At a Glance

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Overview, Highlights & Takeaways

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Song Structure

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Energy & Dynamics

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Genres, Sub-Genres, & Vibes

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Primary instruments

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Music & Instruments: Section By Section

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• Feedback Swell: (Feedback/static sound effect – Level: Low to mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.

Everything in Part A with the following additions:

• **Bass 1: (Staccato synth bass, only plays A2 – Level: Mid) Primary Placement in the Mix: 12:00.
• **Kick: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• **Clap 1: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• **Snare: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• **Hi Hat: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• **Tom: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.

Starboy’s intro is the shortest section in the song, landing at 15 seconds / 5 bars. It is entirely instrumental and possesses an engaging multifaceted two-part structure.

Part A: 5 seconds / 1 bar

The first five seconds of Starboy consists of a swelling, distorted feedback type effect and static noise. It functions as a strong, engaging opener due to its unique quality compared to most other songs in today’s mainstream, which enables Starboy to instantly stand out and grab the listener’s attention – especially in an airplay environment. As soon as one hears this segment of the intro, there is no mistaking the song for something else.

Part B: 10 seconds / 4 bars

After swelling to a peak at the end of part A, the feedback/static effect drops down to near nil in part B and remains in effect for the duration of the section providing low-level color and texture.

The focal point of part B is the infectious synth bass/drum pattern, which serves as the backbone throughout the majority of the song. Note the following:

• The timbre and pattern of the synth bass puts the song’s bouncy, Funky vibe into effect.
• The 808-sounding electronic snare, claps and kick provide a retro yet current underlying Hip Hop influenced beat.
• The sixteenth note electronic hats provide the section with a heightened degree of momentum.
• The syncopated 808 tom also provides a heightened degree of momentum, in addition to color and texture.

Together these elements not only form an infectious groove, but also create a self-assured, driving, unwavering type vibe that jibes with and accentuates the impact of The Weeknd’s boasting lyrics.

Part A + Part B

Part A and part B do a great job of instantly capturing the listener’s attention (part A), locking them in (part B), and keeping them engaged until the first verse takes over.

Transition Point (Intro to Verse 1): The Weeknd signals the transition point into the first verse with a single “ah” vocal. Instrumentally, the intro transitions seamlessly into the first verse.

• Bass 1: (Staccato synth bass, only plays A2 – Level: Mid) Primary Placement in the Mix: 12:00.
• **Piano: (Acoustic piano chords – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• **Synth 1: (Soft pad; doubles piano – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Kick: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Clap 1: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Snare: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Hi Hat: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• Tom: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.

Everything in Part A with the following additions:

• **Synth 2: (Saw pad; low-pass filtered – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• **Synth 3: (Flange-effected, single pitch – Level: Mid-low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.

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

Verse 1 is 20 seconds / 8 bars in length, consisting of two 10 second / 4 bar parts/stanzas – denoted as parts A and B. The commonality between the two is the core drum/bass accompaniment that was first established in part B of the intro, which keeps the listener locked in the infectious groove throughout the section.

What follows are the accompaniment changeups that occur both within the section and relative to the preceding intro:

Part A

Part A introduces acoustic piano into the mix, which provides the section with a dark, melancholic vibe. Notice that it jibes with and accentuates the impact of the opening lyrics, “I’m gonna put you in the worst mood, ah.”

Part B

Part B introduces two additional synth elements into the mix – saw pad and modulated pad. The saw pad features a synth string timbre and provides the section with additional subtle color and texture – albeit quite low in the mix. The modulated pad is featured more prominently and possesses a flange-type quality. In addition to color and texture, this synth provides the section with a vibe of dark uneasiness.

Transition Point (Verse 1 into Pre-Chorus 1): The verse flows seamlessly into the pre-chorus.

• Bass 1: (Staccato synth bass, only plays A2 – Level: Mid) Primary Placement in the Mix: 12:00.
• Piano: (Acoustic piano chords – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 1: (Soft pad; doubles piano – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 2: (Saw pad; low-pass filtered – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 3: (Flange-effected, single pitch – Level: Mid-low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Kick: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Clap 1: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Snare: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Hi Hat: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• Tom: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.

Same as Part A

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

Pre-chorus 1 is 20 seconds / 8 bars in length, consisting of two 10 second / 4 bar parts/stanzas – part A and part B. The accompaniment throughout the section is essentially the same as part B of the preceding verse, with the only difference being that the saw synth pad become subtly more prominent in the mix as part A progresses, then resets to a lower volume and rises subtly again throughout part B.

As a result, the dark, melancholy vibe is maintained while the listener is kept locked in the song’s infectious drum/bass groove.

Transition Point (Pre-Chorus 1 into Chorus 2): The full accompaniment is abruptly pulled at the end of beat 2 in the last measure of the pre-chorus and remains absent for beat three and half of beat four. The accompaniment is reinstituted on the last half beat, ushering in the chorus that follows. Although brief, the accompaniment pull effectively provides cross-sectional separation from the chorus that follows, enabling it to hit with increased perceived impact. This is especially important considering the accompaniment similarities between sections.

• Bass 1: (Staccato synth bass, only plays A2 – Level: Mid) Primary Placement in the Mix: 12:00.
• Piano: (Acoustic piano chords – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 1: (Soft pad; doubles piano – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 2: (Saw pad; low-pass filtered, filter opens slightly at end of section – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 3: (Flange-effected, single pitch – Level: Mid-low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• **Synth 4: (Whole note melody – Level: Low) Primary Placement in the Mix: 12:00.
• Kick: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Clap 1: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Snare: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Hi Hat: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• Tom: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.

Everything in Part A with the following additions/modifications:

• *Bass 1: (Staccato synth bass, follows chord progression – Level: Mid) Primary Placement in the Mix: 12:00.
• **Bass 2: (Legato synth bass – Level: Mid) Primary Placement in the Mix: 12:00.
• **Synth 5: (Woodwind-like lead – Level: Mid) Primary Placement in the Mix: 12:00.
• **Clap 2: (Electronic, bigger than clap 1, automated decay – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.

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

Chorus 1 is 20 seconds / 8 bars in length, consisting of two 10 second / 4 bar parts/stanzas – part A and part B. Similar to the verse, both parts feature similar and contrasting accompaniment characteristics. The primary commonality between the two is that they both feature the core drum/bass accompaniment that has been in effect since part B of the intro, coupled with the saw and modulated (flange) synth pads. As a result, the vibe is maintained, and the listener remains locked in the groove.

