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Wrecking Ball Deconstructed
Skip to: Audio/Video Overview Song Structure Momentum/Tension/Intensity (MTI) Music/Instrumentation/Vocal Delivery Vocal Melody Lyrics Benchmarking A&R Hit Factors Recap, Takwaways & Final Thought
Audio/Video Back to Top
At a Glance Back to Top
Artist: Miley Cyrus Song/Album: Wrecking Ball / Bangerz Songwriters: Gottwald, McDonald, Moccio, Skarbek, Walter Genre: Pop Sub Genres: Power Ballad Length: 3:40 Structure (Form): A-B-A-B-C-B Tempo: 60 bpm First Chorus: 0:42 / 19% into the song Intro Length: 0:08 Outro Length: n/a
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Electric vs. Acoustic: Combo Primary Instrumentation: Synth, Electric Guitar, Piano, Strings, Drums Lyrical Theme: Love/Relationships Title Occurrences: “Wrecking Ball” occurs 5 times within the song Primary Lyrical P.O.V: 1st & 2nd
Overview Back to Top
To say that Miley Cyrus is at the forefront of Pop culture right now would be an understatement. Her recent outlandish, controversial behavior which includes twerking at the VMA’s, stating publically to Rolling Stone that “weed is the best drug on earth,” and swinging nude from a wrecking ball all have taken her exposure (no pun intended) to astronomical heights.
But behind all the hype and controversy lies a talented artist who was able to take a song that was provided to her by some of today’s hottest hitmakers, make it her own, and deliver it in an infectious, engaging, memorable manner that was able to connect and resonate with the masses on a global scale.
As you’ll see within the report, there is a lot that can be learned from Wrecking Ball. You just need to look beyond the hype and appreciate the song for what it really is – a clever, expertly well crafted Power Ballad.
To date, Wrecking Ball has landed in the top 10 on 30 charts throughout the world, and hit #1 on 11.
Song Structure Back to Top
TIMELINE (Shows when each section hits within the timeline of the song)
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GENERAL FORM
Wrecking Ball utilizes by far the most popular, and arguably the most effective form (structure) in Pop music: A-B-A-B-C-B (Verse – Chorus – Verse – Chorus – Bridge – Chorus).
FULL FORM
When you take into account all of the sections within the song, Wrecking Ball’s full form looks like this: Intro – Verse – Pre-Chorus – Chorus – Verse – Pre-Chorus – Chorus – Bridge – Pre-Chorus – Chorus.
We’ll be getting into specifics regarding these sections further into the report.
SECTION LENGTH & COUNT (Length of each individual section within the song)
I=Intro, V=Verse, PC=Pre-Chorus, CHR=Chorus, BRG =Bridge, TRANS-Transition, RING=Ring Out
SECTION COUNT
Wrecking Ball contains 10 primary sections within its framework, which includes the following:
1 intro
2 verses
2 full pre-choruses
1 half pre-chorus
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3 choruses
1 bridge
Regarding the “TRANS” segments that are detailed in the graph above, note that these are the transitional points between the pre-chorus and chorus sections within the song as well as between the second chorus and the bridge. More on the importance of these transitional points soon…
SECTION LENGTH
In regard to the length of individual sections within the song, as you’ll see below they range from the very short to quite long. Not surprisingly, excluding the brief transitional segments, the intro clocks as the shortest while the chorus sections, (i.e. “payoffs”), are amongst the longest in addition to the bridge:
Very Short (0:05 and Under)
All of the transitional segments (ranging from 0:02 to 0:04).
Short (0:06 – 0:10)
0:07 Pre-Chorus 3 (half section)
0:08 Intro
0:10 Ring
Short/Moderate (0:11 – 0:15)
0:14 Pre-Choruses 1 & 2
Moderate (0:16 – 0:20)
0:16 Verses 1 & 2
0:20 Chorus 1
Moderate/Long (0:21 – 0:25)
None
Long (0:25+)
0:34 Chorus 2
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0:38 Chorus 3
SECTIONAL SEGMENTING
Engaging the listener and KEEPING them engaged throughout each section of the song is of paramount importance to its success. If there is any point that causes the listener’s attention to start to wander, it’s all over.
There are many elements that act to heighten the engagement value for the listener including an infectious melody and rhythm, strong lyrics, MTI level fluctuations, etc… But one factor that is of utmost importance is to provide them with new elements entering the mix frequently to help keep things fresh and engaging. If the song lingers on for too long within one particular section without providing diversity, the listener will eventually start to lose interest.
What follows is a rundown of how certain sections were “segmented” into shorter, more frequent segments:
Intro (0:08)
Very short on its own.
Verse 1 (0:16): Split into 2 stanzas
0:08 First Stanza
0:08 Second Stanza
Pre-Chorus 1 (0:14): Split into 2 stanzas
0:07 First Stanza
0:07 Second Stanza
Chorus 1 (0:20): Single stanza + repeat
0:16 First Stanza
0:02 “Wreck me” repeat/0:02 trans into verse-2
Verse 2 (0:16): Split into 2 stanzas
0:08 First Stanza
0:08 Second Stanza
Pre-Chorus 2 (0:14): Split into 2 stanzas
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0:07 First Stanza
0:07 Second Stanza
Chorus 2 (0:34): Split into 2 Stanzas + repeat
0:16 First Stanza
0:16 Second Stanza
0:02 “Wreck me” repeat
Bridge (0:32): Split into 2 stanzas
0:16 First Stanza
0:16 Second Stanza
Chorus 3 (0:38): Split into 2 stanzas + double repeat
0:16 First Stanza
0:16 Second Stanza
0:06 Double “Wreck me” repeat
As you can see, when you break each full section down into shorter individual segments (i.e. stanzas), you wind up with a new passage entering the mix quite frequently which along with other factors as you’ll see within the report holds the listener’s attention from start to finish.
TOTAL SECTION BREAKDOWN (The total time consumed by each section and its percentage of the total song)
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As you know, typically in chart-topping Pop songs it’s the chorus (i.e. the “payoff”) that receives the greatest amount of time allocation relative to the other sections, and for good reason.
Looking at the graph above, you can easily see that this was the case with Wrecking Ball. 42% of its total composition was allocated to those super-infectious, powerful choruses. Following far behind we have the pre-chorus, verse and bridge sections, all of which were allocated virtually the same amount of total time at 16%, 15% and 15%, respectively.
The lesser amount of time allocation to those aforementioned sections doesn’t mean that they were any less infectious, engaging and memorable, however. On the contrary, they’re just as strong and pertinent to the song’s overall effectiveness and success as the chorus.
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)
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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.
As you can see in the graph above, Wrecking Ball makes very good use of MTI level shifts throughout the song, making for a very engaging listening experience.
MTI LEVEL PLAY BY PLAY
***THE BUILD BEGINS***
Wrecking Ball kicks off with a low/mid intensity level via the solo synths that define the intro. Notice that even though the section isn’t intense from a momentum or sonic standpoint (i.e. like the chorus), the synths provide a heightened degree of tension and heaviness via their overall nature and Dm – F – C – Gm progression.
The MTI level then further increases during the first verse via the addition of Cyrus’s vocal into the mix, though not by much. This is due to the fact that the nature of the backing music that defined the intro remains pretty much the same in the first verse.
Once we enter into the pre-chorus, the overall MTI level increases yet again (albeit slightly) over the preceding verse. This time it’s brought about via the additional synth counter melody that has been added to the mix coupled with the shift in the nature of Cyrus’s vocal melody. All in all, it’s further heightening the tension, suspense & anticipation as the song moves closer to the payoff within the chorus.
***SETTING UP THE BIG CHORUS***
At the tail-end of the pre-chorus, notice that the synth briefly fades from the mix and that we’re left with almost total silence, bringing the MTI level all the way down to near nil. It’s this silence that will provide the powerful chorus that follows within even greater perceived impact when it hits.
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***MTI LEVEL PEAK #1***
As soon as the MTI level drops to near zero, it abruptly skyrockets back up with Cyrus’s solo vocal proclamation “I came in like a,” which is then followed by the full chorus slamming in on the lyric “wrecking,” taking the song’s MTI level to its first grand peak via the “wrecking ball” natured drums, electric guitars, synth, piano and Cyrus’s intense, soaring vocal delivery. The high MTI level of the first chorus remains pretty much constant throughout the section until being brought down a notch at the tail end where the drums are pulled from the mix.
***RESET & REBUILD***
Following the intense nature of the preceding chorus, the MTI level is brought back down in the second verse due to a shift in the nature of Cyrus’s vocal delivery and instrumentation being utilized, especially the fact that the “wrecking ball” drums have been removed from the mix. Note, however, that the addition of the strings and especially the bass during the second half provides the section with a more intense nature than its verse 1 counterpart.
In the pre-chorus that follows the MTI level increases once again primarily due to the heightened tension that’s elicited via the vocal and backing music in anticipation of the payoff that follows.
***CATCHING THE LISTENER OFF-GUARD & MTI PEAK #2***
In contrast to the manner in which the first chorus was set-up via the transitional lull at the end of the pre-chorus that took the MTI level all the way down before slamming in with the “I came in like a” vocal, here at the onset of the second chorus there is no transitional lull to be had. Instead, Cyrus hits with that first line immediately following the pre-chorus which provides it with an increased sense of urgency, ultimately “jolting” the listener right back into the intense chorus especially if they were expecting that lull to precede it.
The first half of the full chorus that follows takes the MTI level back up to its peak, this time slightly higher than the first time around specifically due to the section’s overall higher levels. The second half then increases the MTI level even further primarily due to the additional instrumentation that have been added into the mix.
***BRING IT BACK DOWN***
Following the intense nature of the preceding chorus, the MTI level is then brought all the way back down during the ensuing bridge. This is due to the fact that the bombast of instrumentation that defined the chorus has been switched out for a more serene, melancholy mix of strings, piano and bass coupled with Cyrus’s more downtrodden, passionate and evocative vocal delivery.
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At the tail end of the bridge notice that there’s a brief transitional lull that brings the MTI level all the way down to near nil. It’s brought back up again, albeit not by much, during the “breakdown” partial pre-chorus that follows, which is defined by the solo vocal and piano, which is barely audible within the mix. Following the pre-chorus, we find yet another transitional lull that brings the MTI level down to basically zero.
***GOING OUT WITH A BANG***
Following the transitional lull at the end of the pre-chorus, Cyrus once again slams in with a solo “I came in like a” vocal which is then followed by the third full chorus slamming in on the lyric “wrecking.” This time around the MTI level is a notch above that of its corresponding section within the second chorus due to the slightly increased levels but more noticeably the additional vocals within the mix. The MTI level then reaches its grand peak within the song during the second half due to the additional vocals and instrumentation.
The MTI level remains pretty much constant up until the tail end of the section where it’s brought back down during the final “Yeah you, you wre-e-eck me” line. This is primarily due to the fact that the drums and bass have been pulled from the mix.
The song then concludes by a fading ring-out of the remnant instrumentation from the chorus coupled with the vinyl crackle. This takes the MTI level on a gradual path down to zero.
Waveform
Looking at the waveform graphic above, you can easily see how sonic levels and the use of compression vary throughout the song.
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As you can see, there are 3 primary levels within Wrecking Ball – low, moderate and pushed to the max. Notice how they correspond very closely to the MTI levels that we just saw within the preceding section of the report, reaching an intense climax during the third and final chorus of the song.
Lowest Levels
The intro
The “ring-out” at the end of the song
The transitions
Moderate Levels
Both verse sections
Both pre-choruses (a notch above that of the verse sections)
The bridge
Pre-chorus 3
Highest Levels
Chorus 1 (third highest level
Chorus 2 (second highest level)
Chorus 3 (highest level within the song)
Music/Instrumentation/Vocal Delivery Back to Top
KEY ELEMENTS
What follows are the key elements that you should be on a lookout for throughout the song in addition to the vocal melody and lyrics which are discussed within their own independent sections. These elements worked in perfect tandem with one another in making Wrecking Ball such an infectious, engaging and memorable song.
The Lead Vocal “Mimic”
Keep an ear out for the manner in which both the synth and piano mimic the lead vocal melody within the pre-chorus and chorus, respectively. Not only does this add to the
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“infectious coloring” of each section as a whole, but it also accentuates the memorability factor of the lead vocal melody as well.
Magic Moments
There are 2 key “magic moments” that occur within Wrecking Ball’s chorus which puts the song over the top – the “wrecking ball” natured set-up/slam into the section plus the clever “brea-ea-eak me” / “wre-e-eck me” vocals that conclude the section.
Wrecking Ball Elements
In addition to the “wrecking ball” natured “magic moment” that occurs at the onset of the chorus, take note of how the sonic and rhythmic nature of the kick and snare keep the “wrecking ball” vibe in play throughout the section.
