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Come & Get It Deconstructed
Skip to: Audio/Video At a Glance Song Overview Structural Analysis Momentum/Tension/Intensity (MTI) Lyrics & Harmonic Progression The Music The Vocal Melody Primary Instrumentation, Tone & Mix Compositional Assessment Hit Factor Assessment Conclusion Why it’s a Hit Songwriter/Producer Take Aways
Audio/Video Back to Top
At a Glance Back to Top
Artist: Selena Gomez Song/Album: Come & Get It / Stars Dance Songwriters: Dean, Eriksen, Hermansen Genre: Pop Sub Genre: Electropop, World (Indian) Length: 3:52 Structure: B-A-B-A-B-C-B Tempo: 80 bpm First Chorus: 0:15 / 6% into the song Intro Length: 0:15 Outro Length: n/a Electric vs. Acoustic: Electric Primary Instrumentation: Synth Lyrical Theme: Love/Relationships Title Occurrences: Come & Get It occurs 12 times within the song Primary Lyrical P.O.V: 1st & 2nd
Song Overview Back to Top
Released as the lead single from her first solo album, Stars Dance, Come & Get It finds Selena Gomez teaming up with 3 of today’s hottest hitmakers including Tor Hermansen & Mikkel Eriksen (both of Stargate), and Ester Dean with the aim of separating her from her Disney
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As you’ll see within the report, Come & Get It possesses many of the “hit qualities” that are indicative of today’s chart-topping songs, but it also falls short in some key areas that preclude it from realizing its fullest potential.
To date Come & Get It has landed in the top 10 on 10 charts throughout the world and hit #1 on the U.S. Hot Dance Club Songs chart.
THE SONGWRITERS
This wasn’t the first time that Ester Dean and Stargate have collaborated on a song. Together they’ve crafted chart-topping hits for some of today’s biggest artists including Rihanna (S&M, What’s My Name, Rude Boy) and Katy Perry (Firework), and have written hits for other A-list artists including the following:
Stargate:
Ne-Yo
Tinie Tempah
Karmin
Wiz Khalifa
Mary J. Blige
Beyonce
Flo Rida
Jennifer Hudson
Trey Songz
Ester Dean:
Britney Spears
Nicki Minaj
Rita Ora
50 Cent
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Scotty McCreery
Jennifer Hudson
Mary J. Blige
David Guetta
Tinie Tempah
Nelly
Additionally, if you think that Come & Get It has a distinct Rihanna vibe about it, you’re right. These writers are the Rihanna specialists.
Stargate Rihanna Credits Include:
Unfaithful
We Ride
Don’t Stop The Music
Hate That I Love You
Take A Bow
Wait Your Turn
Te Amo
Only Girl (In The World)
Rude Boy
What’s My Name
S&M
Diamonds
Ester Dean Rihanna Credits Include
S&M
What’s My Name
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Fading
Complicated
You Da One
Where Have You Been
Talk That Talk
We All Want Love
Drunk On Love
Roc Me Out
Farewell
Fool In Love
Lost In Paradise
Right Now
It’s been rumored that Come & Get It was originally written for Rihanna but didn’t make the final cut of her latest album, Unapologetic. As you go through the report you’ll see that this is certainly a distinct possibility.
Structural Analysis Back to Top
At-a-Glance
Timeline (Shows when each section hits within the timeline of the song)
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Section Length (Length of each individual section within the song)
I=Intro, V=Verse, Chr=Chorus, Turn=Turnaround, Brg=Bridge, IB=Instrumental Break
Come & Get It contains 10 individual sections within its framework, all of which land in the mid to upper 0:20 range except for the intro and pre-chorus-2.
Key Points
Notice that all of the verse and chorus sections within the song possess uniform section lengths, landing at 0:24. This amplifies the “predictability” factor of the song (though not in a negative way), and as a result accentuates the memorability factor for the listener.
The first pre-chorus and bridge are the longest sections within the song (by a hair), each landing at 0:27.
The 2 shortest sections within the song are the intro (as you would typically expect) and the second pre-chorus, both of which land at 0:15. Additionally, the 0:04 “trail” refers to the cymbal trail off that occurs at the tail end of the song.
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In regard to the pre-chorus, notice that this is the only section within the song that doesn’t possess uniform section length between occurrences, which is an extreme rarity when it comes to chart-topping Pop songs. We’ll explore this in detail later within the report.
Top 10 Hit Pop Song Comparison
Let’s now see how Come & Get It’s section length compares to the 25 songs that landed in the Billboard Pop Songs Chart top 10 during Q2-2013:
Come & Get It / Top 10 Hit Pop Song Averages
Intro: 0:15 / 0:14
Verse: 0:24 / 0:26
Pre-Chorus: (0:27/0:15) / 0:15
Chorus: 0:24 / 0:27
Bridge: 0:27/ 0:24
As you can see, for the most part Come & Get It is right in line with the average section lengths that defined last quarter’s top 10 hit Pop songs.
The only key difference is in regard to the length of the first pre-chorus, which is almost double the average. Additionally, note that it was the longest pre-chorus length out of all of the songs that landed in the Pop Songs top 10 during the quarter.
As for the second pre-chorus, note that its length is exactly the same as the average, landing at 0:15.
Now, let’s see how Come & Get It’s section count compares to the 25 songs that landed in the Billboard Pop Songs Chart top 10 during Q2-2013:
Come & Get It / Top 10 Hit Pop Songs
Intro: 1 / 1
Verse: 2 / 2
Pre-Chorus: 2 / 2
Chorus: 4 / 3
Bridge: 1 / 1
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With the exception of the chorus, Come & Get It possesses the same section count as the vast majority of top 10 hit Pop songs from Q2. The differentiating factor is that Come & Get It contains 1 additional chorus that occurs at the beginning of the song following the intro as opposed to a verse.
Additionally, besides the additional chorus at the onset notice that it utilizes an A-B-A-B-C-B form (verse – chorus – verse – chorus – bridge – chorus), which is still by far the most popular structure utilized in today’s chart-topping hits.
Total Section Analysis (Total time consumed by each section and its percentage of the total song)
Come & Get It is comprised of 5 primary sections within its framework (i.e. all choruses, verses and pre-choruses, plus the intro and bridge), accounting for 41% of the song’s total composition all the way down to just 6%.
Not surprisingly, the vast majority of time within the song was allocated to that ultra-infectious chorus, accounting for 41% of its total composition. Notice that it wasn’t its length that provided it with increased weight relative to other sections within the song, but its count (i.e. 4 occurrences vs. 2 verse and pre-chorus occurrences).
It just goes to show, repeating the most infectious part of your song more than others can’t hurt, that’s for sure!
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As for the other sections, the amount of time allocated to the verse was about half that of the chorus (21%), and the 2 pre-chorus occurrences followed close behind at 18% of the song’s total composition. The bridge followed at 12%, and the intro accounted for just 6% of the total song.
Top 10 Hit Pop Song Comparison
Now let’s now see how the sectional breakdown of Come & Get It compares to the 25 songs that landed in the Billboard Pop Songs Chart top 10 during Q2-2013:
Intro
Come & Get It: Comprises 6% of the total song.
Q2-2013 Average: Comprises 6% of the total song.
Comparison: The percentage of time allocated to Come & Get It’s intro is exactly the same as the top 10 Pop song average.
Verse
Come & Get It: Comprises 21% of the total song.
Q2-2013 Average: Comprises 24% of the total song.
Comparison: Come & Get It allocated 3% less time to the verse than the Pop song average.
Pre-Chorus
Come & Get It: Comprises 18% of the total song.
Q2-2013 Average: Comprises 14% of the total song.
Comparison: Come and Get It allocated 4% more time to the pre-chorus than the Pop song average.
Chorus
Come & Get It: Comprises 41% of the total song.
Q2-2013 Average: Comprises 41% of the total song.
Comparison: The percentage of time allocated to Come & Get It’s chorus is exactly the same as the top 10 Pop song average.
Bridge
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Come & Get It: Comprises 12% of the total song.
Q2-2013 Average: Comprises 11% of the total song.
Comparison: Come & Get It allocated 1% more time to the bridge than the Pop song average.
Summary
Overall, Come & Get It allocated virtually the same amount of time to the intro, chorus and bridge, slightly more time to the pre-chorus and slightly less time to the verse compared to the average of all the top 10 Pop hits of Q2-2013.
Music, Instrumentation & MTI (Momentum/Tension/Intensity) Back to Top
(Evaluation of the intensity of each section within the song timeline on a scale of 1 – 10, 10 being the most intense)
When we talk about a song’s MTI level, we’re referring to how fluctuations in momentum, tension and intensity levels are utilized within each section of the song.
Come & Get It is broken into 4 primary MTI level segments, each of which peaks in the chorus:
MTI Level Progression 1
The first MTI level progression of the song runs from the intro through the first chorus.
The song kicks off with mid-level intensity in the intro before taking a brief dive during the solo vocal “eh, eh, eh, eh” transition, which is then followed by an explosion into the full chorus that follows.
MTI Level Progression 2
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The second MTI level progression runs from the first verse through the second chorus.
Following the intense first chorus, the MTI level is brought back down during the first half of the first verse. It increases slightly during the second half specifically due to the shift in the nature of the vocal melody, until being brought back down in the pre-chorus that follows.
Directly following the pre-chorus we have another “eh, eh, eh, eh” vocal transition, but this time around it occurs in conjunction with Gomez’s prolonged “ready” vocal which keeps the tension high in anticipation of the explosive chorus that follows.
MTI Level Progression 3
The third MTI level progression runs from the second verse through the third chorus.
As you can see in the graph, the third MTI level progression within the song is almost identical to the second, considering that they both consist of the same sections and are very similar in nature to one another (i.e. verse 1 / verse 2, pre-chorus 1 / pre-chorus 2, etc…).
The key difference to note is the MTI level spike that occurs in the middle of the first half of the second verse. This reflects the brief synth/vocal effect that occurs around the lyrics “let me get that” due to it’s “jarring” nature. Following the spike, it’s back to business as usual for the duration of the section, with the peak once again occurring in the third chorus.
MTI Level Progression 4
The fourth and final MTI level progression within the song runs from the bridge through the fourth chorus.
At the tail end of the third chorus there’s a low end filter effect that’s put on the entire mix except for the vocal which brings the level of the backing music way down through the first half of the bridge, resulting in a much lower MTI level (reference the bridge section below for specifics). As the section progresses, however, the filter moves back toward the treble end resulting in a higher MTI level as the backing music once again comes to the forefront of the mix.
The MTI level is then brought back down once again during the transitional “eh, eh, eh, eh” vocal, but then immediately shoots back up during Gomez’s “yeah!…” proclamation followed by the fourth chorus, which possesses the highest MTI level within the song.
Sectional MTI Level Comparison
Lowest MTI levels within the song:
The “eh, eh, eh, eh” transition that occurs following the intro
The first half of the bridge
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Mid-level MTI levels within the song:
The intro
Both pre-choruses
Both verse sections, with the second half being slightly more intense than the first due to the nature of the vocal melody
The second half of the bridge
The “eh, eh, eh, eh” transitions that follow both pre-choruses (due to Gomez’s prolonged “ready” vocal which keeps the tension up there) and the bridge (in conjunction with the low to high pitched synth effect)
Highest MTI levels within the song:
All of the chorus sections, with a slight peak in the fourth and final chorus
MTI Conclusion
Overall, Come & Get It possesses a very engaging MTI level flow throughout the song, doing a great job of accentuating the nature of individual sections and keeping the listener engaged throughout.
WAVEFORM
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Looking at the waveform graphic above, you can easily see how sonic levels and the use of compression vary throughout the song.
Overall, the levels within Come & Get It are pushed quite far, priming the song for maximum sonic impact. As you can see, there isn’t a whole lot of dynamic diversity going on between sections.
Here’s the order of sectional sonic levels within the song – lowest to highest:
Intro
Pre-Chorus
Bridge
Verse
Chorus
As you can see, there is very little difference between sections, save for the intro. The slight dip in the pre-chorus, however, does a great job of accentuating the sonic impact of the chorus that directly follows.
Additionally, notice the dip that occurs during the “eh, eh, eh, eh…” vocal transition that directly precedes each chorus section. The dip is more pronounced the first time around, but the brief lull also does a great job of providing the powerful chorus with increased impact when it hits.
Despite sonic levels being pushed up quite far throughout the majority of the song, just enough sonic level diversity was utilized to prevent listening fatigue from setting in, making for an engaging listening experience.
