Artist: GAYLE
Song: abcdefu
Songwriters: GAYLE, Dave Pittenger, Sara Davis
Producers: Pete Nappi
Mastering Engineer: Daniel Rowland
Mixer: Pete Nappi
Record Label: Atlantic
Primary Genre: Rock
Influences: Alt/Indie, Pop, Punk, Rock
Length: 2:47
Form: B-A-PC-B-VB-A-PC-B-VB-B
Key: E Major
Tempo: 61 BPM
First Chorus: Kickoff (0:00)
Electronic vs. Acoustic Instrumentation: Primarily Electronic
Prominent Instruments: Bass (Synth), Claps, Drums/Percussion (All), Drums/Percussion (Primarily Electronic), Guitar (Acoustic), Guitar (Electric), Synth (Non-Bass)
Primary Lyrical Themes: Love/Relationships
Title Appearances: abcdefu appears 5 times in the song

Section Abbreviation Key

A=Verse
PC=Pre-Chorus
B=Chorus
VB=Vocal Break

Music notation and lyric excerpts are reproduced here under Fair Use terms, for the purposes of commentary and criticism.

KEY
A=Verse | B=Chorus | PC=Pre-Chorus | VB=Vocal Break
Number: Denotes the number of times that a particular hook/motif appears within a section

abcdefu’s Hook Arrangement

abcdefu’s first hook is heard right at the top of the song in chorus 1. Here, the listener is immediately “hooked” into the song with the chorus melody hook, which delivers the scathing lyrics with a simple, repetitive pattern that is reminiscent of popular nursery rhymes (see the vocal melody section of the report for more details).

Following the chorus, the listener gets a hook respite in the verse and pre-chorus sections, which is highly characteristic of mainstream hits. However, these two sections feature motifs that subtly reinforce and foreshadow other key hooks in the song, which makes abcdefu even more cohesive, catchy and memorable. The 1-3-7 verse motif subtly reinforces the 1-3-1 and 1-3-7 melodies heard throughout the chorus, and the pre-chorus melody is highly similar to the “nah” nonsense hook melody heard in the vocal break post-choruses.

Following the pre-chorus, the song heads into chorus 2, which has been developed over chorus 1 to include the first instance of the song-defining “A-B-C-D-E-F-U” song title hook. Cleverly set up by the “so let me spell it out” lyric at the end of the pre-chorus, the hook stands out through its quasi-sung/shouted A.M.P. (alternating melodic pattern) delivery over a partial accompaniment pull S.I.A. (section impact accentuator). The ensuing vocal break post-chorus then reinforces the song title hook along with the first instance of the aformentioned “nah” nonsense hook, which cleverly bolsters the summation’s dismissive tone through its subtle resemblance to Steam’s 1969 hit, Na Na Hey Hey Kiss Him Goodbye.

Verse 2 and pre-chorus 2 then fall in line with their first occurrence counterparts, providing hook respites while subtly reinforcing hook melodies heard previously in the song. The last three sections of the song – chorus 3, vocal break post-chorus 2 and chorus 4 – all reinforce their previous counterpart’s hooks, albeit with some modified qualities to prevent redundancy. Chorus 3 changes up some of the lyrics (reference the narrative section of the report for details); vocal break post-chorus 2 is twice the length of its first occurrence counterpart and features a denser arrangement and a slight lyrical changeup; and chorus 4 breaks down to a sparse arrangement along with some slight melodic differences compared to the other choruses.

Together, the effective combination of hook foreshadowing, reinforcement, modification and respites creates a highly catchy and memorable listening experience that never wears out its welcome.

Chorus Melody Hook

Chorus Melody Hook Motif

Song Title Hook

Nonsense Lyric Hook

Nonsense Lyric Hook Foreshadowing

abcdefu possesses both structural commonalities and differences compared to recent non-hip hop Hot 100 Top 10 hits. On the more common side are its two, easy-to-follow, verse – pre-chorus – chorus – vocal break post-chorus sectional progressions; allocating the greatest amount of time in the song to the chorus; and its short, under three-minute song length, to name a few.

Balancing out its more familiar qualities are unique characteristics such as its omission of popular sections including the intro, “D” section and outro; immediately kicking off with the chorus as opposed to an intro; and featuring shorter than average choruses. While atypical, these decisions were all strategic choices made by the writers and producers.

abcdefu is a rock song with a combination of pop, punk and alt/indie influences.

abcdefu features an expertly crafted instrumental arrangement that achieves a lot in its short runtime. At its heart is a strategic assortment of mix elements including electronic and acoustic drums and percussion, electric and acoustic guitars, electric and synth basses, keys, and a host of effects. Together, along with their varying timbres, textures and patterns, they create an engaging sound pallet that is rooted in “traditional” guitar-driven rock while simultaneously appealing to a modern pop audience.

But perhaps most notable is the methodical manner in that the arrangement unfolds over the course of the song. In addition to creating an effective balance of engagement and familiarity across sections, which is the hallmark of a strong arrangement, the manner in that it supports the vocals and lyrics to create effective prosody and heighten the listener’s emotional connection with the song is its true brilliance.

