Hooks

I = Intro | A = Verse | PC = Pre-Chorus | B = Chorus | VB = Vocal Break | PST = Post-Chorus | “D” = Departure | O = Outro
Number: Denotes the number of times that a particular hook/motif appears within a section

Vocal Hooks

“Up Top” Song Title Hook & Melodic Reinforcement

“I can buy myself flowers” is introduced right at the top of the chorus and is melodically, lyrically and instrumentally set up in the pre-chorus that precedes it. The hook is mainly comprised of a steady eighth-note rhythm that descends from scale degree 5 to 3 before leaping back up to 5-6 on the song title, “flowers.” This leap, along with Cyrus’ sustained delivery on the “-ers” syllable, enables the hook to further stand out while heightening its empowering emotional impact with the listener.

The full hook is then subsequently reinforced in line 3 of the chorus with the lyric, “talk to myself for hou-rs” (note that “hours” is delivered in a two-syllable manner to bolster the rhyme connection with “flow-ers”).

“Down Below” Standout Statement

While the song title hook, “I can buy myself flowers,” puts the self-love and empowerment theme of the chorus into effect, it’s the down below standout statement, “yeah, I can love me better than you can,” that serves as the definitive summative payoff at the end of the section, tying it all together.

Note that while there is a melodic leap from the 1st to the 5th scale degree on the empowering lyric “me,” the hook generally features a downward trajectory that cleverly conveys Cyrus’ dismay, despite the self-empowerment that she feels. The syncopated rhythms further compliment this, calling attention to the empowering statement and melodically setting up the more vibrant vocal break post-chorus melody that follows.

“Say It Again” Standout Statement

Following the descent down to the root on the “yeah, I can love me better than you can” summative standout statement at the end of the chorus, the vocal break post-chorus initially leaps back up to the fifth scale degree on the lyric, “can love me better, I can love me better, baby.” Slightly modified from the chorus, most notably with the omission of the lyric “you,” this empowering hook, which is delivered in a focused, resolute manner, drives home the additional summative statement in a compelling manner.

Further bolstering its impact is the climb up to the all-important lyric, “I,” which is segmented from the surrounding melodies by two eighth-rests that call further attention to it, as well as its “say it again” repetition.

Instrumental Hooks

Bass Foundational Hook

Flowers’ sole instrumental hook is a foundational hook delivered by the bass. While it is featured in some degree of prominence in every section of the song save for the pre-chorus 3 “D” section, it is most notable in the choruses. Here, it’s featured most prominently in the mix and possesses its tightest, funkiest qualities. Further bolstering its ability to stand out is the doubling by the electric guitar, which punctuates its presence in the mix.

Call & Response Nano Hook

Verse 2 features a unique call-and-response between the descending 3-2-1 vocal pattern on the lyrics “no remorse, no regret” and bright lead synth that follows. While subtle, this nano hook provides the second verse with a catchy embellishment while providing like-section contrast against its verse 1 counterpart.

Motifs

Subtly bolstering memorability and familiarity throughout the song are two highly similar stepwise, descending vocal motifs, one following a 3-2-1 pattern, and the other following a 5-4-3 pattern. These motifs are almost always heard in groups of eighth notes, which further heightens familiarity.

The 3-2-1 motif is initially heard in the first verse, pulling the listener into the negatively reminiscent lyrics with a minor descending pattern. It is then reinforced in the second verse, heightening like-section cohesion.

The 5-4-3 motif is first heard in the chorus and is present in a variety of melodies to heighten cohesion across the melodically varied section. It is further reinforced at the tail end of the vocal break post-chorus sections, subtly heightening cross-section melodic familiarity. Furthermore, it is present in each of the main vocal hooks, providing a subtly cohesive thread across each of these highly recognizable melodies.

3-2-1 Motif: Verses

5-4-3 Motif: Chorus

5-4-3 Motif: Vocal Break 1

Structure: Overview

Genres & Influences: Overview

Flowers features an engaging blend of retro 1970s, pop, dance/disco, soft rock and funk influences that shape its sound and vibe. Together, they create a throwback-inspired hit that is still relevant to modern ears.

Key

X: The influence appears prominently within the stanza and/or section
x: The influence appears minimally within the stanza and/or section

Instrumentation & Arrangement: Overview

Flowers features an expertly crafted instrumental arrangement that keeps the listener engaged from start to finish. Among its most notable qualities are its effective fusion of current and classic 1970s-influenced timbres, balance of like-section and cross-section continuity and developments, and an infectious disco/funk-influenced groove that keeps the listener locked in and dancing throughout much of the song.

In addition, all of the mix elements work in perfect tandem with the vocals and lyrics to achieve prosody and bolster the song’s emotional connection with the listener, while also balancing familiarity and pushing the boundaries within Cyrus’ Hot 100 Top 10 body of work. 

Energy: Overview

Flowers’ energy flow features both commonalities and differences compared to many of its mainstream contemporaries. On the common side is its progression through three energy level “waves,” with each progressing from low to high with peaks in the choruses and post-choruses, subsequent waves featuring a higher overall energy than the preceding waves, and notable energy lulls in both the intro and pre-chorus 3 “D” sections.