What follows are the new elements that have been added into the mix:

Part A

The first half of the chorus features the same accompaniment as the pre-chorus plus the addition of synth 4. It plays whole notes and provides the section with more melodic interest compared to the pre-chorus

Part B

There are a few new elements that enter during the second half of the section, part B, which provide engaging cross-stanza contrast:

• Legato synth bass: This bass features a dark, droning quality, providing the section with additional texture and underlying intensity.
• Claps 2: In contrast to clap 1, which has been sounding on beats 2 and 4 since part B of the intro, clap 2, which also sounds on beats 2 and 4, is significantly bigger in nature. Varying between long and short decays, these claps punch through the mix at a heightened level and provide additional texture and intensity.
• Lead synth: This synth possesses a woodwind-like timbre, playing an infectious, repetitive melody throughout part B. Its timbre and melody provide the section with a lighter, serene counter to the darkness and melancholy that that has defined the accompaniment up until this point.

Transition Point (Chorus 1 into Verse 2): Elements of the accompaniment – in particular the legato bass and saw synth pad – begin to swell in the last measure of the section. This both provides an engaging intensity level peak at the end of the section, and a heightened degree of cross-sectional contrast compared to the sparser verse that follows. The core drum/bass accompaniment remains in effect, seamlessly leading the listener into the second verse.

• *Bass 1: (Staccato synth bass, only plays A2 – Level: Mid) Primary Placement in the Mix: 12:00.
• Piano: (Acoustic piano chords – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 1: (Soft pad; doubles piano – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Kick: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Clap 1: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Snare: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Hi Hat: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• Tom: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.

Everything in Part A with the following additions:

• Synth 2: (Saw pad; low-pass filtered – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 3: (Flange-effected, single pitch – Level: Mid-low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.

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

Verse 2 features essentially the same accompaniment characteristics as verse 1. Notice that the sparser arrangement compared to part B of the chorus that precedes it provides subtle yet engaging cross-section contrast, while the listener is kept locked into the infectious drum/bass groove.

Transition Point (Verse 2 into Pre-Chorus 2): The core accompaniment of the second verse transitions seamlessly into the second pre-chorus.

• Bass 1: (Staccato synth bass, only plays A2 – Level: Mid) Primary Placement in the Mix: 12:00.
• Piano: (Acoustic piano chords – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 1: (Soft pad; doubles piano – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Kick: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Clap 1: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Snare: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Hi Hat: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• Tom: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.

Everything in Part A with the following additions:

• Synth 2: (Saw pad; low-pass filtered, slightly more open than verse 2 – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 3: (Flange-effected, single pitch – Level: Mid-low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.

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

Pre-chorus 2 features characteristics that are both in line and different from its pre-chorus 1 counterpart. The primary difference between these two “like sections” transpires in the first half of the section, part A. While pre-chorus 1 features the same accompaniment as verse 1, which includes the saw and modulated flange synths, these two elements are noticeably omitted from part A of pre-chorus 2. Their omission results in the following:

• It provides a subtle degree of cross-section contrast. This is important considering the similar cross-section accompaniment characteristics found throughout the song.
• It institutes a subtle changeup in vibe. The uneasiness that the modulated flange synth puts into effect is omitted, and the dark, melancholic vibe put into effect by the acoustic piano shines front and center in an unadulterated manner.

Transition Point (Pre-Chorus 2 into Chorus 2): Same brief accompaniment pull transition as pre-chorus 1 into chorus 1.

• Bass 1: (Staccato synth bass, only plays A2 – Level: Mid) Primary Placement in the Mix: 12:00.
• Piano: (Acoustic piano chords – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 1: (Soft pad; doubles piano – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 2: (Saw pad; low-pass filtered, filter opens at end of section – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 3: (Flange-effected, single pitch – Level: Mid-low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• *Synth 4: (Whole note melody – Level: Low) Primary Placement in the Mix: 12:00.
• Kick: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Clap 1: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Snare: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Hi Hat: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• Tom: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.

Everything in Part A with the following additions:

• *Bass 1: (Staccato synth bass, follows chord progression – Level: Mid) Primary Placement in the Mix: 12:00.
• *Bass 2: (Legato synth bass – Level: Mid) Primary Placement in the Mix: 12:00.
• *Synth 5: (Woodwind-like lead – Level: Mid) Primary Placement in the Mix: 12:00.
• *Clap 2: (Electronic, bigger than clap 1, automated decay – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.

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

Chorus 2 features essentially the same accompaniment characteristics as chorus 1.

Transition Point (Chorus 2 to the Bridge): The full accompaniment save for the droning, legato synth bass is abruptly pulled out from under The Weeknd’s “starboy” vocal at the tail end of the chorus. This both provides the signal that cross-sectional change is afoot, coupled with enabling the song title lyrics, “starboy,” to further stand out and connect in an unadulterated manner.

• Bass 1: (Staccato synth bass, only plays A2 – Level: Mid) Primary Placement in the Mix: 12:00.
• Bass 2: (Legato synth bass – Level: Mid) Primary Placement in the Mix: 12:00.
• Kick: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Clap 1: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Snare: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• Hi Hat: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• Tom: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• *Feedback Swell: (Feedback/static sound effect sounding on beat 4 of each measure until sustained swell in last bar of section – Level: Low to mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.

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

The bridge is 20 seconds / 8 bars in length, and consists of two distinct segments:

Segment 1 (Part A – bars 1 and 2)

The first segment is 2 bars in length and provides the most pronounced accompaniment departure thus far in the song. It features a breakdown/sparse characteristic, consisting of solely of droning, dark legato synth bass and bursts of feedback/static that sound on beat 4 of each measure. Note that this is the first time this effect is heard prominently since part A of the intro. Together, these elements provide a dark, foreboding, stark accompaniment to The Weeknd’s low pitch-shifted vocals, which are also only in effect for two bars.

The pronounced accompaniment contrast compared to the preceding sections – in particular the lack of the drum/staccato bass groove –  serves to engage the listener at a heightened level in the song.

Segment 2 (Parts A and B – bars 3 – 8)

With the feedback/static effect and droning synth remaining in effect, the infectious drum/bass pattern that defines the preceding sections of the song is reinstated in bar 3. This locks the listener is back into the song’s infectious groove, while the aforementioned contrast keeps the cross-sectional engagement value at a high.

Transition Point (Bridge to Pre-Chorus 3): The feedback/static effect that has been sounding on beat 4 throughout the bridge swells to a crescendo at the tail end of the section just as it did in the chorus. This helps to provide a heightened degree of engaging cross-section contrast compared to the sparse/breakdown pre-chorus 3 section that follows. The onset of pre-chorus 3 is marked by the bridge accompaniment coming to an abrupt end, followed by the return of the acoustic piano progression on beat 1 and the legato bass drone entering on beat 2.

• Bass 2: (Legato synth bass – Level: Mid) Primary Placement in the Mix: 12:00.
• *Piano: (Acoustic piano chords – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• *Synth 1: (Soft pad; doubles piano – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.

Everything in Part A with the following additions:

• Feedback Swell: (Feedback/static sound effect at end of section – Level: Low to mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.

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

Pre-chorus 3 is unique in relation to the other sections in the song – including pre-choruses 1 and 2 – in that it is the only section that remains in breakdown/sparse mode for the duration of the ENTIRE section. The bridge also features a breakdown segment, but only for the first two bars.