Power Ballad Elements
Take note of the instrumentation being utilized throughout the song which is directly in line with what you would expect to find within a Power Ballad. The synth, piano, strings and ride cymbal define the ballad, while the electric guitar, powerful drums and crash bring the power.
Evocative Vocals
One of the core strengths of the song is the manner in which Cyrus “sings it like she means it” throughout which enables the listener to connect with the lyrics, and the song in general, on a deeper level.
Evocative Instrumentation
In addition to evocative vocals, take note of the progressions and sonic qualities of the instrumentation being utilized within each section that both accentuates the nature of the lyrics as well as provide the perfect backdrop for Cyrus’s vocals to shine.
The Marriage of the Vocal, Instrumentation, Music & Lyrics
Perhaps THE core strength of the entire song lies in the fact that the nature of the vocals, instrumentation, backing music and lyrics all work in perfect tandem with one another in creating an ultra-infectious, engaging and memorable POWER Ballad. Pay attention to the “big picture” while listening to each section within the song.
REPETITION & DIVERSIFYING FACTORS
Here we’re going to take a look at the core similarities and differences between “like” sections within the song (i.e. both verses, pre-choruses, all 3 choruses) to see how repetition was utilized in order to get the song engrained within the listener’s head while the diversity
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Verse 1 vs. Verse 2
Repetition
The vocal melody
The nature of the synth that was introduced in verse 1
Diversification
Both contain different lyrics (as you would expect)
Verse 2 adds strings, additional synths, electric guitar and bass into the mix which weren’t present during the first verse occurrence within the song.
Pre-Chorus 1 vs. Pre-Chorus 2
Repetition
The vocal melody
The nature of the synth that was introduced in pre-chorus 1
The lyrics (1st stanza in pre-chorus 3)
Diversification
Pre-chorus 2 also adds strings, additional synths, electric guitar and bass into the mix which weren’t present during the first pre-chorus occurrence within the song.
Additionally, pre-chorus 2 incorporates a vocal harmony into the mix that wasn’t present the first time around.
Pre-chorus 3 consists of only 1 stanza, where pre-choruses 1 and 2 contain 2 stanzas.
Chorus 1 vs. Chorus 2
Repetition
The vocal melody
The lyrics in the first stanza (chorus 1 only contains 1 stanza)
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Line’s 1, 4 and 5 across both stanzas in both sections
The general nature of the backing music
Diversification
Chorus 2 incorporates a second stanza into the mix, changing up the lyrics on lines 2 and 3.
Strings and acoustic guitar have been added to the mix within the second stanza of the second chorus.
The overall levels are running a bit hotter within the second chorus.
Chorus 2 vs. Chorus 3
Repetition
The general framework of both full choruses remains constant (lyrics, instrumentation, backing music, vocal melody, etc…).
Diversification
Strings are added to the mix within the first stanza in the third chorus and carry right through the end of the second stanza.
Additional vocals and vocal harmony are added to the mix in chorus 3 that weren’t present in chorus 2.
The overall levels in chorus 3 are running a bit hotter than they were in chorus 2.
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 – 0:08)
Vocals & Primary Instrumentation Featured In The Mix
Synth-Group 1 (Trebly with a touch of distortion – solo within the section – levels ebb and flow throughout ) Primary around 10:00 / 2:00 but spans the entire mix
Short, straight forward and consisting solely of synths, Wrecking Ball’s intro is effective on the following levels:
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It instantly establishes the vibe of the song
The sonic nature of the synths coupled with their associated sixteenth note Dm – F – C – Gm progression instantly establishes the melancholy, serious, heavy vibe that pervades the entire song. Right off the bat you know that you’re not in for a light, happy- go-lucky listening experience. Additionally, you also realize at this point that the title “Wrecking Ball” will most likely relate to something that has gone wrong if you haven’t already guessed that from the title’s implied meaning!
It immediately hooks the listener into the song and holds their attention
The vibe described above instantly captures the listener’s attention and hooks them into the song. Before their attention even has a chance to start wandering, the verse has already taken over and engaged them at a deeper level via Cyrus’s vocal that has entered the mix. And don’t forget – the intro is only 0:08 long.
Additionally, notice how the ebb and flow of the synths act to subtly accentuate the engagement factor for the listener via their “hypnotic” nature. As subtle as it is, it does wonders for the section as opposed to if they remained at a constant level throughout.
It transitions seamlessly into the first verse
The nature of the synths that define the intro remain pretty much unchanged in the first verse, with the only addition to the mix being Cyrus’s vocal. The result is that the vibe remains intact, while the repetition of the progression accentuates the overall memorability factor of the song.
It acts as a “unique identifier” for the song
The second you hear the intro, you instantly know what song it is. This enables it to stand out amongst all of the other songs that are currently topping the charts, instantly grabbing the listener’s attention especially in an airplay environment.
Transition Point – Intro into Verse 1: Seamless transition.
Verse-1 (0:08 – 0:24)
Vocals & Primary Instrumentation Featured In The Mix
Synth-Group 1 (Trebly with a touch of distortion – mid level within the mix under the vocal – levels ebb and flow throughout ) Primary around 10:00 / 2:00 but spans the entire mix
*Effect (Vinyl crackle – low level within the mix) Primary around 12:00 but spans the entire mix
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*Lead Vocal (Cyrus – moderate reverb + low level delay – natural, “up close and personal” in nature – up front within the mix) Primary at 12:00 but the reverb/delay traverses the entire mix
*Indicates a new element that has been added to the mix relative to the preceding section.
Vibe
Playful, young, anguished, reminiscent, melancholy
Music
The nature of the synths that defined the preceding verse remain constant during the first verse albeit at a lower level in order to let Cyrus’s vocal shine front and center. Notice how they keep the underlying melancholy nature of the song in effect.
Additionally, a low-level “vinyl crackle” effect enters the mix at the onset of the section and lasts for the duration, providing subtle coloring and texture to the overall sonic landscape.
Vocal
The one new addition to the mix from the preceding intro is Cyrus’s lead vocal. Note the following:
The nature of her vocal comes across in a highly evocative, natural manner, with the listener being able to hear every nuance of her voice up close and personal from the “breathy” inhales to the almost “Betty Boop” manner in which she sings the lyric “your.” The result is that it envelopes the listener on a deep level because THEY FEEL what SHE’S FEELING via the manner in which she communicates the lyrics.
Cyrus also does a fantastic job of shifting emotion throughout the section in order to communicate all facets of the story. The alternating A – D – A – D progression that encompasses the first half of each line elicits a young, sexy, playful quality which hammers home the point that these 2 people were in love, while the manner in which she concludes each line (i.e. the tail-end whine of “why” and “den-y”) communicates the underlying anguish that she’s feeling. Reference the vocal melody section of the report for specifics.
Music & Vocal Combined
Together, the nature of the vocal and backing music communicates the entire premise of the story without the need for lyrics. Just listening you know that there is an underlying constant sadness brought about via the nature of the synths, while her vocal communicates that there was once a playful love between these 2, but something went terribly wrong.
Transition Point – Verse 1 into Pre Chorus 1: Seamless transition.
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Pre-Chorus-1 (0:24 – 0:38)
Primary Instrumentation Featured In The Mix
Synth-Group 1 (Trebly with a touch of distortion – low/mid level within the mix) Primary around 10:00 / 2:00 but spans the entire mix
*Synth-Group 2 (Same qualities of synth group 1 except that it’s at a higher level within the mix) Primary around 12:00
*Effect (Vinyl crackle – low level within the mix) Primary around 12:00 but spans the entire mix
*Lead Vocal (Cyrus – moderate reverb + low level delay – mutitracked with low level upper register harmony – up front within the mix) Primary at 12:00 but the reverb/delay traverses the entire mix
Vibe
Serious, heightened tension, sadness, young innocence, loving, hurt
Music
The first thing to take note of regarding the music within the pre-chorus is that the underlying synth progression has been changed up in relation to the verse and intro that preceded it. Here, instead of following the Dm – F – C – Gm progression it follows B-flat – Dm – F – B-flat.
The second most obvious thing about the backing music within the pre-chorus is that an additional synth has entered into the mix. Notice that it possesses essentially the same qualities as the synths that were being utilized within the verse and intro, but at an overall higher level within the mix.
What’s really interesting about this synth is that it basically mimics Cyrus’s vocal melody and achieves the following:
It aids in getting that melody further engrained within the listener’s head.
Even though it follows basically the same melody as the vocal, its brighter nature counters the more serious tone in Cyrus’s delivery by eliciting a young, innocent type of vibe, almost in the manner of a child’s music box.
Vocal
Here in the pre-chorus we find Cyrus taking on an overall more serious tone with her vocal which perfectly jibes with the nature of the lyrics. Notice however that once again there’s a shift that occurs at the tail end as we saw with the “hurt whine” in the verse. In this case, the
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Music & Vocal Combined
Together, the nature of the music and vocal elicit a number of emotional qualities that not only jibe with the nature of the lyrics at hand, but the overall storyline as well. You hear the seriousness in her voice which is further accentuated via the nature of the vocal melody (reference that section of the report for specifics), you feel the “hurt love” that she has for this guy at the tail end via the manner in which she sings “want you,” and you sense the playful innocence elicited via the synth that’s mimicking her vocal throughout the section.
Additionally, notice the heightened degree of tension and anticipation in the air that was brought about via the nature of the vocal and backing music. You get a feeling throughout the section that a big chorus/payoff/hook looms on the horizon, and as a result sucks your attention even deeper into the song.
Transition Point – Pre-chorus 1 into Chorus 1: At the tail-end of the pre-chorus all that remains is a solo 16th note B-flat synth progression that gradually fades from the mix right through the powerful solo intro line to the chorus at follows. The entire transition takes just 0:04 but seems like a eternity with all the tension and suspense in the air in anticipation of the huge “payoff” that looms right around the corner.
Chorus-1 (0:42 – 1:02)
Primary Instrumentation Featured In The Mix
*Drums (Ultra compressed, powerful and up front within the mix. The kick possesses a booming/dull compressed thud essence, while the snare provides contrast via its bright crack of a whip nature that lingers with each hit until the kick reenters again. The use of the ride cymbal rounds out the sonic landscape and accentuates the “Power Ballad” essence of the song, while the crash accentuates the “wrecking ball” slam at the onset of the section.) Primary around 10:00 / 2:00 but spans the entire mix
*Electric Guitar-1 (Possesses a heavy bright distortion nature that is at its peak level within the mix at the onset of the section. It’s at a low to mid level for the duration.) Primary between 11:00 – 1:00
*Electric Guitar-2 (Bright distortion – mid level within the mix) Primary around 2:00
*Piano (Acoustic in nature – low/mid level within the mix) Primary between 9:00 – 11:00
*Synth (Bright – low to mid level within the mix) Primary between 10:00 – 2:00
*Bass (Low, dull and compressed – mid level within the mix) Primary at 12:00
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*Effect (Vinyl crackle – low level within the mix) Primary around 12:00 but spans the entire mix
Lead Vocal (Cyrus – moderate reverb + delay – mutitracked – up front within the mix) Primary at 12:00 but the reverb/delay traverses the entire mix
*Indicates a new element that has been added to the mix relative to the preceding section.
Vibe
Powerful, passionate, soaring, pleading, solemn
If there was ever a section within a song where the nature of the music perfectly jibed with and accentuated the nature of the lyrics, this is it.
Key Points To Note
The Set Up, Impact & Magic Moment #1
Let’s first take a look at how Wrecking Ball’s chorus begins. Notice that there are essentially 3 stages that transpire from set-up to impact as follows:
Stage 1
The trail-off of the synth at the tail-end of the pre-chorus heightens the tension, suspense and anticipation as previously mentioned. Notice how the quiet also provides the chorus with greater perceived impact when it hits.
Stage 2
As the synth is trailing off, Cyrus slams in with the intense solo multitracked “I came in like a” vocal.
Notice how the nature of her monotone sixteenth note rapid-fire delivery perfectly jibes with the nature of the lyrics and accentuates the imagery of the section. Think about it this way – the manner in which she sings that line is like a wrecking ball on a trajectory to make impact into the side of a building, (i.e. it’s “coming in” for impact).
Stage 3
And here, finally, is the “magic moment” payoff that occurs on the title lyrics “wrecking ball” which the song had been building toward from the intro through the lead-in line on stage 2 above. Why does it classify as a “magic moment” in addition to just being a really strong payoff? Because of the following:
It’s the culmination of the imagery that started in stage 2 as detailed above. Here is
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where the “wrecking ball” finally makes impact into the side of the building, and is brought about in the music via virtually all of the instrumentation that’s being utilized within the mix converging on that 1 point of impact. Notice however that it’s the nature of the kick, crash and distorted electric guitar which provides the highest degree of impactful power.
In contrast to Cyrus’s rapid-fire 16th note monotone natured lead in delivery on the lyrics “I came in like a” in stage 2, she passionately soars in the manner in which she sings the payoff lyrics “wrecking ball” via the B-flat – A – A – G progression. Reference the vocal melody section of the report for specifics.
