Artist: Tate McRae
Song: "greedy”
Songwriters: Amy Allen, Jasper Harris, Ryan Tedder, Tate McRae
Producers: Grant Boutin, Jasper Harris, Ryan Tedder
Mastering Engineer: Dave Kutch
Mixer: Manny Marroquin
Record Label: RCA
Primary Genre: Pop
Influences: Alt/Indie, Dance/Club, Electropop/Synthpop, Pop, R&B/Soul
Length: 2:09
Form: I-A-B-T-A-B-A-B-O
Key: F# minor
Tempo: 111 BPM
First Chorus: 0:21 / 16% of the way into the song
Intro Length: 0:04
Electronic vs. Acoustic Instrumentation: Electronic/Acoustic Combo
Prominent Instruments: Bass (Synth), Drums/Perc (Acoustic/Electronic Combo), Handpan percussion, Synth (Non-Bass)
Primary Lyrical Theme: Inspiration/Empowerment, Love/Relationships, Love/Relationships (Romantic/Being In Love/Seeking Love)
Title Appearances: "greedy" appears three times in the song

Genres & Influence Blend

Key

“greedy” features a combination of pop, R&B, dance/club, electropop/synthpop, and alternative influences that are put into effect by the qualities of the vocals, instrumentation, lyrics, and overall production.

The song’s main influence and primary genre is pop. This is due in part to its catchy K.I.S.S. ME (Keep it Simple, Singable and Memorable) melodies, array of infectious hooks, familiar pop structure, relatable love/relationships and inspiration/empowerment-themed lyrics, and polished production, to name a few.

Complementing the song’s pop influence is a notable R&B influence. Vocally, it is put into effect by McRae’s combination of smooth, sultry, confident, and melismatic vocals, which are in line with the styles of other recent R&B and pop-influenced stars such as Ariana Grande, Dua Lipa, and SZA, among others. Instrumentally, the smooth synths contribute to the R&B vibe, which along with the vocals culminates in the third verse’s filtered production.

The song’s underlying dance influence is put into effect mainly by its danceable 111 BPM tempo and dance-ready drum groove. It is featured notably throughout the entire song save for the first stanza of verse 3, which features a more simplified drum pattern.

Working hand-in-hand with the song’s overarching pop and dance influences is electropop/synthpop. It is put into effect mainly by the ample of use of synths - both bass and non-bass – and featured in varying degrees of prominence throughout the song save for the intro and turnaround, where it’s omitted. The influence is prominently featured in the chorus and outro sections due to their dense, synth-heavy qualities; moderately prominent in the second and third verses; and is least prominent in the sparser first verse.

Lastly, “greedy” possesses an underlying alternative influence that is present throughout the entire song. Contributing to it are the atypical handpan percussion hook, the dark, foreboding melodic synth in the chorus, the unique drum timbres, and left-of-center vocal production qualities.

Blending In & Standing Out in the Hot 100 Top 10

“greedy’s” expert balance of genres and influences enabled it to both blend in and stand out in the Hot 100 top 10. While individually all its influences are familiar to mainstream ears due to their varying degrees of prominence over the years, it’s their unique combination that is far more atypical.

Over the past decade, only six other Hot 100 top 10 hits have possessed all these influences under one roof in varying degrees of prominence, most of which stem from 2018 or earlier:

• “Beauty And A Beat” (Justin Bieber featuring Nicki Minaj – 2013)
• “Roses” (The Chainsmokers featuring Roses – 2016)
• “Closer” (The Chainsmokers featuring Halsey – 2016)
• “Bad At Love” (Halsey – 2017)
• “Happier” (Marshmello, Bastille – 2018)
• “Lavender Haze” (Taylor Swift – 2022)
  
  

Pop as a Primary Genre in the Hot 100 Top 10: 2018 – Q3 2023 

“greedy’s” Influences in the Hot 100 Top 10: 2018 – Q3 2023 (Outside the Hip Hop/Rap Primary Genre) 

Instrumental Arrangement

Overview

“greedy” features an expertly crafted instrumental arrangement that keeps the listener engaged from start to finish while working in concert with the vocals and lyrics to establish a unified vibe and heighten emotional connection.

Primary Instruments

Drums/Percussion

Handpan Percussion  Hook (Electronic)
Handpan percussion plays the main melodic hook heard throughout the majority of the song. It was created using an Omnisphere patch of sugar packets hitting a handpan, providing a rattling tone overtop the pitches.