MUSIC / INSTRUMENTATION / VOCALS – SECTION BY SECTION Note: Pan is represented on a scale from 9:00 to 3:00 (i.e. left to right, with 12:00 being right up the middle). Keep in mind that in most cases an instrument will bleed throughout the entire mix, but the pan depicted here represents its primary placement in the mix (i.e. where the level is most pronounced).
Intro (0:00 – 0:15)
Vocals & Primary Instrumentation Featured In The Mix:
Drums-1 (Ethnic – sounds like a tabla (Indian) – mid/up in the mix) 9:00 – 3:00
Synth (“Warm” and “serine” in nature – mid level in the mix) 10:00 – 2:00 (Primary)
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Lead Vocal (Male – ethnic chant – some delay and moderate reverb – up front in the mix) Primary at 12:00 but bleeds l/r
Vibe: Serene, seductive
The intro to Come & Get It kicks the song off in a serene and seductive manner with mid-level intensity, characterized by the Bhangra beat, warm synth and ethnic chanting. Note the following:
The intro is essentially split into 3 segments as follows:
Segment 1 (0:01 – 0:05)
Segment 2 (0:06 – 0:10)
Segment 3 (0:11 – 0:15)
Notice that segments 1 and 2 are pretty much carbon copies of one another. The key difference is that the second segment features an extended chant at the onset that wasn’t present within the first segment.
In regard to the first segment, notice that it starts abruptly, as if the chant was cued right past the “extension” that is present in the second segment as previously mentioned.
As for the third segment, notice that its nature is a complete departure from the preceding 2:
The drums are pulled from the mix
The synth is pulled from the mix
Instead of the chanting that defined the preceding 2 segments, here we a repetitive solo “eh, eh, eh eh” vocal that directly precedes the chorus slamming in.
Key Points regarding the intro:
Landing at 0:15, it’s the perfect length to hook the listener in and engage them without “overstaying its welcome.” And remember – it’s just one second longer than the 0:14 average top 10 Pop intro from Q2.
It immediately establishes the ethnic Indian / modern Pop fusion vibe that will define the song via the nature of the chant, the Bhangra beat featuring the tabla, and the “pop” synth.
Its unique nature in comparison to all of the other Pop songs currently topping the charts enables it to stand out from the pack and functions as a unique identifier for the song.
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Its unique nature also does a fantastic job of immediately hooking the listener right into the song and keeping them engaged until the powerful, infectious chorus takes over.
The third (“eh, eh, eh, eh”) segment does a great job of furthering the listener’s attention and engagement via the departure from the nature that defined the preceding 2 segments. Additionally, its sparse nature (i.e. solo vocal) enables the intense chorus that follows to have more impact when it hits.
All in all, Come & Get It’s intro is exceptionally effective.
Transition Point – Intro into Chorus 1: Up-front crack of the snare at the tail end of the intro ushers in the chorus
Chorus-1 (0:15 – 0:39)
Vocals & Primary Instrumentation Featured In The Mix:
Drums-1 (Ethnic – sounds like a tabla (Indian) – low/mid level within the mix) Primary around 10:00 but bleeds throughout
Drums-2 (Electronic “modern Pop” drums – kick, crash cymbal and snare – up front within the mix, especially the snare) Primary around 12:00
Synth (“Modern electro” in nature defined by a pitch bending progression – mid/up in the mix) 11:00 – 1:00 (Primary)
Synth Bass (“Fuzzed” in nature – mid level within the mix) Primary at 12:00 but bleeds l/r
Lead Vocal (Selena Gomez – multi-tracked – reverb & delay – up front in the mix) Primary is up the middle but spans the entire mix. Note that the “na na na na” vocal is pressed harder l/r but is also featured up the middle as well.
Vibe
Intense, emphatic, seductive, sexy, grooving
MTI Level
Directly following the serene nature of the intro, the crack of the snare ushers in the powerful chorus that skyrockets the MTI level of the song to its peak.
Vocals
We need to look at this in 2 ways – the nature of the vocal melody and the nature of Selena’s
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In regard to the melody, which is explored in depth within the vocal melody section of the report, it’s quite infectious, engaging and memorable, utilizing key attributes that are indicative of hit Pop songwriting including:
The K.I.S.S. principal (keeping it simple and singable).
The perfect balance of repetition and diversifying factors which gets the melody engrained within the listener’s head while keeping them engaged throuoghout.
Clever phrasing (i.e. the stuttered “re-e-e-e-e-a-dy”) and the “na, na, na, na” factor.
As far as Selena Gomez’s vocal delivery is concerned, this is an issue that proved to be a hindrance not only to the potential of the chorus, but to the overall effectiveness of the song.
It’s not because she’s a bad singer. On the contrary, she’s actually quite good, tackling the vocal melody effortlessly. It’s due to the fact she doesn’t seem to connect with the song, and as a result doesn’t sing with conviction (i.e. you don’t “buy into what she’s selling”). Maybe it’s because this song wasn’t originally written for her and she doesn’t connect with the lyrics. Maybe it’s because she’s bored. Maybe it’s because she’s trying to sing it like Rihanna would and not in her own unique style.
Whatever the case may be, she sounds like she’s just going through the motions and not putting her all into it. The result – the song starts to fall flat when it could have really shined.
Backing Music
The nature of the backing music that defines the chorus is exceptionally strong, providing the perfect backdrop for the infectious vocal melody to shine. Notice that there are 3 key elements involved:
Primary Synth
Its pitch bending nature and associated tone does a fantastic job of fusing the ethnic (Indian) vibe with modern Electro under 1 roof. This is one of the key elements that really enables Come & Get It to stand out amongst others in the mainstream Pop pack. No other recent top 10 song has utilized the synth in a similar manner in quite some time.
Additionally, notice that the nature of the pitch bending progression is quite evocative & seductive, perfectly jibing with and accentuating the love/relationship themed storyline.
The Drums
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As with the synth, the drums also perfectly fused traditional ethnic with modern Pop. Notice that the tabla driven Bhangra beat that defined the preceding section is still present within the mix, keeping the Indian vibe intact, while the upfront Electro kick and snare provides the modern Pop.
Also notice that the rhythmic nature of the snare & kick is quite evocative as well, with the tabla filling out the soundscape as well as accentuating the momentum of the section.
Synth Bass & Additional Synths
Notice that they all have a “fuzzed” nature about them and are achieving 2 primary things within the mix – they’re filling out the soundscape, providing it with a dense, heavy nature, and also providing infectious counter melody to the lead pitch bending synth.
All in all, the nature of all of the instrumentation utilized and their associated progressions/beats work in perfect tandem with one another, eliciting a powerful and seductive vibe for the listener to sink their teeth into.
Transition Point – Chorus 1 into Verse 1: Seamless transition ushered in by a cymbal hit
Verse-1 (0:39 – 1:03)
Vocals & Primary Instrumentation Featured In The Mix:
Drums-1 (Ethnic – sounds like a tabla (Indian) – mid level within the mix) 10:00 – 12:00 (Primary)
Drums-2 (Electronic “modern Pop” drums – kick, crash cymbal and snare – up front within the mix, especially the snare) Primary around 12:00
Cymbals (“Driving” crash – low/mid level within the mix) Primary around 12:00 but bleeds l/r
Synth-1 (“Warm” and “serine” in nature – low/mid level in the mix) 10:00 – 2:00 (Primary)
Synth Bass (“Fuzzed” in nature – low/mid level within the mix) Primary at 12:00
Synth-2 (The synth “riff” that occurs after the lyric “patient” – up front in the mix) Primary at 12:00 but bleeds l/r
Lead Vocal (Selena Gomez – multi-tracked – reverb & delay – up front in the mix) Primary at 12:00 but bleeds l/r
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Vibe
Sexy, semi-melancholy, hopeful, driving, grooving
MTI Level
Now that the intense pitch bending synth that defined the preceding chorus has been removed from the mix, the overall MTI level of the song has dropped down a couple of notches.
Notice however that that the nature of the beat (which remained virtually identical to that of the preceding chorus) coupled with the “driving” background crash keeps the momentum aspect of the section at a heightened level.
Vocals
As was the case within the chorus, here in the verse we have another infectious, engaging vocal melody that utilizes tried and true hit Pop songwriting fundamentals. The only issue is that it’s quite monotone in nature, but this is countered by the infectious rhythm that comes to the rescue as discussed in the vocal melody section of the report.
On the other hand we have the nature of Gomez’s delivery. She nails the melody perfectly, but again she’s singing without conviction. Overall it’s quite lacking in the personality department and as a result falls flat.
Backing Music
There are 4 key points to note regarding the backing music present within the verse compared to the preceding chorus:
The pitch bending synths have been removed from the mix and replaced by the synth bass at the forefront, resulting in a lower overall intensity level as previously mentioned.
The “warmer” natured synth provides the section with more of a serine, semi- melancholy vibe compared to the preceding chorus. Notice how its nature along with the associated progression does a fantastic job of accentuating the “longing” nature of the lyrics.
The nature of the Bhangra beat and the electro “modern Pop” drums has remained pretty much constant between sections, providing continuity of the ultra-infectious groove.
The “driving” crash cymbal is more audible in the mix, providing increased momentum to the section as well as filling out the soundscape along with the Bhangra beat.
Additionally, notice the downward progressing synth riff that occurs following the lyrics
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“patient” and “life.” Not only does it provided increased “coloring” to the section and heighten its infectious nature, but it also works to segment the section as well (i.e. it works in a transitional manner by separating the first part of the vocal melody which has 1 distinct vibe from the second which is different – i.e. “all day, all night…” It also occurs at the tail end of the section as well, helping to bring it to a conclusion).
Transition Point - Verse 1 into Pre-Chorus 1: The crash cymbal that occurs at the tail end of the verse ushers in the pre-chorus that follows
Pre-Chorus-1 (1:03 – 1:30)
Vocals & Primary Instrumentation Featured In The Mix:
Drums-1 (Ethnic – sounds like a tabla (Indian) – mid/up in the mix) Primary around 12:00 but spans the entire mix
Synth-1 (“Warm” and “serine” in nature – mid/up in the mix) 10:00 – 2:00 (Primary)
Synth Bass (“Fuzzed” in nature – low/mid level within the mix) Primary at 12:00
Lead Vocal (Selena Gomez – multi-tracked – reverb & delay – up front in the mix) Primary at 12:00 but bleeds l/r
Secondary Vocal (The “Indian chant” – ample reverb – fluctuates between low and high level within the mix) Primary around 12:00
Vibe
Semi-melancholy, serious, seductive, tense
MTI Level
What’s interesting in regard to the MTI level within the pre-chorus is that although it has taken a dive from a momentum and intensity standpoint due to the detraction of instrumentation within the mix, the tension level has increased via the nature of the vocal, lyrics and instrumentation.
Vocals
There are 2 vocals that we need to look at within this section – Selena Gomez and the Indian chants.
Gomez
In regard to her delivery, overall its “more of the same” as we had in the preceding verse and chorus sections. There is 1 line, however, where she really does a great job of eliciting emotion, and this occurs during the second occurrence of the “this love ain’t finished yet” line.
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Instead of singing it with conviction and strength as you would think the line would warrant, she instead ops to sing it in a manner which is sullen, tender and loving all at the same time. By her singing it in this manner, you FEEL the hurt that she’s feeling having lost this guy, but at the same time you FEEL the tender love that she has for him as well. You could never have gotten that from just reading the lyrics.
Additionally, the prolonged “transitional” line “so baby whenever you’re ready” does a good job of heightening the anticipation leading into the chorus, but falls flat due to the “matter of fact” emotionless manner in which she sings it.
The Indian Chant
Although its present very low within the mix under Gomez’s lead vocal during the first part of the section (up until the “this love ain’t finished yet” line), the nature of the Indian chant does a fantastic job of providing additional color and counter melody to the section.
Once it comes to the forefront of the mix toward the end (specifically after each “this love ain’t finished yet” line), it takes the ethnic nature of the section to the next level and provides it with very seductive vibe as well.
Additionally, notice the “eh, eh, eh, eh” vocal that occurs at the tail end in conjunction with Gomez’s prolonged “ready” vocal. It functions both to increase the anticipation leading into the chorus that follows as well as providing the section, and the song for that matter, with a unique element that acts as a strong “identifying” factor for the song as a whole.
Backing Music
As soon as the song moves into the pre-chorus coming out of the preceding verse, the following happens:
The electronic modern Pop drums are pulled from the mix. In their place the tabla moves front and center.
The “driving” crash cymbal from the preceding section has been pulled from the mix.
The “warm” synth moves toward the forefront of the mix (under the vocals and tabla), providing the section with a more serene vibe.
The synth bass, which is low/mid level within the mix provides an engaging counter melody to what’s going on with the “warm” synth mentioned above.