Combined, the manner in which the nature of the music and vocal work in tandem with one another in accentuating the meaning of the title lyric is why the onset of the chorus is not just a “payoff,” but a song defining “magic moment” as well.
The Sectional “Wrecking Ball” Element
Following the “impact” that occurred in stage 3 above, notice how the nature of the drums keep the “wrecking ball” vibe in effect for the duration of the section. Note the following:
Take note of the section’s straight-ahead rhythm. The kick comes in on 1 & 3 while the snare hits on 2 & 4. The result is that it gives the impression of a wrecking ball constantly slamming into the side of a building.
The sonic qualities of both the kick and snare do a fantastic job of accentuating the “wrecking ball” element within the section as well. The kick is like a booming, deep, ultra-compressed thud, while in contrast the snare is like a bright crack of a whip. That, combined with the fact that they’re way up in the mix provides the section with its continuous “wrecking ball” nature.
The characteristics detailed above perfectly jibe with and accentuate the nature of the title lyrics, “wrecking ball,” ultimately helping to put the section’s already ultra infectious, memorable nature over the top.
The Piano
A new instrument that has been added to the chorus which wasn’t in the mix during the intro, verse or pre-chorus is the piano. Notice the clever, infectious manner in which it’s being utilized. Essentially it’s mimicking the lead vocal melody in the same way in which the additional synth did within the pre-chorus. Its differing sonic qualities from the vocal enables it to stand out and resonate, ultimately getting the melody further engrained within the listener’s head in addition to adding increased “coloring” to the overall sonic landscape of the section as well.
Sectional Contrast
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In contrast to the “sparse,” more quiet nature of the intro, verse and pre-chorus that preceded it, the chorus is where the POWER in POWER BALLAD comes into full effect. The differing sonic qualities between these sections is one of the core factors that makes the song so infectious, engaging and powerful.
The Lead Vocal & Magic Moment #2
One thing that is always brought up in these Hit Songs Deconstructed reports is the importance of “singing it like you mean it.” When an artist really connects with the lyrics and brings them to life via the nature of their delivery, it’s one of the most important factors in turning a song from being really good into a massive hit.
This is exactly what Cyrus brings to the table here in the chorus, and the other sections as well for that matter. Her soaring delivery is ultra-evocative and perfectly jibes with and accentuates the power and hurt that’s being conveyed within the lyrics.
The icing on the cake, however, is the clever manner in which she sings the “magic moment” final lyrics on the last 2 lines of each stanza, “brea-ea-eak me” and “wre-e-eck me.” Not only do they take the infectious nature of the section to the next level, but the unique manner in which she sings them gets completely engrained within the listener’s head and as a result resonates long after the song has ended.
As A Whole
Wrecking Ball’s chorus, pure and simple, has it all. All of the elements are firing on all cylinders, perfectly jibing with one another in creating an exceptionally infectious, engaging and memorable payoff for the listener. The “magic moments,” however, are the icing on the cake which puts both the section and song as a whole over the top.
Transition Point – Chorus 1 into Verse 2: Seamless transition
Verse-2 (1:02 – 1:18)
Primary Instrumentation Featured In The Mix
Synth-Group 1 (Similar in nature to verse 1 – low to mid level within the mix) Primary between 11:00 and 12:00
*Strings (Kicks off with cello at the onset with additional strings entering the mix toward the end of the section – low to mid level within the mix) Primary around 12:00
*Synth (“Airy” in nature, fluctuates between low to mid/up within the mix) Alternates left to right within the mix
*Electric Guitar (Primarily clean with moderate reverb – enters during the second half of the section – very low level toward the back of the mix) Primary between 10:00 and
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11:00
*Bass (Low, dull and compressed – mid/up within the mix) Primary around 12:00
*”Color Adder” (Single note synth hits with ample reverb – low to mid level within the mix) Primary around 10:00
*Effect (Vinyl crackle – low level within the mix) Primary around 12:00 but spans the entire mix
Lead Vocal (Cyrus – reverb + low level delay – solo vocal up until the tail end on the lyrics “we’re ashes on the ground” where the harmony vocal is employed – up front within the mix) Lead around 12:00, harmony spans the mix
*Indicates a new element that has been added to the mix relative to the preceding section.
The primary difference between verse 1 and verse 2 (besides the lyrics) is the additional instrumentation that has been added into the mix. The nature of Cyrus’s vocal and corresponding vocal melody remained virtually the same, which as you know heightens the memorability factor for the listener. Note the following:
Increased Engagement
Not only does the nature of the shift in the second verse relative to the preceding chorus maintain and heighten the listener’s engagement within the song, but the fact that the sonic landscape differs in nature from the first verse via the introduction of the strings, synth, bass and electric guitar into the mix takes the engagement value to the next level via the increased degree of “coloring.”
The Power Accentuator
As you’ve by now noticed, the drums were pulled from the mix at the tail end of the chorus and remain absent during the entire second verse that follows. In order to provide diversity and increased power relative to the nature of the first verse within the song, an mid to up-front bass comes into effect during the second half of the section.
Transition Point – Verse 2 into Pre-Chorus 2: Seamless transition
Pre-Chorus-2 (1:18 – 1:32)
As was the case between verse 1 and pre-chorus 1, verse 2 and pre-chorus 2 share the same basic instrumentation being featured within the mix, which aids in the seamless transition between sections.
Additionally, pre-choruses 1 and 2 both possess the same vocal melody and delivery except for the additional harmony on the lyrics “live a lie” and “for my life” (which further accentuates
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The core difference between the 2 occurrences stems from the instrumentation being utilized within the mix. This, as was the case between both verse sections, accentuates the engagement value for the listener via the increased “coloring.”
Transition Point – Pre-chorus 2 into Chorus 2: Forgoing the transitional pause that occurred between pre-chorus 1 and chorus 1, Cyrus’s solo “I came in like a” vocal directly follows the end of the pre-chorus 2, instantly “jolting” the listener back into the song’s payoff.
Chorus-2 (1:34 – 2:08)
Essentially the overall nature of the second chorus within the song is very similar to that of the first. The 2 primary differences include the fact that the overall levels are running a bit hotter which provides a subtly increase intensity relative to the first time around, as well as the fact that there are 2 stanzas as opposed to 1. Note the following:
Lines 1, 4 and 5 remain the same between both stanzas while lines 2 and 3 differ (refer to the lyric section for details).
Notice that a strumming acoustic guitar has been added to the mix within the second stanza which both provides increased coloring to the section as well as providing for subtly increased momentum.
Most noticeably, strings have been added to the mix which takes the section’s overall soaring, evocative nature to the next level.
All in all, the second stanza is the apex of what you would expect to hear in a chart-topping POWER BALLAD!
Transition Point – Chorus 2 into the Bridge: Seamless transition.
Bridge (2:10 – 2:42)
Vocals & Primary Instrumentation Featured In The Mix
Strings (Mid to upper level within the mix ) Spans the entire mix
Piano (Mid to upper level within the mix ) Spans the entire mix
Bass (Low, dull and compressed – mid/up within the mix) Primary between 10:00 and 12:00
Effect (Vinyl crackle – low level within the mix) Primary around 12:00 but spans the entire mix
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Lead Vocal (Cyrus – moderate reverb + low level delay – natural, “up close and personal” in nature – up front within the mix) Primary at 12:00 but the reverb/delay traverses the entire mix
Vibe
Sorrow, hurt, realization, fragile/delicate beauty, exhaustion
Music & Vocal
Here in the bridge is where Cyrus comes to the realization that maybe it was her forceful, “wrecking ball” tactics that caused the demise of the relationship, culminating in her losing the love of her life.
In order to accentuate the nature of the lyrics that convey this, the overall nature of the music and Cyrus’s vocal delivery shift gear to make it happen as follows:
The music is now being dominated by highly evocative strings and piano with the up- front bass anchoring the section together. Notice how the nature of the piano provides a fragile, delicate beauty to the section, while the strings provide the “lump in your throat” element, accentuating the hurt realization being conveyed via the lyrics and Cyrus’s vocal delivery.
And speaking of the vocal, here Cyrus does a fantastic job of perfectly conveying all of the emotion depicted within the “vibe” section above. Again, she’s “singing it likes she means it,” and as a result connects with the listener on a deep level because they can feel what she’s feeling.
Combined
As with all of the other sections of the song, here we once again find the perfect marriage between lyrics, vocal and music in creating an ultra-evocative landscape that connects with the listener on a deep level.
Transition Point – Bridge into Chorus 3: Seamless transition
Pre-Chorus-3 (2:42– 2:49)
Something that you normally don’t see within chart-topping Pop hits is the use of a third pre- chorus, especially following the bridge. Usually after the bridge they go directly back into the chorus.
In the case of Wrecking Ball, breaking from the “norm” certainly worked in the song’s favor. Following the ultra-evocative, piano/string/bass natured bridge, everything is pulled from the mix except for Cyrus’s vocal, low level piano and vinyl crackle.
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The result is that the listener is provided with a bare, intimate recitation (NOT talking about the video here) of the first stanza of the pre-chorus, “don’t you ever say, I just walked away. I will always want you.” This, plus the brief silence that occurs at the transition point does a fantastic job of setting up the final chorus that follows, providing it with a much heightened degree of perceived power when it hits.
Transition Point – Bridge into Chorus 3: Same transition as was the case between pre- chorus 1 and chorus 1
Chorus-3 (2:52– 3:30)
Here in the third and final chorus we find the section’s evocative intensity reaching a its highest level relative to the other occurrences within the song. Note the following key differences compared to the second chorus occurrence that made this happen:
The overall levels are running at their hottest level within the song.
The strings are featured prominently within the mix right out of the gate in the first stanza (remember that they entered within the second stanza during the second chorus occurrence within the song).
There are additional vocals and vocal harmony being featured prominently within the mix, which both aids in providing differentiation from the other chorus occurrences as well as increasing the engagement value for the listener.
Combined, the elements detailed above bring the POWER of this POWER Ballad to a rousing crescendo, leaving the listener on an emotional, soaring high at the conclusion of the song.
Ending
At the tail end of the chorus, notice that all of the instrumentation is pulled from the mix except for the guitar, piano and ride. This achieves 2 key things:
It provides an abrupt downshift in intensity, helping to put the listener more “gently back on the ground” than if the song ended abruptly on the intense nature of the full chorus. All in all, it’s helping to foster resolution.
It also enables the final phrase of the song, “you wre-e-eck me,” (which as you know also happens to be a partial title lyric), to further jump out and resonate, leaving the listener with one last ultra-infectious element to resonate within their heads.
Vocal Melody Back to Top
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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 delivered in a compelling manner.
Some of the characteristics and attributes that you’ll find within Wrecking Ball’s vocal melody that makes it so infectious, engaging and memorable include:
Short Phrases / Segmenting (i.e. the “phone number” method”)
Enables the melody to easily connect and get engrained within the listener’s head.
Simplicity (K.I.S.S.)
Easy to follow melodic progressions coupled with effective, engaging rhythm.
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: Phrases/segments within a particular line that repeat in the same or close to the same manner.
In-Stanza Repetition: Lines or parts of lines within a stanza that repeat in the same or close to the same manner.
Cross-Stanza Repetition: Lines within 2 different stanzas that possess the same general characteristics.
Sectional Repetition: Lines or stanzas from 1 particular section that repeat in the same or close to the same manner during additional occurrences within the song (i.e pre- chorus 1 vs. pre-chorus 2).
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Diversifiers & Color Adders
Specific phrases, lyrics or even syllables that work to increase the infectious nature of a section as well as break up the monotony of the repetition.
Section / Song Defining “Magic Moments”
The ultra-infectious, clever manner in which specific phrases or lyrics are sung that help put the song over the top.
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
VERSE 1
1st Stanza – Lines 1 & 2
2nd Stanza – Lines 3 & 4
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VERSE 2
1st Stanza – Lines 1 & 2
2nd Stanza – Lines 3 & 4
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Line Reference
VERSE-1
First Stanza
Line 1: We clawed we chained our hearts in vain Line 2: We jumped never asking why
Second Stanza
Line 3: We kissed I fell under your spell Line 4: A love no one could deny
VERSE-2
First Stanza
Line 1: I put you high up in the sky Line 2: And now you’re not coming down
Second Stanza
Line 3: It slowly turned you let me burn Line 4: And now we’re ashes on the ground
Vocal Range
High: A Low: G
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LINE LENGTH & SEGMENTATION (Are the lines & phrases a mouthful to sing or are they broken into short, memorable segments?)
Both stanzas in Wrecking Ball’s verse sections consist of one long segment that stretches over 2 lines followed by a shorter, “memorability accentuator” segment to conclude.