 
However, Flowers also goes against the grain in terms of its cross-section S.I.A.s (sectional impact accentuator) techniques, specifically leading into each chorus. While they all begin in a commonplace manner with a partial accompaniment pull at the end of the pre-chorus along with an accompanying riser or fill, each chorus features an additional full accompaniment pull in its first beat, creating a notable off-kilter moment. While highly atypical, this technique effectively serves to heighten the listener’s engagement at the transition point and further bolster the impact of the dense, driving groove that follows.

S.I.A. (Section Impact Accentuator) Key

Downward Red S.I.A.: The full accompaniment is removed from the mix, resulting in a brief reduction in energy
Downward Yellow S.I.A.: A part of the accompaniment is removed from the mix, resulting in a brief reduction in energy
Upward Green S.I.A.: The accompaniment creates a brief rise in energy

Harmony: Overview

Flowers uses one main chord progression with 5 subtle variations.

Vocal Production: Overview

Vocal Melody: Overview

Flowers possesses all of the melodic qualities that one would expect to find in a chart-topping pop hit. At its core is the K.I.S.S. ME principle (keep it simple, singable and memorable), with logically unfolding melodic patterns, easy-to-lock into rhythms, short phrases, and an effective balance between stepwise/stagnant motion and intervallic leaps.

The song unfolds in an engaging manner, varying the range, direction and rhythms across sections to heighten interest and enhance the listener’s emotional connection with the lyrics. Balancing this are like-section melodic commonalities and recurring motifs, the latter making the song more cohesive and memorable in an under-the-radar manner that the listener most likely will not even realize.

Music & Instruments: Section By Section

Intro (0:00 – 0:08)

Chord Progression: Cmaj7 (A minor: III)

Flowers’ brief 8-second/4-bar intro is the sparsest section in the song, consisting solely of electric guitar and two effects – vinyl crackle and flutter. The section unfolds in a methodical manner, with each element playing an integral role in grabbing the listener’s attention, establishing vibe, and leaving room for growth in subsequent sections.

Vinyl Crackle
The first element heard in Flowers is low-level vinyl crackle. Presented in a solo manner and lasting for three seconds, it gives the impression of a record spinning on a turntable and immediately establishes the song’s overarching retro vibe. Furthermore, these three seconds serve to heighten anticipation for what comes next.

Guitar and Flutter Effect
With the vinyl crackle remaining in effect, an electric guitar lightly picking the individual notes of a Cmaj7 chord is added to the mix. The relaxed quality of the arpeggio, along with its classic lo-fi timbre and copious reverb and chorus processing, further establishes the song’s retro vibe as well as its underlying laid-back quality.

Around midway through the guitar pattern, a fluttery sound effect progresses from low to high pitch before fading back out at the end to put the focus on Cyrus’ “we were good” verse pickup. It possesses a tone that effectively blends with the guitar, provides the intro with additional color and texture, jibes with the retro vibe, and heightens anticipation leading into the subsequent verse section.

Cyrus’ Top 10 Familiarity
Both Flowers and Cyrus’s previous solo Hot 100 Top 10 hit, 2017’s Malibu, feature unaccompanied, classic-timbred electric guitar in their intros (though Flowers’ is notably more effect-processed). Furthermore, both arpeggiate a major chord. Whether this was intentionally done or not, the commonality between the two provides a familiar, cohesive thread across her two most recent solo Top 10s. 

Intro Arrangement: At-A-Glance

Verse 1 (0:08 – 0:24)

Chord Progression: Am – Dm – G7 – C – Am – Dm – G7 – C (A minor: i-iv-V7/III-III-i-iv-V7/III-III)

With the low-level vinyl crackle effect carrying over to provide underlying cross-section retro continuity, verse 1 adds bass and electric piano into the mix. In addition to effectively supporting Cyrus’ first installment of the narrative, the sparseness of the arrangement continues to provide room for growth in subsequent sections.

Electric Piano
The electric piano possesses a vintage Wurlitzer timbre, occupies the mid-frequency spectrum, is spread wide in the mix, and provides the section’s main harmonic support. It plays a simple pattern with interspersed embellishments and tone-altering accents that are indicative of typical electric piano-styled playing. Together, these qualities enhance the song’s retro 1970s vibe in a style reminiscent of Fleetwood Mac (Christine McVie) while effectively serving the “good relationship gone bad” lyrics with its warm, yet melancholic qualities.

Bass
The electric bass features a mainly clean, round tone, occupies the lower-end of the frequency spectrum and is featured up the middle. It plays an active, mainly eighth-note-driven pattern that provides rhythmic motion in lieu of drums and outlines the chord pattern. Complimenting the electric bass is a brighter bass with more of a synth timbre. It sounds exclusively on the downbeat of each measure, emphasizing the chord change and providing the verse with additional, albeit subtle, color and texture.

Verse 1 Arrangement: At-A-Glance

Pre-Chorus 1 (0:24 – 0:33)

Chord Progression: Am – Dm – E7 (A minor: i-iv-V7)

With the electric piano, bass and vinyl crackle from the verse providing cross-section continuity, the pre-chorus adds drums, percussion and synth to the mix. These elements further heighten interest, motion, and energy and effectively support Cyrus’ more animated vocals and lyrical development as the song inches closer to the chorus.

Drums/Percussion
Complimenting the forward motion of the bass are snare and temple blocks, which together play an engaging syncopated pattern. The snare is panned slightly to the left and is processed with an automated filter that opens with each pattern repetition. The filtering achieves a few key things, including:

• Providing the section with additional – albeit subtle – rhythmic motion.
• Preventing the snare from being too piercing in the mix. This was important to both help maintain the underlying mellow vibe and enable the chorus’ shift in fidelity to further stand out.