Key points regarding the backing music:
If you’ve been paying attention, you’ve by now noticed that the amount of instrumentation utilized within the sections that have followed the first chorus (i.e. verse and pre-chorus) has been becoming more sparse as the song progresses.
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Usually in chart-topping Pop songs the exact opposite is true – the pre-chorus provides a build over the preceding verse (both sonically and via the addition of instrumentation to the mix), and then either explodes into the chorus or features a transitional break or a first-half breakdown chorus to provide the full chorus with increased impact when it hits.
Notice that the “ethnic” nature/vibe of the song is at the forefront during the pre- chorus. Most of the modern Pop elements have been removed from the mix, save for the synths and Gomez’s vocal, and we’re left with the Tabla driven Bhangra beat and Indian chanting to take center stage. This provides great contrast to the modern Pop/Ethnic hybrid chorus that follows.
Also notice how the nature of the backing music provides the perfect evocative backdrop for the nature of the lyrics and the vocal melody to shine.
Transition Point – Pre-Chorus 1 into Chorus 2: Gomez’s prolonged “ready” vocal coupled with the Indian “eh, eh, eh, eh” is followed by an up-front crack of the snare that ushers in the intense chorus.
Chorus-2 (1:30 – 1:54)
The second chorus within the song is pretty much a carbon copy of the first with the exception being that the pitch bending synths are further up in the mix than the first time around, providing the section with a subtly more intense nature.
Transition Point – Verse 2 into Pre-Chorus 2: Seamless transition ushered in by a cymbal hit
Verse-2 (1:54 – 2:18)
As a whole, the nature of the second verse within the song is very similar to that of the first with the following primary differences:
Synth/Vocal Effect
Notice the “jarring” effects that transpire around the lyrics “get that”:
First, notice in the background we still have the same delay processed vocal on the lyrics “get that” that we had in the first verse which aided to fill in the soundscape in between lines (“invitation-tation-tation-tation” and “patient- patient – patient – patient “).
Second, notice the heavily processed/filtered Gomez vocal (“let me get that, yeah”) that occurs while the “get that” delay vocal is occurring underneath.
Third, notice the brash, buzzing, “mechanized” synths that manifest left to right within the mix while the vocal above is in effect.
Lastly, notice that all of the other instruments that were present within the mix up until
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this point have been pulled while this is going on (i.e. drums, synth…), enabling the effect to “pop” even further.
Note that this technique is similar the “magic” moment within Imagine Dragons’ “Radioactive” where the backing music came to a halt and you heard him taking that “gasp” of air following the “breathing in the chemicals” line. The difference here is that it’s just done for effect – it doesn’t have anything to do with the lyrical content.
Vocal Harmony
The other key difference between the first and second verse is the addition of the vocal harmony that occurs on the lyrics “even if you knock it, ain’t no way to stop it” and “no lie, no lie.” This does a great job of providing the section with additional coloring and diversity in comparison to the first verse, heightening the engagement value for the listener.
Transition Point – Pre-Chorus 2 into Chorus 2: The crash cymbal that occurs at the tail end of the verse ushers in the pre-chorus that follows
Pre-Chorus-2 (2:18 – 2:33)
Historically in chart-topping Pop songs the nature of the pre-chorus will remain pretty much the same between occurrences, just as is usually the case with the chorus (it’s all about fostering memorability).
Here in Come & Get It, however, we have similar elements between occurrences and key differences as well:
Similar
The lyrics and vocal melody that define line 1 (“I’m not too shy to show I love you, I got no regrets”).
The nature of the backing music.
Differences
The second pre-chorus is 0:12 shorter than the first. This was achieved by removing lines 2 and 3 from the section (“I love you much too, much to hide you, this love ain’t finished yet, this love ain’t finished yet”).
Notice that a prominent vocal harmony was added to the lyrics “I’m not too shy to show I love you.” The balance of the line, “I got no regrets” does not contain the harmony.
All in all, the second pre-chorus basically just did away with the body of the section, leaving the listener with the infectious intro and conclusion. For anyone that couldn’t wait to get back
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Transition Point – Pre-Chorus 2 into Chorus 3: Gomez’s prolonged “ready” vocal coupled with the Indian “eh, eh, eh, eh” is followed by an up-front crack of the snare that ushers in the intense chorus
Chorus-3 (2:33 – 2:57)
The third chorus of the song is basically a carbon copy of the second (and first, for that matter).
Transition Point – Chorus 3 into the Bridge: Right around the second “na na na na” vocal toward the end of the chorus a filter effect is applied to the entire mix except for the lead vocal which takes it from the treble end of the spectrum to the bass end by the final “na.” This results in an “underwater” type of effect with the backing music pushed far to the back of the mix
Bridge (2:57 – 3:34)
Vocals & Primary Instrumentation Featured In The Mix:
Drums-1 (Ethnic – sounds like a tabla (Indian) – mid level within the mix) 10:00 – 12:00 (Primary)
Drums-2 (Electronic “modern Pop” drums – kick, crash cymbal and snare – up front within the mix, especially the snare) Primary around 12:00
Cymbals (“Driving” crash – low/mid level within the mix) Primary around 12:00 but bleeds l/r
Synth-1 (“Warm” and “serine” in nature – low/mid level in the mix) 10:00 – 2:00 (Primary)
Synth Bass (“Fuzzed” in nature – low/mid level within the mix) Primary at 12:00
Synth Effect (The low to high pitch synth that occurs toward the end of the section – mid to up front within the mix) Primary around 12:00
Lead Vocal (Selena Gomez – reverb & delay – up front in the mix) Primary at 12:00
Vibe
Melancholy, hopeful, seductive, sexy
MTI Level
Now that the backing music has been pushed to the back of the mix as described within the
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Vocals
In contrast to most of the other sections within the song, it’s here within the bridge where Selena Gomez really shines with her vocal delivery, doing a fantastic job of bringing each lyric to life with heightened emotion and passion. This is what I mean by “singing it like you mean it” as opposed to just being just a voice that delivers melody.
The only down side is that she’s still singing it in pretty much the same manner that you would expect to hear Rihanna singing it (specifically toward the end), and as a result still doesn’t come across in a “unique” Selena Gomez manner.
Backing Music
Considering that the backing music has been pushed to the back of the mix as mentioned earlier, this enabled Gomez’s evocative vocals to shine front and center.
During the second half of the section around the lyrics “I’ll know,” notice that the filter starts to move back toward the treble end of the spectrum, resulting in the backing music once again moving to the forefront of the mix and taking the MTI level back up with it.
Additionally, notice the low to high pitch synth effect that occurs toward the tail end of the section, peaking during the transition into the chorus that follows. This both heightens the overall intensity as well as provides additional “coloring” as the song transitions into the final chorus of the song.
Overall, once the section is back to “full fidelity,” notice that the nature of the backing music that defines the bridge is very similar to that of the verse sections within the song.
Transition Point – Bridge into Chorus 4: The ethnic “eh, eh, eh, eh” vocal occurs in conjunction with the low to high pitched synth which is then followed by a crack of the snare and Gomez’s “yeah-ah ah” proclamation which is then followed by exploding into the final chorus of the song
Chorus-4 (3:24 – 3:48)
The fourth and final chorus of the song is almost identical to the nature that defined the preceding 3, with the following 2 differences:
The levels of certain instrumentation, most specifically the pitch bending lead synth, is pushed up farther within the mix relative to the preceding choruses, providing it with a slightly more intense nature.
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Harmony and other additional vocals are utilized throughout the entire section. Not only to they provide additional coloring and diversity relative to the preceding chorus sections, but they also do a fantastic job of bringing the “excitement level” of the song to a climax, leaving the listener on a high when the song ends.
End (3:48 – 3:52)
Come & Get It ends in an abrupt manner (which as you know is typical of most chart-topping Pop songs), with the final “na” of the chorus being sung in conjunction with a final kick and crash hit. The crash then rings out for an additional 0:04 until coming to a full conclusion at 3:52.
Song Title / Lyrics / Harmonic Progression Back to Top
Song Title
When gauging the effectiveness of a song’s title, there are a number of factors that you need to consider:
Is it unique & clever?
Does it stand out?
Is it memorable?
Does it pique your interest enough to take a listen to the song?
How does it work within the lyrical framework of the song?
Is it unique & clever? Does it stand out? During the second quarter of the year there were songs that possessed unique, clever and powerful titles that stood out from the pack including My Songs Know What You Did In The Dark (Light Em Up), Radioactive and Blurred Lines.
On the other hand, some songs possessed titles that leaned more towards the universal/generic side that really didn’t capture the listener’s attention as much including I Love It, Scream & Shout and Stay.
I think you would have to agree that Come & Get It is certainly more universal/generic than unique, clever and powerful.
Is it memorable? Even though it’s not the most unique or clever title in the world, Come & Get It is still quite memorable considering its wide use (i.e. it’s not a phrase that’s foreign to you – you’ve heard it many times before) and the law of 3?s (it’s been proven that words and numbers conveyed in groups of 3?s are the easiest to remember).
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Does it pique your interest to take a listen? As a standalone title, Come & Get It does very little to pique the listener’s interest to check out the song. They’re going to think that it either just has to do with “coming to get” a love interest or “coming to get” someone to hook up with. It’s nothing that they haven’t heard before.
On the other hand, when you tie Selena Gomez into the equation and her failed relationship with Justin Bieber, it may certainly pique the listener’s interest to hear what the song is all about predicated that they think she’s singing the song to/for him. This heightens the “soap opera” factor of the song. BUT- you actually need to care about their relationship in the first place for it to work!
Does it work within the lyrical framework of the song? The storyline is completely centered around the title Come & Get It. The verse and pre-chorus provide the perfect storyline build for the “payoff” title lyrics to shine.
Title Occurrences: Come & Get It occurs 12 times within the song, appearing 3 times in each full chorus section as follows:
Stanza 1
When you’re ready come and get it Na na na na Na na na na Na na na na Stanza 2
When you’re ready come and get it Na na na na Na na na na Na na na na
Stanza 3
When you’re re-e-e-e-e-e-eh When you’re re-e-e-e-e-e-eh-eh-eh
Stanza 4
When you’re ready come and get it Na na na na Na na na na Na na na na
Notice that there’s only 1 “proper” lyric line in stanzas 1, 2 and 4 (i.e. excluding the “na
25 / 71 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com na’s“), and that “come and get it” is the focal point of the section (i.e. “when you’re ready…COME AND GET IT“). Additionally, notice that it occurs at the end which accentuates its ability to further resonate within the listener’s head.
STORY FLOW & MEANING
Engaging lyrics that are chock full of imagery, action and emotion coupled with a compelling storyline are paramount to bringing a song to life and engaging the listener on a deep level.
Some songs incorporate all 3, but some hone in on 1 particular area, which is the case with Come & Get It. There is very little (if any) imagery that paints a picture within the listener’s head, and there is very little action as well. What there is, however, is a plethora of emotion. And considering that this is a love/relationship themed song, it gets the job done perfectly.
One of the strongest aspects regarding Come & Get It’s lyrics and accompanying storyline is its universal nature. It can be interpreted as pertaining to the specific artist at hand (i.e. Gomez’s relationship with Justin Bieber), to someone else (Rhianna’s relationship with Chris Brown – which is most likely the case), or to the listener’s own life. This is made possible due to the fact that there isn’t any mention of specific people, dates, places, etc… that would pigeonhole it into a limited array of interpretations.
Additionally, you’ll notice that the story and lyrics aren’t as cryptic as other recent songs that we’ve deconstructed such as Radioactive. For the most part they’re simple and straight forward, perfectly conveying the subject matter at hand.
Chorus
When you’re ready come and get it Na na na na Na na na na Na na na na
As you’ve by now noticed, Come & Get It kicks off with the chorus as opposed to the verse. So instead of providing the listener with the background to the story in the verse and pre-chorus that would enable the lyrics in the chorus to make more sense, the listener is initially kept in the dark regarding what “it” is in the title “Come & Get IT,” which is quite clever.
Is “it” love? Is “it” sex? Is “it” something else? You don’t know, and the result is that it piques your curiosity and hooks you into the song because you want to find out what “it” is.
What most people would initially assume, however, is considering Gomez’s recent breakup with Justin Bieber that “it” is Gomez and the love that she has for him.
When you finish reading all of the lyrics within the song, however, it makes more sense that “it” is Rihanna and the guy that she wants back is Chris Brown.
