: Biting, melodic synth bass – Level: High
• Synth Bass 3: Sub bass in unison with kick – Level: Low
• Cymbal Swell Riser: Bright, reversed cymbal riser – Level: Swell, Low to Mid
• Pitched Riser: Airy pitched riser – Level: Swell, Low to Mid

Stanza 2 features the same instrumentation as stanza 1 (save for the omitted snaps and pitched riser, as well as a reduction in volume of synth bass 2 to mid) with the addition of:

• *Snare (Electronic): Fat, thuddy electronic kick – Level: High
• Claps (Electronic): Layered, acoustic-modeled claps – Level: Mid
• Shaker: Acoustic shaker – Level: Low
• *Percussion Embellishment: “Scrape” effect leading into snare hits – Level: Low
• *Organ Synth Pad: Stagnant organ-like pad – Level: Mid
• Piano (Electric): Quasi-acoustic, high-end electric keys – Level: High
• Piano (Acoustic): Punchy acoustic piano – Level: Mid
• *Airy Hit: Low-level airy, percussive hit – Level: Low

In contrast to chorus 1, which is just one eight-bar stanza in length, chorus 2 consists of two eight-bar stanzas. The first stanza of chorus 2 is instrumentally identical to its chorus 1 counterpart, effectively heightening familiarity and enabling the listener to easily connect and lock into the chorus right off the bat.

However, while the verbatim first stanza commonality was well warranted, if the same sparse accompaniment was used for BOTH stanzas, the chorus would wind up becoming overly monotonous and cause the listener’s engagement to wane. To prevent this, following another transitional reverse cymbal/synth riser combination, stanza 2 kicks up energy and excitement by adding back in elements from the verses, including electronic claps, shaker and both pianos. In addition to providing engaging in-section contrast, these added instruments also heighten familiarity and memorability due to their similarities to the verse. Their addition also serves to bring together two of the song’s most recognizable elements: the eighth note-based electric piano motif from the intro and verse sections and the synth bass hook from the choruses.

In addition to these familiar elements, several instruments make their first appearance in the song in stanza 2. Most notably, a fat, snappy snare is layered on top of the electronic claps, further developing the chorus’s locked-in, groovy backbeat. Several snare hits over the course of the chorus are preceded by a low-level percussion embellishment, which functions as a brief but notable enhancement to add additional interest and impact to the backbeat. Also added in the second stanza are an organ synth pad, which delivers the section’s chord progression through light, sustained whole notes, and an airy, percussive hit on beat 4 of bars 4 and 8, highlighting the last beat of each four-bar cycle in a subtle manner.

Another important thing to note about the stanza 2 accompaniment is that the addition of these elements diminishes the prominence of the synth bass hook, pushing it towards the back of the mix with the help of a reduction in volume and a subtle EQ roll-off of the bass’s higher frequencies. This prevents the highly-repetitive hook from waring out its welcome with the listener while still getting it ingrained in their head in a more “under-the-radar” manner. Additionally, the shift to a fuller, more powerful arrangement is also well warranted to maximize engagement in a live setting – be it at a concert, club, or party, stanza 2’s full accompaniment is sure to get audiences to go from head-bobbing to full-on dancing.

Chorus 2 Instrumental Arrangement: At-A-Glance

Transition Point (Chorus 2 into the Vocal Break): In the last bar of the chorus, a reverse cymbal swell is once again employed along with the newly-introduced airy hit on beat 4 to transition the listener into the vocal break.

• Kick (Electronic): Fat, thuddy electronic kick – Level: High
• Claps (Electronic): Layered, acoustic-modeled claps – Level: High
• Snaps (Electronic): Layered, acoustic-modeled snaps – Level: High
• Synth Bass 1: Subby synth bass – Level: High
• *Lush Synth Pad: Lush 80s-influenced pad – Level: Mid
• Piano (Electric): Quasi-acoustic, high-end electric keys – Level: High
• Cymbal Swell Riser: Bright, reversed cymbal riser – Level: Swell, Low to Mid
• Pitched Riser: Airy pitched riser – Level: Swell, Low to Mid

Now that the listener has gone through two verse – chorus sectional progressions, both of which possess highly similar qualities, this point in the song calls for a more pronounced shift in the arrangement to further heighten the listener’s engagement before returning to familiar territory in the third chorus.

Following the riser effect at the end of chorus 2, the vocal break immediately goes into breakdown mode with a sparse arrangement consisting solely of snaps and a synth pad, in addition to the lead vocal and a highly processed background vocal with an almost trombone-like timbre. Note that this is the sparsest arrangement in the song since the intro, resulting in highly engaging contrast against the denser, more energetic preceding chorus.

The synth pad that delivers the section’s chord progression is panned center and possesses a lush, warm timbre with a slight amount of sawtooth buzz that is reminiscent of synths used in hit 80s ballads such as Cyndi Lauper’s Time After Time. Its addition provides engaging contrast against the other synths used in the song and effectively jibes with Tones and I’s “ooh” vocal in creating a more atmospheric, serene vibe, while the snaps keep the listener locked into a minimal groove.