Typically you would expect to find a pause (rest) implemented to segment one line from the next within a stanza. This is NOT the case with Wrecking Ball’s verse sections, however. Instead, the last lyric on the first line of each stanza possesses an eighth note value and continues without a pause right into line 2 that follows. The segmentation occurs after the second lyric on line 2 in each stanza:
Key Blue Font: Line 1 Red Font: Line 2
First Verse – First Stanza
“We clawed we chained our hearts in vain we jumped / never ask-ing why“
First Verse – Second Stanza
“We kissed I fell under your spell a love / no one could de-ny“
Second Verse – First Stanza
“I put you high up in the sky and now / you’re not com-ing down“
Second Verse – Second Stanza
“It slow-ly turned you let me burn and now / we’re ash-es on the ground“
Not only do you have a rest that puts the segmentation into effect, but as you’ll see within the rhythm section that follows the lyric that precedes the rest in each stanza also possesses a slightly prolonged duration in relation to the other lyrics (i.e. a dotted eighth) which further accentuates the pronouncement of the segmentation.
Additionally, notice that the second segment within each stanza is the rhyming (“memorability accentuator”) segment. Having these particular phrases segmented from the rest accentuates their rhyming nature and enables the section as a whole to get further get engrained within the listener’s head:
First Verse: “never ask-ing why / no one could de-ny”
Second Verse: “you’re not com-ing down / we’re ash-es on the ground”
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First Verse
1st Stanza
Line 1: “We clawed we chained our hearts in vain”
Word/Syllable Count: 8 words / 8 syllables
Segmentation Method: None – last lyric is an eighth note
Line 2 (Full): “We jumped / never ask-ing why”
Word/Syllable Count: 5 words / 6 syllables
Line 2 (Phrase/Segment 1): “We jumped”
Word/Syllable Count: 2 words / 2 syllables
Segmentation Method: Eighth Rest
Line 2 (Phrase/Segment 2): “never ask-ing why”
Word/Syllable Count: 3 words / 4 syllables
Segmentation Method: Eighth Rest
2nd Stanza
Line 3: “We kissed I fell under your spell”
Word/Syllable Count: 7 words / 8 syllables
Segmentation Method: None – last lyric is an eighth note
Line 4 (Full): “A love / no one could de-ny”
Word/Syllable Count: 6 words / 7 syllables
Line 4 (Phrase/Segment 1): “A love”
Word/Syllable Count: 2 words / 2 syllables
Segmentation Method: Eighth Rest
Line 4: (Phrase/Segment 2): “no one could de-ny”
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Word/Syllable Count: 4 words / 5 syllables
Segmentation Method: Quarter Rest
Second Verse
First Stanza
Line 1: “I put you high up in the sky”
Word/Syllable Count: 8 words / 8 syllables
Segmentation Method: Eighth Rest
Line 2 (Full): “And now / you’re not com-ing down”
Word/Syllable Count: 6 words / 7 syllables
Line 2 (Phrase/Segment 1): “And now”
Word/Syllable Count: 2 words / 2 syllables
Segmentation Method: Eighth Rest
Line 2 (Phrase/Segment 2): “you’re not com-ing down”
Word/Syllable Count: 3 words / 4 syllables
Segmentation Method: Eighth Rest
Second Stanza
Line 3: “It slow-ly turned you let me burn”
Word/Syllable Count: 7 words / 8 syllables
Segmentation Method: Eighth Rest
Line 4 (Full): “And now / we’re ash-es on the ground”
Word/Syllable Count: 7 words / 8 syllables
Line 4 (Phrase/Segment 1): “And now”
Word/Syllable Count: 2 words / 2 syllables
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Segmentation Method: Sixteenth Rest
Line 4 (Phrase/Segment 2): “you’re not com-ing down”
Word/Syllable Count: 3 words / 4 syllables
Segmentation Method: Quarter Rest
PROGRESSION & RHYTHM (Is the nature of the progression and rhythm simplistic or complex? What’s the flow?)
As is the case with the vast majority of chart-topping Pop hits, the name of the game when it comes to the vocal melody is INFECTIOUS SIMPLICITY. The listener needs to be able to get engaged without having to work at it coupled with a memorable nature that makes it impossible for them to shake out of their heads.
This is the case with Wrecking Ball’s verse sections.
General Flow
As you’ll see below, both stanzas within both verse sections are almost identical in nature from both a progression and rhythmic standpoint, which does a fantastic job of getting the melody completely engrained within the listener’s head.
Essentially, each stanza is broken into 3 individual segments as follows:
Segment 1: Lines 1 & 3 in both verse sections
“We clawed we chained our hearts in vain”
“We kissed I fell un-der your spell”
“I put you high up in the sky”
“It slow-ly turned you let me burn”
Segment 2: The first 2 lyrics on lines 2 & 4
“We ju-mped”
“a lo-ve”
“and no-w”
“and no-w”
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Segment 3: The last phrase on lines 2 & 4
“nev-er ask-ing why”
“no one could de-ny”
“you’re not com-ing down”
“we’re ash-es on the ground”
LINES 1 & 3 – BOTH VERSE SECTIONS
Here’s a perfect example of a really infectious, engaging and memorable vocal melody. The A – D / A – C progression coupled with the all eighth note rhythm creates a unique melody that completely stands out and easily gets engrained within the listener’s head due to its simplistic and repetitive nature.
Progression
The following progression repeats in the same exact manner on lines 1 & 3 in both verse sections:
A – D – A – D – A – C – A – C
Line 1/Verse1: “We clawed we chained our hearts in vain”
Line 3/Verse 1: “We kissed I fell un-der your spell”
Line 1/Verse 2: “I put you high up in the sky”
Line 3/Verse 2: “It slow-ly turned you let me burn”
Notice that the first half of each line alternates via A – D, while the second half differentiates just a bit by dropping down to C while keeping the high A in place. This subtle variation is what keeps the line as a whole from becoming overly monotonous.
Rhythm
The all eighth-note rhythm accentuates the engaging and memorable nature of the progression detailed above via its straight-forward repetitive nature. It doesn’t get much more simplistic than this.
LINES 2 & 4 – BOTH VERSE SECTIONS
Here on lines 2 and 4 we find a departure from the nature that defined lines 1 and 3 that
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The first acts to provide a dramatic element to the section via the manner in which it instantly brings the flow that defined lines 1 & 3 to a conclusion while at the same time setting up the “memorability accentuator” second phrase that follows via its “cliffhanger” nature.
Progression
Segment 1
Line 2/Verse 1: “We ju-mped”
Line 4/Verse 1: “a lo-ve”
Line 2/Verse 2: “and no-w”
Line 4/Verse 2: “and no-w”
The first thing to notice about these segments is the fact that they’re very short, consisting of just 2 lyrics and 3 syllables.
Second, notice that all of these segments follow the same progression via C – E – D.
And third, notice that the second lyric in each segment is “stretched” passed its normal syllable count via an E – D progression. This, along with their prolonged duration relative to the other lyrics within the section provides these lyrics with increased coloring and emphasis as well as acts in the manner of a “cliffhanger” for the “memorability accentuator” phrase/segment that follows.
Segment 2
Line 2/Verse 1: ” nev-er ask-ing why”
Line 4/Verse 1: “no one could de-ny”
Line 2/Verse 2: “you’re not com-ing down”
Line 4/Verse 2: “we’re ash-es on the ground”
As was the case with segment 1, all of the segment 2 occurrences follow the same progression via E – D – E – F – D. The only minor variation occurs at the onset of the segment on line 4, verse 2 where there is an additional lyric, “we’re” that drops down to a G.
Keep in mind that simplicity is in full effect here as well considering that except for the final F – D descent at the end of the segment the progression consists solely of whole and half steps.
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Also notice that these segments initially carry on with the same E – D progression that defined segment 1 that preceded them, but differentiate toward the end via the climb up to F on the second to last syllable/lyric of the phrase. This climb acts to set up and accentuate the impact of the final lyric of each phrase via a drop down to D, which also happens to be the “rhymer” on each line.
The result – it accentuates the nature of the rhyme via the F – D progression and that, coupled the manner in which all of those lines conclude in the same manner gets it completely engrained within the listener’s head.
Rhythm
Segment 1
In contrast to lines 1 and 3 where all of the lyrics are eighth notes, the first lyric on lines 2 and 4 possess a sixteenth note value which is then followed by the “stretched” lyrics as mentioned earlier which possess a longer dotted eighth value.
Again, along with the nature of the progression, the sixteenth / dotted eighth combo acts to heighten the dramatic vibe of the stanza via the initial urgency elicited via the sixteenth note followed by the prolonged nature of the lyric that follows.
Segment 2
In contrast to segment 1, the first 4 syllables in each segment 2 occurrence consist of a rapid- fire sixteenth note delivery. The last syllable, however, possesses the longest note duration of the section via a quarter note value. Notice how this, along with the set up via the nature of the progression as mentioned earlier acts to further accentuate the nature and impact of the rhyme.
REPETITION (How is repetition utilized to get the melody engrained within the listener’s head?)
As you’ve by now noticed, there is a significant amount of repetition being utilized within Wrecking Ball’s verse sections. The result is that not only does the repetition get each individual section engrained within the listener’s head, but the fact that both sections repeat in nearly an identical manner helps to get the song as a whole stuck in the listener’s head as well by providing an almost identical sectional revisit.
In-line Repetition
Lines 1 and 3 within both verse sections consist entirely of eighth notes.
Lines 1 and 3 within both verse sections follow virtually the same alternating progression throughout the entire line with just a minor difference (i.e. A - D – A – D – A – C – A – C).
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Cross-Line Repetition
Lines 1 & 3 utilize the same exact progression and rhythm.
Lines 2 & 4 utilize the same exact progression and rhythm with just 1 minor difference in line 4, verse 2.
Cross-Stanza Repetition
Stanzas 1 & 2 within both verse sections repeat in the same exact manner with just that 1 minor difference on line 4, verse 2.
Cross-Sectional Repetition
Verses 1 & 2 repeat in the same exact manner except for the one difference as mentioned above.
DIVERSIFYING FACTORS (What diversity within the melody is utilized to prevent the repetition from making things too monotonous?)
Considering that each stanza repeats in an identical manner throughout the song except for one occurrence (which we’ll get to in a minute), we need to look at the diversity that takes place within each individual stanza to see how things are kept fresh and engaging for the listener while avoiding monotony.
Lines 1 & 3
Considering that these lines do not contain any segmentation and utilize the same eighth note rhythm throughout, the only differentiation lies in the nature of the progression. As previously mentioned, the first half of the line alternates A – D, while the second half differentiates just a bit via A – C. As subtle as it is, it’s enough to keep things from becoming overly monotonous.
Lines 2 & 4
As you know both of these lines are broken into 2 individual segments, both of which differ in nature from one another as described earlier.
Line 4, Verse 2, Segment 2
As previously mentioned, there is an additional lyric, “we’re,” that kicks the segment off and does not occur anywhere else in either of the sections. It is also the only time where the progression dips down briefly to a G before continuing on in the same fashion as all of the other “like” segments.
COLOR ADDERS & EMPHASIZERS
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(Are certain lyrics sung in a certain manner to provide increased emphasis and “coloring?”)
There are 3 primary color adder / emphasizers that do a fantastic job of accentuating the nature of the vocal melody within the verse sections of Wrecking Ball:
Line 1 & 3 “Alternation”
The manner in which each lyric alternates via A – D and A – C on the line comes across in a unique, exceptionally infectious manner.
Lines 2 & 4 – Segment 1
The nature of these short segments acts to bring the preceding line to an end, heighten the overall drama of the stanza, and act in the manner of a “cliffhanger” for the segment/phrase that follows
Lines 2 & 4 – Segment 2 F – D progression
By climbing up to an F on the second to last lyric of the line, it both sets up and provides the rhyming lyric that follows with increased emphasis.
PRE-CHORUS
1st Stanza
2nd Stanza
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*Correction – the last 2 lyrics in both stanzas possess eighth and dotted eighth timing, respectively.
Line Reference
Line 1: Don’t you ever say I just walked away Line 2: I will always want you Line 3: I can’t live a lie running for my life Line 4: I will always want you
Vocal Range
High: D Low: F
LINE LENGTH & SEGMENTATION (Are the lines & phrases a mouthful to sing or are they broken into short, memorable segments?)
Here in the pre-chorus we find both stanzas consisting of 3 segments (phrases) that are relatively short in nature, with the first 2 on each line consisting of just 5 syllables and the last consisting of 6.