From the solo guitar bookending chorus arrangements that support GAYLE’s subdued delivery of the scathing lyrics, to the dense, high-energy mid-song chorus payoffs that put the chorus lyrics in a new angrier context along with the shouted gang vocals, to the timbral thinning of the acoustic guitar-driven pre-chorus 1 arrangement that effectively sets up the ensuing chorus along with the higher-register vocals, these accompaniment shifts provide abcdefu with heightened emotional dimension that deepens the listener’s connection with the song, and the artist.

abcdefu progresses through two energy level “waves.” Each flows from low to high, with peaks in the vocal break post-choruses, save for the lower energy “wind down” fourth chorus at the end. It features an effective combination gradual and pronounced energy shifts, complimenting loudness shifts, tradeoffs between power and momentum, and impactful S.I.A.s (section impact accentuators), all of which come together to create an engaging listening experience that keeps the listener locked in from start to finish.

abcdefu features on chord progression that is kept interesting through a variety of delivery styles throughout the song.

E5 – G#5 – C#5 – A5

abcdefu features a solo female lead vocal from GAYLE. Generally hovering between one-quarter and one-third of non-hip hop Hot 100 Top 10 hits over the past five years, solo female leads have been trading off with solo male leads for top billing up until 2021, when they tied and slightly trailed all-male duet/group vocals.

Lead Vocal Gender in Hot 100 Top 10 (Non-Hip Hop Hits): 2017 – 2021

abcdefu features an exclusively sung lead vocal delivery. Not surprisingly, non-hip hop Hot 100 Top 10 hits that feature exclusively sung lead vocals have by far been the most popular over the past five years and beyond, with 70% of songs in 2021.

Lead Vocal Delivery in Hot 100 Top 10 (Non-Hip Hop Hits): 2017 – 2021

In addition to the lead, abcdefu features a host of background vocals including harmonies, unison doubles, sung adlibs, and shouted gang vocals.

abcdefu features minimal vocal effects and processing, including reverb, delay and autotune, all of which maintain an intimate vibe while adhering to mainstream vocal production standards.

Lead: Female (GAYLE): GAYLE’s lead vocal
BGV 1: Female (Unison Double): Background vocal doubles in unison with the lead
BGV 2: Female (Lead Harmony): Background vocal that harmonizes with the lead on different pitches
BGV 3: Female (Lead Gang Vocals): Background vocals that are tracked many times to create a large “crowd” effect
BGV 4: Female (Independent Backgrounds): Background vocals featured independently from the lead
BGV 5: Female (Independent GAYLE): Lead vocals that are independent embellishments

Key

BGV: Background vocals
S: Sung
SH: Shouted
/: Separates stanzas in sections where a certain vocal type occurs in only one stanza

Verse 1

Verse 2

Pre-Chorus

Chorus

*Note that while choruses 1 and 4 feature slight variations melodically, chorus 2 is most indicative of the chorus melody, with the differences noted in the analysis below

Vocal Break

Verse 1

Verse 2

Pre-Chorus

Chorus 2

Vocal Break

abcdefu features expert use of rhymes and other connection accentuators that ensure the song remains lingering in the listener’s head long after it ends. Among them are logically unfolding end-of-line rhyme schemes, strategically placed internal rhymes, double and triple rhymes, alliteration, repetitive lyrics, and the mirroring between rhyme schemes, syllabic structure and melodic structure to heighten cohesion and connectability.

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

abcdefu is a love/relationships-themed song about a protagonist (GAYLE) who experiences a teenage heartbreak and is deeply angered by her ex’s behavior following the breakup. Her feelings are succinctly summarized with the clever song title hook “A-B-C-D-E-F-U,” a play on the alphabet that both insults her ex’s intelligence while telling them off in a particularly scathing and memorable manner.

Throughout the song, a host of expert lyrical techniques are employed that go both with and against the grain. Among the more common are delivering the relatable lyrics in a conversational manner, using an effective balance of common and clever lyricism, incorporating aspects of the A.I.D.E. principle (action, imagery, detail devices, emotion) to heighten interest, featuring a nonsense lyric hook, and the logical unfolding of lines both within and across sections, to name just a few.

Conversely, the song goes against the grain most notably with its chorus. Among its atypical chorus qualities are providing the listener with the summation at the top of the song before the backstory is established (i.e. having the chorus appear before the first verse), using ample profanity (most notably in the song title hook), and changing up the chorus lyrics, which is rarely done. However, all of these decisions were done with an intent and purpose that served the song perfectly.

Additionally, abcdefu is also a perfect example of “writing what you know.” The lyrics pertain to GAYLE’s own personal experiences with heartbreak, which bolstered her ability to deliver the song in a compelling manner and heighten its connection with her teen girl fanbase.