The two instruments featured in the mix are the legato synth bass drone and acoustic piano, which makes a return since being pulled in the bridge. The pronounced cross section and “like section” contrast imparted provides the song with a heightened degree of engagement value – both sonically and dynamically.

Transition Point (Pre-Chorus 3 into Chorus 3): The accompaniment thins out during the last two beats of the pre-chorus, with only the feedback/static effect remaining in effect. This enables the chorus to hit with increased perceived impact once the bass, drums and synths reenter at the transition point.

• *Bass 1: (Staccato synth bass, only plays A2 – Level: Mid) Primary Placement in the Mix: 12:00.
• Piano: (Acoustic piano chords – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Synth 1: (Soft pad; doubles piano – Level: Low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• *Synth 2: (Saw pad; more filter movement and more open and brassy than in previous sections – Level: Low-mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• *Synth 3: (Flange-effected, single pitch – Level: Mid-low) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• *Synth 4: (Whole note melody, parts A & B only – Level: Low) Primary Placement in the Mix: 12:00.
• *Kick: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• *Clap 1: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• *Snare: (Electronic – Level: Mid) Primary Placement in the Mix: 12:00.
• *Hi Hat: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• *Tom: (Electronic – Level: Mid-low) Primary Placement in the Mix: 12:00.
• *Clap 2: (Single hit at onset of section – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.

• *Bass 1: (Staccato synth bass, follows chord progression – Level: Mid) Primary Placement in the Mix: 12:00.
• *Bass 2: (Legato synth bass – Level: Mid) Primary Placement in the Mix: 12:00.
• *Synth 5: (Woodwind-like lead – Level: Mid) Primary Placement in the Mix: 12:00.
• *Clap 2: (Claps on beats 2 & 4 throughout – Level: Mid) Primary Placement in the Mix: 12:00, but present wide in the stereo image from 9:00-3:00.
• Feedback Swell: (Feedback/static sound effect at end of section – Level: Low to mid) Primary Placement in the Mix: 12:00.

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

The third and final chorus is unique compared to the other choruses in that it’s double the length, consisting of four parts as opposed to two (parts A, B, C and D).

Parts A and B

Parts A and B feature the same general accompaniment characteristics as their chorus 1 and chorus 2 counterparts. The primary difference is that the levels are running a bit hotter – in particular the saw synth. This provides the section with a higher degree of respective intensity.

Parts C and D

Parts C and D both feature the core accompaniment characteristics that define part B – in particular the pronounced claps, which are not featured in part A. As a result, the energy level of the section, and the song, continues on at a heightened level.

In bar 2 of part D, the intensity and excitement factor increases due to the opening of the saw synth’s low pass filter, making it more prominent in the mix. The level increases even further in bar 3 due to the addition of the swelling feedback/static effect. Both elements reach their apex at the end of the song, helping to bring the intensity and excitement to a grand climax.

The accompaniment is then abruptly pulled during The Weeknd’s final “starboy” vocal, which rings out with a delay effect as the song comes to its conclusion.

Harmonic Progressions

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Rhyme Schemes

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Vocals

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Starboy features a few different vocal characteristics that take its impact to a heightened level. They include sung and a sung/rapped hybrid lead, vocoder-processed background, doubled and harmonized lead, pitch-shifted lead, and varying degrees of reverb and delay.

Key
S: Sung R: Rapped SP: Spoken SH: Shout -/-: First Stanza/Second Stanza

 

• Solo Lead 1: The Weeknd – processed with reverb and minimal delay – primary panning around 12:00. The vocals are sung throughout the song and possess a distinct Hip Hop/Rap influence,  which is especially apparent on the monotone-based lines.

• Double 1: The Weeknd – same pitch as the lead.
• Harmony 1: The Weeknd – multi-pitch harmony. Pronounced in the bridge due to the pitch-shift effect employed.

• Independent Background 1: Processed with a Daft Punk vocoder effect – ample reverb.

Bold lyrics: Indicate an additional voice doubling the lead vocal. Harmony details are included at the top of each section in which they appear. Details appear in each section in which doubling occurs.

Single Line Underlined lyrics: Indicate the presence of vocal harmonies in addition to the lead vocal. Harmony details are included at the top of each section in which vocal harmonies appear.

(Lyrics in parentheses): Indicate independent background vocals. Details are included at the top of each section in which independent backgrounds appear.

Vocals featured in the mix:

• Lead 1: The Weeknd

Line 1: I’m try-na put you in the worst mood, ah
Line 2: P-1 clean-er than your church shoes, ah
Line 3: Mil-li point two just to hurt you, ah
Line 4: All red Lamb just to tease you, ah

Line 5: None of these toys on lease too, ah
Line 6: Made your whole year in a week too, yah
Line 7: Main bitch out of your league too, ah
Line 8: Side bitch out of your league too, ah

Both stanzas in the first verse feature The Weeknd’s sung lead vocal. It is processed with reverb and minimal delay.

Vocals featured in the mix:

• Lead 1: The Weeknd
• Double 1: The Weeknd

Line 1: House so emp-ty need a cen-ter-piece
Line 2: Twen-ty racks a ta-ble cut from e-bo-ny
Line 3: Cut that i-v’ry into skin-ny piec-es
Line 4: Then she clean it with her face, man I love my ba-by

Line 5: You talk-in’ mon-ey need a hear-in’ aid
Line 6: You talk-in’ ‘bout me I don’t see the shade
Line 7: Switch up my style I take any lane
Line 8: I, switch up my cup I kill any pain

Both stanzas in the first pre-chorus feature The Weeknd’s sung lead vocal. However, there is additional vocal layering and effect processing in play, which provide the section with a heightened degree of color, texture and engagement value:

Pronounced Delay & Vocal Processing

• Line 1: “cen-ter-piece” (prominent delay / heavy reverb – “piece”)
• Line 2: “e-bo-ny” (prominent delay / heavy reverb – “ny”)
• Line 4: “my ba-by” (prominent delay / pronounced pitch processing-Autotune – “my ba-by”)
• Line 5: “aid” (prominent delay / heavy reverb)
• Line 6: “shade” (prominent delay / heavy reverb)

Vocal Layering

The last line in the first stanza, line 4, features a doubled lead vocal from The Weeknd. This provides subtle emphasis compared to the other lines in the section.

Vocals featured in the mix:

• Lead 1: The Weeknd
• Independent Background 1: Daft Punk (vocoder effect)

Line 1: (Ha-ha…)
Line 2: Look what you’ve done
Line 3: (Ha-ha…)
Line 4: I’m a moth-er f**k-in’ Star-boy

Line 5: (Ha-ha…)
Line 6: Look what you’ve done
Line 7: (Ha-ha…)
Line 8: I’m a moth-er f**k-in’ Star-boy

From a vocal standpoint, the main difference between the first chorus and the sections that precede it is that it features Daft Punk-style vocoder-effected background vocals. Appearing both independently of and underneath The Weeknd’s lead, the “ha-ha” vocals provide the section with an additional infectious element. Note the following:

• The vocoder effect is a signature of Daft Punk, and puts their unique mark on the song accordingly.
• The pronounced contrast between the background and lead vocal qualities provides the chorus with a heightened degree of engagement value and impact, furthering its ability to stand out and resonate in the scope of the song.