Kick (Electronic)
The electronic kick is introduced in the first verse and remains in effect throughout the song. It is processed with compression and features a strong, punchy quality that allows it to cut through the mix. The accented off-beats and 808 timbre provides it with a quality found in both hip hop and electropop productions.
 
A low-pass filter is used on the kick in the first half of verse 3, removing the high end. This provides it with a subtler quality that jibes with the more serene accompaniment.  

Snare (Electronic)
The electronic snare is introduced in verse 1 and remains in effect throughout the song. It provides a steady backbeat on beats 2 and 4 and possesses a bright and dry timbre that allows it to cut through the mix. Like the kick, it is processed with low-pass filtering in verse 3 to reduce its prominence in the mix.

Claps (Electronic)
The electronic claps are introduced in verse 1 and remain in effect across sections except for the first half of verse 3. Made up of several claps layered together, they appear one sixteenth note before beat 2, as well as directly on beat 2. The anticipated note and the depth of the bright clap layers add to the snare sound, providing the backbeat with heightened punch, body, and definition.

Hand Drum (Backbeat)
A hand drum is introduced to the mix in verse 3 playing on beat 4, and for the remainder of the song on beats 2 and 4.  Functioning similarly to the snare, its organic timbre provides a subtle additional texture and helps punctuate the backbeat.

Open Hat (Electronic)
The electronic open hi-hat is heard briefly in the choruses 1 and 3, subtly contributing to the groove while providing additional high frequency information.

Shaker (Electronic)
The electronic shaker is introduced in verse 1 and remains in effect throughout the song save for the first half of verse 3.  It functions as a low-level percussive embellishment, playing a repeated groove throughout the first two beats of each measure.

Conga (Acoustic)
The acoustic conga is introduced in verse 1 and is featured sparsely across sections. It subtly contributes to the groove while providing the mainly electronic mix with acoustic color and texture.

Electronic Drum Roll
The electronic drum roll, a rapid fill with a clicky, synthetic timbre, is heard on the last beat of every two-bar phrase throughout the song. It is moved to the upbeat of beat 1 in the first chorus, then shifted to beat 4 in subsequent choruses and is reversed in bar 4 of verse 2 to complement the reversed synth lead.

Crash (Electronic)
The electronic crash possesses a sizzle-y timbre and is used to subtly punctuate the arrival of each four-bar phrase during choruses and the outro.

Bass

Sub Bass
The sub bass enters in the first chorus and remains in effect in each section save for the brief turnaround. It is a rich, legato bass that provides low-end power and depth within the otherwise mid and high-frequency range dominant mix.

Glide Bass
The glide bass is featured exclusively in the drums/percussion-driven first verse, punctuating the section’s arrival and midway points.

Funky Synth Bass
The funky synth bass enters in verse 3, providing a classic 1980s funky embellishment leading into the second half of the section.

Synths

Bright Synth Lead
The bright lead synth is heard in each chorus as well as the outro. It plays a high-pitched sustained melody that functions as one of the song’s main hooks while contributing to vibe through its tense and tremolo-processed quality.   

Warm Synth Pad
The warm synth pad is introduced in the first chorus and remains in effect throughout the song save for the turnaround. It is layered on top of the sub bass, providing the bottom end with additional color and texture. In verse 3, the timbre is tweaked to provide the pad with a fuller tone within the sparse arrangement.

Breathy Synth Pad
The breathy synth pad is introduced in the first verse and remains in effect across sections save for the turnaround. It is heard most notably within the sparser arrangements (i.e., verse 1), and possesses an airy, breathy timbre that pairs with heavy reverb to add low-level atmosphere to the mix.  

Guitars

Palm Muted Electric Guitar
The palm muted electric guitar is first introduced in the second half of verse 3 and remains in effect for the duration of the song. Its primary function is to reinforce the handpan hook melody in a fresh manner while contributing a new texture to the mix.

Keys

Electric Piano  
The electric piano enters in chorus 2 and is subsequently featured in chorus 3 and the outro. Its Fender Rhodes timbre contributes warmth to the mix while its arpeggiated pattern outlines the chord progression.

Effects

Reverse Vocal Swell
The reverse vocal swell is exclusively heard at the end of the intro leading into verse 1. Its primary function is to heighten tension and engagement leading into the first installment of the narrative.