Chorus 1

Verse 1

Pre-Choruses

Choruses 2 – 4

Vocal Breaks

Verse 2

Song titles fall on a spectrum ranging from unique, clever, attention-grabbing and/or powerful (e.g. 712PM, N95, and Running Up That Hill (A Deal With God)), to those that possess more of a universal/generic quality (e.g. First Class, I Like You (A Happier Song) and Woman).

abcdefu leans heavily toward the attention-grabbing end of the spectrum due to its reference to the English alphabet as well as the clever twist on a common phrase, “F-you.” This instantly piques the listener’s curiosity concerning the song’s narrative, while functioning as an incredibly catchy and memorable song-title hook.

abcdefu

Non-Hip Hop Hot 100 Top 10 (2021)

abcdefu progresses through two energy level “waves.” Each flows from low to high, with peaks in the vocal break post-choruses, save for the lower energy “wind down” fourth chorus at the end. It features an effective combination of gradual and pronounced energy shifts, complimenting loudness shifts, tradeoffs between power and momentum, and impactful S.I.A.s (section impact accentuators), all of which come together to create an engaging listening experience that keeps the listener locked in from start to finish.

Key
Wave: Indicates cross-sectional energy level flow from low to high
S.I.A. (Section Impact Accentuator): A transitional technique that heightens engagement through an accompaniment pull (full or partial), effect (riser, downlifter, etc.) and/or fill

abcdefu features an effective balance of both gradual and dynamic loudness shifts that closely mirror its energy flow. The most notable leaps occur leading into choruses 2 and 4, the first helping to maximize the chorus 2 high-energy payoff, and the second aiding in the chorus 4 wind-down at the end of the song.

Note that all LUFS levels in the song are fairly in line with the industry standard of a mastered mainstream hit.

Chorus 1 (B1)

Chorus 1 features the second-lowest overall energy in the entire song, providing room for growth in subsequent sections. It’s comprised of GAYLE’s mainly solo sung vocal and sixteenth-note driven electric guitar, the latter providing a subtle sense of forward motion in lieu of drums and bass.

At the end of the chorus, there is one – albeit relatively subtle – burst of energy, put into effect by the tension-heightening riser/downlifter sound effects, along with the shouted group delivery of the definitive “f**k off” lyric. Together, these energy-heightening elements bolster engagement leading into the ensuing verse.

Verse 1 (A1)

Verse 1 notably kicks up the song’s energy over the preceding chorus. The addition of drums, along with GAYLE’s rhythmic vocal delivery, locks the listener into a simmering groove, while the addition of low-octave guitar and bass provide low-end power that was missing from the chorus.

Pre-Chorus 1 (PC1)

The notably changed-up pre-chorus results in a slight decrease in energy compared to the preceding verse. However, this variation is minimal due to the tradeoff in energy-affecting qualities – namely power vs. momentum. While the omission of the verse’s sub-bass and electric guitar thin out the sound, the vibrant acoustic guitar strumming along with the eighth-note kick pattern create a heightened degree of momentum. This is bolstered by GAYLE’s higher-range and more animated vocal delivery, which further heightens excitement and anticipation leading into the ensuing chorus.

The pre-chorus ends with all the elements abruptly pulled from the mix. In their place, the tension-heightening riser/downlifter transitional effect returns, along with high-energy gang vocals that accentuate the song title hook and set up the ensuing chorus for maximum impact.

Chorus 2 (B2)

Chorus 2 notably kicks up the song’s energy right from the start. This is due in part to the more dense and powerful instrumental arrangement, and the addition of shouted gang vocals that double GAYLE’s lead. Together, along with the notable jump in loudness from -10.5 to -7 LUFS, they provide the listener with the song’s first high-energy “payoff,” framing the chorus lyrics in a new, angrier and more powerful context compared to the first time around.

Vocal Break 1 (VB1)

With the core arrangement of the chorus remaining in effect, the vocal break post-chorus kicks energy up another notch through the incorporation of the sixteenth-note-driven palm-muted distorted electric guitar from the verse and the newly added driving hi hat. Together, along with the shouted/sung-hybrid vocal hooks, they take abcdefu’s energy to its first peak.

At the end of the vocal break, a one-beat partial accompaniment pull S.I.A. is implemented, providing subtle separation between the energetic vocal break post-chorus and verse arrangements. This in turn bolsters the arrival of the verse 2 groove while accentuating the “f-u” of the song title hook.

Verse 2 (A2) Bars 1-2

Following the energy peak in the vocal break post-chorus, abcdefu’s energy is brought back down in the ensuing verse through a more intimate lead vocal and the omission of the distorted melodic guitar and driving open hi hats. However, while the decrease in loudness from -7.5 to -10.5 is quite pronounced, the overall cross-section energy reduction is fairly minimal, considering its more developed, driving qualities compared to its verse 1 counterpart. Most notable is the addition of closed hi-hat, which provides the section with increased drive, and the brighter, more reverberant snare, which results in a bigger sound (reference the Music & Instruments section of the report for details).

Toward the end of bar 2, the first of abcdefu’s two full accompaniment pull S.I.A.s is implemented for 1.5 beats. This heightens engagement through a brief break in momentum that highlights the lyric “you couldn’t take it.”

Pre-Chorus 2 (PC2)

In contrast to pre-chorus 1, the first-half of pre-chorus 2 maintains much of the accompaniment from the verse. This, along with the addition of momentum-driving elements such as the vibrantly strummed acoustic guitar and melodic electric guitar, and the omission of power elements like the sub-bass, results in a fairly even energy tradeoff between sections.

However, this all changes in the second half of the section, when the pre-chorus reverts to the more thinned-out qualities of its pre-chorus 1 counterpart. In addition to providing arrangement contrast against the ensuing chorus, it also provides a necessary energy contrast to help bolster its impact.