Also noteworthy in the chorus is the vibrato on The Weeknd’s voice on the lyric “done.” This provides the line as a whole with a subtly heightened degree of excitement.

Vocals featured in the mix:

• Lead 1: The Weeknd

Line 1: Ev-’ry day a ni*-*a try to test me, ah
Line 2: Ev-’ry day a ni*-*a try to end me, ah
Line 3: Pull off in that road-ster S-V, ah
Line 4: Pock-ets o-ver weight get-tin’ heft-y, ah

Line 5: Com-in’ for the king that’s a far cry-y
Line 6: I come a-live in the fall time-ime
Line 7: No com-pe-ti-tion I don’t real-ly lis-ten
Line 8: I’m in the blue Mul-sanne bump-in’ New E-di-tion

Verse 2 features essentially the same vocal production characteristics as the first verse, with the addition of subtle stereo delay throughout.

Vocals featured in the mix:

• Lead 1: The Weeknd
• Double 1: The Weeknd

Line 1: House so emp-ty need a cen-ter-piece
Line 2: Twen-ty racks a ta-ble cut from e-bo-ny
Line 3: Cut that i-v’ry into skin-ny piec-es
Line 4: Then she clean it with her face, man I love my ba-by

Line 5: You talk-in’ mon-ey need a hear-in’ aid
Line 6: You talk-in’ ‘bout me I don’t see the shade
Line 7: Switch up my style I take any lane
Line 8: I, switch up my cup I kill any pain

Pre-chorus 2 features essentially the same core vocal characteristics as pre-chorus 1.

Vocals featured in the mix:

• Lead 1: The Weeknd
• Independent Background 1: Daft Punk (vocoder effect)

Line 1: (Ha-ha…)
Line 2: Look what you’ve done
Line 3: (Ha-ha…)
Line 4: I’m a moth-er f**k-in’ Star-boy

Line 5: (Ha-ha…)
Line 6: Look what you’ve done
Line 7: (Ha-ha…)
Line 8: I’m a moth-er f**k-in’ Star-boy

Chorus 2 features essentially the same vocal characteristics as chorus 1.

Vocals featured in the mix:

• Lead 1: The Weeknd
• Double 1: The Weeknd

Line 1: Let a ni*-*a Brad Pitt
Line 2: Leg-end Of The Fall took the year like a ban-dit
Line 3: Bought mom-ma a crib and a brand new wag-on
Line 4: Now she hit the gro-cer-y shop look-in’ lav-ish

Line 5: Star Trek roof in that Wraith Of Khan
Line 6: Girls get loose when they hear this song
Line 7: A hun-dred on the dash get me close to God
Line 8: We don’t pray for love we just pray for cars

The bridge possesses the most differentiated lead vocal production characteristics compared to the other sections in the song. It features the Weeknd’s sung/rapped hybrid lead vocal plus other embellishments that are put into effect as the section progresses:

• The Weeknd’s lead features much less reverb than other sections in the song. This provides it with a more upfront, intimate quality.
• Lines 1 and 2 feature a pronounced low pitch-shift effect. This provides stringent contrast compared to the other vocals in the section, as well as the song as a whole. Its impact is heightened due to the breakdown/sparse arrangement, which enables his vocal to stand out on a more pronounced level.
• The other lines in the section also feature a harmonized pitch-shift effect, but the low end is much less pronounced. As a result The Weeknd’s “true” voice is featured more prominently, while the pitch-shift effect provides a heightened degree of texture and weight.
• The last lyric on lines 6 and 8 – “song” and “cars” – feature moderate, albeit brief, reverb processing and a doubled lead vocal. This both provides engaging contrast in the scope of the section as well as heightening the connection value due the processing commonality in addition to the “ah” rhyme (the lyrics are sung “sahng” and “cahrs”.

Vocals featured in the mix:

• Lead 1: The Weeknd
• Double 1: The Weeknd

Line 1: House so emp-ty need a cen-ter-piece
Line 2: Twen-ty racks a ta-ble cut from e-bo-ny
Line 3: Cut that i-v’ry into skin-ny piec-es
Line 4: Then she clean it with her face, man I love my ba-by

Line 5: You talk-in’ mon-ey need a hear-in’ aid
Line 6: You talk-in’ ‘bout me I don’t see the shade
Line 7: Switch up my style I take any lane
Line 8: I, switch up my cup I kill any pain

Pre-chorus 3 features essentially the same vocal production characteristics as pre-choruses 1 and 2.

Vocals featured in the mix:

• Lead 1: The Weeknd
• Double 1: The Weeknd
• Independent Background 1: Daft Punk (vocoder effect)

Line 1: (Ha-ha…)
Line 2: Look what you’ve done
Line 3: (Ha-ha…)
Line 4: I’m a moth-er f**k-in’ Star-boy

Line 5: (Ha-ha…)
Line 6: Look what you’ve done
Line 7: (Ha-ha…)
Line 8: I’m a moth-er f**k-in’ Star-boy

Line 1: (Ha-ha…)
Line 2: Look what you’ve done
Line 3: (Ha-ha…)
Line 4: I’m a moth-er f**k-in’ Star-boy

Line 5: (Ha-ha…)
Line 6: Look what you’ve done
Line 7: (Ha-ha…)
Line 8: I’m a moth-er f**k-in’ Star-boy

The third and last chorus in the song is double the length of choruses 1 and 2, consisting of four stanzas as opposed to two. The first two stanzas (parts A and B) feature essentially the same vocal production characteristics as choruses 1 and 2, with the primary difference being the delay effect imparted on the last lyric, “starboy.” The last two stanzas feature a couple of other subtle differences compared to choruses 1 and 2:

• The overall vocal level is higher than the preceding two stanzas as well as choruses 1 and 2 due to the lead vocal doubling. This subtly increases the intensity factor of the song as it heads toward its conclusion.
• Delay is featured on the last lyric of each lead vocal line – “done” and “starboy.”
• The last lyric in the song, “starboy,” features a lengthy delay tail coupled with a high to low pitch-shift effect which brings the song to its conclusion.

Begins on D4 and ends a perfect fourth lower on A3.

Begins a perfect fifth higher on E4 and ends a perfect fifth lower on A3.

Same as pre-chorus 1.

Begins a perfect fourth higher on D4 and ends a perfect fourth lower on A3.

Begins a perfect fifth higher on E4 and ends a perfect fifth lower on A3.

Same as pre-chorus 2.

Begins on a minor third higher on C4 and ends a minor third lower on A3.