Reverse Synth Swell
The reverse synth swell functions in a transitional capacity across most sections in the song. Similar to the vocal swell, its primary function is to heighten tension and engagement while imparting the mix with additional color and texture.

Instrumental Arrangement: Section By Section

Intro (0:00 – 0:04)

Chord Progression: N.C. 

“greedy’s” 4-second intro features the sparsest arrangement in the song, consisting solely of the handpan hook and reverse swell effect. Within this short runtime, the section achieves a host of important things:

• The sparseness of the arrangement spotlights the handpan hook, allowing it to easily cut through airwave clutter, grab the listener’s attention and hook them in. In addition, its unique timbre functions as an instantly identifiable calling card for the song. As soon as one hears it, they know exactly what song it is.
• The sparseness of the arrangement leaves room for density and energy growth in subsequent sections, while the upper-mid frequency  focus provides room for frequency expansion.
• The percussive quality of the handpan hook and its associated rhythm establish the song’s vibrant 111 BPM groove in lieu of drums.
• Aspects of the handpan hook’s melody and rhythm foreshadow and subsequently reinforce McRae’s lead vocal in the verse, turnaround, and outro sections.
• The qualities of the handpan hook and swell effect establish “greedy’s” pop influence and allude to the electropop direction the song takes.
• The reverse swell effect, which enters at the midway point, serves as a tension and anticipation heightening section impact accentuator (S.I.A.) leading into the verse. The S.I.A. is bolstered by the brief electronic drum roll, full accompaniment pull, and high-pitched “whoo” at the end.

Intro Arrangement: At-A-Glance

Verse 1 (0:04 – 0:21)

Chord Progression: F#m (F# minor: i) 

With the handpan hook providing cross-section continuity, the verse adds drums/percussion into the mix, consisting primarily of electronic kick, layered snare and claps, and shaker. Together, they lock the listener into the song’s fully developed, vibrant groove in conjunction with McRae’s rhythmic eighth note-driven vocals. The instrumental groove remains constant throughout the section, keeping the listener’s full focus on McRae and the first installment of the narrative without distraction.  

In addition to the drum/perc groove, sporadic sub bass and conga are introduced to the mix:

• A brief sub bass glide is implemented on beat 1 of measures 1 and 5 (the section’s starting and midway points). In measure 1 it introduces the section in an impactful manner following the anticipation heightening S.I.A. at the end of the intro. Its return in measure 5 serves as a familiar beacon while subtly heightening interest within the repetitive section.
• A single conga hit is employed on beat 3 of measures 4, 6 and 8. While subtle, it further defines the groove while providing an acoustic texture to the overt electronic mix.

Also, in terms of timbre and frequency, the layered snare and claps define and punctuate the backbeat (a highly common practice in electro-leaning hits) while contributing mid/high frequency information to the mix. The punchy kick covers the mid-low range and the sporadic sub bass covers the low end. However, its sporadic use allows for low-end expansion in the ensuing chorus. In addition, a low-level, breathy pad processed with copious reverb  is featured throughout, providing the mix with additional depth and atmosphere.

At the end of the section, a brief partial accompaniment pull S.I.A. is implemented through the omission of the handpan hook. This creates a brief transitional lull that boosts engagement leading into the chorus while enabling it to hit with increased perceived impact.

Verse 1 Arrangement: At-A-Glance

Chorus 1 (0:21 – 0:38) 

Chord Progression: D – Bm – F#m – E (F# minor: bVI-iv-i-bVII) 

Following the S.I.A. at the end of the verse, the first chorus hits hard with the densest instrumental arrangement heard in the song thus far. It features both recycled and new elements, simultaneously adding familiarity and interest while accentuating the chorus’s vibe and emotional impact.  

Familiarity
The continuation of the handpan hook, snare, claps, shaker, and conga keeps the listener locked in the infectious groove across sections. However, the handpan hook’s prominence is reduced within the denser arrangement. While it might seem counter intuitive to reduce a primary hook’s visibility, there are a few key reasons for it:

• It puts the listener’s full focus on the catchy chorus vocals and summative lyrics.
• It makes room for the new melodic synth hook (see below).
• It prevents the handpan hook from becoming overly redundant and waring out its welcome.
  