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Verse-1
You ain’t gotta worry, it’s an open invitation I’ll be sittin’ right here, real patient All day, all night, I’ll be waitin’ standby Can’t stop because I love it, hate the way I love you All day, all night, maybe I’m addicted for life, no lie
Line 1: You ain’t gotta worry, it’s an open invitation
This ties right into the “when you’re ready” lyrics within the chorus. She’s stating that there is no pressure (i.e. “you ain’t gotta worry”), so whenever he’s “ready” the “invitation” is there for him to come back to her.
Line 2: I’ll be sittin’ right here, real patient Line 3: All day, all night, I’ll be waitin’ standby
These lines imply that she’s going to wait as long as it takes for him to come back to her.
Line 4: Can’t stop because I love it, hate the way I love you
This is a pretty powerful line considering that it provides the listener insight into the fact she wishes that she wasn’t so completely enamored with him to a point where she “can’t stop” waiting for him to come back to her. She’s paralyzed and can’t move on.
Line 5: All day, all night, maybe I’m addicted for life, no lie
Getting back to the “all day, all night” premise that was established on line 3, she admits that she’s going to wait around as long as it takes because maybe “he’s the one” (i.e. “addicted for life“).
Additionally, notice the potency of the lyrics “addicted for life, no lie.” This is the first indication that this just might not be the healthiest of relationships. She loves him so much that it seems like an addiction. Notice how this is further put into context in the bridge where she proclaims that this love could be “the death of her.”
Pre-Chorus
I’m not too shy to show I love you, I got no regrets I love you much too, much to hide you. This love ain’t finished yet This love ain’t finished yet So baby whenever you’re ready
Line 1: I’m not too shy to show I love you, I got no regrets
This line can refer to her being able to express herself in a sexual manner behind closed doors
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Additionally, the phrase “I got no regrets” is an important one considering that it indicates that she wouldn’t have done anything any other way, either while in the relationship, after it ended or both.
Line 2: I love you much too, much to hide you. This love ain’t finished yet
Here she’s stating that she doesn’t want to keep this relationship a secret considering the level of love that she has for this guy. The line that follows, “this love ain’t finished yet,” is self explanatory – there’s still more to come for the couple (and it seems whether he likes it or not). This point is then reiterated in line 3 that follows.
As a side note for those of you who are familiar with the nature of Rihanna’s relationship with Chris Brown, the 2 lines above seem to fit perfectly. Considering what he did to her, she still loves and wants to be with him, and has no desire to keep it a secret. Additionally, she has no regrets about making it public, despite what people may think.
It gives even more credence to the fact that this song was specifically written with Rihanna in mind, and may be another one of the reasons why Gomez didn’t deliver the vocals with all that much conviction. It wasn’t about her.
Line 4: So baby whenever you’re ready
This line is exceptionally important for a number of reasons:
It encapsulates everything that she’s been conveying up until this point. She loves him more than anything and as a result will wait “patiently” until he comes back to her (hence the “whenever you’re ready” phrase).
It provides the perfect lead in to the payoff that follows in the chorus. “So baby when ever you’re ready…come and get it.”
The manner in which its sung (refer to the vocal melody section of the report for specifics), heightens the tension and anticipation leading into the chorus that follows.
Verse-2
You got the kind of love that I want, let me get that Baby once I get it, I’m yours no take backs Gonna love you for life, I ain’t leaving your side Even if you knock it, ain’t no way to stop it Forever you’re mine, baby I’m addicted, no lie, no lie.
Line 1: You got the kind of love that I want, let me get that
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As a whole this line is very simplistic and straight forward – it’s his love that she wants and she’s going to get it back. Take note, however, of the lyric “kind.” This is important in the sense that it establishes that there is something special about the type love that she wants from him – whether it’s caring, friendship, sex or all of the above.
Line 2: Baby once I get it, I’m yours no take backs
This line ties directly into the “maybe I’m addicted for life” line in the first verse as well as the “gonna love you for life…” line that follows in the second verse. Bottom line – once he comes back to her, that’s it – it’s for life.
Line 3: Gonna love you for life, I ain’t leaving your side
This line expresses the degree of love that she feels for him. The fact that she is going to love him “for life” indicates that he’s the one and only. The fact that she “ain’t leaving his side” reiterates the point.
Line 4: Even if you knock it, ain’t no way to stop it
Here we see that even if he’s not into the idea of getting back together, it doesn’t matter because IT’S GOING TO HAPPEN (i.e. “ain’t no way to stop it”), which is kind of scary. She’s going to wait around as long as it takes as was depicted in the first verse, or she may winding up doing something proactively to get the ball rolling. This ties into the intense “addiction” natured love that he feels for this guy.
Line 5: Forever you’re mine, baby I’m addicted, no lie, no lie.
Here once again we have 2 potent themes going on:
Forever (note that this has also been expressed via the lyric “life” within the song).
Addicted (this was initially established in the first verse)
Additionally, once again take note of the lyrics “no lie.” This puts increased emphasis and potency on the preceding lyrics “forever you’re mine, baby I’m addicted”).
Bridge
This love will be the death of me But I know I’ll die happily I’ll know, I’ll know, I’ll know Because you love me so… yeah!
The first line is very interesting and powerful – “this love will be the death of me.” Why will it be the death of her? Maybe he’s not a good guy. Maybe she’ll have no peace because she’ll always be afraid that he’ll leave. Maybe she knows that “addictions” kill. But it doesn’t matter,
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In A Nutshell
This is a story about a woman who is infatuated with a guy to a point where it’s an addiction. She KNOWS that he’s going to come back (whether or not he knows it is another story), and she’s going to wait around as long as it takes. When he does come back she’s never letting go. She knows that this is probably not the most healthy relationship for her to be in and could be her undoing, but it doesn’t matter, so long as she has his love.
Who Is It About?
Even though Selena Gomez stated in an interview on On Air With Ryan Seacrest that this song was not about Justin Bieber or anyone in particular, it still can and most likely will be interpreted as such by her fans, which in turn will lead to more “curiosity” listens. Remember – drama and intrigue sells!
More realistically, however, is that this song was written about Rihanna’s relationship with Chris Brown. Not only does it fit perfectly, but remember that it was written by Rihanna’s hitmakers Ester Dean and Stargate.
The Missing Link
The only downside to this story is that it’s very one sided. We know that SHE wants to get back together with him, but we haven’t really learned anything about HIM or THEIR relationship. For example:
You got the kind of love that I want
This was the perfect opportunity to have an additional line give us some insight into what it is about this guy that makes her so enamored with him This would have taken the overall story to the next level.
Even if you knock it
Why would he knock it? What happened that would cause him not to want to go back to her? Being vague is good in the sense that it makes the listener think and lends itself to being more universal in nature. HOWEVER, you need to give the listener something to cause them to have more of an emotional interest in the story.
Even just a line or 2 would have provided the story with increased depth and as a result increased engagement factor for the listener.
Lyrics / Harmonic Progression / Word & Syllable Count
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Key (*): Indicates a chord that occurs before the beginning of the line (**): Indicates a chord that occurs on the rest preceding the highlighted lyric Blue Font On Lyric: Indicates where the chord change takes place (Parethesis): Indicates a chord that carries over from the previous line
CHORUS
First Stanza
*Gm – B-flat (7 words / 8 syllables) When you’re ready come and get it
E-flat (4 words / 4 syllables) Na na na na
Cm (4 words / 4 syllables) Na na na na
Gm (4 words / 4 syllables) Na na na na
Second Stanza
(Gm) – B-flat (7 words / 8 syllables) When you’re ready come and get it
E-flat (4 words / 4 syllables) Na na na na
Cm (4 words / 4 syllables) Na na na na
Gm (4 words / 4 syllables) Na na na na
Third Stanza
(Gm) – B-Flat (3 words / 8 syllables) When you’re re-e-e-e-e-e-eh-h
(B-flat) – E-flat – Cm (3 words / 13 syllables) When you’re re-e-e-e-e-e-eh-h-eh-h-eh
Fourth Stanza
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*Gm – B-flat (7 words / 8 syllables) When you’re ready come and get it
E-flat (4 words / 4 syllables) Na na na na
Cm (4 words / 4 syllables) Na na na na
Gm (4 words / 4 syllables) Na na na na
VERSE-1
(Gm) – B-flat – E-flat (8 words / 14 syllables) You ain’t gotta worry, it’s an open invitation
(Gm) – B-flat – E-flat (6 words / 9 syllables) I’ll be sittin’ right here, real patient
(Cm) – Gm – B-flat (8 words / 10 syllables) All day, all night, I’ll be waitin’ standby
(B-flat) – E-flat – Cm (12 words / 13 syllables) Can’t stop because I love it, hate the way I love ya
(Cm) – Gm – B-flat – E-flat – Cm (11 words / 14 syllables) All day, all night, maybe I’m addicted for life, no lie
PRE-CHORUS-1
B-flat – E-flat – Cm – Gm (13 words / 14 syllables) I’m not too shy to show I love you, I got no regrets
(Gm) – B-flat – E-flat – Cm – Gm (14 words / 15 syllables) I love you much too, much to hide you. This love ain’t finished yet
(E-flat) – Cm – Gm (5 words / 6 syllables) This love ain’t finished yet
*Em – B-flat (5 words / 9 syllables) So baby whenever you’re ready
*Note: Pre-Chorus-2 bypasses the second and third lines of the section and instead goes right into “so baby whenever you’re ready” line).
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VERSE-2
(Gm) – B-flat – E-flat (13 words / 13 syllables) You got the kind of love that I want, let me get that
(Gm) – B-flat – E-flat (10 words / 11 syllables) Baby once I get it, I’m yours no take backs
(Cm) – Gm – B-flat (10 words / 12 syllables) Gonna love you for life, I ain’t leaving your side
(B-flat) – E-flat – Cm (11 words / 12 syllables) Even if you knock it, ain’t no way to stop it
(Cm) – Gm – B-flat – E-flat – Cm (10 words / 15 syllables) Forever you’re mine, baby I’m addicted, no lie, no lie.
BRIDGE
(E-flat5) – Cm (8 words / 8 syllables) This love will be the death of me
*Gm – F (6 words / 8 syllables) But I know I’ll die happily
*E-flat – Cm (6 words / 6 syllables) I’ll know, I’ll know, I’ll know
*Gm – Fsus4 (6 words / 7 syllables) Because you love me so… yeah!
LYRIC TYPES This section highlights the types of lyrics and phrases used throughout each section of the song. Notice that some of the lyrics and phrases appear in more than one category.
Imagery, Detail, Place & Time Based Lyrics & Phrases: (These lyrics “paint a picture” in your head, describe what’s happening and establish the place and time within the story)
Verse 1
I’ll be sittin’ right here, real patient (place – wherever it may be)
I’ll be sittin’ right here, real patient (alludes to time)
All day, all night, I’ll be waitin’ standby (time)
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All day, all night, maybe I’m addicted for life, no lie (time)
Verse 2
Gonna love you for life, I ain’t leaving your side (time)
Forever you’re mine, baby I’m addicted, no lie, no lie (time)
Pre-Chorus
So baby whenever you’re ready (time)
Chorus
When you’re ready come and get it (time)
Bridge
None
Emotional/State Of Mind Based Lyrics and Phrases: (These lyrics and phrases shed light on the character’s state of mind and convey emotion –either directly or indirectly- enabling you to connect with what the characters are feeling or going through on an emotional level within the story)
More than anything, Come & Get It is emotional in nature. The following lyrics and phrases convey the emotion either directly or indirectly. Examples include:
Verse-1
You ain’t gotta worry, it’s an open invitation
Can’t stop because I love it, hate the way I love you
Verse-2
You got the kind of love that I want, let me get that
Baby once I get it, I’m yours no take backs (“it” refers to “love”)
Gonna love you for life, I ain’t leaving your side
Even if you knock it, ain’t no way to stop it
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Forever you’re mine, baby I’m addicted, no lie, no lie.
Pre-Chorus
I’m not too I’m not too shy to show I love you, I got no regrets.
I love you much, too much to hide you. This love ain’t finished yet
This love ain’t finished yet
Bridge
This love will be the death of me
But I know I’ll die happily
Because you love me so… yeah!
Action Based Lyrics & Phrases: (These lyrics get you into what the characters within the story have done, are doing or will do)
Verse 1
I’ll be sittin’ right here, real patient
All day, all night, I’ll be waitin’ standby
Verse 2
You got the kind of love that I want, let me get that (implies future action)
Pre-Chorus
None
Chorus
When you’re ready come and get it (implies future action)
Bridge
But I know I’ll die happily (implies the action of dying)
Character/Person Based Lyrics & Phrases (Including Pronouns): (These lyrics show how all of the characters within the story are defined)
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Come & Get It fluctuates between the first and second person.