At the end of the second pre-chorus, the downlifter and riser effects are once again employed, creating a familiar S.I.A. leading into chorus 3. However, this S.I.A. does not feature an accompaniment pull, instead maintaining the pre-chorus arrangement along with a sped-up kick to further heighten momentum leading into the chorus.

Chorus 3 (B3)

Like it’s chorus 2 counterpart, chorus 3 provides a notable leap in energy over the pre-chorus due to its dense and powerful arrangement. However, its energy is a touch higher this time around due to the inclusion of additional gang vocal layers, guitar, bass and hats.

Vocal Break 2 (VB2)

Vocal break 2 takes abcdefu’s energy and loudness to its grand peak. This is due to the inclusion of louder gang vocals and offbeat guitar accents on top of the high-energy chorus 3 accompaniment.

Chorus 4 (B4)

Following the climactic vocal break post-chorus, the final chorus of abcdefu does a full 180 and drops energy to its lowest level in the song. This is due in part to its stripped back instrumental arrangement – consisting solely of a chorused/filtered melodic guitar pattern – and GAYLE’s more reserved delivery, omitting the high-energy gang vocal accompaniment. Complimenting this is a drastic reduction in loudness, leaping from -6 in the vocal break (the loudest in the song) to -15.5 (the lowest in the song). This bookends the song on a familiar note, energetically concluding it similar to chorus 1.

This full accompaniment pull S.I.A. pulls the guitar from the mix, leaving only GAYLE’s final rendition of the final “you can all f**k off” lyric lingering in the listener’s head at the conclusion of the song.

abcdefu is a rock song with a combination of pop, punk and alt/indie influences.

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

abcdefu’s primary genre is rock, which is prominent throughout the entire song. While it possesses both notable rock and pop qualities, it leans more toward the rock end of the spectrum due in part to its prominent use of distorted electric guitar and a rock-oriented progression, GAYLE’s combination of snarling and exasperated vocal deliveries, and scathing lyrics to boot.

abcdefu’s pop influence is due to its notable mainstream-friendly qualities including its K.I.S.S. ME (keep it simple, singable, and memorable) melodies, infectious vocal hooks, easy-to-follow-structure, relatable lyrical theme, and instrumentation such as electronic drums and riser/downlifter transitional effects.

While not as punk as more traditional, up-tempo punk songs by the likes of The Sex Pistols, The Clash and The Ramones, abcdefu does have a notable underlying punk attitude. This is due to the combination of the rawness of the electric guitar timbre and its accompanying pattern, the snarling and exasperated vocals, and the profanity-laced lyrics.

abcdefu features a minimal alt/indie influence that’s present from the second chorus through the end of the song. It’s put into effect exclusively by some of the guitars, including the alternating melodic pattern heard in the choruses and vocal break post-choruses, and the reverb-drenched guitar accents heard in the second verse and second vocal break post-chorus.

abcdefu’s expert fusion of rock, pop, punk and alt/indie influences enabled it to effectively blend in and stand out in today’s mainstream music scene.

On the familiar side is its notable pop influence, which not surprisingly was present in all songs in 2021 and in years prior. While rock as a primary genre has been scarce, as an influence it was notably more popular, present in one-third of non-hip hop Hot 100 Top 10 hits in 2021. Among the diverse group of Top 10s that feature a rock influence in varying degrees of prominence are Glass Animals’ Heat Waves, Gabby Barrett’s I Hope, 24K Goldn and iann dior’s Mood, and perhaps most notably, Olivia Rodrigo’s Good 4 U.

And speaking of Good 4 U, both songs also share the commonality of the far less popular alt/indie and punk influences. Alt/indie has generally hovered around 13% of songs on average over the past five years, and punk has generally been non-existent. In addition to shaping abcdefu’s sound and vibe, these influences also helped it stand out among its mainstream contemporaries, while the more popular pop and rock influences enabled it to sound familiar and more easily connect.

Rock as a Primary Genre in the Hot 100 Top 10: 2017 – 2021

Influences in the Hot 100 Top 10: 2017 – 2021 (Outside the Hip Hop/Rap Primary Genre)

abcdefu features an expertly crafted instrumental arrangement that achieves a lot in its short runtime. At its heart is a strategic assortment of mix elements including electronic and acoustic drums and percussion, electric and acoustic guitars, electric and synth basses, keys, and a host of effects. Together, along with their varying timbres, textures and patterns, they create an engaging sound pallet that is rooted in “traditional” guitar-driven rock while simultaneously appealing to a modern pop audience.

But perhaps most notable is the methodical manner in that the arrangement unfolds over the course of the song. In addition to creating an effective balance of engagement and familiarity across sections, which is the hallmark of a strong arrangement, the manner in that it supports the vocals and lyrics to create effective prosody and heighten the listener’s emotional connection with the song is its true brilliance.

From the solo guitar bookending chorus arrangements that support GAYLE’s subdued delivery of the scathing lyrics, to the dense, high-energy mid-song chorus payoffs that put the chorus lyrics in a new angrier context along with the shouted gang vocals, to the timbral thinning of the acoustic guitar-driven pre-chorus 1 arrangement that effectively sets up the ensuing chorus along with the higher-register vocals, these accompaniment shifts provide abcdefu with heightened emotional dimension that deepens the listener’s connection with the song, and the artist.