Begins a perfect fifth higher on E4 and ends a perfect fifth lower on A3.

Same as pre-chorus 3.

Verse 1

Line 1: I’m try-na put you in the worst mood, ah
Line 2: P-1 clean-er than your church shoes, ah
Line 3: Mil-li point two just to hurt you, ah
Line 4: All red lamb just to tease you, ah

Line 5: None of these toys on lease too, ah
Line 6: Made your whole year in a week too, yah
Line 7: Main bitch out of your league too, ah
Line 8: Side bitch out of your league too, ah

High: E4
Low: A3

The first verse is firmly rooted in the K.I.S.S. ME principle (Keep It Simple, Singable, and Memorable), consisting primarily of monotone progressions followed by melodic descents down to the tonic to conclude.

Each line is composed of two distinct melodic parts, denoted as parts 1 and 2. There are seven variations of the part 1 melody, and three variations of the part 2 melody. Each part features the same core melodic and/or rhythmic structure, which heightens the memorability factor, while the slight melodic and rhythmic variations help to keep the section as a whole engaging and prevent cookie-cutter monotony from occurring.

Both verses are centered around monotone runs on D, the fourth scale degree in the song’s key, A minor. This provides the verses with a good deal of tension as D is only a chord tone during the G/A chord which occurs in the 3rd bar of each phrase.

Verse 1 Melodic Direction: At-a-Glance

Verse 1 Melodic Part Structure: At-a-Glance

Lines in the first verse are very close in their syllable count, ranging from 8 to 10. Note that the line-to-line syllable count structure of the first stanza is NOT identical to that of the second stanza. However, they are quite close.

In-Line Segmentation:

None. Each line runs straight through without a pause.

Cross-Line Segmentation:

Each line in the section is segmented from one another by an eighth rest. While the duration of the rest is not particularly long, it does provide ample time for each line to connect and resonate with the listener.

Line 1: I’m try-na put you in the worst mood, ah
Line 2: P-1 clean-er than your church shoes, ah

Part 1a / Part 2a: “I’m try-na put you in the / worst mood, ah”

Line 1 is composed of two melodic parts – part 1a and part 2a. The bulk of the line, part 1a, features a straight monotone D sixteenth note progression. The last three syllables, denoted as part 2a, shift gears with a slower eighth note descent down to the tonic via D – C – A, which brings the line to its conclusion. The three-note descent achieves the following:

• It provides engaging melodic and rhythmic contrast against the monotone sixteenth notes that precede it.
• It puts into effect the first instance of the primary motive that appears throughout the section, and the song. It serves as a familiar element in light of the melodic and rhythmic changeups that precede it, and accentuates the song’s memorability factor as a result.

Part 1b / Part 2a: “P-1 clean-er than your / church shoes, ah”

Line 2 is composed of two melodic parts – part 1b and 2a. Part 1b is essentially the same as part 1a in line 1, with the exception of the first two notes:

• Line 2 begins on E, which is a step higher than line 1.
• The first two notes in line 2 are eighth notes, as opposed to the sixteenths on line 1.

While these two differences are relatively subtle, they help to accentuate the engagement factor due to the contrast imparted.

The balance of part 1b, as well as part 2a that follows, feature the same melodic progression and rhythm as line 1.

Line 3: Mil-li point two just to hurt you, ah
Line 4: All red Lamb just to tease you, ah

Part 1a / Part 2a: “Mil-li point two just to / hurt you, ah”

Line 3 is composed of two melodic parts – part 1c and part 2b. Part 1c begins with a monotone D note progression, which it has in common with line 1. However, the rhythm is changed up, as it contains two eighth notes right in the middle as opposed to a succession of straight sixteenth notes.

The last three lyrics/syllables – denoted as part 2b – feature the same eighth note rhythm as part 2a, but begin a step higher on E, followed by a descent down to the tonic via C – A.

These changes, though relatively subtle, help to keep the line both fresh and familiar in the scope of the section.

Part 1d / Part 2b: “All red Lamb just to / tease you, ah”

Line 4 is composed of two melodic parts – part 1d and part 2b. Part 1d is very similar to part 1b, which represents the beginning of line 2. The sole difference is that the third note in is an eighth note as opposed to a sixteenth. The line concludes in the same manner as line 3 with part 2b.

Line 5: None of these toys on lease too, ah
Line 6: Made your whole year in a week too, yah

Part 1e / Part 2b: “None of these toys on / lease too, ah”

Line 5 is composed of two melodic parts – part 1e and part 2b. With part 2b remaining as the familiar anchor, part 1e provides a subtle rhythmic contrast relative to the other part 1’s with an additional eighth note. The monotone progression on D is the same as its line 1 and 3 counterparts.

Part 1c / Part 2b: “Made your whole year in a / week too, yah”

Line 6 is composed of two melodic parts – part 1c and part 2b. Although it’s an even numbered line in the section, all of which begin on an E note except for line 6, it is melodically and rhythmically identical to line 3 – an odd numbered line. All of the odd numbered lines in the section begin on D. So while its core commonality with line 3 creates strong familiarity, its changed up placement within the section keeps things fresh due to the break in the flow.

Line 7: Main bitch out of your league too, ah
Line 8: Side bitch out of your league too, ah

Part 1f / Part 2c: “Main bitch out of your / league too, ah”

Line 7 is composed of two melodic parts – part 1f and part 2c. This line is unique in the scope of the section in that it slightly differs from the other part 1’s and part 2’s. The primary differences are as follows:

• Part 1f begins with two eighth notes as opposed to sixteenth notes. This is a commonality that it shares with the EVEN numbered lines in the section, not the ODD numbered lines. Note that this odd/even line changeup is similar to the reversal that occurs on line 6 as previously mentioned.
• While part 2c features an all eighth note rhythm and begins with a descending E – C major third like the other part 2’s, it differs from the other part 2’s in that it concludes with an ASCENT up to D as opposed to a descent down to the tonic, A.

Part 1g / Part 2b: “Side bitch out of your / league too, ah”

Line 8 is composed of two melodic parts – part 1g and part 2b. Part 1g is similar to most of the other even number line part 1’s in that it begins with an E – D eighth note descent. It differs slightly, however, in terms of its rhythm. The line concludes with the eighth note E – C – A descent, which is the same as the other part 2b’s throughout the section.

Verse 2

Line 1: Ev-’ry day a ni*-*a try to test me, ah
Line 2: Ev-’ry day a ni*-*a try to end me, ah
Line 3: Pull off in that road-ster S-V, ah
Line 4: Pock-ets o-ver weight get-tin’ heft-y, ah

Line 5: Com-in’ for the king that’s a far cry-y
Line 6: I come a-live in the fall time-ime
Line 7: No com-pe-ti-tion I don’t real-ly lis-ten
Line 8: I’m in the blue Mul-sanne bump-in’ New E-di-tion

High: E4
Low: A3

The second verse features a very similar melodic and rhythmic structure as the first verse, which heightens the memorability factor of the song as a whole. However, there are some minor differences as well, which prevent cookie-cutter monotony from occurring.