Red Font: 1st Person Blue Font: 2nd Person Green Font: 3rd Person Bold Black: Specific person, group or nickname
CHORUS
When you’re ready come and get it Na na na na Na na na na Na na na na
When you’re re-e-e-e-e-e-eh When you’re re-e-e-e-e-e-eh-eh-eh
VERSE-1
You ain’t gotta worry, it’s an open invitation I’ll be sittin’ right here, real patient All day, all night, I’ll be waitin’ standby Can’t stop because I love it, hate the way I love you All day, all night, maybe I’m addicted for life, no lie
PRE-CHORUS
I’m not too shy to show I love you, I got no regrets I love you much, too much to hide you. This love ain’t finished yet This love ain’t finished yet So baby whenever you’re ready
VERSE-2
You got the kind of love that I want, let me get that Baby once I get it, I’m yours no take backs Gonna love you for life, I ain’t leaving your side Even if you knock it, ain’t no way to stop it Forever you’re mine, baby I’m addicted, no lie, no lie.
BRIDGE
This love will be the death of me But I know I’ll die happily
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I’ll know, I’ll know, I’ll know Because you love me so… yeah!
Rhyming & Repetitive Lyrics The highlighted lyric indicates the “rhymer.” In some cases it’s a full lyric, and in other cases it may be just one letter or syllable. And in some cases its just the manner in which the lyrics are sung.
Notice that certain sections contain “rhymers” that both tie individual lines together as well as certain phrases within individual lines as well. Together, they do a fantastic job of accentuating the memoarbiltity factor for the listener.
Verse 1
The last lyric on lines 1 & 2: invitation / patient
Night & standby on line 3: All day, all night, I’ll be waitin’ standby
Night, life and lie on line 5: All day, all night, maybe I’m addicted for life, no lie
Verse 2
The last lyric on lines 1 and 2: that / backs
Life & side on line 3: Gonna love you for life, I ain’t leaving your side (notice the similar nature to line 3 in the first verse)
It & It on line 4: Even if you knock it, ain’t no way to stop it
Mine, lie & lie on line 5: Forever you’re mine, baby I’m addicted, no lie, no lie (Again, notice the similar nature to the first verse)
Pre-Chorus
The last lyric on lines 1 & 2: regrets/yet
The repetition of to on line 1
The repetition of you and much on line 2
The repetition of the back to back line this love ain’t finished yet
The last lyric on lines 3 and 4: yet and ready “Baby” and “ready” on line 4
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Additionally, regarding the “in-line” rhyming/repetition that occurs on lines 1 and 2, notice that it occurs during the first part of each line (e.g. “I love you much too, much too hide you”), and the second (last) part of each line provides a departure (e.g. “this love ain’t finished yet”). Notice however that the last part of each line features the line to line “rhymer” as mentioned earlier.
Chorus
The repetition of the na, na, na, na vocal.
Bridge
The last lyric on lines 1 and 2: me / happily
I’ll know repeats 3 times in a row on line 2
The last lyric on line 2 and 3 (excluding the yeah): know / so
The Vocal Melody Back to Top
In addition to strong, effective lyrics and evocative backing music, what really hooks the listener into a song is an infectious, engaging and memorable vocal melody, hopefully delivered in compelling manner.
In the case of Come & Get It, there were a number of methods employed from section to section to achieve this, including:
Short Phrases / Segmenting (i.e. the “phone number” method”)
Enables the melody to easily connect and get engrained within the listener’s head (e.g. na na na na na na na na na na na na)
Simplicity (K.I.S.S.)
For the most part the vocal melody within Come & Get It airs on the simplistic side (e.g. its monotone nature and step progressions). It’s not overly “artsy,” which would make it tough to
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Repetition
Various methods of repetition were utilized within the vocal melody throughout the song to help get it engrained within the listener’s head including:
In-line Repetition: Progressions and or rhythms on certain lines repeat in the same exact manner within a section (e.g. na na na na / na na na na / na na na na within the chorus).
In-Section Repetition: Entire lines or stanzas within a section that repeat in the same manner (e.g. stanzas 1, 2 and 4 within the chorus).
Cross-Sectional Repetition: Full sections repeat in the same, or close to the same manner (e.g. choruses 1, 2, 3 and partially 4).
Diversifiers & Color Adders
Specific phrases, lyrics or even syllables that worked to increase the infectious nature of a section as well as break up the monotony of the repetition.
Section / Song Defining Moments & Clever Phrasing
The manner in which specific phrases or lyrics are sung that takes the song from good to GREAT (e.g. the “na na na na” and “ready” factors within the chorus).
GRAPHICAL KEY Blue Line: Lead Vocal Melody Red Diamond: Rest Black Diamond: Half & Dotted Half Blue Diamond: Quarter & Dotted Quarter Green Diamond: Eighth & Dotted Eighth Yellow Diamond: Sixteenth Note (*) Indicates the notes within lyrics that have been “stretched” past their normal syllable count (/) Divides each individual segment within a line (via a rest or a prolonged note)
Flats (not depicted in the graphs): B-flat & E-flat
CHORUS
1st, 2nd & 4th Stanzas
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3rd Stanza
Line Reference
1st Stanza
Line 1: When you’re ready come and get it Line 2: Na na na na , Na na na na, Na na na na
2nd Stanza
Line 1: When you’re ready come and get it Line 2: Na na na na , Na na na na, Na na na na
3rd Stanza
Line 1: When you’re re-e-e-e-e-e-eh Line 2: When you’re re-e-e-e-e-e-eh-eh-eh
4th Stanza
Line 1: When you’re ready come and get it Line 2: Na na na na , Na na na na, Na na na na
Vocal Range High: G Low: G
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Vocal Melody Structure
STANZAS 1, 2 & 4
Line 1: When you’re ready come and get it
Word/Syllable Count: 7 words, 8 syllables
Progression: G – G – G – G – G – G – G – F
Rhythm: Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth
Segmenting Method: Eighth Rest
Line 2: Na na na na / Na na na na / Na na na na
Word/Syllable Count: 12 words, 12 syllables
Progression: D – C – B-flat – G (each segment)
Rhythm: Quarter – Eighth – Quarter – Quarter (each segment)
Segmenting Method: Eighth-Rest (each segment)
STANZA 3
Line 1: When you’re re-e-e-e-e-e-eh
Word/Syllable Count: 3 words, 8 syllables
Progression: G – G – *G – *G – *G – *G – *G – *F – *D – *C
Rhythm: Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Quarter – Quarter
Segmenting Method: Eighth Rest
Line 2: When you’re re-e-e-e-e-e-eh-eh-eh
Word/Syllable Count: 3 words, 9 syllables
Progression: G – G – *G – *G – *G – *G – *G – *F – *D – *C – *D – *C – *D
Rhythm: Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Quarter – Quarter – Quarter – Quarter – Quarter
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Segmenting Method: Eighth-Rest
As you’ve by now noticed, the nature of the vocal melody within Come & Get It’s chorus is exceptionally infectious, engaging & memorable.
This was made possible by utilizing a combination of “melody hit factors” including adherence to the K.I.S.S. principal (i.e. keeping it simple and singable), ample repetition, short phrases, clever phrasing, melodic coloring, diversifying factors, and of course the “na na na na”/”ready” factors.
It’s no wonder why 41% of the song’s total composition was dedicated to the chorus!
K.I.S.S.
Each stanza within the section is quite simplistic in nature. Notice that there aren’t any “vocal acrobatics” going on that would preclude each line from easily connecting with the listener. On the contrary, aside from the “na na na na” vocal the majority of the section is conveyed in a monotone manner. The jist of the section is as follows:
Each stanza kicks off with a monotone G delivery utilizing all eighth notes.
Each monotone natured delivery is then followed by a downward progression defined by a step or a step and a half.
Phrase Length & Segmenting
The method in which you divide up segments (phrases/lines) within a section is paramount to fostering engagement and memorability for the listener. Think about it in terms of a phone number – it’s easier to remember 212-555-1212 than 2125551212.
Segment flow throughout the section
Stanza 1: Long – short, short, short
Stanza 2: Long - short, short, short
Stanza 3: Long – Long
Stanza 4: Long – short, short, short
Segmenting method
Notice that each segment is segmented from one another via an eighth rest. This gives the listener that brief moment to have each segment sink in.
Stanzas 1,2 and 4
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Notice that there are 4 segments within each stanza:
Segment 1: When you’re ready come and get it
Segment 2: na na na na
Segment 3: na na na na
Segment 4: na na na na
Notice that the first segment is basically double the length of the other segments (7 words, 8 syllables vs. 4 words, 4 syllables). So the flow that you have throughout each of these stanzas is LONG – short, short, short. It’s this infectious combination coupled with the repetition across stanzas that enables the flow to get stuck within the listener’s head.
Additionally, even though the first segment is basically double the length of the others, notice that it consists of all eighth notes which enables it to roll right off your tongue as one continuous phrase . There’s no sub-segmenting or change in timing that would detract from the effectiveness of the flow.
Stanza 3
The third stanza, which is the “departure” within the section, consists of 2 longer segments, each consisting of 3 words and 8/9 syllables each.
Repetition
In-Stanza Repetition
The 3 “na na na na’s” repeat back-to-back in the same exact manner within stanzas 1, 2 and 4.
The 2 phrases in the third stanza repeat in the same exact manner except at the tail end of the second phrase where a D – C – D extension is added via the lyrics “eh-h- oh.”
Cross Stanza Repetition
Stanzas 1, 2 and 4 repeat in the same exact manner.
Cross Sectional Repetition
Choruses 1, 2 & 3 repeat in the same exact manner. This is also the case with the fourth chorus as well, though there are some “embellishments” that were added, specifically Gomez’s vocal harmony in spots.
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The Sectional Diversifier: Stanza 3
Considering that stanzas 1, 2 and 4 repeat in the same exact manner, the third stanza provides some much needed diversity to the section as a whole. Without that diversity the section would become way too repetitive and result in the listener starting to lose interest and tune out. There is such a thing as “too much of a good thing!”
What follows are the similarities & differences between the third stanza and the other stanzas within the section. The similarities keep the “familiarity factor” intact resulting in increased memorability for the listener, while the differences heighten the engagement factor.
Similarity to the other stanzas
Notice that it starts out in the same manner as the other 3 stanzas, utilizing a monotone G eighth note delivery followed by a downward progression (F – D – C vs. F – D – C – B-flat – G in the other stanzas).
Differences compared to the other stanzas
While stanzas 1, 2 and 4 have 4 phrases (“when you’re ready come and get it” + the 3 “na na na na’s”), the third stanza only has 2.
Even though each phrase follows a downward progression following the monotone start, the third stanza only progresses down to C, where the other stanzas continue downward via B-flat and G.
Additionally, regarding the monotone / downward progression flow as mentioned above, notice that in the third stanza it all occurs in a single phrase, where in the other stanzas the first phrase is sung primarily in a monotone manner, and the 3 “na na na na” phrases that follow progress downward.
Section/Song Defining Moments & Clever Phrasing
Singing a particular lyric in a unique manner will add increased “color” to a section as a whole as well as take the overall engagement & memorability factor for the listener to the next level.
In some cases, it also becomes a song defining moment, giving the song that extra something to take it from good to great. This was the case in Come & Get It via the lyric “ready” and especially the “na na na na’s.”
“Ready”
The first time around, “ready” is “stretched out” via a stuttered G – G – G – G – G – F – D – C progression utilizing Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Quarter – Quarter timing.
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The second time around, it’s initially “stretched out” in the same manner as the first (there’s your repetition), but at the end it diversifies via the additional D – C – D “eh – h – oh” lyrics, which ends the stanza on a very infectious note.
“Na Na Na Na”
What does the lyric “na” mean? Absolutely nothing, and that’s the beauty about it. “Na,” along with “whoa,” “oh” and others of the same ilk take the infectious nature of a section to the next level for the listener if sung in an engaging, simplistic manner. Just go to any sports event and you’ll hear “na na na na / na, na, na, na / hey, hey, hey / good bye” for good reason!
So in the case of Come & Get It, we have 3 successive “na na na na’s” that occur in stanzas 1, 2 and 4, all utilizing the same simplistic D – C – B-flat – G progression and Quarter – Eighth – Quarter – Quarter timing.
Combined, “ready” and “na na na na” provide the listener with that extra special element that puts the song over the top. Without them, the song as a whole wouldn’t have had nearly as much impact.