*Click image to enlarge

Primary Instruments

Main Electric Guitar 1

The main electric guitar used in abcdefu is introduced in the first chorus and then returns in every section save for pre-chorus 1 and choruses 2 and 4. It plays a palm-muted sixteenth-note pattern, is double tracked with hard left and right panning, and is treated with distortion, providing the song with its raw rock grit.

Main Electric Guitar 2 (Octave Double)

This guitar is processed similarly to the main electric guitar and plays the same pattern, albeit an octave below. It is featured in the same sections as the main electric guitar save for the first chorus, providing additional low-end texture and density to the mix.

Melodic Electric Guitar 1 (Distorted)

This distorted electric guitar plays a unique sixteenth-note alternating melodic pattern exclusively in choruses 2 and 3 and in their ensuing vocal breaks. Double tracked and panned hard left and right to surround the listener, its inclusion both heightens interest and forward motion, helping the song’s main “hook centers” to further stand out and connect against the surrounding sections.

Melodic Electric Guitar 2 (Chorused/Filtered)

This guitar plays the same pattern as melodic electric guitar 1, albeit with less distortion and the addition of a chorus/filtering effect. It provides a unique texture to the last four sections of the song starting in pre-chorus 2 and is heard most audibly in chorus 4 due to the sparseness of the arrangement.

Muted Electric Guitar

Despite being underneath the thick guitar layers, the subtle plucking of the muted guitar adds an extra attack to the guitar rhythms in vocal break 1.

Electric Guitar Accents

Compared to the other electric guitars in the song, this one is notably cleaner, higher-voiced and processed with copious reverb and delay. It adds stabs on the off-beats, providing a unique rhythmic quality and texture to the second half of verse 2 through the first half of pre-chorus 2 and the entirety of vocal break 2.

Acoustic Guitar

Acoustic guitar is featured solely in the pre-choruses. Its lighter, brighter texture provides engaging contrast against the surrounding sections, helping the denser and more energetic choruses to further stand out and connect. It features slight high-pass filtering to enhance the lighter texture, and is double tracked and panned hard left and right.

Vintage Synth

This synth possesses a distinct vintage quality with its low-passed timbre and warbling tape emulator sound. It provides unique harmonic support in all sections save for choruses 1, 2 and 4 and the first stanza of verse 1.

Piano (Acoustic)

Acoustic piano appears in the third chorus and subsequent vocal break, providing high-pitched melodic accents to the dense arrangement. While it is featured fairly low in the mix, it cuts through with its panning and subtle grittiness, due in part to some saturation processing.

Electric Bass

The electric bass is initially heard in the first verse, and is present in all subsequent sections, save for choruses 2 and 4 and vocal break 1. It provides a sixteenth-note pulse treated with slight distortion that allows it to stand out from the other low-end layers, while also blending with the main electric guitar.

Synth Sub-Bass

The synth sub-bass initially appears sustaining underneath the electric bass in verse 1, and is present in every subsequent section, save for the pre-choruses and chorus 4. It adds an additional layer that fills out and thickens the low end of the arrangement.

Synth Fuzz Bass

The synth fuzz bass is heard in choruses 2 and 3 and the subsequent vocal breaks. It heightens the low end with a gritty texture, keeping the song rooted in a dark tonality and adding more emphasis to these hook-based sections.

Kick 1 (Electronic)

Kick 1 is a thick electronic sample, making its first appearance in verse 1 and remaining in effect until chorus 4. It performs a busy pattern that drives the rhythmic motion of the song, with a strong attack and ample compression that allows it to cut through the mix.

Tight Snare (Electronic)

Heard exclusively in the first verse, the tight snare solidifies the backbeat with a dry, thick distorted timbre that is layered with the bright claps to further bolster the attack and provide punch to the mix.

Tight Reverberant Snare (Electronic)

Directly related to the tight snare, the tight reverberant snare is the same sample but processed with copious reverb, beginning in the second verse and heard through the first half of pre-chorus 2. The additional reverb enhances the density and energy of the section, while providing a cohesive thread between the two snare tones.

Large Reverberant Snare (Electronic)

The large reverberant snare is present in choruses 2 and 3 and the ensuing vocal breaks. Drenched in reverb, it provides these “hook centers” with a bigger, more epic sound that helps to bolster their impact.

Thin Snare (Electronic)

This thin, dry snare adds slight rhythmic variation to the second chorus and first vocal break.

Reversed Snare (Electronic)

Acting as a short riser, the reversed snare heightens engagement leading into the third chorus.

Claps 1 (Filtered-Electronic)

Featured solely in the first pre-chorus, the filtered claps replace the snare of the preceding verse to help heighten cross-section engagement leading into the ensuing chorus.

Claps 2 (Bright-Electronic)

The unfiltered version of claps 1, these brighter, more piercing claps are layered with the tight snare and tight reverberant snare, and are prominently featured in the second half of pre-chorus 2.

Open Hi Hat (Acoustic)

The open hi hat adds an acoustic texture that accentuates the song’s rock feel with a driving rhythm on the off-beats in the vocal breaks and third chorus.