Interest
Along with low-level electronic crash, which subtly punctuates the start of both four-bar phrases, the chorus adds the following new and changed up elements to the mix:

• The sub bass now plays a continuous legato pattern as opposed to sporadic glides.  This provides the mix with continuous bottom end power and low-frequency depth within the otherwise mid and high-frequency mix. It also contributes to the section’s dark vibe, which compliments the lyrics.
• A new warm synth pad is layered on top of the sub bass, providing additional color and texture that also compliments the vibe.
  
• A new bright lead synth plays two near-verbatim repetitions of a high-pitched, sustained melody that begins on the downbeats of measures 11 and 15. The pattern’s simplicity, unique timbre, and vibrato processing creates a recognizable instrumental hook that stands out while not overshadowing McRae’s lead vocal focus. Additionally, its timbre imparts a tense, somewhat ominous vibe that compliments the foreboding lyrics.
• Similarly to the entrance of the chorus, the exit uses a reverse synth swell to heighten the impact of the ensuing turnaround. This is achieved by likely subverting the listener’s expectations of a more intense section (i.e., a post-chorus) and instead going into breakdown mode in the turnaround.
  

Chorus 1 Arrangement: At-A-Glance

Turnaround (0:38 – 0:40) 

Chord Progression: N.C. 

Following the dense and energetic chorus, the 1-bar turnaround breaks the song down to the core drum/percussion groove, consisting of kick, snare, claps, shaker and conga. While brief, this pronounced shift serves a few key purposes within the song’s framework:

• It notably heightens the listener’s engagement following the arrangement build in the preceding sections.
• It provides room for arrangement, energy, and frequency growth in the ensuing sections.
• It puts the listener’s focus on McRae’s new hummed delivery of the handpan hook melody. This creatively keeps the hook melody in the listener’s head while heightening interest and preventing the handpan from becoming overly redundant.
• It keeps the listener locked in the song’s core groove while all the above is achieved.

Turnaround Arrangement: At-A-Glance 

Verse 2 (0:40 – 0:58) 

Chord Progression: D – Bm – F#m – E (F# minor: bVI-iv-i-bVII)

Following the brief transitional turnaround, verse 2 engages the listener at a heightened level through a return to the core verse 1 arrangement. The main differences between like-sections are the addition of sub bass and warm synth pad, which weren’t present the first time around. These elements provide verse 2 with a comparatively denser and more energetic quality that enhances both like-section and cross-section interest while maintaining familiarity in the scope of the song.

In addition, a reverse swell effect is uniquely implemented at the midway point. While subtle, it serves to further heighten in-section interest while providing additional like-section variation. In the second half of the verse, the tone subtly shifts, introducing a more pronounced sub-bass and warmer synth sound.  

At the end of the section, the same breakdown S.I.A. technique that was used to transition into chorus 1 is used to transition into chorus 2. However, this time around its impact is more pronounced due to the denser arrangement that precedes it.

Verse 2 Arrangement: At-A-Glance 

Chorus 2 (0:58 – 1:15) 

Chord Progression: D – Bm – F#m – E (F# minor: bVI-iv-i-bVII) 

The chorus 2 arrangement is essentially the same as its chorus 1 counterpart, which strengthens the song’s familiarity factor. However, to prevent cookie-cutter redundancy, arpeggiated electric piano chords are added to the mix. Their addition serves a variety of purposes, including providing subtle like-section contrast, contributing to density, and providing additional color, texture, and harmonic support. Furthermore, the warm Fender Rhodes-inspired timbre contributes to the vibe while seamlessly blending in with the other elements in the mix.

Chorus 2 Arrangement: At-A-Glance 

Verse 3 (1:15 – 1:32)

Chord Progression: D – Bm – F#m – E (F# minor: bVI-iv-i-bVII) 

Verse 3 serves as “greedy’s” main “D” (departure) section in lieu of a much more common bridge. While most of its instrumental elements have been featured in previous sections, their unique context heightens interest while supporting the familiar verse melody.