Verse 2 Melodic Direction: At-a-Glance

Verse 1 Melodic Direction Reference: At-a-Glance

Verse 2 Melodic Part Structure: At-a-Glance

Lines in the second verse are very close in their syllable count, ranging from 9 to 12. Note that the line-to-line syllable count structure of the first stanza is NOT identical to that of the second stanza. Additionally, the syllable count structure that defines the second verse is not identical to the first verse, although the total number of syllables utilized is relatively close.

In-Line Segmentation:

None. As is the case in the first verse, each line runs straight through without a pause.

Cross-Line Segmentation:

Each line within the section is segmented from one another by an eighth rest. This is the same line-to-line segmentation method employed in the first verse.

Line 1: Ev-’ry day a ni*-*a try to test me, ah
Line 2: Ev-’ry day a ni*-*a try to end me, ah

Part 1a / Part 2a: “Ev-’ry day a ni*-*a try to / test me, ah”

Line 1 is composed of two melodic parts – part 1a and part 2a. The structure of the line is identical to its verse 1, line 1 counterpart.

Part 1a / Part 2b: “Ev-’ry day a ni*-*a try to / end me, ah”

Line 2 begins with part 1a, which is the same as line 1 that precedes it. However, it differs from its verse 1, line 2 counterpart, which begins with part 1b (i.e. an E-D eighth note descent as opposed to a monotone D sixteenth note run). The line concludes with part 2b, which features the descending E-C-A eighth note progression. This too differs from its verse 1, line 2 counterpart, which concludes with part 2a (D-C-A).

Line 3: Pull off in that road-ster S-V, ah
Line 4: Pock-ets o-ver weight get-tin’ heft-y, ah

Part 1h / Part 2b: “Pull off in that road-ster / S-V, ah”

Line 3 begins with part 1h, which is another iteration of the monotone D note progression with a slightly altered rhythm compared to the other part 1’s. The line concludes with part 2b, which is the same as the line that precedes it as well as its verse 1, line 3 counterpart.

Part 1i / Part 2b: “Pock-ets o-ver weight get-tin’ / heft-y, ah”

As is the case with line 3, line 4 also begins with a rhythmically altered part 1 iteration (part 1i), followed by another iteration of part 2b to conclude.

Line 5: Com-in’ for the king that’s a far cry-y
Line 6: I come a-live in the fall time-ime

Part 1i / Part 2c: “Com-in’ for the king that’s a / far cry-y”

Line 5 begins in the same manner as line 4, with another iteration of part 1i. It concludes differently, however, with the second iteration of part 2c (part 2c previously occurred once in the first verse on line 7). Note that the unexpected placement of part 2c in the second verse (i.e. line 5 vs line 7 in the first verse), provides both engaging “like section” contrast and familiarity.

Part 1i / Part 2b: “I come a-live in the / fall time-ime”

Line 6 is a carbon copy of the melodic and rhythmic structure that defines line 4. Note that this is the third consecutive line that begins with a part 1i iteration. Up until this point, most of the part 1’s varied from line-to-line, with the part 2’s being more of the main source of line-to-line familiarity.

Line 7: No com-pe-ti-tion I don’t real-ly lis-ten
Line 8: I’m in the blue Mul-sanne bump-in’ New E-di-tion

Part 1a / Part 3: “No com-pe-ti-tion I don’t / real-ly lis-ten”

Line 7 begins with part 1a, which is also featured at the beginning of lines 1 and 2 as well as line 1 in the first verse. However, it concludes with part 3, which is unique to the second verse (the last two lines in particular). Note that lines 7 and 8 are the points in both verse sections where a line does not conclude with a part 2 iteration.

Part 3 descends to the tonic via E-C-C-A and features an all sixteenth note delivery. While the E-C-A progression is a commonality shared with the part 2b’s, the additional C note and the all sixteenth note delivery provide part 3 with a unique distinction. As a result, the line as a whole possesses a differentiated feel compared to the others, and heightens engagement value due to the contrast imparted. However, the aforementioned E-C-A commonality creates familiarity and heightens memorability accordingly.

Part 1j / Part 3: “I’m in the blue Mul-sanne bump-in’ / New E-di-tion”

Line 8 begins with yet another iteration of part 1, denoted as part 1j. As with the other part 1’s in the second verse, it features a monotone D note progression, but possesses a differentiated rhythm. The line concludes with the second iteration of part 3.

Note that the sole difference between line 7 and line 8 is the succession of the three eighth notes in the middle of line 7.

Pre-Chorus

Line 1: House so emp-ty need a cen-ter-piece
Line 2: Twen-ty racks a ta-ble cut from e-bo-ny
Line 3: Cut that i-v’ry into skin-ny piec-es
Line 4: Then she clean it with her face, man I love my ba-by

Line 5: You talk-in’ mon-ey need a hear-in’ aid
Line 6: You talk-in’ ‘bout me I don’t see the shade
Line 7: Switch up my style I take any lane
Line 8: I, switch up my cup I kill any pain

High: A4
Low: A3

Like the verse sections, the pre-chorus is rooted in the K.I.S.S. ME principle (Keep It Simple, Singable, and Memorable). Also like the verse sections, the majority of the pre-chorus (in particular the first three lines in each stanza) features a two-part structure, consisting of monotone progressions followed by a changeup at the end. However, the last line in each stanza provides an engaging shift, introducing two new melodic parts in the process.

The pre-choruses are centered around monotone runs on E, the fifth scale degree in the song’s key, A minor. This provides the pre-choruses with more anticipation than the verses due to the heightened pitch. Since the E is only a chord tone on the first chord of each phrase, A minor, it creates some sense of tension on the other chords, G/A and F/A, as a result.

Pre-Chorus Melodic Direction: At-a-Glance

Verse 1 Melodic Direction Reference: At-a-Glance

Verse 2 Melodic Direction Reference: At-a-Glance

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

Lines in the pre-chorus are relatively close in their syllable count, ranging from 9 to 13. Note that the line-to-line syllable count structure of the first stanza is NOT identical to that of the second stanza.

In-Line Segmentation:

With the exception of the brief sixteenth rest that follows the lyric “I” on line 8, each line runs straight through without a pause.

Cross-Line Segmentation:

With the exception of lines 3 and 7, each line is segmented from one another by a rest ranging from an eighth to a quarter in duration. Line 3 is subtly segmented from line 4 due to the quarter and eighth note value of the last two syllables, “piec-es,” compared to the succession of sixteenth notes that precede and follow. The same is the case at the end of line 7, plus the brief sixteenth rest that follows the lyric, “I,” at the beginning of line 8.