Closed Hi Hat (Electronic)

This hi hat possesses a thin, gritty tone that enhances the kick drum pattern in the second and third choruses and the ensuing vocal breaks.

Closed Hi Hat (Acoustic)

Similar to the open hi hat, this closed hi hat provides an acoustic texture with a sixteenth-note driving rhythm. It is present from the second verse through the first half of the second pre-chorus, and returns in the third chorus and second vocal break.

Reversed Hi Hat (Acoustic)

This reversed version of the closed acoustic hi hat functions as a transitional element leading most notably into the second pre-chorus as well as the second vocal break post-chorus.

Crash Cymbal (Acoustic)

The crash cymbal bolsters the arrival of choruses 2 and 3 and vocal breaks 1 and 2 with a bright, piercing impact.

Shaker (Electronic)

Pitch and formant-shifted down, the shaker provides an underlying rustle effect that enhances the gritty nature of the song in the second verse and first half of the second pre-chorus.

Downlifter

The downlifter is a distorted triangle wave that is gradually pitch shifted down to heighten engagement between sections.

Digital Riser

Paired with the downlifter, the riser is constructed similarly, pitch shifting upwards to create a rising effect. With an infusion of white noise and distortion, the two combine to heighten engagement and interest between sections.

Synth Impact SFX

Drenched in reverb, this bright synth with a “woo”-type characteristic enhances the impact of the downbeat of choruses 2 and 3, vocal break 1 and verse 2.

Reversed SFX

This sound effect is a bright synth texture used as a transitional riser leading into the first pre-chorus.

Click SFX

This high-pitched, percussive sample subtly bolsters the full accompaniment pull S.I.A. (section impact accentuator) and exposed vocal in the second verse.

Chordal Riser

The chordal riser provides engaging harmonic support coming out of the accompaniment pull in verse 2 and leading into pre-chorus 2. Created by reversing a synth pad, it is treated with a copious amount of reverb that adds a touch of depth to contrast from the many dry, front-and-center textures of the song.

Chordal Impact

Complementing the chordal riser, the chordal impact is a reverb-drenched synth that accentuates the second half of verse 2 and the second pre-chorus.

Music & Instruments: Section By Section

*Note that this chord progression is repeated throughout the song. For additional details reference the Harmonic Progressions section of the report.

Chorus 1 kicks abcdefu off in a sparse manner, with a palm-muted, sixteenth-note-driven distorted electric guitar providing the sole accompaniment to GAYLE’s lead. While minimal, this arrangement achieves a few key things:

• The raw, distorted timbre of the guitar along with its pattern establishes the song’s gritty rock vibe.
• The consistent sixteenth-note rhythm puts the song into motion.
• The sparseness of the arrangement provides room for the song to build both on a cross-section and like-section basis. Additionally, it creates an intimate vibe that perfectly compliments GAYLE’s subdued/moody delivery of the scathing lyrics. This creates strong prosody, effectively heightening the listener’s emotional connection with the song right from the start.

In the last bar of the section, downlifter and riser sound effects are added to the mix, followed by a brief kick pattern at the end. Together, they create an engaging S.I.A. (section impact accentuator) that bolsters the transition into the ensuing verse; calls attention to the “you can all f-off” lyrical summation; and offsets the more “classic/traditional” guitar-driven rock vibe with a modern pop quality, which sets the tone for the entire song.

Chorus 1 Arrangement: At-A-Glance

Stanza 1

With the guitar from the preceding chorus remaining in effect to provide cross-section continuity, the first stanza of the verse builds the arrangement through the introduction of kick, snare, claps, two basses and an additional electric guitar. Together, they achieve the following:

• They lock the listener into the fully established sparse, dark and simmering groove, which perfectly complements GAYLE’s continued subdued/moody delivery of the troublesome lyrics.
• The basses and lower-octave guitar fill out the low-end of the frequency spectrum, while the snare, claps and guitar fill out the mid-range. However, there is still no overt high-frequency information in the mix, leaving room for the song to grow from a frequency standpoint.
• The modern qualities of the electronic kick and snare balance out the more “traditional” rock guitar, further bolstering the song’s relevancy in today’s mainstream marketplace.

Stanza 2

With the core arrangement of stanza 1 remaining in effect to provide continuity, stanza 2 adds a vintage-sounding synth into the mix. While subtle, the additional color, texture and harmonic support it provides is important in heightening interest in the otherwise instrumentally and vocally repetitive section.

Verse 1 Instrumental Arrangement: At-A-Glance

Following the cohesive instrumental arrangement build across the chorus and both stanzas of the verse, the pre-chorus notably changes things up through the density, sound pallet, energy/momentum and frequency contrast it provides. Along with the higher-range delivery of the “I’m over this” lyrics, this shift in instrumental arrangement heightens the listener’s engagement leading toward the chorus, bolstering its impact in the process while providing separation between sections of similar accompaniment and feel.