Segment 1 (Bars 1-4)
The first half of the section strips back to kick, snare, conga, and two synth pads – the warm synth pad and breathy synth pad – all of which were present in verse 2. Together, these elements, along with the notable omission of the handpan hook, achieve the following:

• The sparseness of the arrangement notably heightens interest and engagement coming out of the dense and intense chorus while putting the full focus on McRae’s vocals and narrative development.
• The filtered processing of several instruments and synth pads creates a melancholic vibe that frames the vocals and lyrics in a unique context.
• The stripped back drum/perc pattern prevents the familiar vibrant groove from becoming redundant while keeping the listener locked in and leaving room for development.
• The omission of the handpan hook is important for a few key reasons, including preventing it from becoming overly redundant, providing a reduction in energy, and leaving room for higher frequency growth (also achieved through the filtering). In its absence, McRae subtly hums the hook melody, further reinforcing it while contributing to forward motion and groove (her vocal is essentially functioning in an instrumental capacity).
• In bar 4, a partial accompaniment pull S.I.A. is implemented leading into the second segment. Along with heightening in-section interest, it emphasizes the lyric “never met someone like that” through its breakdown quality, locks the kick in with the vocal, and provides a brief funky flourish through the funky synth bass embellishment.

Segment 2 (Bars 5-8)
The second half of the section adds the other verse 2 elements back into the mix, which ramps up density and intensity while heightening both like-section familiarity and in-section interest. However, the filtering remains in effect, which both maintains the section’s vibe and provides room for frequency development in the ensuing chorus.  

The main new element added to the mix is a palm muted electric guitar, which delivers the familiar handpan hook melody. Its addition further defines and reinforces the hook melody while the handpan hook is relegated towards the back of the mix due to the filtering. It also provides the section with unique color and texture not heard before.

At the end of the verse, a unique full accompaniment pull S.I.A. and two kick drum hits usher in the third and final chorus in an impactful manner.

Verse 3 Arrangement: At-A-Glance

Chorus 3 (1:32 – 1:50) 

Chord Progression: D – Bm – F#m – E (F# minor: bVI-iv-i-bVII)

Following the pronounced S.I.A., the third and final chorus hits with high impact, returning to the chorus 2 accompaniment along with the continuation of the palm muted electric guitar hook from verse 3. This dense instrumental arrangement takes the song’s intensity to a grand climax in conjunction with McRae’s impassioned vocals while maintaining strong familiarity with the other choruses.

Chorus 3 Arrangement: At-A-Glance

Outro (1:50 – 2:09) 

Chord Progression: D – Bm – F#m – E (F# minor: bVI-iv-i-bVII)

The outro maintains the intense chorus 3 arrangement, with the sole variation being a brief mid-section S.I.A. that captures attention within the repetitive section. The cross-section continuity keeps the listener locked into the intense groove while placing their main focus on the repetition of the vocal hooks without distraction.

At the end of the section, a full accompaniment pull S.I.A. is implemented to create a jarring moment that spotlights McRae’s hummed delivery of the hook as the song comes to a conclusion.

Outro Arrangement: At-A-Glance

Lyrics & Rhymes

Rhyme Schemes

Overview

“greedy” features an abundance of expertly crafted rhymes and other lyrical connection accentuators that bolsters the song’s ability to connect and resonate. Among them are logically unfolding end-of-line rhyme schemes and a host of strategically placed internal rhymes, double rhymes, alliterations, lyrical repetitions, and cross-section commonalities.

Key

A & B: End-of-line rhymes
X: Non-rhymes
Lyrics: The primary rhyme at the end of each line
Underline: Repetitive lyrics
Colors and rhyme schemes are unique to each section
Analysis reflects the most notable commonalities within each section

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

Narrative

Overview

"greedy" is a love/relationship and inspiration/empowerment-themed song about a confident female protagonist (Tate McRae) standing her ground against an objectifying suitor. The protagonist narrates the story, recounting the conversation between the two characters. The song’s conversational tone is enhanced by its use of mainly common lyricism, interspersed with standout statements and idioms that heighten its impact and engagement.

Above all, "greedy's" narrative appeals to a wide audience due to its themes of empowerment and self-worth. The allusion to a bar or club scene specifically targets McRae’s teen and young adult fanbase, strengthening its connection potential.

Lyrical Theme Trends

“greedy” is an inspiration/empowerment and love/relationships-themed song with romantic subject matter. Over the past five years, love/relationships has consistently been the most popular lyrical theme in non-hip hop Hot 100 top 10 hits, fluctuating between 77% and 84% of songs. However, romantic subject matter has been in decline, dropping from 38% of songs in 2021 down to 21% in the first three quarters of 2023. Conversely, songs about breakups and love lost have been on the rise.

The theme of inspiration/empowerment is even less common, accounting for just one-fifth of songs or less since 2019. A few notable high-charting representatives in the first three-quarters of 2023 include Miley Cyrus’ “Flowers” (#1), Taylor Swift’s “Karma” (#2), and Luke Combs’ “Fast Car” (#2).