VERSE
Lines 1 & 2
Lines 3 & 4
Line 5
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*Note: The melody graph above reflects verse-1
Line Reference
Line 1: You ain’t gotta worry, it’s an open invitation Line 2: I’ll be sittin’ right here, real patient Line 3: All day, all night, I’ll be waitin’ standby Line 4: Can’t stop because I love it, hate the way I love ya Line 5: All day, all night, maybe I’m addicted for life, no lie
Vocal Range High: F Low: B-flat
Vocal Melody Structure – Verse-1
Line 1: You ain’t gotta worry it’s an open invitation
Word/Syllable Count: 8 words, 14 syllables
Progression: D – D – D – D – D – D – D – D – D – C – C – B-flat – C – B-flat
Rhythm: Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Eighth – Quarter – Quarter
Segmenting Method: Half Rest
Line 2: I’ll be sittin’ right here real patient
Word/Syllable Count: 6 words, 9 syllables
Progression: D – D – D – D – F – D – C – C – B-flat
Rhythm: Quarter – Quarter – Eighth – Eighth – Quarter – Quarter – Quarter – Quarter – Quarter
Segmenting Method: Half Rest
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Line 3: All day / all night / I’ll be waitin’ standby
Word/Syllable Count: 8 words, 10 syllables
Progression Segments: D – D / D – D / D – D – D – D – D – D
Rhythm Segments: Quarter – Quarter / Quarter – Quarter / Eighth – Eighth – Eighth – Eighth – Quarter – Quarter
Segmenting Method: Quarter Note
Line 4: Can’t stop because I love it / hate the way I love ya
Word/Syllable Count: 12 words, 13 syllables
Progression: D – E-flat – E-flat – E-flat – E-flat – E-flat – C // E-flat – E-flat – E-flat – E- flat – E-flat – C
Rhythm: Eighth – Quarter – Eighth – Eighth – Eighth – Eighth – Eighth Quarter – Eighth – Eighth – Eighth – Eighth – Eighth
Segmenting Method (end of line): None (eighth-note)
Line 5: All day / all night / maybe I’m addicted for life / no lie
Word/Syllable Count: 11 words, 14 syllables
Progression: D – D / D – D // E-flat – E-flat – E-flat – E-flat – E-flat – C – E-flat – C / C – B-flat
Rhythm: Quarter – Quarter / Quarter – Quarter Quarter – Eighth – Eighth – Eighth – Eighth – Eighth – Quarter – Dotted Half / Quarter – Dotted Half
Segmenting Method (end of line): Quarter Rest
As with the chorus, the verse is also built on the premise of simplicity and repetition that enables the listener to easily connect, get engaged and remember.
Additionally, take note of the use of familiarity and diversifying factors throughout the section which enables the melody to get engrained within the listeners head without causing them to get bored and lose interest (i.e. too much of the same thing).
Line 1: You ain’t gotta worry, it’s an open invitation
First, notice that line 1 is a mouthful, consisting of 8 words/14 syllables. Notice that there isn’t any segmentation being utilized within the actual line to create shorter phrases as is the
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Second, notice that line 1 opens up with a monotone natured delivery similar to that of the chorus utilizing an eighth-note rhythm:
“You ain’t gotta worry, it’s an o-”
Notice the change up that occurs at the tail end of the line which provides it with its “coloring” and diversity, heightening its infectious nature:
“O-pen”
Drops a step from D to C utilizing an eighth note delivery.
“in-vi-ta-tion”:
Initially drops another step from C to B-flat utilizing an eighth note delivery before repeating the C – B-flat pattern with a slightly more prolonged quarter note timing.
Line 1 is then segmented from line 2 via a half rest, which gives the listener ample time to process the preceding line and have it sink in. Additionally, notice that there is a delay effect on “-tation” that repeats 3 times before completely fading at the onset of line 2. This also does a great job of adding “color” to the line as well.
Line 2: I’ll be sittin’ right here, real patient
Notice that line 2 possesses a very similar nature to line 1 but differs in certain key areas as well. As a result, the line has a “familiar” nature to line 1 which enhances the memorability factor while at the same time changing things up just enough to keep the infectious, engaging nature of the section intact:
Differences to line 1
As opposed to the eighth note delivery that kicked off the monotone D vocal on line 1, line 2 starts off with a quarter note rhythm on the lyrics “I’ll be,” which is then followed by 2 eighth notes on the lyric “sit-tin’.”
What follows is the key “color adder” of the line. Instead of continuing on with a monotone D delivery as was the case in the first line, the vocal instead jumps up from D to F on the lyric “right,” which possesses a quarter note value and is followed by dropping back down to D. This “jump,” as quick as it is, does a fantastic job of taking the infectious nature and engagement value for the listener to the next level. If it was just the same monotone D delivery as on the preceding line, it wouldn’t have had nearly as much impact.
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Line Ending
Notice that lines 1 and 2 end in the same manner, utilizing a C – B-flat progression and Quarter – Quarter timing. That, coupled with the rhyming nature of the lyrics does a great job in accentuating the memorability factor for the listener.
Line 3: All day, all night, I’ll be waitin’ standby
In contrast to the 2 preceding lines, notice that line 3 is sung entirely with a monotone D delivery. What makes it so infectious, however, is the nature of the rhythm coupled with the manner in which the line is internally segmented.
Phrase Length & Segmenting
Segment 1: All day
Segment 2: all night
Segment 3: I’ll be waitin’ stand by
In effect what we have is a short – short – long progression which makes it easy for the listener to connect with and process. Additionally, notice that the first 2 segments don’t utilize a rest to provide the segmenting as we’ve seen before. Instead, “all day,” “all night,” and “stand by” consist of quarter note timing that provides them with a prolonged nature.
Rhythm
Put into layman’s terms, the rhythm that defines each segment within line 3 can be characterized as slow - slow – fast – slow (quarter notes – quarter notes – eighth notes – quarter notes). This pattern, coupled with the associated segmenting effects creates an exceptionally infectious run that easily gets engrained within the listener’s head. It just goes to show that a vocal melody doesn’t necessarily need to rely on just the notes to create an infectious section. The rhythm can do just the same.
Line 4: Can’t stop because I love it, hate the way I love ya
The first thing to notice is that with the exception of the 2 lyrics that conclude each segment (“it” and “ya”), and the first lyric on the line (“Can’t”), the entire line is sung with a monotone E-flat delivery with a primarily eighth note rhythm. Notice that it’s a step above the monotone D delivery that defined the preceding line.
By going up a step it provides both diversity from the preceding line and also accentuates the emotional factor as well, considering that people’s voices tend to go up in pitch when they’re emotional. In this case we have the emotional lyrics “love” and “hate” as the focal point within both lines.
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The diversity within the line, which also gives it its “coloring,” stems from the following:
“Can’t,” “it,” and “ya”
Notice that the first lyric on the line, “can’t,” is a D, which is the same as what defined the entire preceding line. The balance of the line from this point forward resides primarily in E-flat with a couple of dips down to C.
The last 2 lyrics of each segment drop down to C, the first of which along with the eighth rest that follows both provides diversity and segmenting from the phrase that follows.
The 2 quarter notes
Notice that the lyrics “stop” in the first segment and “hate” in the second both possess quarter note timing, which provides contrast to all of the other lyrics within the line that utilize an eighth note rhythm. As was the case on line 3 that preceded it, it’s the infectious nature of the rhythm, as subtle that it may be in this case, that makes the line so infectious.
Repetition
Last, but certainly not least, notice that both segments (phrases) within the line repeat in almost the exact same manner, accentuating the memorability factor.
Line 5: All day, all night, maybe I’m addicted for life, no lie
What’s great about the fifth and final line is that it utilizes elements within its framework from all of the preceding lines, concluding the section by providing the listener with a “recap” so to speak that will stick within their head:
First, notice that the line is comprised of 3 individual segments:
Segment 1: All day, all night
Segment 2: Maybe I’m addicted for life
Segment 3: No lie
Segment 1: All day, all night
Directly following the mostly monotone natured E-flat delivery that defined line 4 that preceded it, line 5 initially reverts back to the same quarter note D delivery and lyrics that kicked off line 3.
Segment 2: Maybe I’m addicted for life
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Notice that the first 3 lyrics on the line, “maybe I’m addicted,” possesses the same progression and rhythm as the second segment of line 4 (“hate the way I love ya”).
Additionally, notice that the lyric “for” provides a bump up to E-flat sandwiched between 2 C’s and possesses a quarter note value. This is very similar to the “coloring” effect used on line 2 on the lyric “right,” which bumped up to a quarter note F, sandwiched between to D notes.
Segment 3: No lie
The final segment of the line concludes in the same manner that both lines 1 and 2 concluded via a C – B-flat progression utilizing a prolonged note value (in this case quarter – dotted half).
Additionally, you might have initially thought that the line was going to end on the lyric “life” considering its prolonged nature and being a C note relative to the preceding lyric. As a result, “no lie” comes across as a “tack on” to the section, but is paramount to the overall storyline as was discussed within the lyric section earlier.
Verse 1 vs. Verse 2
For the most part, the vocal melody that defines verses 1 and 2 is exceptionally similar in nature to one another, possessing just some minor timing and note variations. The 2 more “pronounced” change ups are as follows:
The vocal/synth effect that occurs around the lyrics “get that.” Notice however that the same delay effect that was utilized on corresponding lyric in the first verse, “invitation.” is used here as well.
There’s a vocal harmony that occurs on the lyrics “even if you knock it, ain’t no way to stop it” and “no lie, no lie.” Note that this was not present in the first verse.
All in all, verse 2 keeps the format of verse 1 pretty much intact which accentuates the memorability factor while also providing diversity to keep things fresh and engaging for the listener.
PRE-CHORUS
Line 1
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Line 2
Lines 3 & 4
Line Reference
Line 1: I’m not too shy to show I love you, I got no regrets Line 2: I love you much too, much to hide you, this love ain’t finished yet Line 3: This love ain’t finished yet Line 4: So baby whenever you’re ready
Vocal Range High: F Low: E-flat
Vocal Melody Structure
Line 1: I’m not too shy / to show I love you / I got no regrets
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Word/Syllable Count: 13 words, 14 syllables
Progression: E-flat – E-flat – C – C / C – E-flat – E-flat – E-flat – C / E-flat – E -flat- F – E-flat – D
Rhythm: Eighth – Quarter – Quarter – Quarter / Eighth – Eighth- Quarter – Quarter – Quarter / / Eighth – Quarter – Quarter – Quarter – Dotted Quarter
Segmenting Method (end of line): Dotted Half Rest
Line 2: I love you much too / much to hide you / this love ain’t finished yet
Word/Syllable Count: 14 words, 15 syllables
Progression: C – E-flat – E-flat – C – C / E-flat – E-flat – E-flat – C / C – E-flat – E-flat – F – *E-flat – *D
Rhythm: Eighth – Eighth – Quarter – Quarter – Quarter / / Eighth – Quarter- Quarter – Quarter / Eighth – Eighth – Quarter – Quarter – Quarter – Dotted Quarter
Segmenting Method (end of line): 2 Whole Rests + Half Rest
Line 3: This love ain’t finished yet
Word/Syllable Count: 5 words, 6 syllables
Progression: C – E-flat – D – C – B-flat – *B-flat – *G
Rhythm: Eighth – Quarter – Eighth – Quarter – Eighth – Dotted Half
Segmenting Method (end of line): 2 Whole Rests
Line 4: So baby whenever you’re ready
Word/Syllable Count: 5 words, 9 syllables
Progression: B-flat – D – C – D – D – E-flat – E-flat – E-flat – D
Rhythm: Eighth – Eighth – Eighth – Quarter – Eighth – Eighth – Quarter – +2Whole
Line 1: I’m not too shy to show I love you, I got no regrets
First, notice that the line is broken into 3 short segments, which as you know makes it easier for the listener to absorb and remember:
Segment 1: I’m not too shy
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Segment 2: to show I love you
Segment 3: I got no regrets
Notice that the first 2 segments are very similar to one another from a progression standpoint, fluctuating between E-flat and C. Even though they’re not exact carbon copies of one another, the similarities between the 2 heighten the engagement level and foster memorability for the listener.
Now, notice what happens in the third segment. It starts out in the same manner as the first segment via an E-flat – E-flat progression with eighth – quarter timing, but instead of dropping back down to C, it climbs up to F before following a downward progression via E-flat and D to conclude the line.
So – this segment is both familiar to the listener due to its similar nature to the preceding segments (i.e. E-flat – E-flat), but provides infectious diversity as well via the F – E-flat – D conclusion.
Line 2: I love you much too, much to hide you, this love ain’t finished yet
As you can see in the graphs above, with some very minor differences the general nature of lines 1 and 2 are virtually identical to one another.