Bars 1-3

With the guitar-driven chord progression and vintage synth providing cross-section continuity, the following elements are notably changed up in the pre-chorus:

• The electric guitars are pulled from the mix and replaced with acoustic guitar. This provides the pre-chorus with a comparatively thinner sound along with high-end frequency information that was lacking in the preceding sections. Additionally, the more vibrant strumming pattern serves to further heighten interest and momentum leading toward the chorus while maintaining the familiar chord progression.
• The piercing snare/clap combination from the verse is replaced with a more subdued filtered clap on beats 2 and 4, reducing the punch of the backbeat.
• The sub-bass is pulled from the mix, further thinning out the low end of the arrangement.
• The kick is low-pass filtered and featured at a lower level in the mix, resulting in a more “muffled” timbre that results in less low-end. However, it is now playing a more driving eighth-note pattern, which provides the pre-chorus with a heightened degree of forward motion leading toward the chorus.

Bar 4

In the last bar of the pre-chorus, all the elements are abruptly pulled from the mix. In their place, the downlifter and riser effects that were initially featured in the transition between chorus 1 and verse 1 return, though this time with the riser being more pronounced. Together, they form a highly engaging S.I.A. that calls attention to the first iteration of the song-defining “A-B-C-D-E-F-U” hook while setting up the powerful ensuing chorus for maximum impact.

Pre-Chorus 1 Instrumental Arrangement: At-A-Glance

Following the thinned-out, acoustic guitar-driven pre-chorus and engagement-heightening S.I.A., the second chorus hits with the densest, most powerful arrangement heard thus far in the song. In addition to providing the listener with an impactful high-energy “payoff,” this instrumental arrangement, along with the newly added sung/shouted gang vocals, provides chorus 2 with a new, angrier emotional context compared to the first time around.

Stanza 1

The chorus hits hard right out of the gate with a prominent kick, crash and synth impact sound effect marking its arrival on beat 1. This is followed by what is essentially a more developed version of the verse arrangement, taking the song’s intensity to a peak in both a familiar and fresh manner.

In terms of the drum/bass groove, while its similar to the verse, there are some notable differences to take note of:

• The kick is doubled by the hat, which accentuates its attack and enables it to further cut through the mix. In terms of its pattern, it is simpler than the verse, which is warranted to help prevent things from becoming overly busy. It sounds exclusively on beats 1 and 3 save for the “and” of beat 4, where it subtly heightens interest leading into the second stanza while punctuating the definitive “f**k you” lyric.
• The snare, in contrast to the verse, is fuller and processed with copious reverb, which amplifies its presence and contributes to the chorus’s “big” sound. In addition, a subtle thin snare embellishment is heard on the “and” of beat 2, subtly heightening interest in the otherwise instrumentally repetitive section.
• In addition to the drum and bass groove, the most notable instrumental changeup compared to the verse is the guitar. Here, in lieu of the palm-muted electric guitar, a distorted guitar playing an alternating two-pitch sixteenth-note pattern is featured. In addition to heightening interest and excitement, the qualities of this guitar provide the song with a more notable alt/indie vibe, reminiscent of the Pixies, for instance.

Stanza 2

The second stanza features essentially the same instrumental arrangement as the first, allowing the listener’s full attention to be on the vocals without distraction. The sole variation is a snare fill in the third bar, which subtly heightens interest.

Chorus 2 Instrumental Arrangement: At-A-Glance

The vocal break post-chorus begins in a similar manner as the preceding chorus, with a kick/crash punctuating its arrival on beat 1. However, this time there isn’t an accompaniment pull/downlifter/riser S.I.A. associated with it, which keeps the listener locked into the high-energy groove without missing a beat.

The balance of the section maintains the chorus’s high-energy arrangement, which provides cross-section continuity and allows the listener’s full attention to be on the two vocal hooks without distraction. However, to subtly heighten interest and take the song’s intensity to its first peak, a driving open hi-hat is added to the mix for the first time along with the reintroduction of the palm muted electric guitar, its octave double, and vintage synth from the verse. Note that the inclusion of these verse elements serves to make the song as a whole more cohesive and familiar as well.

At the end of the vocal break, a one-beat partial accompaniment pull S.I.A. is implemented. While subtle, it achieves a few key things:

• It provides separation between the energetic vocal break post-chorus 1 and verse 2 arrangements.
• It bolsters the arrival of the familiar verse 2 groove.
• It highlights the “f” in the abcdefu hook, followed by the “u” hitting on beat one of the ensuing verse.

Vocal Break 1 Instrumental Arrangement: At-A-Glance

Verse 2 is half the length of verse 1, clocking in at four bars. As is typically the case with non-hip hop hit verses, verse 2 develops off of the first verse while decreasing the density and energy following the chorus and vocal break post-chorus, leaving room for growth in subsequent sections. Together, these qualities serve to heighten interest while maintaining familiarity in the scope of the song.

Bars 1-2

The first half of verse 2 builds on the more developed verse 1, stanza 2 arrangement with the following additions and changeups:

• The snare now features a notable reverb tail, which was not present in verse 1. This provides verse 2 with a new interest-heightening higher-frequency texture that also contributes to its bigger feel. However, note that the reverb isn’t as pronounced as the preceding chorus and vocal break post-chorus, which contributes to the cross-section contrast.
• A new closed hi-hat playing a sixteenth-note pattern provides more forward motion along with additional high frequency information.
• A low-level, saturated and low-pass filtered shaker adds a darker, rustling texture to the back of the mix.