Lyrical Themes In Non-Hip Hop Hot 100 Top 10 Hits: 2018 – Q3 2023

Narrative Charts Key 

COM. (Communicator): The character who is doing the communicating, independent of McRae’s overarching narration
PRO: Protagonist (McRae)
ANT: Antagonist (McRae’s pursuer)
Outward: Character to character dialogue
Inward: Internal character dialog (i.e., inner voice)
Tone: The tone of the line, either positive (P) or negative (N), as it pertains to a specific character or characters noted in the analysis.
Focus: Details each line’s main character focus. In “greedy,” it pertains to Tate McRae and her love interest
A.I.D.E.: Action, imagery, detail device (metaphor, idiom, etc.), emotion. These qualities can be direct or implied.

Narrative Communication Direction: At-A-Glance 

Verse 1

Opening Line

“greedy’s” narrative begins with the impactful opening line, “He said, ‘Are you serious? I’ve tried, but I can’t figure out.’” This intriguing lyric instantly draws the listener into the story through the protagonist’s recounting of a past event communicated from the antagonist’s perspective in a conversational manner. Furthermore, the line’s frustrated tone and open-endedness piques the listener’s curiosity to find out more.

Lines 2-4

The three lines that follow continue the conversational tone, with developments unfolding in a logical and cohesive manner that maintains engagement from start to finish. Here, the listener gains further insight into the backstory, namely that the antagonist is romantically interested in McRae but can’t seem to get anywhere due to her elusive qualities.

• Line 2: The verse’s second line sets the scene with a depiction of the antagonist sitting next to the protagonist for a long period of time during the night. Because specific details about the scene are left out, it leaves it to the listener’s imagination, which deepens their engagement. However, when considering McRae’s teen and young adult fanbase, the likely scenario is a bar, lounge, or club, which further heightens the story’s relatability and connection potential. Furthermore, the line conveys the antagonist’s frustration in trying to get acquainted with the elusive McRae. While the lyric reflects the antagonist’s point-of-view, it is also providing insight into the protagonist’s psyche (i.e., her elusive quality) and the dynamic between the two characters.
• Line 3: Building off line 2, line 3 depicts the protagonist’s frivolous conversation with the antagonist, which further highlights his frustration. The creatively stuttered, “ta-ta-ta-talkin’,” in addition to providing the section with additional ear candy, also cleverly infers the nonstop frivolous rambling on the part of the protagonist.
• Line 4: The last line in the section provides a couple of important developments. The lyric “can’t you tell I want you,” substantiates the antagonist’s intentions, which was intimated in the preceding lines. The following lyric, “I say, yeah,” shifts to the protagonist’s perspective for the first time in the story, effectively setting up the chorus summation and payoff that follows in lieu of a pre-chorus.

Lyricism

The verse is comprised mainly of common, basic lyricism that supports the section’s conversational structure. Each line is action-based due to the conversational dialogue between the two characters. Emotion is a core component as well, with the first three lines possessing a negative tone through the depiction of the antagonist’s frustration with the situation. Line 4 then breaks this pattern with a shift to the positive, both on the part of the antagonist (“can’t you tell that I want you”) and the protagonist (“I say, yeah”) as it relates both to the verse and the ensuing chorus.

McRae and her team of hitmakers masterfully transformed catchy melodies into standout hooks using tried-and-true "hook dressing" techniques. These techniques include melodic spotlighting; leveraging the song title; incorporating two standout statements; infusing fun, nonsense lyrics; employing repetition (the HSD "say it again" technique); and integrating unique timbres.

In addition to their skillful deployment, the song's catchiness and memorability are heightened further through clever hook foreshadowing and creative reinforcement techniques, ensuring that "greedy" not only leaves a lasting impression but also avoids overstaying its welcome.

“greedy’s” Hook Arrangement

This file includes the correct meter, tempo and song arrangement displayed as empty MIDI regions for each instrument. Load your copy of the song to see when each instrument enters and leaves the mix, how the arrangement of like and cross-sections compare, how energy and dynamics are working from an arrangement point of view, and more.