First Stanza: “Don’t you ev-er say / I just walked a-way / I will al-ways want you”
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Second Stanza: “I can’t live a lie / run-ning for my life / I will al-ways want you”
Note that the segmentation that occurs after each of the first 2 phrases in each stanza is NOT brought about by a rest as you would typically expect. Instead, the last syllable in each phrase possesses an eighth note value, which provides a prolonged feeling in relation to the 2 sixteenth notes that precede it. Essentially what it does is act in the manner of a comma after the first phrase in both stanzas as well as a quick period after the second:
Key Blue Font: Sixteenth Note Red Font: Eighth Note
First Stanza
Segment 1: “ev-er say“
Segment 2: “walked a-way“
Second Stanza
Segment 1: “live a lie“
Segment 2: “for my life“
1st Stanza
Line 1 (Full): “Don’t you ever say / I just walked a-way”
Word/Syllable Count: 8 words / 10 syllables
Line 1 (Phrase/Segment 1): “Don’t you ev-er say”
Word/Syllable Count: 4 words / 5 syllables
Segmentation Method: Eighth note relative to preceding sixteenth notes
Line 1 (Phrase/Segment 2): “I just walked a-way”
Word/Syllable Count: 4 words / 5 syllables
Segmentation Method: Eighth note relative to preceding sixteenth notes
Line 2: “I will al-ways want you”
Word/Syllable Count: 5 words / 6 syllables
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Segmentation Method: Quarter Rest
Line 3 (Full): “I can’t live a lie/ run-ning for my life”
Word/Syllable Count: 9 words / 10 syllables
Line 3 (Phrase/Segment 1): “I can’t live a lie”
Word/Syllable Count: 5 words / 5 syllables
Segmentation Method: Eighth note relative to preceding sixteenth notes
Line 3 (Phrase/Segment 2): “run-ning for my life”
Word/Syllable Count: 4 words / 5 syllables
Segmentation Method: Eighth note relative to preceding sixteenth notes
Line 4: “I will al-ways want you”
Word/Syllable Count: 5 words / 6 syllables
Segmentation Method: Quarter Note
PROGRESSION & RHYTHM (Is the nature of the progression and rhythm simplistic or complex? What’s the flow?)
As was the case with the verse sections, here in the pre-chorus we once again have a section that’s defined by INFECTIOUS SIMPLICITY, even more so than the verses.
General Flow
Following the progression that defined the verse which concluded on a D (which was the second lowest note value in the section), the pre-chorus picks up where it left off on a D and then progresses further downward following a kickoff monotone delivery as you’ll see below.
Additionally, all types of repetition are being utilized throughout the section, which along with the simplicity gets the melody completely engrained within the listener’s head with no effort required.
Progression
Segments 1 & 2
First we’re going to look at the first 2 segments within both stanzas considering that they
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First Stanza: “Don’t you ev-er say, I just walked a-way”
Second Stanza: “I can’t live a lie, run-ning for my life”
Notice that the first 2 lyrics/syllables within each phrase are sung with a monotone D delivery:
First Stanza, Segment 1: “Don’t you”
First Stanza, Segment 2: “I just”
Second Stanza, Segment 1: “I can’t”
Second Stanza, Segment 2: “run-ning”
The balance of each phrase continues on with a D on the following syllable which is then followed by a descending C – A progression to conclude:
First Stanza, Segment 1: “ev-er say”
First Stanza, Segment 2: “walked a-way”
Second Stanza, Segment 1: “live a lie”
Second Stanza, Segment 2: “for my life”
Combined, the 2 progressions above create an exceptionally infectious, memorable, and very simplistic vocal melody for the listener to sink their teeth into.
Segment 3
The progression that defines the third and final segment of both stanzas possesses the same general framework as the preceding segments with 2 primary differences:
D vs. C
Instead of starting out on D as was the case with the first 2 segments within the stanza, the third segment starts off on a C and then progresses downward via B-flat and A.
Descent to F
To bring the stanza to a conclusion, the third segment then further progresses downward relative to the 2 preceding segments to conclude on F. Remember – the preceding segments concluded on an A.
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To sum up – here’s a side by side comparison of the 2 progressions that define the pre-chorus:
Segments 1 & 2: D – D – D – C – A
Segment 3: C – C – C – B-flat – A – F
Additionally, notice the overall simplicity of the progressions. Aside from the C – A and A – F descent, everything else is either monotone, whole or half step in nature.
Rhythm
As was the case with the nature of the progression, the nature of the rhythm across all 3 segments is also quite simplistic, infectious and memorable as well.
Segments 1 & 2
Let’s again start with the first 2 segments within each stanza considering that they are identical in nature. Both follow an exceptionally infectious Eighth – Eighth – Sixteenth – Sixteenth – Eighth rhythm. Notice how it’s broken up to jibe with the nature of the progression:
Eighth – Eighth (Monotone D Delivery)
First Stanza, Segment 1: “Don’t you”
First Stanza, Segment 2: “I just”
Second Stanza, Segment 1: “I can’t”
Second Stanza, Segment 2: “run-ning”
Sixteenth – Sixteenth – Eighth (D – C – A)
First Stanza, Segment 1: “ev-er say”
First Stanza, Segment 2: “walked a-way”
Second Stanza, Segment 1: “live a lie”
Second Stanza, Segment 2: “for my life”
Segment 3
Initially the third and last segment of each stanza starts off with the same rhythm as was the case with the first 2 segments:
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Eighth – Eighth (Monotone C Delivery)
First Stanza: “I will”
Second Stanza: “I will”
The balance of the segment is where things get changed up from the preceding 2. Instead of utilizing a sixteenth – sixteenth – eighth rhythm on the downward progression, it instead possesses a sixteenth – eighth – eighth – dotted eighth rhythm. As subtle as the change is, it acts to slow things down to bring the stanza to the conclusion and provide additional differentiation from the 2 segments that preceded it.
REPETITION (How is repetition utilized to get the melody engrained within the listener’s head?)
As was the case with the verse sections of the song, here within the pre-chorus we also have a vast amount of repetition being utilized in order to get the section completely engrained within the listener’s head. Note the following:
In-line Repetition
Segments 1 and 2 on lines 1 and 3 possess the same exact progression and rhythm.
Cross-Line Repetition
Lines 1 and 3 repeat in the same exact manner.
Lines 2 and 4 possess a very similar progression styled framework as lines 1 and 3.
Lines 2 and 4 also kick off with the same rhythm as lines 1 and 3.
Cross-Stanza Repetition
Both stanzas repeat in the same exact manner, both from a rhythmic and progression standpoint.
Cross-Sectional Repetition
Pre-choruses 1 and 2 are identical in nature while pre-chorus 3 is a half-pre-chorus. Note however that the nature of the melody or rhythm does not change.
DIVERSIFYING FACTORS (What diversity within the melody is utilized to prevent the repetition from making things too monotonous?)
Considering that segments 1 and 2 within both stanzas repeat in the same exact manner,
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COLOR ADDERS & EMPHASIZERS (Are certain lyrics sung in a certain manner to provide increased emphasis and “coloring?”)
There are 2 primary color adder / emphasizers that accentuate the nature of the vocal melody within the pre-chorus sections:
Segment 1 & 2 Progression & Rhythm
The entire nature of these repetitive segments are exceptionally colorful, infectious, engaging and memorable.
Segment 3
It’s also the case with the third segment as well, but notice how the slowed down nature of the rhythm, drop to lower note values coupled with the manner in which Cyrus sings it accentuates the solemn yet loving “I will always want you” meaning of the lyrics.
CHORUS
1st Stanza – Choruses 1, 2 & 3
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2nd Stanza – Choruses 2 & 3
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Line Reference
1st Stanza
Line 1: I came in like a wrecking ball Line 2: I never hit so hard in love Line 3: All I wanted was to break your walls Line 4: All you ever did was brea-ea-eak me Line 5: Yeah you, you wre-e-eck me
Second Stanza: Choruses 2 & 3
Line 1: I came in like a wrecking ball Line 2: Yeah I just closed my eyes and swung
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Line 3: Left me crouching in a blazing fall Line 4: All you ever did was brea-ea-eak me Line 5: Yeah you, you wre-e-eck me
Vocal Range
High: B-flat Low: F
LINE LENGTH & SEGMENTATION (Are the lines & phrases a mouthful to sing or are they broken into short, memorable segments?)
Here in the chorus (payoff) of the song the first thing that you’ll notice is that the first 3 lines of the section provide contrast against the segments that defined the pre-chorus due to their longer nature (i.e. 8 to 9 syllables in the chorus vs. 5 to 6 in the pre-chorus).
Lines 4 and 5 that follow, however, provide contrast against the first 3 via their segmentation into shorter phrases as follows:
Line 4: “All you ev-er did was / brea-ea-eak me”
Line 5: “Yeah you / you wre-e-eck me”
This segmentation achieves the following:
It provides differentiation from the first 3 lines that preceded them, making for a more engaging listening experience.
It accentuates the memorability factor via the shorter nature of the phrases (i.e. shorter is easier to remember).
It adds to the tension/drama factor within the section via the “cliffhanger” effect that occurs at the tail end of each of the first segments.
Additionally, notice that the syllable count and segmentation methods remain constant throughout both stanzas.
1st Stanza (All Choruses)
Line 1: “I came in like a wreck-ing ball”
Word/Syllable Count: 7 words / 8 syllables
Segmentation Method: Dotted Eighth Rest
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Line 2: “I nev-er hit so hard in love”
Word/Syllable Count: 7 words / 8 syllables
Segmentation Method: Eighth Rest
Line 3: “All I want-ed was to break your walls”
Word/Syllable Count: 8 words / 9 syllables
Segmentation Method: Eighth Rest
Line 4 (Full): “All you ev-er did was / brea-ea-eak me”
Word/Syllable Count: 7 words / 10 syllables
Line 4 (Phrase/Segment 1): “All you ev-er did was”
Word/Syllable Count: 5 words / 6 syllables
Segmentation Method: Last lyric is prolonged via Quarter + Sixteenth timing
Line 4 (Phrase/Segment 2): “brea-ea-eak me”
Word/Syllable Count: 2 words / 4 syllables
Segmentation Method: Eighth Rest
Line 5 (Full): “Yeah you / you wre-e-eck me”
Word/Syllable Count: 5 words / 6 syllables
Line 5 (Phrase/Segment 1): “Yeah you”
Word/Syllable Count: 5 words / 6 syllables
Segmentation Method: Eighth Rest
Line 5 (Phrase/Segment 2): “you wre-e-eck me”
Word/Syllable Count: 2 words / 4 syllables
Segmentation Method: Eighth Rest
2nd Stanza (Choruses 2 & 3)
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Line 1: “I came in like a wreck-ing ball”
Word/Syllable Count: 7 words / 8 syllables
Segmentation Method: Dotted Eighth Rest
Line 2: “Yeah I just closed my eyes and swung”
Word/Syllable Count: 8 words / 8 syllables
Segmentation Method: Eighth Rest
Line 3: “Left me crouch-ing in a blaz-ing fall”
Word/Syllable Count: 7 words / 9 syllables
Segmentation Method: Eighth Reset
Line 4 (Full): “All you ev-er did was / brea-ea-eak me”
Word/Syllable Count: 7 words / 10 syllables
Line 4 (Phrase/Segment 1): “All you ev-er did was”
Word/Syllable Count: 5 words / 6 syllables
Segmentation Method: Last lyric is prolonged via Quarter + Sixteenth timing
Line 4 (Phrase/Segment 2): “brea-ea-eak me”
Word/Syllable Count: 2 words / 4 syllables
Segmentation Method: Eighth Rest
Line 5 (Full): “Yeah you / you wre-e-eck me “
Word/Syllable Count: 5 words / 6 syllables
Line 5 (Phrase/Segment 1): “Yeah you”
Word/Syllable Count: 5 words / 6 syllables
Segmentation Method: Dotted Eighth Rest
Line 5 (Phrase/Segment 2): “you wre-e-eck me”
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Word/Syllable Count: 2 words / 4 syllables
Segmentation Method: Quarter Rest
***In the sections that follow we’re going to look exclusively at the first stanza of the chorus considering that the second stanza possesses virtually the same characteristics as the first ***
PROGRESSION & RHYTHM (Is the nature of the progression and rhythm simplistic or complex? What’s the flow?)
General Flow
Following the progression that defined the pre-chorus which concluded on an F (which was the lowest note value of the section), the vocal melody within the chorus initially kicks up to B-flat from which it then progresses through 3 primary groupings as you’ll see below. Note that these groups all possess characteristics that differ in nature from one another yet also possess similarities as well which acts to accentuate the engagement and memorability factors of the section as a whole.
Progression
Here we’re going to take a look at the 3 groupings of progressions that pertain to both stanzas within the chorus:
Group 1: Line 1 (The lead-in line of the section)
Group 2: Lines 2 & 3 (These lines repeat in virtually the same manner)
Group 3: Lines 4 & 5 (These lines utilize segmentation and possess similar characteristics to one another as well)
Group 1: Line 1
The Monotone Lead-In: “I came in like a”
Following the more “serious/somber” tone of the pre-chorus that concluded by descending down to an F, the chorus kicks off by leaping up to B-flat via a monotone natured solo vocal delivery on the lyrics “I came in like a.” Notice that this delivery achieves the following:
It provides strong contrast to the nature of the progression that defined the pre-chorus that preceded it.