The last beat of bar 2 features the only in-section S.I.A. in the song. Consisting of a full accompaniment pull, this achieves a few key things, including:

• Creating a jarring/surprise moment midway through the section.
• Highlighting the “you couldn’t take it” lyric.
• Preventing the continuous groove from becoming overly redundant while setting up its return in the second stanza.
• Providing like-section contrast against verse 1, which doesn’t contain an in-section S.I.A.

Bars 3-4

Following the S.I.A., the listener is locked back into the core groove of the first stanza. However, to help subtly heighten both interest and energy, an additional guitar, which is cleaner and more reverberant than the other guitars heard thus far in the song, plays off-beat accents.

Verse 2 Instrumental Arrangement: At-A-Glance

In contrast to pre-chorus 1, pre-chorus 2 features a notable changeup in the instrumental arrangement, building off of verse 2 for two bars before returning to more familiar territory with the expected timbral shift that is reminiscent of pre-chorus 1.

Bars 1-2

The first half of the pre-chorus keeps the kick, snare, claps, closed hat, shaker, vintage synth, electric bass and electric guitars from the preceding verse in effect, which provides cross-section continuity. However, it also omits certain elements while reintroducing others, serving to heighten both interest and familiarity in the scope of the song:

• The acoustic guitar from pre-chorus 1 returns, providing like-section familiarity.
• A new chorused/filtered electric guitar plays the same melodic pattern as the melodic electric guitar 1 in chorus 2.
• The sub-bass from the verse is omitted from the mix, subtly reducing the pre-chorus’ bottom-end power.

Bars 3-4

Following a reversed hi hat at the end of bar 2, which subtly heightens interest leading into the second-half of the section, the pre-chorus arrangement notably thins in timbre and features more high frequency information, which is a commonality shared with its first occurrence counterpart and creates additional like-section familiarity. And again, this changeup serves to heighten engagement leading into the ensuing chorus and bolster its impact:

• The kick shifts to a more muffled timbre and eighth-note pattern, a commonality shared with pre-chorus 1.
• Claps replace the snare, another commonality shared with pre-chorus 1. However, this time around the claps are unfiltered, which makes them more pronounced in the mix and contributes to the overall higher-energy at this point in the song.
• The hats and shaker are omitted, the former most notably resulting in less high-end frequency information.
• The cleaner, reverberant off-beat electric guitar stabs are pulled from the mix.

At the end of the section, downlifter and riser effects are once again employed, creating a familiar S.I.A. leading into chorus 3. However, in contrast to the first time around, here the acoustic guitar remains in the mix, which along with the faster-paced kick provides heightened momentum leading into the chorus while providing subtle, like-S.I.A. variation, which helps to prevent things from becoming too predictable.

Pre-Chorus 2 Instrumental Arrangement: At-A-Glance

Chorus 3 subtly builds on the dense, high-energy vocal break post-chorus 2 arrangement. It adds additional guitar, electric bass, hats, and the new low-level acoustic piano to the mix, which takes density and energy to a near grand peak.

Chorus 3 Instrumental Arrangement: At-A-Glance

Twice the length of vocal break post-chorus 1, vocal break post-chorus 2 maintains the chorus 3 arrangement to provide cross-section continuity, while adding in the electric guitar accents that had previously been featured in verse 2 and pre-chorus 2. While subtle, its addition creates the densest and most energetic arrangement in the entire song, taking the listener’s excitement to a grand apex.

Vocal Break 2 Instrumental Arrangement: At-A-Glance

Following the highly dense and energetic chorus 3 and ensuing vocal break post-chorus, chorus 4 does a complete 180 by stripping back the arrangement to just the chorused/filtered melodic electric guitar and GAYLE’s comparatively subdued vocals. This changeup bookends the song on a familiar note, putting this guitar pattern front and center to keep things interesting while winding the song down to an acapella conclusion.

Chorus 4 Instrumental Arrangement: At-A-Glance

abcdefu features one chord progression that is kept interesting through a variety of delivery styles throughout the song.

E5 – G#5 – C#5 – A5

E – G# – C#m – A

E – G# – C#m – A

E – G# – C#m – A

E – G#5 – C#m – A5

abcdefu’s sole chord progression is rooted in the key of E major, following a I – V/vi – vi – IV pattern. This is a slight variation on the highly popular I – V – vi – IV progression heard in an array of pop and rock hits over the years such as Girls Like You (Maroon 5), Cruise (Florida Georgia Line), Demons (Imagine Dragons), The Edge Of Glory (Lady Gaga), and F**kn’ Perfect (P!nk), to name a few.

In abcdefu, the notable use of V/vi instead of the expected V chord subverts listener expectations with a highly engaging non-diatonic chord. As a result, the progression follows a tonic – secondary dominant – tonic – subdominant pattern, creating moments of tension and release due to the unique secondary dominant chord.

Keeping this repetitive chord progression interesting throughout the song are a host of delivery variations, including palm-muted 16th-note distorted electric guitar power chords, vibrantly strummed acoustic guitar, alternating pitch melodies, and a vintage-sounding synth. These varying deliveries combined with the alternating use of power chords and triads keep the engaging harmonic motion interesting while contributing to the evolving nature of the instrumental arrangement.