In addition to the snare, temple blocks provide the section with additional color, texture and stereo depth, since they are wide-spread and at a relatively low level. Furthermore, considering their rare use in mainstream pop hits (with the main exception being Latin-influenced pop), they subtly provide the song with a unique sound that helps it to further stand out among its contemporaries.

Saw Pad
Providing the section with additional harmonic support is a saw pad with an analog timbre. It features envelope manipulation that alters its prominence and brightness in the mix, providing additional color, texture and interest.

Chorus Set-Up
Along with the more vibrant qualities of Cyrus’ vocal and lyrical development, the pre-chorus’ more energetic instrumental arrangement effectively heightens anticipation for the ensuing chorus. However, instead of providing seamless continuity between sections, as had been the case between the verse and pre-chorus, the following happens in the last bar of the pre-chorus:

• In the first two beats, the bass and drums/percussion are pulled, which create a transitional lull that both heightens engagement and calls attention to Cyrus’ “but then remembered I” chorus vocal lead-in.
• In the last two beats, the electric piano plays a highly rhythmic, accented eighth-note pattern on the dominant chord to take tension and anticipation to a climax leading into the chorus.

Pre-Chorus 1 Arrangement: At-A-Glance

Chorus 1 (0:33 – 1:01)

Chord Progression:
Stanza 1: Am – Dm – G – C – G/B – Am – Dm – G – C – G/B (A minor: i-iv-V/III-III-V/III/3-i-iv-V/III-III-V/III/3)
Stanza 2: Am – Dm – G – C – G/B – F – E (A minor: i-iv-V/III-III-V/III/3-VI-V)

Chorus 1 begins in a highly engaging and atypical manner. Following the anticipation-heightening electric piano pattern at the end of the pre-chorus, the chorus employs a one-beat full accompaniment pull S.I.A. (section impact accentuator) followed by the full groove hitting on beat 2. This creates an off-kilter moment by going against the listener’s likely expectations of launching into the full, dense groove on beat 1 – which is highly common – and notably bolsters the chorus’ arrival as a result.

Stanza 1
The first stanza of the chorus locks the listener into a driving, steady dance/funk/rock-influenced groove. It retains the electric bass, warm saw pad, electric piano and temple blocks from the pre-chorus to maintain cross-section cohesion and features the following changes to heighten interest:

• The electric bass plays a tighter, more focused pattern that further defines the groove. Furthermore, it provides a brief – yet notable – octave embellishment in the last two beats of bar 4, which heightens the section’s – and the song’s – underlying funk influence. 
• The saw pad is a bit lower in the mix and plays chords on beat 2 of every measure as opposed to beat 1, as was the case in the pre-chorus. This results in a slightly changed up feel while the synth’s timbre maintains familiarity.
• The electric piano and temple blocks are notably lower in the mix compared to the preceding sections, subtly contributing to the sonic landscape. 

Among the chorus’ new elements are the kick, which sounds on beats 1 and 3, and snare/clap layer, which provides the backbeat on 2 and 4. Together, they establish a steady, driving, danceable groove that also contributes to the song’s underlying rock-influenced edge.

Also new to the mix are two electric guitars and an additional synth: an overdriven electric guitar doubles the bass line and provides it with additional texture and definition, a retro-timbred funky guitar subtly embellishes the end of the progression in bar 8, and a distorted synth provides subtle rhythmic stabs in bars 4 and 6, heightening the rhythmic motion of the section.

Stanza 2
Marked by a single open hi hat strike, stanza 2 maintains the stanza 1 elements to provide cross-stanza continuity and keep the listener locked into the groove. However, to help heighten interest and bolster the song’s dance/disco vibe, the following is done:

• Strings are added to the mix playing a pattern that is reminiscent of Gloria Gaynor’s 1978 disco smash, I Will Survive. Note that the string’s arrival cleverly coincides with the lyric “I can take myself dancing.”
• The kick pattern shifts to an even more danceable, driving four-on-the floor beat.
• The claps are more prominently featured on beat 4 of each measure. This helps to further punctuate the backbeat, especially against the four-on-the floor kick.
• Low-level shaker is added to the mix, providing additional subtle texture and rhythmic motion.
• The temple blocks become a bit more prominent in the mix. In addition to contributing additional texture and rhythmic motion, it further bolsters the classic disco vibe.
• The overdriven electric guitar plays a constant pattern that subtly foreshadows the vocal break post-chorus vocal.

Vocal Break Post-Chorus Set-Up
In the last bar of the chorus, a partial S.I.A. is implemented through the pulling of all instrumental elements save for the sustaining strings, bass and electric guitar, subtle electric piano embellishments, and a brief tom fill. The resulting transitional lull heightens engagement leading into the post-chorus, spotlights the transitional lyric, “I can love me better than you can,” and provides separation between sections of similar accompaniment. 

Chorus 1 Arrangement: At-A-Glance

Vocal Break 1 (1:01 – 1:09)

Chord Progression: Am – Dm – G – C – G/B (A minor: i-iv-V/III-III-V/III/3)

Following the transitional lull at the end of the chorus, the vocal break post-chorus locks the listener back into the fully developed disco groove that now supports the empowering “I can love me better” hook.