It provides the perfect platform for Cyrus’s more aggressive vocal delivery to shine which jibes with the nature of the lyrics.
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It perfectly sets up the “payoff” lyrics that follow and enables them to stand out and resonate via the change up in the nature of its progression.
All in all, the solo monotone nature of the vocal delivery coupled with the aggressive manner in which Cyrus sings it “shocks” the listener into the section and fully commands their attention.
The Payoff Lyrics: “Wrecking Ball”
Following the monotone set-up, the title (payoff) lyrics of the section follow in a changed up manner which enables them to stand out and resonate due to the contrast to the nature of the delivery that preceded them. Note the following:
Both lyrics follow a descending progression via B-flat – A – A – G, which contrasts the monotone B-flat delivery that preceded it.
Both lyrics are sung with 2 different note values which provides them with enhanced “coloring.” The lyric “wrec-king” spans B-flat and G, while “ba-ll” is extended past its normal syllable count via A - G to conclude.
Group 2: Lines 2 & 3
Here we’re going to take an individual look at the 2 independent facets that comprise both lines.
Facet 1: F – B-flat – A – G – F
Line 2: “I nev-er hit so”
Line 3: “All I want-ed was to”
These lyrics represent the first half of both lines and are identical in nature except for 1 minor difference. Note the following:
Line 2 kicks off with an infectious F – B-flat leap. This is also the case with line 3 as well except for the fact that there’s a double F at the onset via the lyrics “all I.”
The balance then follows a simplistic descending progression via B-flat – A – G – F to conclude.
Facet 2: B-flat – A – A – (G)
Line 2: “hard in love”
Line 3: “break your wa-lls”
These lyrics represent the second half of both lines and are almost identical in nature as
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Following the first half that concluded by descending down to F, the first lyric that follows on each line (“hard” and “break“) leaps back up to B-flat at the onset.
The 2 lyrics that follow on each line (“in love” and “your walls”) follow by descending to a double A delivery. Note however that the lyric “wa-lls” on line 3 is extended past its normal syllable count to further descend down to G to conclude. This is also the case with the lyrics “swu-ng” and “fa-ll” in the second stanza as well. Notice how this A – G progression is in line with the A – G descent that occurred at the end of line 1 on the lyric “ba-ll,” which helps to accentuate the memorability factor of the section.
Group 3: Lines 4 & 5
As we saw in the line length and segmentation section above, lines 4 and 5 are broken into 2 individual segments as follows:
Line 4: “All you ev-er did was / brea-ea-eak me”
Line 5: “Yeah you / you wre-e-eck me”
Line 4 – Segment 1: “All you ev-er did was”
Notice that line 4 initially starts off in virtually the same manner as the first facet within lines 2 and 3 that preceded it via an F – F – B-flat – A – G – F progression.
Line 4 - Segment 2: “brea-ea-eak me”
The manner in which line 4 concludes, however, is where it differs from the lines that preceded it. Instead of ending via a B-flat – A – A – (G) progression, it instead descends via B-flat – A – G and then progresses back up to B-flat to conclude.
In regard to the B-flat – A – G progression, notice that this defines 1 of the 2 most “colorful” lyrics within the section – the extended “brea-ea-eak.” Also notice how it sets up the final lyric of the line, “me.”
As for the lyric “me,” the fact that it leaps back up to B-flat from the G that preceded it to conclude the line is out of the ordinary and as a result does a fantastic job of putting a unique spin on the section and taking its infectious nature to the next level. The reason is due to the fact that we’re so used to hearing a section, line or individual segment conclude by progressing DOWNWARD (i.e. to an F, for example) to provide a resolve. Instead, the leap up to B-flat acts to heighten the evocative nature of both lyrics within the segment “break me.”
Line 5 – Segment 1: “Yeah you”
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Directly following the B-flat leap that preceded it, we once again see a drop down to F on the 2 lyrics that follow, “yeah you.” Notice that this is yet another set-up and precursor to the final “colorful” lyrics of the section that follows.
Line 5 – Segment 2: “you wre-e-eck me”
Here we have a virtual repeat of the progression that defined the other super infectious lyrics “brea-ea-eak me” on the previous line. The only difference is that there is an additional F at the onset via the lyric “you.”
That final leap up to B-flat on the lyric “me” then acts to conclude the section on a heightened emotional level without the typical resolve that we’re use to hearing. As previously mentioned, this puts a unique spin on the section and also acts to accentuate the infectious nature of the song as a whole.
Rhythm
Group 1: Line 1
The Rapid Fire Sixteenth Note Lead-In: “I came in like a”
The lead-in line of the chorus possesses a repetitive sixteenth-note delivery that along with the monotone nature of Cyrus’s delivery acts to accentuate the intense nature of her vocal and grab the listener’s attention via the contrast that it provides to the pre- chorus, which consists primarily of eighth-notes.
It also acts to set-up and provide contrast to the differing nature of the “wrecking ball” payoff lyrics that follow as you’ll see below.
The Prolonged Payoff Lyrics: “Wrecking Ball”
Following the rapid fire sixteenth note set-up, the payoff lyrics “wrecking ball” take on a more soaring nature brought about by the following:
“Wreck-ing” consists of dotted eighth – sixteenth note timing.
“Ba-ll” is stretched and prolonged via dotted eighth – sixteenth timing as well.
Notice that considering the fact that “ing” in “wrecking” is a sixteenth note that it immediately leads into “ball” that follows. The result – it basically ties both lyrics together and accentuates the overall soaring nature of the title lyrics as a whole.
Group 2: Lines 2 & 3
Here we’re going to once again take an individual look at the 2 independent facets that comprise both lines.
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Facet 1: Rapid Fire Sixteenth Notes
Line 2: “I nev-er hit so”
Line 3: “All I want-ed was to”
Notice how this rhythm is identical to that of the lead-in to the section as previously described.
Facet 2: Prolonged Nature (Dotted Eighth – Sixteenth – Dotted Eighth – Sixteenth)
Line 2: “hard in love”
Line 3: “break your wa-lls”
Here we have virtually the same rhythm that we saw occurring on the title lyrics on line 1. The primary difference is that since the lyric “love” isn’t stretched out like “ba-ll” or “wa-lls,” it consists of a quarter note as opposed to a dotted eighth – sixteenth combo.
Group 3: Lines 4 & 5
Once again lines 4 and 5 are broken into 2 individual segments as follows:
Line 4: “All you ev-er did was / brea-ea-eak me”
Line 5: “Yeah you / you wre-e-eck me”
Line 4 – Segment 1: “All you ev-er did was”
This line kicks off with a rapid-fire sixteenth note delivery like the others, but differs on the very last lyric, “was.” Instead of possessing a sixteenth note value, it instead consists of a quarter + a sixteenth. This prolonged nature acts in the manner of a comma and also acts to set-up as well as heighten the tension and anticipation leading into the lyric that follows, “brea- ea-eak me” (i.e. “all you ever did was…” …wait for it… “brea-ea-eak me.”).
Line 4 – Segment 2: “brea-ea-eak me”
As we saw within the progression section, the manner in which the lyric “break” is given a unique twist via “brea-ea-eak” acts to take the infectious nature of the section, and the song to the next level. Along with the nature of the progression, this was further accentuated via the repetitive eighth – eighth – eighth rhythm on “brea-ea-eak” and resonates at the tail end by lingering on a quarter note on the lyric “me.”
Line 5 – Segment 1: “Yeah you”
In contrast to the eighth and quarter notes that preceded them, these 2 lyrics consist of rapid- fire sixteenth notes and are followed by a dotted eighth rest. As was the case with the lyric
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“was” on line 4, the pause after “you” on line 5 acts to set-up and heighten the tension and anticipation leading into the final lyrics of the section.
Line 5 – Segment 2: “you wre-e-eck me”
Aside from the rapid sixteenth note lead-in on the lyric “you,” we have the same rhythm transpiring on the other ultra-infectious/unique lyrics of the section, “wre-e-eck me” as we had on “brea-ea-eak” me that preceded it.
REPETITION (How is repetition utilized to get the melody engrained within the listener’s head?)
As was the case with the verse and pre-chorus sections, we have a plethora of repetition being utilized within the chorus sections as well which helps to get that ultra-infectious melody engrained within the listener’s head.
In-Line Repetition
Lines 2 – 4 all have 2 occurrences where there is a leap from F up to B-flat followed by a downward progression. Note that all of the downward progressions are nearly identical in nature except for the double A vs. the single A (i.e. B-flat - A – A – G – F vs. B-flat – A – G – F).
Cross-Line Repetition
Lines 1 – 4 all start off with a rapid-fire sixteenth note delivery
“I came in like a”
“I nev-er hit so”
“All I want-ed was to”
“All you ever did”
Lines 2 – 4 all start off with virtually the same progression
“I nev-er hit so” (F – B-flat – A – G – F)
“All I want-ed was to” (F – F – B-flat – A – G – F)
“All you ever did” (F – B-flat – A – G – F)
Lines 1 – 3 all end in virtually the same manner
“wreck-ing ba-ll” (B-flat – A – A – G / Dotted Eighth – Sixteenth – Dotted Eighth –
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Sixteenth)
“hard in love” (B-flat – A – A / Dotted Eighth – Sixteenth – Quarter)
“break your wa-lls” (B-flat – A – A – G / Dotted Eighth – Sixteenth – Dotted Eighth – Sixteenth)
Lines 4 & 5 conclude in the same exact manner
“brea-ea-eak me” (B-flat – A – G – B-flat / Eighth – Eighth – Quarter)
“wre-e-eck me” (B-flat – A – G – B-flat / Eighth – Eighth – Quarter)
Cross-Stanza Repetition
Both stanzas repeat in virtually the same exact manner with just some very minor differences.
Cross-Sectional Repetition
The first stanza within each of the 3 chorus occurrences repeats in the same exact manner.
The second stanza in choruses 2 and 3 repeats in the same exact manner. Note that chorus 1 does not contain a second stanza.
DIVERSIFYING FACTORS (What diversity within the melody is utilized to prevent the repetition from making things too monotonous?)
The 3 “Groups”
As we’ve seen, each stanza of the chorus consists of 3 groups that differ in nature from one another. To recap, these groups are:
Group 1: Line 1
Group 2: Lines 2 & 3
Group 3: Lines 4 & 5
Additional differentiation (as subtle as some might be) utilized throughout the section includes:
Line 2 in the first stanza concludes via a B-flat – A – A progression. This differs slightly from the manner in which lines 1 and 3 end in both stanzas as well as its
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corresponding line 2 in the second stanza, all of which drop down to G at the very end (B-flat – A – A – G).
Line 2 in both stanzas kicks off with a single lyric that is an F note and consists of a sixteenth note value. Lines 3 and 4, however, both start with 2 lyrics that are F notes and possess sixteenth note timing.
COLOR ADDERS & EMPHASIZERS (Are certain lyrics sung in a certain manner to provide increased emphasis and “coloring?”)
As a whole, the nature of the vocal melody within the chorus is exceptionally “colorful” and infectious. There were a few key elements, however, that helped to really put it over the top:
“Brea-ea-eak Me” / “Wre-e-eck Me”
First and foremost, the manner in which these lyrics are sung as previously mentioned concludes each stanza and the section as a whole in an exceptionally unique, infectious and memorable manner. The fact that they repeat back to back on lines 4 and 5 in both stanzas reinforces it within the listener’s head and makes it impossible for them to shake off.
The Section / Stanza Lead-In
The solo, rapid-fire sixteenth note monotone delivery of “I came in like a” kicks the section off in an intense manner along with the nature of Cyrus’s vocal delivery. It also perfectly sets up the title (payoff) lyrics that follow as mentioned earlier.
The Leap/Descent Progressions
The manner in which lines leap from F to B-flat and then progress downward is also exceptionally infectious, engaging and memorable.
The Rapid Fire / Prolonged Combo
The contrast between how certain lines kick off with a sixteenth note rapid fire lead in followed by a more soaring/prolonged progression to conclude provides the section as a whole with an exceptionally infectious and engaging nature.
The “Cliffhangers”
The prolonged nature of the lyric “was” on line 4 as well as the rest that follows “you” on line 5 act to heighten the tension and anticipation leading into the ultra-infectious “brea-ea-eak me” and “wre-e-eck me” lyrics that follow.