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At-A-Glance

Song Structure

• Form
  
• Time and Percent into the Song When Core Sections Occur
• Song & Section Length
• Total Section Breakdown
  

Genres & Influences

Energy & Dynamics

• Energy Arrangement
  
• Loudness
• Energy: Section-By-Section

Instrumental Arrangement

• Primary Instruments
• Instrumental Arrangement: Section By Section

Vocals

• Vocal Production
  

• Vocal Melody

Lyrics & Rhymes

• Rhyme Schemes
  

• Narrative
  

Hooks

Artist: Doja Cat
Song: "Paint The Town Red"
Songwriters: Burt Bacharach, Doja Cat, Earl On The Beat, Hal David, Jean-Baptiste, Karl Rubin Brutus, Ryan ‘DJ Replay’ Buendia
Producers: Earl On The Beat, Jean-Baptiste, Karl Rubin Brutus, Ryan ‘DJ Replay’ Buendia
Mastering Engineer: Dale Becker
Mixer: Serban Ghenea
Record Label: RCA
Primary Genre: Hip Hop/Rap
Influences: Retro (1960s), Pop, R&B/Soul, Trap
Length: 3:50
Form: I-B-VB-A-B-VB-A-B-VB-O
Key: G Dorian
Tempo: 100 BPM
First Chorus: 0:19 / 8% of the way into the song
Intro Length: 0:19
Electronic vs. Acoustic Instrumentation: Electronic/Acoustic Combo
Prominent Instruments: Bass (Synth), Drums/Perc (Primarily Electronic), Guitar (Acoustic), Piano (Electric), Snaps, Strings (String Section), Synth (Non-Bass), Wind (Trumpet)
Primary Lyrical Themes: Boasting, Inspiration/Empowerment, Lifestyle
Title Appearances: "Paint The Town Red" appears six times in the song

Overview, Highlights & Takeaways

Instrumental Arrangement

Overview

“Paint The Town Red’s” instrumental arrangement is both classic and current, fusing the classic 1964 “Walk On By” sample with a modern hip hop/trap beat.
Along with creating an engaging sonic tapestry, both work in perfect unison with Doja Cat’s vocals to accentuate the impact of the empowerment-themed lyrics.

Instruments: Hip Hop/Trap Beat

Drums/Percussion

Kick (Electronic)
The electronic kick drum possesses a modern, punchy timbre. It is present solely in the first stanza of the verses and outro, where it locks in with the bass pattern to provide it with heightened definition and power.

Snaps (Electronic)
The electronic snaps are initially heard in the first chorus and provide the backbeat (beats 2 and 4) for the duration of the song. They possess a layered, bright quality, which along with the subtle chorusing enables them to further stand out in the mix. In addition, the decision to use snaps on the backbeat as opposed to a snare was warranted to enhance the song’s laid-back, grooving vibe.

Hi Hat (Electronic)
The electronic hi hat is featured in every song section except for the intro. It possesses a bright timbre and plays an eighth-note pattern interspersed with rapid-fire rolls, which is commonplace in trap beats. Its use contributes high-frequency information to the mix, provides forward motion, and bolsters the song’s hip hop/trap influence.

Filtered Hi Hat (Electronic)
The filtered hi hat appears solely in the first stanza of each verse and outro. It provides these sections with heightened sonic and rhythmic interest with its unique, gritty, electronic shaker-like timbre and syncopated accents.

Bass

808 Bass
The 808 bass is heard in every song section except for the intro. It possesses a deep timbre, providing each section with low end power and rhythmic motion while contributing to the song’s hip hop/trap influence.

Instruments: "Walk On By" Sample & Complementing Elements

Drums/Percussion

Shaker (Acoustic)
The acoustic shaker contributes to the laid-back groove with a consistent eighth-note pattern. It is processed with reverb and slightly panned to the right.

Brass

Lead Trumpet
The lead trumpet plays a staccato pattern that serves as the song’s catchy, recognizable instrumental hook and is panned to the left.

Warbly Trumpets
Two harmonizing trumpets with a warbly quality play a repetitive, sustained two-note pattern in every section of the song save for the first half of the intro. They provide engaging harmonic and timbral contrast while contributing to the song’s vibe and meshing with the other sample elements in the mix.

Synths

Bright Synth
The bright synth is heard in the first stanza of each verse and the outro. It possesses a bright timbre reminiscent of a Yamaha DX7 that provides engaging high-frequency contrast against the other midrange-focused elements in the mix.

Warbly Flute Synth
The warbly flute synth contributes a sustained pad-like pattern at a low level in the mix, subtly providing contrast through its resonant and warbled timbre.