While the post-chorus maintains most of the chorus’ instrumental qualities to keep the listener locked into the groove, there are a few changeups between sections that serve to further heighten interest:

• The vintage chorused electric guitar is removed from the mix, allowing the full focus to be on the vocal hook without embellishing distractions.
• The strings function in a simplified pad capacity, sustaining on a single note. This shift further bolsters the listener’s ability to fully focus on the new vocal hook without distraction while providing the post-chorus with texture and color.
• The square pad is introduced, providing further harmonic support and rhythmic motion on beats 2 and 3 in a subdued manner.
• Low-level, percussive laser-sounding effects traverse the stereo field, providing subtle ear candy that compliments the disco vibe.

At the end of the section, a tom fill and open hat subtly heighten engagement as the song transitions into the second verse. 

Vocal Break 1 Arrangement: At-A-Glance

Verse 2 (1:09 – 1:25)

Chord Progression: Am – Dm – G7 – C – Am – Dm – G7 – C (A minor: i-iv-V7/III-III-i-iv-V7/III/-III)

Verse 2 enters with a notable shift to a sparser, less intense arrangement compared to the post-chorus and chorus, which is highly commonplace in pop hits. This resulting cross-section variation effectively draws the listener into the next installment of the narrative while providing room for growth in arrangement density and intensity in subsequent sections.

Verse 2 shares the commonality of electric bass, electric piano and vinyl crackle with its verse 1 counterpart, which bolsters like-section familiarity and cohesion. However, to help heighten interest as the song progresses, the following is done:

• Verse 2 retains the four-on-the-floor kick from the preceding post-chorus, which provides notable contrast against the first verse. In addition to heightening interest, it serves to keep the listener locked in without missing a beat coming out of the post-chorus. 
• The electric piano plays a more active pattern and is more prominent in the mix than it was in verse 1 (it is more balanced with the bass, which was more of an up-front, driving force in the first verse).
• A new bright lead synth enters in the second-half of the section, playing a simple descending pattern that provides a subtle – yet engaging – call and response with Cyrus’ lead vocal.
• The temple blocks, which were previously introduced in the pre-chorus – not the verse – and the laser perc effect from the post-chorus – are featured in the second-half of the section to subtly heighten cross-stanza interest without being overtly distracting to the listener.

Verse 2 Arrangement: At-A-Glance

Pre-Chorus 2 (1:25 – 1:34)

Chord Progression: Am – Dm – E7 (A minor: i-iv-V7)

As is commonly the case in pop hits, pre-chorus 2 subtly builds off the preceding verse while subtly heightening interest and energy leading into the subsequent chorus. This also results in like-section variation against its pre-chorus 1 counterpart, achieving similar end results as the verse 1 – verse 2 developments:

• The four-on-the-floor kick from the verse remains in effect, which keeps the listener locked in and dancing. Complimenting it is the foot hi hat, which further punctuates the kick’s presence and provides the section with additional high-frequency information. 
• The electric piano continues its more active, prominent pattern, which contrasts its more subtle featuring in pre-chorus 1.
• The saw pad from pre-chorus 1 is featured more subtly in the mix alongside the more prominent electric piano.
• The snare, which was also featured in pre-chorus 1, plays a subtle march-like pattern at the top of the section. This serves to further heighten momentum and excitement compared to the more restrained pre-chorus 1 pattern.

In the last bar of the section, a notable breakdown occurs to help heighten engagement leading into the ensuing chorus, similar to pre-chorus 1. However, here the transition is more intense, which jibes with the heightened energy in the verse 2 – pre-chorus 2 progression compared to their first occurrence counterparts. The most notable difference is the inclusion of the quarter-note bass rhythm and eighth-note toms that occur in conjunction with the familiar electric piano pattern to provide a more vibrant lead in to the ensuing chorus. 

Pre-Chorus 2 Arrangement: At-A-Glance

Chorus 2 (1:34 – 2:02)

Chord Progression:
Stanza 1: Am – Dm – G – C – G/B – Am – Dm – G – C – G/B (A minor: i-iv-V/III-III-V/III/3-i-iv-V/III-III-V/III/3)
Stanza 2: Am – Dm – G – C – G/B – F – E (A minor: i-iv-V/III-III-V/III/3-VI-V)

Following suit with the verse and pre-chorus, chorus 2 develops over its chorus 1 counterpart to heighten interest and intensity while maintaining like-section familiarity and cohesion.

Stanza 1
Stanza 1 essentially picks up where the second stanza of chorus 2 left off, hitting the listener with soaring strings and a denser, more intense groove right after the beat 1 full accompaniment pull S.I.A. In addition to the familiar elements between like-sections, the following changeups are instituted:

• The drum/percussion groove is punchier and more present than chorus 1. This is due in part to the high-frequency information provided by the addition of hi hat. 
• The strings perform a more restrained, subdued pattern than initially heard in chorus 1, leaving room for stanza 2 development.
• Additional synths are added into the mix. They include the square pad initially heard in the first vocal break post-chorus, which provides harmonic and rhythmic support to beats 2 and 3, as well as more prominent distorted synth stabs that provide additional texture and character to the mix. 

Stanza 2
Stanza 2 maintains the core stanza 1 arrangement to keep the listener locked in, while the following variations serve to heighten cross-stanza interest:

• The familiar chorus 1 string pattern returns, fulfilling the listener’s likely expectations following the stanza 1 variation.
• Shaker and hand percussion contribute to the groove and provide heightened forward motion.
• An additional synth pad is added to the mix, which provides additional texture and blends with the electric piano to provide a denser harmonic arrangement.