Line 1: House so emp-ty need a cen-ter-piece
Line 2: Twen-ty racks a ta-ble cut from e-bo-ny

Part 1 / Part 2a: “House so emp-ty need a cen-ter-/ piece”

Line 1 is composed of two melodic parts – part 1 and part 2a. The bulk of the line, part 1, features a monotone E sixteenth note progression. Part 2a, which is composed of the last two syllables, provides contrast as follows:

• It begins a minor third higher on G, and drops a minor third back down to E to conclude.
• It is composed of longer notes – two eighth notes as opposed to sixteenth notes.

This part 2a variation is the first instance of the ascent/descent motive that occurs throughout the section. Note that the contrast imparted is cleverly put into effect by stretching the lyric “piece” past its normal syllable count to “pie-iece.”

Part 1 / Part 2b: “Twen-ty racks a ta-ble cut from e-bo- / ny”

Line 2 features the same core melodic and rhythmic characteristics as line 1 with one exception – the second to last syllable in the stretched lyric in part 2b, “e-bo-ny-y,” is a step higher than part 2a at the end of line 1. While subtle, the contrast prevents cookie cutter repetition from occurring and heightens the excitement factor of the section in the process due to the ascent in pitch.

Line 3: Cut that i-v’ry into skin-ny piec-es
Line 4: Then she clean it with her face, man I love my ba-by

Part 1 / Part 2a: “Cut that i-v’ry into skin-ny / piec-es”

Line 3 is a melodic and rhythmic carbon copy of line 1.

Part 3a / Part 4: “Then she clean it with her face / man I love my ba-by”

Line 4 features the most pronounced changeup in the scope of the stanza. It is composed of two melodic parts – part 3a and part 4 – both of which make their first appearance thus far.

Part 3a features an all sixteenth note rhythm except for the eighth note at the end, which is a commonality shared with the part 1’s within the section. However, the melody is significantly different. Instead of following a monotone E note progression, it traverses 3 pitches – E-D-C – as detailed above. This melodic changeup provides engaging contrast and prevents the monotone runs that precede it from becoming overly monotonous.

With the eighth note at the end of part 3a providing a subtle segmentation effect in the manner of a comma, part 4 that follows features a monotone D sixteenth note progression up until the end, where it descends down to the tonic via slurred C-A eighth notes. Note that the melodic shape and rhythm is related to line 1 in both verse 1 and verse 2, and reinforces the memorability factor of the song as a result:

Fig 1: Verse 1

Fig 2: Verse 2

Fig 3: Pre-Chorus

Line 5: You talk-in’ mon-ey need a hear-in’ aid
Line 6: You talk-in’ ‘bout me I don’t see the shade

Part 1 / Part 2a: “You talk-in’ mon-ey need a hear-in’ / aid”

Line 5 is a melodic and rhythmic carbon copy of lines 1 and 3 in the first stanza.

Part 1 / Part 2b: “You talk-in’ ‘bout me I don’t see the / shade”

Line 6 is a melodic and rhythmic carbon copy of its line 2 counterpart in the first stanza.

Line 7: Switch up my style I take any lane
Line 8: I switch up my cup I kill any pain

Part 1 / Part 2a: “Switch up my style I take any lane”

Line 7 is a melodic and rhythmic carbon copy of lines 1 and 3 in the first stanza, as well as line 5 in the second stanza.

Part 3b / Part 4: “I, switch up my cup / I kill any pain”

Line 8 is very similar to its line 4 counterpart in the first stanza. It begins with a differentiated version of part 3, denoted here as part 3b. While it consists of the same three pitches as part 3a in the first stanza, it features a changed up melodic progression and begins with an eighth note followed by a brief sixteenth rest resulting in syncopation that provides increased rhythmic interest. The line concludes with another iteration of part 4, which is the same as its line 4 counterpart.

Chorus

Line 1: (Ha-ha…)
Line 2: Look what you’ve done
Line 3: (Ha-ha…)
Line 4: I’m a moth-er f**k-in’ Star-boy

Line 5: (Ha-ha…)
Line 6: Look what you’ve done
Line 7: (Ha-ha…)
Line 8: I’m a moth-er f**k-in’ Star-boy

High: A4
Low: A3

The chorus, like the other sections in the song, is firmly rooted in the K.I.S.S. ME principle (Keep It Simple, Singable, and Memorable). The lead vocal is composed of two melodic parts. The first is melodically vibrant, functioning to create anticipation for the monotone/descending melodic payoff that follows in the second part (i.e. “Look what you’ve done” / “I’m a moth-er f**k-in’ Star-boy”).

The structure of part 2, the payoff segment, is similar to that found in both the verse and pre-chorus sections, so it is already familiar by the time that the listener hears it in the chorus. As a result, the memorability factor of this important line is heightened. During the lengthy rest that separates these two lines is the vocoder processed “ha-ha” background vocals, which puts Daft Punk’s mark on the section, and the song.

The payoff line, “I’m a mother f**king star boy,” is centered on D, recalling the tension and overall feel from the verse and tying it into the payoff.

Chorus Melodic Direction: At-a-Glance (Lead Vocal Only)

Verse 1 Melodic Direction Reference: At-a-Glance

Verse 2 Melodic Direction Reference: At-a-Glance

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

Chorus Melodic Part Structure: At-a-Glance (Lead Vocal Only)

Backing vocal “ha-ha’s” are in effect throughout the entire chorus, harmonizing simple chords following the harmony of each bar. Outside of adding more color and texture to the section, they effectively fill the space between lead vocal lines and bolster the “taunting” lyrical theme of the section.

Lead vocal lines 2 and 6 each contain 4 syllables. Lead vocal lines 4 and 8 each contain 8.

In-Line Segmentation:

None. Each line flows straight through without a pause.

Cross-Line Segmentation:

Each lead vocal line is segmented from one another by a lengthy whole rest + (reference the sheet music above for details). The void is filled by the vocoder processed “ha, ha” background vocals, which is a signature of the song’s featured artist, Daft Punk.

Line 1/5: (Ha-ha…)
Line 2/6: Look what you’ve done
Line 3/7: (Ha-ha…)
Line 4/8: I’m a moth-er f**k-in’ Star-boy

Part 1: “Look what you’ve done”

Lines 2 and 6 are composed of part 1. Part 1 features an all sixteenth note E-G-E progression, with a leap up a perfect fourth to the tonic, A, to conclude.

Part 2: “I’m a moth-er f**k-in’ Star-boy”

Lines 4 and 8 are composed of part 2. Part 2 features a monotone D sixteenth note progression up until the third to last syllable, which is an eighth note. The line concludes with a sixteenth note descent down to the tonic via C-A on the stretched lyric, “boy.”  Note that the eighth note duration of the song title lyrics “star” and “boy” coupled with the melodic direction changeup helps the title stand out against the monotone sixteenth note lyrics that precede it.

By the time the listener gets to the chorus, they have already heard the core of the song title payoff melody, “I’m a moth-er f**k-in’ Star-boy,” in the verse and pre-chorus sections with slight rhythmic displacement. Although the other iterations feature slightly differentiated endings, the cross-sectional familiarity makes this important line, and the song as a whole, more memorable.