Segmentation
I love you much too
much too hide you
this love ain’t finished yet
The key thing to take note of here is the clever manner in which the lyrics are arranged and segmented:
I love you much too, much to hide you
“I love you much too much to hide you” is a that’s a mouthful to say. What they did to make the line more effective was to put the “segmentor” (i.e. the eighth rest) after the lyric “too” to break the line up. It’s an oddly phrased line, but it works.
Additionally, what’s interesting is that they didn’t put the segmenting rest after the lyric “to” on line 1 which would have kept the general nature of the flow intact between lines.
Line 3: This love ain’t finished yet
What’s interesting about this line is that it possesses the same lyrical content as the end of
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Progression - This love ain’t finished yet
Line 2: C – E-flat – E-flat – F – E-flat – D
Line 3: C – E-flat – D – C – B-flat – B-flat – G
Rhythm – This love ain’t finished yet
Line 2: Eighth – Eighth – Quarter – Quarter – Quarter – Dotted Quarter
Line 3: Eighth – Quarter – Eighth – Quarter – Eighth – Quarter – Dotted Half
Basically what’s happening is that the first time around she’s singing it in a higher register which enables the line to come across in a more positive and upbeat manner. The second time around (i.e. line 3), she’s dropping down further, which provides the line with a more “sullen, tender & loving” tone.
Additionally, by dropping down from B-flat to G on the lyric “yet” in the third line, it brings the line to a conclusion and sets up the lead in line to the chorus (line 4) that follows.
Line 4: So baby whenever you’re ready
This line provides a departure from the preceding lines of the section and sets up the “payoff” that follows in the chorus, both from a progression, rhythmic and lyrical standpoint.
Progression
Notice that following the 2 downward progression “this love ain’t finished yet” phrases that line 4 takes the vocal register back up primarily via B-flat – D – E-flat. This does a good job of shifting the mood that defined the 2 preceding phrases to one of anticipation.
Rhythm
The key aspect to note here is the prolonged second syllable in the last lyric of the line, “ready,” which is held for a duration of 2 whole notes. Notice how along with the “eh, eh, eh, eh” chant it increases the tension and anticipation leading up to the chorus slamming in.
Lyrics
We already discussed this in the lyric section of the report, but once again note how it sets up and ties right into the “when you’re ready come and get it” line that follows in the chorus.
BRIDGE
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Line 1
Line 2
Line Reference
Line 1: This love will be the death of me, but I know I’ll die happily Line 2: I’ll know, I’ll know, I’ll know, Because you love me so… yeah!
Vocal Range
High: B-flat Low: G
Vocal Melody Structure
Line 1: This love will be the death of me / but I know I’ll die happily
Word/Syllable Count: 14 words, 16 syllables
Progression: G – *G – *F / F – F – E-flat – F – E-flat – E-flat / D – G – G – B-flat – A – A – G – *G – *F – *D
Rhythm: Quarter – Dotted Quarter – Quarter / / Quarter – Dotted Quarter – Eighth – Dotted Quarter – Eighth – Half / / Quarter – Quarter – Half Quarter – Half – Quarter – Eighth – Quarter – Eighth – Eighth
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Segmenting Method (end of line): Half Rest
Line 2: I’ll know / I’ll know / I’ll know / Because you love me so / yeah!
Word/Syllable Count: 12 words, 13 syllables
Progression: D – D / C – C / C – *C – *D – *C – *B-flat – *G / B – C – B-flat – C – D – *D – *C – *B-flat – *G / *B-flat – *A – *G
Rhythm: Quarter – Half / / Quarter – Half / / Quarter – Quarter – Sixteenth (x4) / / Eighth – Quarter – Eighth – Quarter – Eighth – Eighth – Dotted Quarter / / Quarter – Eighth – Dotted Quarter
Segmenting Method (end of line): None – goes right into the chorus
As you know, the purpose of a bridge is to provide a departure and diversity from the other sections of a song. In Come & Get It, it was the case with the nature of both the backing music and lyrics, as well as the vocal melody as you’ll see below.
Line 1: This love will be the death of me, but I know I’ll die happily
Segmentation
First, let’s look at how the line is segmented, which makes it easier to digest and remember:
First Phrase
Segment 1: This love
Segment 2: will be the death of me
Second Phrase
Segment 1: But I know
Segment 2: I’ll die happily
Progression
Notice how the nature of both progressions reflect the mood/emotion being conveyed by the lyrics:
First Phrase
Notice that as a whole it’s progressing downward via 3 “levels,” which accentuates the serious nature of the “this love will be the death of me” line.
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Level 1: This love: G – G – F
Level 2: will be the death: F – F – E-flat – F
Level 3: of me: E-flat -E-flat
Second Phrase
Now notice what happens to the progression when she comes to the realization that she’ll die “happily.” It reverses course and proceeds upwards:
But I know: Jumps from D to G – G. This emphasizes the realization aspect of the lyrics.
I’ll die happily: Initially jumps from the G that defines “know” to B-flat – A on “I’ll die.” She then get’s a bit “artsy” on the lyric “happily,” stretching it out via A – A – G – G – F- D.
Rhythm
The key thing to note here is the slowed down pace of her delivery relative to the other sections within the song.
All of the other sections utilized primarily eighth notes in conjunction with quarters, but here in the bridge we have primarily quarter, dotted quarter and half. What this does is increase the evocative nature of the section and accentuates the potent nature of the lyrics.
Emphasized Lyrics & Phrases
Notice how specific/important lyrics are emphasized via a change in duration, pitch or extended past their normal syllable count:
This lo-ve (emphasizes the emotion)
G – G – F
Quarter – Dotted Quarter – Quarter
Notice that it’s followed by an eighth rest which enables it to further stand out.
I’ll know (emphasizes the realization)
G – G
Quarter – Half
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This is followed by a quarter rest. Additionally, notice how those lyrics were set up by the preceding lyric “but,” which is a D. This enabled these lyrics to be accentuated even further.
I’ll die (extreme lyrics)
B-flat – A
Quarter – Half
Hap-pi-ly -y-y (Important emotion within the storyline tied in with the preceding “I’ll die” lyrics)
A – G – G – F – D
Quarter – Eighth – Quarter – Eighth – Eighth
Notice that this lyric is stretched out past its normal syllable count, providing it with increased emphasis and color.
Line 2: I’ll know, I’ll know, I’ll know, Because you love me so… yeah!
The first thing to note about line 2 is that it possesses a completely different nature relative to line 1.
Segmentation
Notice that the first series of phrases are broken into 3 short segments consisting of 2 words each, while the second phrase consists of 1 long segment followed by “yeah” which leads into the chorus that follows.
First Phrase
Segment 1: I’ll know
Segment 2: I’ll know
Segment 3: I’ll know
Second Phrase
Segment 1: Because you love me so
Segment 2: Yeah
Progression
First Phrase
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Notice that the first 2 segments are sung with a monotone natured delivery, with the second segment being a step below the first:
Segment 1: I’ll know: D – D
Segment 2: I’ll know: C – C
The third segment, “I’ll know”, at first continues on in a monotone C – C manner, but then gets “artsy” at the end via its stretched out nature (C – C – D – C – B-flat – G).
All in all, the downward progression on the first 2 “I’ll know’s” does a great job of setting up the third, enabling it stand out in a more pronounced manner.
Second Phrase
Following the downward progression on the lyric “know” that ended the first phrase, the second phrase then embarks on a climb back up, peaking on the lyrical focal point “love me so-” via C – D – D. Notice how this climb back up accentuates the nature of the “love” themed lyrics.
Additionally, notice that the lyric “so” is prolonged in nature and is almost identical to the manner in which “know” ended in the preceding phrase from a progression standpoint via D – C – B-flat – G.
This repetition, coupled with the “so/know” rhyme does a great job accentuating the memorabiltiy factor of the line.
Yeah
The fourth and last segment of the section provides a complete departure from the preceding segments, kicking the “excitement” level of the song back up as it moves into the final chorus.
Notice that it initially jumps from the G that concluded the lyric “so” all the way up to B-flat, before progressing downward via A – G to conclude (remember, “yeah” was stretched out past its normal syllable count).
Rhythm
As was the case with the first line within the section, here in the second we once again have a slowed down pace relative to the other sections within the song:
First Phrase
Segment 1: I’ll know: Quarter – Half
Segment 2: I’ll know: Quarter – Half
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Now notice the departure in the third “I’ll know” segment. Due to its extended nature, it starts out with 2 quarter notes and is then followed by 4 sixteenth notes. More on the importance of this soon.
Second Phrase
In contrast to the first phrase, notice that the first part of the second phrase possesses a faster delivery utilizing an eighth – quarter combination compared to the quarter – half of the first.
On the flip side, notice that the last lyric in the first phrase (“know” – which utilizes the same progression as “so” except for 1 note) possesses a faster 16th note delivery compared to “so’s” quarter notes.
Yeah
The final lyric of the section,”yeah,” is stretched out and prolonged via a quarter – eighth – dotted quarter timing.
Emphasized Lyrics
As you’ve seen, there are 3 lyrics within the line that are stretched out past their normal syllable count, providing them with increased emphasis relative to the other lyrics:
know
so
yeah
First, as previously mentioned, “so” and “know” utilize the same progression except for 1 note. The key difference resides in the timing, where “so” has a slower delivery and “know” is faster via its sixteenth note delivery.
As a result, “so” comes across in a more “sultry” manner ala Rihanna, which jibes with the phrase’s love themed lyrical nature, while “know” really stands out considering it has an Indian quality about it, which 100% jibes with and accentuates the overall ethnic nature of the song.
As for “yeah,” this is a “typical” extended Pop “yeah,” which provides the perfect lead in to the chorus that follows.
Top 10 Assessment Back to Top
Benchmark Analysis Compares Come & Get It to the 25 songs that landed in the Billboard Pop Songs top 10 during Q2-2013.
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Let’s now see how Come & Get It’s characteristics and attributes compared to the 25 top 10 hit Pop songs from Q2-2013:
How Come & Get It is similar to chart-topping Pop hits
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After kicking off with the chorus (which is NOT in line with Pop hits), it follows the A-B-A- B-C-B form.
It’s length is almost identical to the Pop songs average (3:52 vs. 3:50)
It contains an intro within its framework and is almost identical in length to the Pop songs average as well (0:15 vs. 0:14)
It doesn’t contain an outro
It utilizes primarily electric based instrumentation
It contains a pre-chorus
It contains a bridge
It doesn’t contain a solo or instrumental break
It possesses a love/relationship lyrical theme
It contains a fusion of sub-genre influences within the mix
How Come & Get It differs from chart-topping Pop hits
It kicks off with the chorus as opposed to the verse following the intro
Its first chorus occurs 0:27 / 12% earlier within the song than the average Pop hit
Its 35 bpm slower than the average
It features a synth as the primary instrument where the majority of Pop hits feature a combination of primary instrumentation (usually synth + guitar)
It features a female lead vocal where the majority of top 10 Pop songs feature a male lead
All in all, despite its minor differences, The overall nature of Come & Get It is exceptionally similar to the majority of top 10 Pop hits. It’s key differentiating factor is its “world/ethnic” Indian nature coupled with the Rihanna vibe.
A&R Hit Factor Assessment Back to Top
Artist/Band Career Factor Does the song have what it takes maintain or grow the artist’s clout in the mainstream?
Considering that Come & Get It was the lead single released from Selena Gomez’s forthcoming
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Come & Get It’s more “mature,” world nature relative to her past hits certainly put Gomez in a new light with both her fans and the scene in general, but it failed to do one key thing – establish her as a “unique” artist with a “unique” style. If anything, for reasons stated throughout this report, Come & Get It makes you think more of Rihanna than Selena Gomez.
Bottom line – Stargate and Ester Dean gave Selena Gomez a song that was destined for success. It provided Gomez with her first foray into the top 10 on the Hot 100 chart and no doubt satiated the needs of her existing fan base while gaining her a throng of new fans due to the more mature/adventurous nature of the song. As a result, Come & Get It maintains her position in the Pop mainstream and provides slight to moderate growth.
On the other hand, what Come & Get It didn’t do is provide her with a vessel that could establish her as a “unique” artist in relation to everyone else and give her the chance to secure what every artist looks for – LONGEVITY. She didn’t “make the song her own,” which was a major mistake. Opportunity missed.
Originality Factor Does the song push genre boundaries and possess a unique nature or have you heard it all before? Does it stand out in the Pop mainstream?
The World/Indian nature of Come & Get It certainly put a unique spin on an otherwise “typical mainstream electropop” song, enabling it to stand out amongst the other songs currently topping the charts.
Besides that, however, there was nothing overtly original about the song that you haven’t heard before, including the nature of the “mainstream Pop synths,” the Pop (non Bhangra) drums and associated beat, the lyrics, the “na na na na’s” and overall structure of the song amongst others.