In the second half of the vocal break, the verse’s kick, sub bass, electric piano and electronic claps, which replace the preceding snaps, are all added in. Note that all of these elements were similarly added in stanza 2 of verse 1, which heightens structural familiarity while simultaneously providing engaging in-section contrast. Additionally, these added elements increase energy, anticipation and forward momentum, culminating in another accompaniment pull and riser/downlifter effect that both puts the spotlight on Tones and I’s vocal adlib and maximizes the impact of the high-energy chorus that follows. Also note that the accompaniment pull technique has been used in every preceding section, thus heightening structural familiarity as well.

Vocal Break Arrangement: At-A-Glance

Transition Point (Vocal Break into Chorus 3): The last bar of the vocal break features yet another accompaniment pull and riser/downlifter effect. This breakdown serves to heighten structural familiarity, maximize the impact of the ensuing chorus and put the spotlight on Tones and I’s unique vocal.

• Kick (Electronic): Fat, thuddy electronic kick – Level: High
• Snare (Electronic): Fat, thuddy electronic kick – Level: High
• Claps (Electronic): Layered, acoustic-modeled claps – Level: High
• Hi Hat (Electronic): Bright, closed electronic hi hat – Level: Mid
• Shaker: Low-level acoustic shaker – Level: Low
• Percussion Embellishment: “Scrape” effect leading into snare hits – Level: Low
• Synth Bass 2: Biting, melodic synth bass – Level: High
• Synth Bass 3: Sub bass in unison with kick – Level: Low
• Organ Synth Pad: Stagnant organ-like pad – Level: Mid
• Piano (Electric): Quasi-acoustic, high-end electric keys – Level: High
• Piano (Acoustic): Punchy acoustic piano – Level: Mid
• Cymbal Swell Riser: Bright, reversed cymbal riser – Level: Swell, Low to Mid
• Airy Hit: Low-level airy, percussive hit – Level: Low

Stanza 2 features the same instrumentation as stanza 1

The third and final chorus completely forgoes the sparse bass/kick/snap/hat groove heard in both preceding choruses and instead launches right into the powerful instrumental arrangement that defined the second stanza of chorus 2. This variation provides both engaging cross-section contrast against the sparse vocal break and engaging like-section contrast against the other choruses in the song. Furthermore, it also leaves the listener longing to hear the pronounced foundational bass hook again as heard in chorus 1 and stanza 1 of chorus 2, as here it’s entirely subdued underneath the denser instrumental arrangement.

Additionally, in contrast to most other sections in the song, chorus 3’s arrangement remains constant across the entire section, save for the last two bars and the added riser used to transition between the two stanzas. Though this stagnation does away with in-section development and variation, it is well-warranted to help keep energy and excitement at a high as the song comes to a conclusion, allowing the vocal changeups relative to the other choruses to keep the listener engaged.

In the second to last bar of the section, another accompaniment pull is utilized, cutting out every instrument save for the pianos. This is followed by a full accompaniment pull in the last two beats of the song, effectively winding the song down following 14 bars of sustained intensity, while simultaneously putting the focus on Tones and I’s unique vocals as the song comes to a conclusion.

Chorus 3 Instrumental Arrangement: At-A-Glance

Dance Monkey uses one main chord progression in its framework that is featured in every section of the song.

F#m – D – E – C#m

F#m – D – E – C#m

Dance Monkey‘s chord progression is heard in every section of the song and follows the four-bar progression F#m – D – E – C#m (F# minor: i-VI-VII-v). Rhythmically, each chord lasts one bar, usually with an anticipation one sixteenth note before beat 1 of the next bar. Additionally, several song sections also feature an accompaniment pull that cuts the last chord of the progression, C#m, short.

The progression is fairly simple and entirely diatonic, making it easy to follow and heightening the song’s mainstream Pop appeal. This allows for several key things to happen:

• The progression is delivered in a variety of ways to keep the highly repetitive progression from becoming monotonous. The song kicks off with the electric piano delivering the progression with a staccato eighth note motif, which repeats in every section save for chorus 1 and is frequently joined by acoustic piano stabs to heighten engagement and energy. In the choruses, the primary progression-delivering instrument is the bass, which plays a groovy, danceable sixteenth note-based pattern that provides stark contrast against the pianos and functions as the song’s sole foundational hook. Lastly, there are several moments where the progression is delivered by whole note chords, played by either the acoustic piano or lush synth pad, creating a sense of space amidst the two other much busier instrumental deliveries.
• The repetitive progression is broken up by several full and partial accompaniment pulls throughout, at least one of which is found in every section of the song. This effectively prevents the progression from waring out its welcome with the listener while simultaneously heightening engagement.