Chorus 2 Arrangement: At-A-Glance

Vocal Break 2 (2:02 – 2:18)

Chord Progression: Am – Dm – G – C – G/B – Am – Dm – G – C – G (A minor: i-iv-V/III-III-V/III/3-i-iv-V/III-III-V/III)

Following the partial accompaniment pull and drum fill at the end of the chorus, vocal break post-chorus 2 further ramps up intensity and excitement with the following additions and changeups to the familiar chorus arrangement:

• A tambourine playing a vibrant sixteenth-note pattern provides additional forward momentum, texture, and high-frequency information.
• Closed and open hi hats alternate every other measure, providing subtle embellishments along with high-end frequency information.
• A bright saw pad swells in prominence on the downbeat of each measure, contributing color, texture and intensity to the mix.
• A funky electric guitar plays a sixteenth and eighth-note pattern, serving to heighten excitement and forward motion along with additional mid-range frequency information.

Vocal Break 2 Arrangement: At-A-Glance

Pre-Chorus 3 (2:18 – 2:27)

Chord Progression: Am – Dm – E7 (A minor: i-iv-V7)

Following the high-intensity, dense vocal break post-chorus, pre-chorus 3 – which also functions as the song’s main “D” (departure) section in lieu of a bridge – abruptly breaks the instrumental arrangement down to its sparsest level since the intro.

The first two bars consist of a fading guitar tail from the post-chorus, serene electric piano, two bass plucks, and vinyl crackle. This is followed by the section further breaking down in the last two bars to just electric piano and vinyl crackle, with the former playing a more active eighth-note pattern that grows in intensity with a peak in conjunction with the tom fill at the end.

These elements, along with the sparseness of the arrangement, achieves the following:

• It provides the listener with a well-warranted intensity and momentum respite that notably heightens their engagement in the song. Since the first chorus, save for the brief accompaniment pull S.I.A.s, they have been immersed in dense, energetic sections (i.e., the chorus and vocal break post-chorus), and less-dense but high-momentum sections (i.e., verse 2 and pre-chorus 2). 
• It puts the listener’s full attention on the pre-chorus vocal and bolsters its emotional impact with the listener.
• It sets up the song’s most energetic chorus for maximum impact.
• The vibrant, building electric piano and tom fill at the end serves to heighten energy and anticipation leading into the subsequent chorus. However, their true role is in more of a fake out capacity, as it is followed by one beat of full silence before hitting the listener with the dense, intense chorus 3 arrangement. 

Pre-Chorus 3 Arrangement: At-A-Glance

Chorus 3 (2:27 – 2:59)

Chord Progression:
Stanza 1: Am – Dm – G – C – G/B – Am – Dm – G – C – G/B (A minor: i-iv-V/III-III-V/III/3-i-iv-V/III-III-V/III/3)
Stanza 2: Am – Dm – G – C – G/B – F – E – F – E (A minor: i-iv-V/III-III-V/III/3-VI-V-VI-V)

Following the jarring first beat of total silence, the first stanza of chorus 3 hits hard with a reprisal of chorus 2’s elements along with the following new additions to heighten both interest and intensity:

• An additional clap layer with a notably acoustic timbre is added to the backbeat, further bolstering its presence in mix.
• Shaker and tambourine are added right from the get-go, providing the section with additional texture, forward motion and high-frequency information. They are joined by the hand percussion in bar 3, which provides additional rhythmic motion and texture.
• And additional cello-specific string layer is added, bolstering the rhythmic motion on beats 2 and 3 with a pattern that is identical to the square pad while also providing additional color, texture and density to the mix.
• Additional high-frequency strings are added in the last bar, which along with the drum fill provides an engaging transition into the second stanza.

Stanza 2 maintains the accompaniment of the first stanza along with the return of an additional pad that blends with the electric piano to heighten overall density, as well as string layers that create a soaring, intense emotional climax.

At the end of the section, the arrangement breaks down once again to provide one last lull with sustained strings and subtle bass and guitar motion before jumping into the subsequent climactic outro with a bass and tom fill. 

Chorus 3 Arrangement: At-A-Glance

Outro (2:59 – 3:15)

Chord Progression: Am – Dm – G – C – G/B – Am – Dm – G – C (A minor: i-iv-V/III-III-V/III/3-i-iv-V/III-III)

Following the transitional lull and fill, the outro returns to the high energy arrangement of both the second vocal break post-chorus and third chorus to ride the listener out on an excited high. However, there is one notable addition and one notable changeup to take note of:

• An overdriven, reverb drenched, vintage-sounding electric guitar panned hard right plays a bending pattern that outlines the chorus vocal melody. This reinforces the melody on a subconscious level that the listener likely will not even realize while serving as an ear candy embellishment as the song draws to a close.
• The soaring, layered strings that are featured in the second-half of the chorus are now more restrained in the mix. This was a strategic decision to prevent an overcomplicated mix that would mask Cyrus’ additional emotive vocal layers over the familiar vocal break post-chorus vocal.

Following the abrupt ending, vinyl crackle can be heard lingering for a few seconds, bookending the song on the same familiar retro note. 