Warm Brass Synth Lead
The warm brass synth plays a tension-heightening, ascending countermelody in the second stanza of both verses carrying over into the beginning of each ensuing chorus. It possesses a distinct brass-like timbre that complements the sampled trumpet and is treated with reverb and delay that contributes to the section’s depth and atmosphere. In addition, vibrato is added to further heighten interest as it progresses.

Keys

Electric Piano
The electric piano is heard in the intro and verses, establishing a harmonic foundation, possessing a timbre similar to a classic Rhodes, and adding depth and atmosphere to the mix through its notable reverb, tremolo, and filter processing. 

Guitars

Acoustic Guitar Strumming
The acoustic guitar is featured relatively low in the mix, panned right. It plays a steady eighth-note strummed pattern that contributes to the groove and provides additional texture.

Electric Guitar Stabs
A bright electric guitar processed with slight overdrive contributes to the groove with syncopated muted stabs.

"Walk On By" Sample

“Paint The Town Red” uses a brief five-second sample (0:14-0:19) from Dionne Warwick’s 1964 hit, “Walk On By,” as its main “hip hop beat” hook, as Hit Songs Deconstructed calls it. Penned by Burt Bacharach and Hal David, the song hit the top spot on the Cashbox R&B chart and #6 on the Billboard Hot 100.

The original sample segment consists of acoustic guitar strums, electric guitar stabs, vibey electric piano, low-level acoustic piano, and a shaker, all of which support Dionne Warwick’s delivery of the “walk on by” song title hook and trumpet hook. Complementing these elements in “Paint The Town Red” are the uniquely added warbly trumpets, warbly flute synth, warm brass synth, and bright synth, all of which enhance its presence and vibe. In addition, the sample’s fidelity has been manipulated with a glitchy, skipping effect, which provides it with heightened character.

The core sample repeats throughout the song, with the complementing elements being added and removed as warranted. In terms of prominence, it is featured most notably in the intro, where it’s the sole element in the mix. It takes more of a back seat in the vocal sections of the of the song, where it serves to support Doja Cat’s vocals while being reinforced in a subtler manner, and in the verse stanza 1 segments, choruses, vocal break post-choruses, and outro, it is featured in conjunction with the prominent hip hop/trap beat. Furthermore, note that the sample’s mid-range focus provides room for the hip hop/trap beat to further fill out the frequency spectrum with the high frequency hats and low frequency bass and kick.

Harmonic Progressions

“Paint The Town Red” features one main chord progression with no significant deviations.

Progression Characteristics

“Paint The Town Red’s” sole chord progression is rooted in G Dorian, following a Gm7 – Am7 (i7 – ii7) pattern. The unique use of the Dorian mode and two-chord progression provides the song with an underlying cycle of tension and release, heightened by the use of jazz-based tensions present in the chord progression (7th) and trumpet hook (9th).

Delivering the chord progression throughout the song are an assortment of synths and electric piano. Complementing it are aspects of the trumpet, 808 synth bass and low-level acoustic guitar patterns.

*In the Hit Songs Deconstructed Immersion Database, the song is shown in the key of D minor, since the database does not account for all modes. This was done to properly illustrate the all-important E natural in the Am7 chord, which is indicative of G Dorian.

This file includes the correct meter, tempo and song arrangement displayed as empty MIDI regions for each instrument. Load your copy of the song to see when each instrument enters and leaves the mix, how the arrangement of like and cross-sections compare, how energy and dynamics are working from an arrangement point of view, and more.

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At-A-Glance

Overview, Highlights & Takeaways

• Hooks
• Structure: Overview
• Genres & Influences: Overview
• Instrumentation & Arrangement: Overview
• Energy: Overview
• Harmony: Overview
• Vocal Production: Overview
• Vocal Melody: Overview
• Rhymes: Overview
• Narrative: Overview

Song Structure

• Form
  
• Time and Percent into the Song When Core Sections Occur
• Song & Section Length
• Total Section Breakdown
  

Hooks

Genres & Influences

Energy & Dynamics

Instrumental Arrangement

• Instruments: Hip Hop/Trap Beat
• Instruments: "Walk On By" Sample & Complementing Elements
• "Walk On By" Sample
• Instrumental Arrangement: Section-By-Section

Harmonic Progressions

Vocals

• Vocal Production
• Vocal Melody

Lyrics & Rhymes

• Rhyme Schemes
• Narrative
• Song Title
• Word Cloud

Benchmark