Line Ending “Stretched Lyrics”
Notice how most of the lyrics that conclude lines within the section are single-syllable lyrics
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Line 1, first stanza (“ba-ll”): A – G / dotted eighth – sixteenth
Line 3, first stanza (“wa-lls”): A – G / dotted eighth – sixteenth
Line 1, second stanza (“ba-ll”): A – G / dotted eighth – sixteenth
Line 2, second stanza (“swu-ng”): A – G / dotted eighth – sixteenth
Line 3, second stanza (“fa-ll”): A – G / dotted eighth – sixteenth
BRIDGE
1st Stanza
2nd Stanza
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Line Reference
1st Stanza
Line 1: I never meant to start a war Line 2: I just wanted you to let me in Line 3: And instead of using force Line 4: I guess I should’ve let you in
2nd Stanza
Line 1: I never meant to start a war Line 2: I just wanted you to let me in Line 3: I guess I should’ve let you in
Vocal Range
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High: B-flat Low: C
LINE LENGTH & SEGMENTATION (Are the lines & phrases a mouthful to sing or are they broken into short, memorable segments?)
Here in the bridge the first thing to take note of is that the general length of the lines within the section are very similar to that of the chorus.
Also notice that there isn’t any in-line segmentation being utilized as we’ve seen elsewhere within the song. Each line runs the entire way through and concludes on a rest.
Additionally, the primary difference between both stanzas within the bridge is that line 3 has been omitted from the second stanza.
1st Stanza
Line 1: “I nev-er meant to start a war”
Word/Syllable Count: 7 words / 8 syllables
Segmentation Method: Quarter Rest
Line 2: “I just want-ed you to let me in”
Word/Syllable Count: 8 words / 9 syllables
Segmentation Method: Dotted Quarter Rest
Line 3: “And in-stead of using force”
Word/Syllable Count: 5 words / 6 syllables
Segmentation Method: Quarter + Sixteenth Rest
Line 4: “I guess I should-’ve let you in”
Word/Syllable Count: 7 words / 8 syllables
Segmentation Method: Quarter + Sixteenth Rest
2nd Stanza
Line 1: “I nev-er meant to start a war”
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Word/Syllable Count: 7 words / 8 syllables
Segmentation Method: Quarter Rest
Line 2: “I just want-ed you to let me in”
Word/Syllable Count: 8 words / 9syllables
Segmentation Method: Quarter + Sixteenth Rest
Line 3: “I guess I should-’ve let you in”
Word/Syllable Count: 7 words / 8 syllables
Segmentation Method: Eighth + Dotted Half Rest
PROGRESSION & RHYTHM (Is the nature of the progression and rhythm simplistic or complex? What’s the flow?)
What’s really interesting about the bridge is that each line possesses an exceptionally similar progression and rhythmic nature as the first line within the chorus. Here’s a side by side comparison for reference:
Bridge – Line 1
Chorus – Line 1 (Both Stanzas)
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Key similarities:
Both start off with a rapid-fire sixteenth note delivery over the first half of each line and are primarily monotone in nature as well.
The second half of each line is identical from a progression standpoint and ALMOST from a rhythmic standpoint as well.
Key Differences:
First and foremost, the first half of the chorus kicks off with a monotone B-flat delivery and then progresses downward via B-flat – A – A – G. In contrast, the first half of each line within the bridge is not completely monotone in nature (though mostly) and resides primarily in F before leaping up to B-flat to start the downward progression.
The first and third lyrics within the second half of each line within the bridge are 1 sixteenth note shorter than the same notes within the chorus.
Combined, the similarities hammer the memorability factor of the song home while the differentiation prevents the song as a whole from becoming overly monotonous. Also remember that the manner in which Cyrus sings both of these sections is completely different as well (reference the Instrumentation / Music / Vocal section for specifics).
Want to try the true litmus test to see how similar they are? Try singing the lyrics of the chorus via the melody and rhythm within the bridge and see how they jibe!
Progression
As you can see in the graphs and notation above, each line within both stanzas of the bridge are almost identical in nature from a progression standpoint.
Essentially, each line is divided into 2 distinct segments:
The rapid-fire / monotonesque first half
The prolonged second half with a varied progression
First Half
The first half of each line within the bridge consists of a monotone or almost monotone F delivery as follows:
First Stanza
Line 1 (E – F – F – F – F): “I nev-er meant to”
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Line 2 (C – E – F – F – F – F): “I just want-ed you to”
Line 3 (F – F – F – F): “And in-stead of”
Line 4 (C – F – F – F – F): “I guess I should’v”
Second Stanza
Line 1 (F – F – F – F – F): “I nev-er meant to”
Line 2 (C – E – F – F – F – F): “I just want-ed you to”
Line 3 (C – F – F – F – F): “I guess I should’ve”
As you’ll see below, the mostly monotone nature of these segments perfectly sets up the second half of the line that follows.
Second Half
First Stanza
Line 1 (B-flat – A – A – G): “start a wa-r”
Line 2 (B-flat – A – A – G): “let me i-n”
Line 3 (B-flat – A – A – G): “us-in’ force”
Line 4 (B-flat – A – A – G): “you i-n”
Second Stanza
Line 1 (B-flat – A – A – G): “start a wa-r”
Line 2 (B-flat – A – A – G): “let me i-n”
Line 3 (B-flat – A – A – G): “you i-n”
Putting Them Together
When you put both of these segments together, you can see how the contrast between the 2 really accentuates the nature of the line in a similar manner that was indicative of the chorus. Here it’s brought about via the leap from F in the first half up to B-flat in the second and then back down again.
By going up in register it enables the “answer” segment of each line to really jump out at the listener and as a result greatly accentuate the engagement and infectious nature of the section
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“I never meant to” (E – F – F – F- F) you never meant to what???
“START A WA-R” (B -flat – A – A – G)
Here’s another one:
“I just want-ed you to” (C – E – F – F – F – F) you just wanted me to what???
“LET ME I-N” (B -flat – A – A – G)
You get the picture…
Rhythm
As previously mentioned, the nature of the rhythm on the other hand is almost IDENTICAL to that of the first line of the chorus:
The first half of each line kicks off with a rapid-fire sixteenth note delivery
Instead of following a dotted eighth – sixteenth – dotted eighth – sixteenth rhythm on the second half as was indicative of the first line within the chorus, it instead follows a VERY CLOSE eighth – sixteenth – eighth – sixteenth rhythm.
REPETITION (How is repetition utilized to get the melody engrained within the listener’s head?)
As you can see, each line within both stanzas of the bridge are exceptionally similar to one another as follows:
Cross-Line Repetition
The first half of each line consists of a rapid-fire sixteenth note delivery.
The second half of each line consists of an eighth – sixteenth – eighth – sixteenth rhythm.
The first half of each line follows a primarily monotone natured F delivery.
The second half of each line follows a B-flat – A – A – G progression.
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Cross-Stanza Repetition
Line 2 in both stanzas repeats in the same exact manner.
The last line in both stanzas repeats in the same exact manner as well.
In general, all of the lines within both stanzas possess virtually the same nature.
DIVERSIFYING FACTORS (What diversity within the melody is utilized to prevent the repetition from making things too monotonous?)
The primary diversifying factors occur at the onset of the first half of each line. As subtle as the differentiation is, it does help to prevent the section from becoming overtly monotonous.
First Stanza
Line 1: Starts on E before progressing up to F.
Line 2: Starts off via C - E before progressing up to F.
Line 3: Monotone F.
Line 4: Starts on C before progressing up to F.
Second Stanza
Line 1: Monotone F.
Line 2: Starts off via C – E before progressing up to F.
Line 3: Starts on C before progressing up to F.
COLOR ADDERS & EMPHASIZERS (Are certain lyrics sung in a certain manner to provide increased emphasis and “coloring?”)
As to not be overly redundant, reference the preceding chorus section considering the similar nature between both of these sections.
The one “color adder” that the chorus does not possess that is found within the bridge, however, is the leap from F to B-flat at the transition point between both halves of each line. Not only does it increase the overall engagement factor and infectious nature of the section, but it also accentuates the evocative nature of Cyrus’s vocal delivery as well.
Lyrics Back to Top
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Lyrics / Harmonic Progression / Word & Syllable Count
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
VERSE-1
Dm – F (8 words / 8 syllables) We clawed we chained our hearts in vain
C – Gm (5 words / 6 syllables) We jumped never ask-ing why
Dm – F (7 words / 8 syllables) We kissed I fell un-der your spell
C – Gm (6 words / 7 syllables) A love no one could de-ny
PRE-CHORUS
B-flat – Dm (8 words / 10 syllables) Don’t you ev-er say I just walked a-way
F – B-flat (5 words / 6 syllables) I will al-ways want you
(B-flat) – Dm (9 words / 10 syllables) I can’t live a lie run-ning for my life
F – B-flat (5 words / 6 syllables) I will al-ways want you
CHORUS
1st Stanza – All Choruses
F (7 words / 8 syllables) I came in like a wreck-ing ball
*C – Dm (7 words / 8 syllables) I nev-er hit so hard in love
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*B-flat – F (8 words / 9 syllables) All I want-ed was to break your walls
*C – Dm – B-flat (7 words / *10 syllables) All you ev-er did was brea-ea-eak me
*B-flat – Dm – B-flat (5 words / *7 syllables) Yeah you, you wre-e-eck me
2nd Stanza – Choruses 2 & 3
F (7 words / 8 syllables) I came in like a wreck-ing ball
*C – Dm (8 words / 8 syllables) Yeah I just closed my eyes and swung
*B-flat (7 words / 9 syllables) Left me crouch-ing in a blaz-ing fall
*C – Dm – B-flat (7 words / *10 syllables) All you ev-er did was brea-ea-eak me
*B-flat – Dm – B-flat (10 words / *10 syllables) Yeah you, you wre-e-eck me
VERSE-2
Dm – F (8 words / 8 syllables) I put you high up in the sky
C – Gm (6 words / 7 syllables) And now you’re not com-ing down
Dm – F (7 words / 8 syllables) It slow-ly turned you let me burn
C – Gm (7 words / 8 syllables) And now we’re ash-es on the ground
BRIDGE
*B-flat – Dm (7 words / 8 syllables) I nev-er meant to start a war
(Dm) – F (8 words / 9 syllables)
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I just want-ed you to let me in
(F) – Am7 (5 words / 6 syllables) And in-stead of using force
(Am7) – B-flat (7 words / 8 syllables) I guess I should-’ve let you in
(B-flat) – Dm (7 words / 8 syllables) I nev-er meant to start a war
(Dm) – F (8 words / 9 syllables) I just want-ed you to let me in
(F) – Asus4 (7 words / 8 syllables) I guess I should-’ve let you in
Note: * Indicates additional syllables via the “stretched” lyrics “brea-ea-eak” and “wre-e-eck” within in the chorus.
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.
Detail/Imagery Lyrics & Phrases (These lyrics “paint a picture” in your mind and provide detail as to what’s happening within the story, literally, metaphorically, or both)
Examples of lines that contain detail and imagery include:
Verse 1
We clawed we chained our hearts in vain
We kissed I fell under your spell
Verse 2
I put you high up in the sky
It slowly turned you let me burn
And now we’re ashes on the ground
Pre-Chorus
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Don’t you ever say I just walked a-way
I can’t live a lie running for my life
Chorus
I came in like a wrecking ball
I never hit so hard in love
All I wanted was to break your walls
All you ever did was break me
Yeah I just closed my eyes and swung
Left me crouching in a blazing fall
Bridge
I never meant to start a war
And instead of using force
Place & Time Lyrics & Phrases (These lyrics reflect places and the timeline within the story)
Verse 1
None
Verse 2
I put you high up in the sky (Place)
And now we’re ashes on the ground (Place)
Pre-Chorus
Don’t you ever say I just walked a-way (Time)
I will always want you (Time)
Chorus
None
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Bridge
I never meant to start a war (Time)
I just wanted you to let me in (Place – metaphorically speaking)
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)
Pretty much every line within Wrecking Ball is highly emotional and evocative in nature. Reference the Story Flow & Meaning section of the report for specific details.
Action Based Lyrics & Phrases (These lyrics get you into what the characters within the story have done, are doing or will do)
Verse 1
We clawed we chained our hearts in vain
We jumped never asking why
We kissed I fell under your spell
Verse 2
I put you high up in the sky (Not literally)
It slowly turned you let me burn (The nature of the relationship)
Pre-Chorus
Don’t you ever say I just walked away
I can’t live a lie running for my life
Chorus
I came in like a wrecking ball
I never hit so hard in love
Yeah I just closed my eyes and swung
Left me crouching in a blazing fall
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Bridge
I never meant to start a war
Character/Person Based Lyrics & Phrases (Including Pronouns) (These lyrics show how all of the characters within the story are defined)
Red Font: 1st Person Blue Font: 2nd Person Green Font: 3rd Person Bold Black: Specific person or group
VERSE-1
We clawed we chained our hearts in vain We jumped never asking why We kissed I fell under your spell A love no one could deny
PRE-CHORUS-1
Don’t you ever say I just walked away I will always want you I can’t live a lie running for my life I will always want you
CHORUS-1
1st Stanza
I came in like a wrecking ball I never hit so hard in love All I wanted was to break your walls All you ever did was brea-ea-eak me Yeah you, you wre-e-eck me
Second Stanza: Choruses 2 & 3
I came in like a wrecking ball Yeah I just closed my eyes and swung Left me crouching in a blazing fall All you ever did was brea-ea-eak me Yeah you, you wre-e-eck me
VERSE-2
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I put you high up in the sky And now you’re not coming down It slowly turned you let me burn And now we’re ashes on the ground
BRIDGE
1st Stanza
I never meant to start a war I just wanted you to let me in And instead of using force I guess I should’ve let you in
2nd Stanza
I never meant to start a war I just wanted you to let me in I guess I should’ve let you in
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 or the manner in which a lyric is sung.