Outro Arrangement: At-A-Glance

Verse 1

Verse 1 features Miley Cyrus’ solo lead. It is panned straight up the middle and minimally processed, with just some slight reverb and compression helping to bring out subtle nuances in her voice. Along with the removal of most of her breaths, these qualities result in a direct vocal performance that effectively supports the troubled relationship-themed lyrics along with the descending melodic patterns.

Pre-Chorus 1

Cyrus’ pre-chorus vocal remains largely in-line with the preceding verse, maintaining the direct and intimate vibe. The most notable changeup is the inclusion of her breaths at the beginning of each vocal phrase and the addition of notable reverb on line 1. This, along with the higher-register and more vibrant melody, effectively supports the tense and urgent nature of the lyrics while heightening anticipation for the chorus that follows.

Chorus 1

Following the minimally produced verse and pre-chorus, the chorus expands on the vocal production through the inclusion of unison doubles and more notable reverb processing.

The unison doubles, which encompass more of the stereo field compared to the preceding sections, provides Cyrus’ delivery of the empowering lyrics with more prominence and conviction while still maintaining the intimate and direct vibe across sections. In addition, the heightened degree of reverb provides the mix with increased depth and blends the vocal with the more robust instrumental arrangement. 

Vocal Break 1

The post-chorus features the most robust vocal production heard in the song thus far. With Cyrus’ solo lead and unison double remaining in effect to provide cross-section continuity and cohesion, a new low octave double is added to the mix.

Panned wide with a subtle chorused-like quality, its addition achieves a few key things, including:

• Bolstering the impact of the empowering post-chorus lyric throughout the section
• Enabling the vocal to further cut through the denser post-chorus arrangement
• Heightening sonic interest against the preceding sections
• Subtly bolstering the song’s retro 1970s vibe through the chorus processing

Verse 2

Following the robust vocal production of the preceding post-chorus, verse 2 initially reverts to the more intimate and direct vocal qualities of its verse 1 counterpart. Initially beginning with Cyrus’ solo lead, a low-level harmony is added above the lead midway through line 2. While subtle, it further heightens like-section interest along with the changeups in instrumental arrangement. Also contributing to interest and energy is the inclusion of Cyrus’ inhaled breaths, which had previously been omitted in verse 1.

Additionally, Cyrus’ more restrained delivery and less dense instrumental arrangement provides engaging cross-section contrast, drawing the listener into the next installment of the story and leaves room for growth in subsequent sections.

Pre-Chorus 2

Pre-chorus 2 begins with the continuation of the high harmony that was featured throughout much of the preceding verse. However, here it’s more notable in the mix, which serves to both heighten cross-section interest and bolster the lyric’s emotional impact.

In contrast, the harmony is abruptly pulled in line 2. In addition to heightening in-section interest along with the shift in instrumentation, it serves to allow the chorus vocal – which is intensified through additional reverb and quarter-note delay as opposed to a higher register harmony – to further stand out and connect.

Chorus 2

Chorus 2 features the same vocal production characteristics as its chorus 1 counterpart, further bolstering like-section familiarity and memorability.

Vocal Break 2

In contrast to the chorus, which features essentially the same vocal production across occurrences, the second vocal break post-chorus builds off its first occurrence counterpart by adding low harmony throughout and an independent melismatic background vocal in line 4. Along with the denser instrumental arrangement, these vocals serve to heighten like-section interest and energy while further bolstering the impact of the empowering hook.

Pre-Chorus 3

Following the dense and energetic vocal break post-chorus 2 production, pre-chorus 3, which functions as the song’s main “D” (departure) section, notably strips back both in terms of its instrumental arrangement and vocal production.

Vocally, it reverts to the more intimate and direct vocal qualities of its pre-chorus 1 counterpart. In addition to heightening the emotional impact of the lyrics, this shift also helps bolster the impact of the chorus that follows, which features a comparably denser and more energetic production.

Line 2 then returns to its pre-chorus 2 delivery, gradually becoming more vibrant to build tension and anticipation leading into the final chorus section. 

Chorus 3

The third and final chorus in the song builds on its chorus 2 counterpart through the addition of higher-register harmonies and independent of the lead background vocals, both of which are in effect for the entirety of the first stanza. Together, these qualities serve a few key purposes, including:

• Providing engaging cross-section contrast against the sparser and more restrained pre-chorus
• Heightening like-section interest without compromising focus and memorability
• Bolstering the impact of the empowering lyrics both sonically and emotionally
• Taking the song’s energy and excitement to a new level along with the denser instrumental arrangement

In contrast, stanza 2 entirely omits the independent background vocals and features only sporadic – albeit strategic – use of harmony.

• The omission of the independent background vocals was necessary to prevent the section from becoming overtly busy
• The omission of much of the harmony was necessary to prevent monotony across stanzas and help bolster the impact of key lyrics where it was added back in (“I can hold my own hand” and a lower harmony in “than you can”).

Outro

The outro post-chorus remains in line with the previous post-chorus’s along with a few notable changeups:

• Cyrus’s vocal from the chorus carries over, shifting from a lead capacity to more of an independent of the lead background role. It begins with the soaring “can,” followed by an “uh” adlib and repetition of the chorus lyric, “than you can.” Along with heightening interest, these vocals also help take the section’s, and the song’s, emotional impact to a climax. 
• The low harmony layer, which was present in vocal break 2, is omitted this time around to help Cyrus’ soaring vocals further punctuate the mix. Assisting in this is their slightly left panning. 