And then of course there’s the “Rihanna” factor. As previously mentioned, this sounds like a RIHANNA song, NOT a song that’s unique to Selena Gomez that only she could bring to life.
Social & Promotional Factors Were there any external social aspects or highly visible promotional activities surrounding the release of the song that could help increase its visibility, reach and success potential?
The Remix
There were 6 remixes of Come & Get It released that certainly provided increased exposure for the core song:
Jump Smokers Extended Remix
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Robert DeLong Remix
Cahill Club Remix
Fred Falke Club Remix
DJ M3 Mixshadow Extended Remix
Dave Audé Club Remix
Additionally, video’s were created for the remixes above, which led to tens of millions of views.
Promotional Live Performances
Come And Get It was featured on the following shows and performed at the following highly publicized/viewed events:
MTV Movie Awards
The Ellen DeGeneres Show
Dancing With The Stars
Late Show With David Letterman
Radio Disney Music Awards
2013 Billboard Music Awards
The Demographic Reach / Fan Factor Is this a song that’s pigeonholed in one specific gender/age/genre bracket or does it have mass reach?
Come & Get It’s demographic reach is primarily relegated to fans of mainstream electropop and Selena Gomez’s existing fan base, most of which consist of girls in their teens to early 20?s.
The more mature and “worldly” nature of the song, however, will no doubt attract and win over additional fans including those who are into World/Indian music as well as “older” female fans (those who are in the mid 20?s to mid 30?s) who can identify with the more mature nature of the song.
Additionally, the universal nature of the love/relationship themed lyrics is very broad in its appeal, and can traverse both a male and female demographic. It leans more toward the female end of the spectrum, however.
The “Holly Sh*t – You Gotta Hear This NOW” Factor
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Is this a song where someone would instantly call up their friend and say “drop what you’re doing – you gotta listen to this – NOW!!!”
Aside from the following, there is nothing so overtly special about the song that would cause someone to drop what they’re doing, call a friend and say “holy sh*t! you gotta hear this now!”
Gomez’s core, rabid fan base would probably want to immediately check out her latest offering to satiate their needs.
Those who are immensely curious to hear what the lead single of Gomez’s first solo effort is like.
Gomez and Bieber fans who assume that the lyrics are about their relationship and need their “soap opera” fix right away!
The “Multiple Listen” Factor Is this song engaging enough to warrant repeat listens?
As we’ve always discussed within these Hit Song Deconstructed reports, once a song takes off in the mainstream and is milked for everything that it’s worth, eventually the law of diminishing returns sets in where you just get sick and tired of hearing it.
We need to look at the “multiple listen factor” in 2 ways – the personal listening environment and the public listening environment.
Personal Listens
Come & Get It is quite infectious and memorable, but after a number of listens this is one of those songs that you’ll probably start to get bored with quite quickly, primarily due to the lack of a compelling vocal performance by Gomez. If she “sang it like she meant it,” it would wind up retaining a longer shelf life.
Public Listens (Background Music)
On the other hand, when Come & Get It comes on in a club, at a party, at a bar or anything of the same ilk, its shelf life is MUCH longer. It’s fun, seductive, engaging nature provides the perfect backdrop to any such event.
The “Human Emotion” Factor Does this song exude a vibe that enables the listener to connect on a deep, emotional, HUMAN level?
We need to look at this from 3 perspectives – the lyrics, the vocal and the music.
Lyrics
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Lyrically this is an emotionally charged song centered around a love/relationship theme. For anyone who has gone through something similar within their own life, this is going to connect on a deep, personal, “human level.”
Music
The nature of all of the instrumentation utilized and their associated beats/progressions created an evocative sonic landscape for the listener to sink their teeth into, perfectly accentuating the nature of the lyrics and the vocal melody.
Vocal
This is the key area where human emotion fails for the most part. Again, it’s not that Selena Gomez is a bad singer. On the contrary, she’s quite good. The problem resides in the fact that for the most part SHE’S not buying into what SHE’S singing. She’s not connecting with it. And if she can’t connect with it, then in no way could you expect the LISTENER to connect with on an emotional level as well.
Again, the only section within the song where she conveys heightened emotion is in the bridge and also the 1 line within the pre-chorus as previously mentioned . Everywhere else she’s just going through the motions delivering infectious, memorable melody – nothing more, nothing less.
On the other hand, the nature of the “Indian chants” that occur throughout the song DO possess an evocative quality about them, enabling the listener to connect on an emotional level without even knowing the lyrical meaning behind them.
Memorability Factor How easy is it to remember the song’s lyrics & melody? Is each section of the song equally as memorable?
Overall, Come & Get It is a very memorable song on most fronts. Even if you can’t remember all of the lyrics within the verse or pre-chorus sections, I guarantee that you can at least hum the melody after a few listens.
The one area, however, where Come & Get It truly succeeds from a memorability standpoint is within the chorus, where it counts the most. Note the following:
The lyrics are exceptionally simplistic and straight forward, and there’s not that many of them to remember.
The overall nature of the vocal melody is exceptionally infectious, engaging and memorable (reference that particular section of the report for specifics)
The “na na na na” and “ready” factors.
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The section as a whole is very repetitive, both internally and from occurrence to occurrence within the song.
The nature of the backing music is also exceptionally infectious and repetitive.
There are 4 chorus sections that comprise the vast majority of the song relative to all other sections. The result is that the section continues to get hammered into your head throughout.
Longevity Factor – Artist Will this song become a staple of the artist’s repertoire and catalog?
Selena Gomez is young and just starting out as a solo artist Considering that Come & Get It is her first solo single and has proved to be quite successful, there is no doubt that Come & Get It will be featured in her live performances for some time to come.
As she gets more “A” list material from her songwriters throughout her career, however, this may be a song that eventually falls by the wayside. Not because it’s not good, but because she didn’t really seem to connect with it. That being said, if her fans still want to hear it, she’ll have no choice in the matter!
Longevity Factor – Genre Does this song have what it takes to stand the test of time and rank amongst the all-time greats?
No. There is nothing so overtly special about this song that would enable it to stand up amongst the all time greats. Overall, Come & Get It is a strong mainstream electropop song with a unique spin. Nothing more, nothing less. And there’s nothing wrong with that.
Conclusion Back to Top
Now that we have thoroughly explored Come & Get It, let’s review some of the core strengths and weaknesses of the song:
Strengths
The World/Indian vibe provided Come & Get It with a unique spin that enables it to stand out and resonate amongst all others in the current mainstream Pop pack. This was brought about in the vocal, choice of instrumentation and their associated beats and progressions.
Come & Get It possesses most of the core compositional characteristics and attributes that are indicative of today’s chart-topping hits, enabling it to easily connect and resonate with the song’s intended audience.
The vast majority of time within the song (41%) was allocated to the ultra infectious,
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engaging and memorable chorus.
The final chorus does a fantastic job of taking the excitement level of the song to a climax via the addition of the additional / harmony vocals as well as the increased level of specific instrumentation within the mix. This results in the song concluding on a powerful note for the listener, which will help to foster repeat listens.
Come & Get It makes good use of shifts in momentum, tension and intensity levels throughout the song, providing the listener with an engaging listening experience.
Song defining factors, including the “na na na na” and “ready” vocals within the chorus as well as the Indian chants and “eh eh eh eh” transitional vocal took the infectious, memorable nature of the song to the next level.
The universal love/relationship themed lyrics can be adapted to the listener’s own life while at the same time be inferred as pertaining to the performing artist’s life (Gomez/Bieber) or another artist (i.e. Rihanna/Brown), capitalizing on the drama/”soap opera” factor.
A solid combination of repetition and diversifying factors are utilized throughout the song, enabling it to get engrained within the listener’s head while keeping them engaged throughout. They never have the chance to get bored.
The song as a whole is quite strong, resulting in a solid first step for Selena Gomez as she embarks on her solo career.
The more “mature,” worldly nature of the song does a good job of separating Gomez from her Disney past and establishing her in a new light within the Pop mainstream.
Weaknesses
Considering that this song was most likely written for someone else (i.e. Rihanna), Selena Gomez for the most part failed to connect with the lyrics and deliver them with conviction, resulting in a mostly non-emotional, flat vocal performance.
Since this song was probably intended for another artist, it failed to provide Gomez with a vessel that could establish her as an artist with a unique identity within the Pop mainstream, which is paramount in fostering longevity.
Final Thought – The Artist / Song Connection
You can have the most well written, finely crafted Pop song that is primed for success in a mainstream arena, but if the performing artist doesn’t connect and “buy into” what they’re singing about, neither will their audience and as a result the song is going to fall flat and not realize its full success potential.
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Unfortunately this is the case with Come & Get It. For all intents and purposes, this was a song written for Rihanna, and Selena Gomez failed to make it her own.
All of the signs are there, including:
Come & Get It was written by Stargate and Ester Dean, who are proven Rihanna hitmakers.
The nature of the vocal melody is perfectly suited for Rhianna’s style. Gomez sounds like she’s trying to emulate her.
The nature of the lyrics seem a lot more applicable to Rihanna’s relationship with Chris Brown than Gomez and Bieber.
If you’re an artist relying on outside writers to supply you with a song with great hit potential, then it is your JOB to make that song become yours, regardless if it has anything to do with your own life or not. Just going through the motions of singing an infectious melody without conviction isn’t going to do it.
If Selena Gomez wants any chance of longevity in the mainstream Pop scene, she’s going to need find her own unique voice and have it radiate from any and all songs that are provided to her. If she doesn’t, she’ll wind up as being just “one of the bunch.”
As a side note, if you want to hear a perfect example of when an artist and a song become one, listen to and reference Rihanna’s Stay Deconstructed report.
Songwriter/Producer Takeaways From Come & Get It Back to Top
The Artist / Song Connection
Refer again to the “final thought” section above. This is an ULTRA important topic for all songwriters and artists.
Getting Creative/Song Defining Moments
Providing your audience with an ultra-infectious moment within your song that gives it that “extra special something” will significantly increase its success potential. It could be something as simple as vocally enacting a lyric (i.e. the “breathing in the chemicals” GASP in Radioactive), utilizing clever phrasing on a particular lyric (i.e. “r-e-e-e-e-e-e-eh” in Come & Get It’s chorus), or an ultra-infectious, repetitive “non-lyric” progression that the listener can really sink their teeth into (i.e. the “na na na na’s” within Come & Get It’s chorus).
These things, as subtle as they may be in some cases, can take your song from good to GREAT.
Universal Lyrics
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If you’re looking for your song to connect with the largest possible audience, then incorporating lyrics with universal appeal is paramount to making it happen. This means leaving out specific places, dates, names, etc…
This was a core strength within Come & Get It, where not only could the love/relationship themed lyrics connect with anyone who has gone through a similar situation within their own life, but it also could be seen as relating directly to the artist at hand (i.e. Gomez/Bieber), accentuating the “soap opera” factor and wind up piquing the potential listener’s interest to check out the song.
Sub-Genre Fusion
This is something that we’re seeing more and more within the Pop mainstream. Blending different sub-genres under 1 roof within your song will give it a unique spin and provide it with a unique identity amongst all of the other songs that you’re “competing” with.
We’ve seen it recently with retro Disco and Funk (Get Lucky), synth Pop & Punk (I Love It), Country, Straight-Up Pop and Hip Hop/Rap (Cruise), and of course World/Indian fused with Electro Pop (Come & Get It).
But remember – if you’re going to push the boundaries, make sure that your song is tied together with stellar craft fundamentals that will enable it to connect and resonate with the largest possible audience.
Kicking Off With The Chorus
If your chorus is THAT GOOD, you may want to consider kicking the song off with the chorus as opposed to the verse. Even though this is usually indicative of Straight-Up Pop, Hip Hop/Rap fusion songs where the infectious Pop chorus will kick the song off and hook the listener in until the Rap verse takes over, it also happens in other styled songs as well, and Come & Get It is a perfect case in point.
Other recent songs that you should reference include Heart Attack, Cruise, Suit & Tie and Feel This Moment.
Momentum, Tension & Intensity Shifts (MTI)
Providing MTI level shifts throughout your song is paramount to keeping the listener engaged and fostering a compelling listening experience. If your song comes across as being too linear in nature, the listener is going to start to get bored and lose interest despite how infectious your melodies may be.
In the case of Come & Get It, each section of the song provided an MTI level shift in relation to the preceding section. Some were more pronounced than others (i.e. the pre-chorus/transition into the powerful chorus), but as a whole the MTI level variation utilized throughout provided a very engaging listening experience.
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