Examples:

Fig. 1: Verse 1

Fig. 2: Verse 2

Fig. 3: Pre-Chorus

Fig. 4: Chorus

Part 1 comes across in a more vibrant, excited manner due to the “zig-zag” shape of the melody, concluding with a perfect fourth leap to the tonic. This jibes with and accentuates the lyrical content, “look what you’ve done,” due to its attention-grabbing quality, and provides a melodic question.

Part 2 soon answers the melodic question in an assured, cocky, matter-of-fact manner with its monotone delivery and drop down to the tonic to conclude.

Bridge

Line 1: Let a ni*-*a Brad Pitt
Line 2: Leg-end of the fall took the year like a ban-dit
Line 3: Bought mom-ma a crib and a brand new wag-on
Line 4: Now she hit the gro-c’ry shop look-in’ lav-ish

Line 5: Star Trek roof in that Wraith Of Khan
Line 6: Girls get loose when they hear this song
Line 7: A hun-dred on the dash get me close to God
Line 8: We don’t pray for love we just pray for cars

High: D4
Low: A3

The bridge features the most simplified melody in the scope of the song. It is composed of two melodic parts, each of which features a primarily monotone lead vocal delivery. The primary changeup occurs at the end of each line, which conclude with an alternating melodic ascent or descent. This provides the section as a whole with a very engaging flow.

The bridge is centered around monotone runs on C and B, the third and second scale degrees in the song’s key, A minor, respectively. This provides the bridge with an overall more consonant and melodic feeling as those pitches are chord tones over the bass notes on which they fall (i.e. C over A in the first bar, B over G in the second, C over F in the third, and B over G in the fourth.)

Bridge Melodic Direction: At-a-Glance

Verse 1 Melodic Direction Reference: At-a-Glance

Verse 2 Melodic Direction Reference: At-a-Glance

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

Chorus Melodic Direction: At-a-Glance (Lead Vocal Only)

Bridge Melodic Part Structure: At-a-Glance

Lines in the bridge range from 6 to 12 syllables. Each line in the first stanza except for line 1 are very close in their respective syllable counts (11 and 12). Line 1 is around half the length of the others with 6. The first two lines in the second stanza both feature 8 syllables, and the last two are close to being in line with the first stanza with 11 and 10, respectively.

In-Line Segmentation:

None.

Cross-Line Segmentation:

Lines in the first stanza run straight through without a pause. Lines in the second stanza are subtly segmented from one another by the prolonged lyric at the end (“Khan,” “song,” “God,” “cars”).

Line 1: Let a nig-ga Brad Pitt
Line 2: Leg-end of the fall took the year like a ban-dit

Part 1a: “Let a ni*-*a Brad Pitt”

Line 1 is composed of part 1a. It features a monotone C sixteenth note progression up until the last two lyrics/syllables, which are eighth notes. Note that this is the only line in the entire section that features an entirely monotone run.

Part 2a: “Leg-end of the fall took the year like a ban-dit”

Line 2 is composed of part 2a. It begins a half step lower than line 1 on B, and follows a monotone progression right up until the last syllable, which DROPS DOWN to the tonic, A, to conclude.

The line is comprised primarily of sixteenth notes, with a couple of eighth notes interspersed that provide an engaging rhythm and emphasize the associated lyrics:

“Leg-end of the fall took the year like a ban-dit”

Line 3: Bought mom-ma a crib and a brand new wag-on
Line 4: Now she hit the gro-c’ry shop look-in’ lav-ish

Part 1b: “Bought mom-ma a crib and a brand new wag-on”

Line 3 is composed of part 1b. It returns to the pitch that housed the monotone run in line one, C, and resides there up until the last syllable, where it ASCENDS to D. Note that this is essentially the same melodic progression as line 1 save for the melodic ascent at the end.

Rhythmically it starts off the same as line 2, which accentuates the memorability factor:

Fig. 1: Line 2

Fig. 2: Line 3

The rhythm is changed up at the end, however, concluding with a succession of four eighth notes as opposed to two. This, along with the melodic direction reversal prevents cookie-cutter monotony from occurring and suits the lyrics: “brand new wag-on”.

Part 2b: “Now she hit the gro-c’ry shop look-in’ lav-ish”

Line 4 is composed of part 2b. It features the same melodic shape as line 2, with the primary difference being the concentration of eighth notes in the middle, which provide it with an altered rhythmic flow.

Line 5: Star Trek roof in that Wraith Of Khan
Line 6: Girls get loose when they hear this song

Part 1c: “Star Trek roof in that Wraith Of Khan”

Line 5 is composed of part 1c. While it features the same melodic shape as line 3/part 1b (a succession of C notes followed by a step up to D at the end), it differs rhythmically. The most pronounced difference occurs at the beginning of the line due to the implementation of three eighth notes as opposed to sixteenth notes. These longer notes provide highly noticeable contrast at the beginning of the second stanza. The balance of the line consists of sixteenth, eighth, and quarter notes, which are arranged in a differentiated pattern compared to the other lines in the section.

Part 2c: “Girls get loose when they hear this song”

Line 6 is composed of part 2c. It possesses commonalities with both line 5/part 1c, as well as parts 2a and 2b:

• Part 1c commonality: It features the same general rhythmic structure.
• Part 2a and Part 2b commonality: It features the same general melodic shape. The only difference occurs at the end, where instead of simply dropping from B to A, the melody first steps up to C followed by a B-A descent to conclude on the stretched lyric, “song.” Although subtle, this melisma provides the line with an additional dose of color.

Line 7: A hun-dred on the dash get me close to God
Line 8: We don’t pray for love we just pray for cars

Part 1d: “A hun-dred on the dash get me close to God”

Line 7 is composed of part 1d. It is essentially a fusion of the rhythmic characteristics found in parts 1b and 1c, coupled with the same melodic shape as both except for on the first lyric, which begins on the tonic, A (this is the only time that this occurs in the section).

Fig. 4: Part 1b: The rhythm of the first seven syllables.

Fig. 5: Part 1c: The core rhythm of the last three syllables.

Fig. 3: Part 1d

Part 1e / Part 2d: “We don’t pray for love / we just pray for cars”

Line 8 is unique in the scope of the section in that it features a two-part structure that embodies characteristics from both the part 1’s and the part 2’s:

Part 1:

• Line 8 BEGINS with the same rhythm as found at the END line 7.
• The first phrase on line 8, “we don’t pray for love,” concludes with an ascent up to D, which is the same manner in which line 7 concludes

Part 2:

• The first phrase, “we don’t pray for love,” features a monotone B progression.
• The rhythm and melody that defines the second phrase, “we just pray for cars,” is identical to the conclusion of line 6/part 2c.

Essentially, the combination of part 1 and part 2 characteristics cleverly ties the melodic and rhythmic themes of the section together on one line.