Lines 1 & 2

Line 1

Part a1: We were good
Part a1: We were gold

Flower’s opening line is composed of two back-to-back subpart a1 iterations, which are segmented from one another by an eighth rest. The epitome of the K.I.S.S. ME principle (keep it simple, singable and memorable), it features a short, stepwise, descending 3-2-1 pattern delivered with an eighth note rhythm that sustains at the end. These melodies at the top of the song achieve the following:

• The simplicity of the repetitive melodies, along with the eighth rests in between them, allows the listener to easily connect with, absorb and remember the opening line.
• The descending patterns, in conjunction with Cyrus’ subdued delivery, jibe with the past-tense lyric, “we were good, we were gold,” in heightening emotion and setting the scene for the troubled relationship lyrics that lay ahead.
• The conclusion on the root creates a sense of finality regarding the relationship.

Line 2

Part a2: Kind-a dream
Part b1: That can’t be sold

Line 2 is composed of subparts a2 and b1. Highly similar to its a1 counterpart, subpart a2 slightly varies in pattern, most notably by ending on scale degree 2 to heighten interest and tension leading into the subpart b1 that follows. Subpart b1 features an A.M.P. (alternating melodic pattern) melody between scale degrees 2 and 7 before ending on scale degree 5. This, combined with more sustained rhythms than the subpart a melodies, creates interest as the section progresses while the descending nature of the pattern heightens memorability across both lines.

Lines 3 & 4

Line 3

Part a1: We were right
Part a1: 'Til we weren't

Line 3 is composed of two iterations of subpart a1 and is identical to its line 1 counterpart.

Line 4

Part a2: Built a home
Part b1: And watched it burn

Line 4 is composed of subparts a2 and b1 and is identical to its line 2 counterpart. 

Verse 2 Variation
Sub-part b in verse 2 is slightly altered from its verse 1 counterpart to accommodate an additional lyric. However, melodic familiarity is notably maintained between the two sections.

Pre-Choruses

Overview

The pre-chorus spans a perfect fourth from A3 to D4, which is generally the same range where the verses are mainly concentrated (A3 to C4). However, in contrast to the verses, the pre-chorus melodies are more stagnant and ascending and are generally faster moving.

In addition to providing engaging cross-section contrast and heightening tension and anticipation for the impending chorus, the pre-chorus melodies effectively bring out the emotion depicted in the lyrics. The faster-moving motion of line 1 accentuates Cyrus’ resistance to the relationship’s negative turn, while the more consistent eighth-note-driven rhythm and ascending pattern at the end enhances the transition to more empowering lyrics in the ensuing chorus.  

Melodic Structure Overview & Detail

Pre-Chorus Melodic Direction: At-A-Glance

Verse 1 Melodic Direction: At-A-Glance

Verse 2 Melodic Direction: At-A-Glance

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

Melodic Structure Detail

*Note that all images and analysis shown below pertains to pre-chorus1 unless otherwise noted. Differences between pre-choruses 1, 2 and 3, if any, are detailed in each line grouping’s analysis.

Vocal Breaks & Outro

Overview

The vocal breaks and outro span a perfect fifth from C4 to G4, but are mainly concentrated within a third from D4 to F4. The melodies are the most repetitive, stagnant and rhythmically focused in the scope of the song, which effectively serves the repetition of the self-empowering lyrical hook, “I can love me better.”

Further bolstering this statement is the rhythmic segmentation around the lyric “I.” In addition to breaking each melodic and lyrical phrase into shorter, easier-to-digest segments, it also spotlights what is arguably the most important lyric in the entire song, “I,” which is what the premise of the story revolves around (i.e., Cyrus doesn’t need her ex, all she needs is herself).  

Melodic Structure Overview & Detail

Vocal Break 1 Melodic Direction: At-A-Glance

Outro Melodic Direction: At-A-Glance

Chorus Melodic Direction: At-A-Glance

Pre-Chorus Melodic Direction: At-A-Glance

Verse 1 Melodic Direction: At-A-Glance

Verse 2 Melodic Direction: At-A-Glance

Vocal Break 1 Melodic Part Structure: At-A-Glance

Melodic Structure Detail

*Note that all images and analysis shown below pertains to vocal break 1 unless otherwise noted. Differences between vocal break 1 and 2 and the outro, if any, are detailed in each line grouping’s analysis.

Rhyme Schemes

Overview

Flowers features an abundance of expertly crafted rhymes and other connection accentuators to ensure the song gets firmly ingrained in the listener’s head. Among them are logically unfolding end-of-line rhyme schemes, and a plethora of strategically placed internal rhymes, double rhymes, alliterations, and lyrical repetitions. In addition, the end-of-line rhyme scheme mirrors the main melodic structure in certain sections to heighten connection value, and serves as a cohesive thread in others to balance cross-line melodic variation.

"EYE" Rhyme Focus

Flowers’ lyrical focus is not on the song title, but on the “EYE”-sounding singular pronouns “I” and “my.” They are strategically woven into the fabric of the song in the following sections:

• Verse 1: The rhyme is present in the lyrics, “kind” and “right,” with no mention of the “I” and “my” pronouns. Note that this is warranted since the focus of the story is still on “we” (i.e., documenting the relationship’s backstory) and not yet exclusively on the protagonist.
• Pre-Chorus: The “I” pronoun is now included alongside the negative “EYE”-rhyming lyrics, “lie” and “eye.” Note that this is the only section in the song where “I” is surrounded by negative lyrics. 
• Chorus: Save for the lyrics “buy” and “write,” the entire “EYE”-scheme is focused on the pronouns “I” and “my.” Furthermore, they are now presented in an entirely positive context.
• Post-Chorus: The only “EYE”-sounding rhyme is the singular pronoun, “I.”
• Verse 2: Now that the protagonist has emerged self-loving and empowered following the first chorus and vocal break post-chorus, here the “EYE” rhyme is focused entirely on the pronouns “I” and “my” in a positive context. 

Note that by not including other “EYE”-sounding rhymes in the song, it keeps the main focus on the important “I” and “my” pronouns and bolsters their impact in the process. Furthermore, note that the lyric “I” is strategically placed and emphasized throughout the song, with a few of the most notable being:

• Placement at the end of the pre-chorus along with its sustained delivery
• Placement at the beginning of the chorus
• Placement at the end of the strategically shortened vocal break post-chorus 2 and outro
• Heightened emphasis by the surrounding eighth-rests in the vocal break post-choruses and outro

At-A-Glance: End-Of-Line Rhymes Section-By-Section

Key

A & B: 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 parentheses 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)

Verse 2

End-Of-Line Rhymes
Verse 2 is composed of one, four-line stanza that follows an AAAA rhyme scheme. Each line is connected by Cyrus’ unique pronunciation of the lyrics “red,” “left,” "re-GRET” and “said,” which feature an “EH”/ “AY” hybrid-sounding commonality.

Internal Rhymes, Alliteration & Other Connection Accentuators
In addition to its end-of-line rhymes, verse 2 features a host of other connection accentuators, including:

• The “EE”-sounding rhyme in lines 1, 3 and 4
• The “EH”-sounding rhyme that appears at the beginning of the second phrase in lines 1, 2 and 4, which also reinforces the end-of-line rhymes.
• The “AH”-sounding rhyme within line 2
• The “OH”-sounding rhyme across lines 2 and 3
• The “no-re” commonality across phrases in line 3

Syllables
Verse 2 features a highly similar syllabic structure as its verse 1 counterpart.

Pre-Chorus

End-Of-Line Rhymes
The pre-chorus is composed of one, two-line stanza that follows an AA rhyme scheme connected by the “EYE” commonality in the lyrics “lie” and “I.” Like the first verse, this provides cohesion against the varied melodic structure.

Internal Rhymes, Alliteration & Other Connection Accentuators
In addition to its end-of-line rhymes, the pre-chorus features a host of other connection accentuators, including:

• Strategically placed internal “EYE” rhymes, which further bolsters connection value along with the similar end-of-line rhymes.
• The “UH” commonality in the lyrics “wan-NA,”“yuh,” “to,” and “but.” Note that Cyrus alters her pronunciation of “to” to “tUH” to make the rhyme happen.
• Repetition of the lyric, “I didn’t wanna” in line 1.

Syllables
Lines in the pre-chorus are longer compared to the preceding verses and following choruses. However, like the verses, they are broken into shorter, easier-to-digest segments through the use of rests and rhythmic contrast.

Chorus

End-Of-Line Rhymes
The chorus follows an ABAB/BBB rhyme scheme across its two stanzas. The A scheme features the “ER” commonality in the lyrics “flow-ERS,” and “houRS,” and the B scheme features the “AN” commonality with the lyrics “sand,” “un-der-STAND,” “DANC-ing,” “hand,” and “can.” Note that while the “danc-ing” rhyme isn’t as strong as the others due to the “-ing” syllable at the end, Cyrus’ emphasis on “DANC” makes the connection happen.

In terms of mirroring, the ABAB commonality between the rhyme scheme and main melodic structure makes the all-important first stanza easier to connect with. In the second stanza, the all-B rhyme scheme heightens cohesion against the diversified CDE melodies.  

Internal Rhymes, Alliteration & Other Connection Accentuators
In addition to the end-of-line rhymes, the chorus also features a number of other connection accentuators, including:

• The double rhyme between the song title “flow-ers” and “hou-rs,” the latter being creatively pronounced to bolster the connection
• The “AN” commonality in every line save for line 3.
• The “EYE” commonality in the lyrics “I,” “buy,” and “my.” 
• The “AY” commonality in the lyrics “name,” “say” and “take.”
• The repetition of the lyrics “I can” and “my-self,” which accentuates the chorus’s self-love and empowerment lyrical summation.
  

Syllables
The length of lines in the chorus are on par with the verse sections, without the in-line segmentation save for line 7.

Vocal Break & Outro Post-Choruses

The first vocal break post-chorus is composed of two lyrically repetitive lines that follow an AA rhyme scheme. Note that the second phrase in each line includes two additional lyrics, “I” and “ba-by,” with the latter creating alliteration with the lyric “bet-ter” that precedes it.

Furthermore, note that this is the only section in the song that features exact mirroring between the rhyme scheme, main melodic structure and syllable structure, which makes the empowering post-chorus even easier to connect with and remember.

The subsequent second vocal break post-chorus and outro are nearly identical to vocal break 1 save for being twice as long and omitting the final “can love me bet-ter, ba-by” lyric at the end, which puts the focus on the all important “I” lyric.

Syllables
Lines in the vocal breaks and outro are the lengthiest in the song along with line 1 in the pre-chorus. However, they are segmented into shorter, easier-to-digest 5 and 8 syllable segments.