As you’ll see below, Wrecking Ball makes great use of a combination of in-line, cross-line, cross-stanza rhyming as well as lyrical pattern and sectional rhyming scheme repetition that aids in creating an exceptionally engaging and memorable listening experience.
Key: Green Font: Repetitive Lyrics Red Font: In-Line Rhyming Blue Font: Cross-Line Rhyming
Verse 1
Line 1: “We clawed we chained our hearts in vain“ Line 2: “We jumped, never asking why“ Line 3: “We kissed I fell under your spell“ Line 4: “A love, no one could deny“
Here in the first verse we have a combination of in-line rhyming, cross-line rhyming and in- line/cross-line lyrical repetition:
In-Line Rhymers
Notice that the in-line rhyming occurs solely on lines 1 and 3:
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Line 1: “chained” / “vain“
Line 3: “fell” / “spell“
Even though there aren’t aspects about lines 1 and 3 that rhyme with one another, the nature of the RHYMING SCHEME fosters repetition between the 2 which helps to get the section as a whole engrained within the listener’s head.
Cross-Line Rhymers
Now, let’s look at lines 2 and 4. Notice that there isn’t any in-line rhyming but the last lyric on each line rhymes with one another as follows:
Line 2: “why“
Line 4: “deny“
Repetitive Lyrical Patterns
And finally, notice the lyrical repetition going on within the section, specifically via the lyric “we”:
“We” kicks off lines 1, 2 and 3.
“We” also occurs twice on line 1.
Verse 2
Line 1: “I put you high up in the sky“ Line 2: “And now you’re not coming down“ Line 3: “It slowly turned you let me burn“ Line 4: “And now we’re ashes on the ground”
Here in the second verse we also have a combination of in-line rhyming, cross-line rhyming and in- cross-line lyrical repetition:
In-Line Rhymers
Notice that the in-line rhyming once again occurs solely on lines 1 and 3:
Line 1: “high” / “sky“
Line 3: “turned” / “burn“
Additionally, notice that we have the same rhyming scheme as we did within the first verse.
Cross-Line Rhymers
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As was the case within the first verse, we once again have the rhyme occurring on the last lyric of lines 2 and 4:
Line 2: “down“
Line 4: “ground”
Repetitive Lyrical Patterns
In contrast to the first verse, here in the second verse there isn’t any in-line lyrical repetition to be found. However, there is cross-line repetition. Both lines 2 and 4 kick off with the lyrics “and now.”
Pre-Chorus
Line 1: “Don’t you ev-er say, I just walked away“ Line 2: “I will always want you” Line 3: “I can’t live a lie, running for my life” Line 4: “I will always want you”
Here in the pre-chorus we also have in-line rhyming as well as lyrical repetition as follows:
In-Line Rhymers
As was the case in the verse sections, the in-line rhyming occurs on lines 1 and 3:
Line 1: “say” / “away“
Line 3: “lie” / “life”
Repetitive Lyrical Patterns
In contrast to the verse sections, here in the pre-chorus lines 2 and 4 repeat in the same exact manner via “I will always want you.”
Chorus
First Stanza
Line 1: “I came in like a wrecking ball“ Line 2: “I never hit so hard in love” Line 3: “All I wanted was to break your walls” Line 4: “All you ever did was brea-ea-eak me“ Line 5: “Yeah you, you wre-e-eck me“
Second Stanza: Choruses 2 & 3
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Line 1: “I came in like a wreck-ing ball“ Line 2: “Yeah I just closed my eyes and swung” Line 3: “Left me crouch-ing in a blazing fall“ Line 4: “All you ev-er did was, brea-ea-eak me“ Line 5: “Yeah you, you wre-e-eck me“
The first thing that you’ll notice about the chorus is that there isn’t any in-line rhyming going on. What we have though is a combination of cross-line rhyming, cross-stanza rhyming and lyrical repetition as follows:
Cross-Line Rhyming
First stanza, lines 1 & 3: “ball” / “walls”
Second stanza, lines 1 & 3: “ball” / “fall“
Cross-Stanza Rhyming
“Ball” and “walls” on lines 1 & 3 in the first stanza rhyme with “ball” and “fall” on lines 1 & 3 within the second stanza
Repetitive Lyrical Patterns
“I” kicks off lines 1 and 2 in the first stanza
“All” kicks off lines 3 and 4 in the first stanza
“me” concludes lines 4 and 5 in the first stanza
“me” also concludes lines 4 and 5 in the second stanza
Bridge
First Stanza
Line 1: “I never meant to start a war“ Line 2: “I just wanted you to let me in“ Line 3: “And instead of using force” Line 4: “I guess I should’ve let you in“
Second Stanza
Line 1: “I never meant to start a war“ Line 2: “I just wanted you to let me in“ Line 3: “I guess I should’ve let you in“
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Here in the bridge we have a combination of cross-line rhyming, cross-stanza rhyming and lyrical pattern repetition as well:
Cross-Line Rhyming
First stanza, lines 1 & 3: “war” / “force”
Cross-Stanza Rhyming
“War“ and “force” on lines 1 & 3 in the first stanza and “war“ on line 1 in the second stanza.
Repetitive Lyrical Patterns
“I” kicks off lines 1, 2 and 4 in the first stanza.
“I” kicks off lines 1, 2 and 3 in the second stanza.
The lyrics “let” and “in” occur in the same place on lines 2 and 4 in the first stanza.
The lyrics “let” and “in” occur in the same place on lines 2 and 3 in the second stanza.
Lines 2 and 4 in the first stanza repeat in the same exact manner on lines 2 and 3 in the second stanza.
In-line rhyming recap
In-line rhyming only occurred on lines 1 and 3 in both verse sections as well as the pre-chorus. Note that it occurred in the same manner (placement – not the actual nature of the rhyme) in both verse sections which accentuates the engagement and memorability factors.
Cross-line rhyming recap
Cross-line rhyming (with the exception of pure repetition – we’ll get to that in a second), occurred on lines 2 and 4 in the verse sections and was changed up in the chorus where it occurred on lines 1 and 3 in both stanzas as well as lines 1 and 3 in the first stanza of the bridge.
Cross-stanza rhyming recap
Cross-stanza rhyming occurred one lines 1 and 3 in both stanzas of the chorus, as well as line 1 in both stanzas of the bridge (it’s actually a repeat of the line).
Lyrical Pattern Repetition Recap
Lyrical pattern repetition occurred in each section of the song as detailed above.
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SONG TITLE
When gauging the effectiveness of a song’s title, there are a number of factors that you need to consider:
1. Is it unique/clever/powerful or “run-of-the-mill?” 2. Does it pique your interest enough to take a listen to the song? 3. Is it memorable? 4. How does it work within the lyrical framework of the song?
Is it unique/clever/powerful or “run-of-the-mill?”
During the third quarter of 2013 chart-topping Pop song titles fell into 1 of 2 categories – those that are unique, clever and or powerful (e.g. Holy Grail, Roar & My Songs Know What You Did In The Dark), and those that are more universal/generic in nature (e.g. I Need Your Love, Love Somebody & We Can’t Stop).
I think that you would have to agree that “Wrecking Ball” certainly falls into the upper echelon of the first category of song titles.
By the very mention of its name, “wrecking ball” instantly conveys power that grabs the prospective listener’s attention. It’s also unique and clever in the manner in which it’s utilized to convey a “love gone wrong” lyrical theme.
Does it pique your interest to take a listen?
Absolutely, and on 2 key levels:
First, just the title as a standalone piques your interest to hear what the song is all about. What could “wrecking ball” possibly relate to?
Second, when you tie the artist, in this case Miley Cyrus, into the equation, it further piques the listener’s interest to take a listen to find out what the song is all about. Just WHY would Miley Cyrus be singing about a wrecking ball???
Is it memorable?
There are 5 factors that make Wrecking Ball a very memorable title:
It’s just 2 words.
It’s familiar.
It’s powerful and stands out.
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Its meaning/use within the song.
Its placement within the song (see below).
How does it work within the lyrical framework of the song?
“Wrecking Ball” is the core focal point and lyrical payoff within the song. It’s the reason why the entire relationship went awry. Reference the Story Flow & Meaning section of the report for details.
Title Occurrences:
Wrecking Ball occurs just 5 times within the song in the chorus sections as follows:
Chorus 1 – First Stanza: The last lyrics on the first line of the section.
Chorus 2 – First Stanza: The last lyrics on the first line of the section.
Chorus 2 – Second Stanza: The last lyrics on the first line of the section.
Chorus 3 – First Stanza: The last lyrics on the first line of the section.
Chorus 3 – Second Stanza: The last lyrics on the first line of the section.
Additionally, the partial title lyric “wreck” occurs 5 times within the song as well as the last lyrics in each stanza of the chorus.
Chorus 1, 2 & 3
I came in like a wrecking ball I never hit so hard in love All I wanted was to break your walls All you ever did was brea-ea-eak me Yeah, you, you wre-e-eck me
Choruses 2 & 3
I came in like a wrecking ball Yeah, I just closed my eyes and swung Left me crashing in a blazing fall All you ever did was brea-ea-eak me Yeah, you, you wre-e-eck me
Title Points To Note
Primary Placement
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Notice that it occurs as a full title lyric at the end of the first line in each stanza within the chorus as well as a partial (i.e. “wrecked”) at the conclusion of each stanza as well. The result is that despite its lack of rampant use within the song compared to other chart-topping hits that we’ve seen, its placement enables it to stand out, resonate and get engrained within the listener’s head.
It’s Exceptionally Clever
Using “wrecking ball” to convey a lyrical theme that relates to someone who was trying way too hard to win someone over and as a result “wreck” the relationship in the process is exceptionally clever and unique. As a result it stands out and resonates amongst all other mainstream song titles.
The Manner In Which It’s Sung
As you’ve seen within the vocal melody section of the report, “Wrecking Ball” is set up by a rapid fire, monotone solo Cyrus “I came in like a” vocal. When the title lyric hits, the music slams in and the title is sung with a soaring, prolonged delivery in relation to the lyrics that preceded it which enables it to stand out and resonate at a very high level.
STORY FLOW & MEANING
Engaging lyrics that are chock full of detail, 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. This is certainly a core strength of the “love gone wrong” themed “Wrecking Ball.”
Lyrics and phrases such as “wrecking ball,” “break your walls,” “crouching in a blazing fall,” and “ashes on the ground” convey the emotion that traverses every section of the song at a heightened, intense level, while the story’s universal love/relationship themed nature enables it to connect on a wide, global scale.
As you know, lyrics are completely subject to interpretation by the listener, and what follows is one possible interpretation.
Verse-1
Line 1: We clawed we chained our hearts in vain Line 2: We jumped never asking why Line 3: We kissed I fell under your spell Line 4: A love no one could deny
The first line of a song is exceptionally important as it needs to instantly hook the listener in and engage them within the storyline. One of the most effective ways to do this is by giving them a snapshot of the “current state of affairs” coupled with piquing their interest to find out what happens further within the story.
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This is exactly what line 1 achieves within Wrecking Ball
Line 1: We clawed we chained our hearts in vain
Right off that bat we know that this is a story about 2 people that were in a relationship which DID NOT work out:
“chained our hearts” signifies a romantic relationship.
“in vain” signifies that despite the wanting to make this relationship work, it wasn’t meant to be.
A key lyric on the line that is subject to interpretation by the listener is the lyric “clawed.” We can look at this in 1 of 2 ways:
“Clawed” as it relates to them having fun with one another. Think of it in the manner of 2 cats clawing with each other in a playful manner. This signifies that they had a strong friendship in addition to a romantic involvement.
Conversely, we can also view “clawed” as a negative, meaning that they had a knack for fighting with one another which gives the impression that this may have been a love/hate relationship. If this is the case, then it also perfectly jibes with the “vain” lyric that occurs at the end of the line. Since it was a volatile relationship, it was probably doomed from the start.
Line 2: We jumped never asking why
The lyric “jumped” signifies that this wasn’t a relationship that was cultivated over a long period of time. It was probably “love at first site,” and they both “jumped” into the relationship without giving much thought as to WHY they had to be with one another. In retrospect, they probably should have gotten to know each other better first!
Line 3: We kissed I fell under your spell.
This line is pretty cliché but it works. In a nutshell – they kissed and SHE fell head over heels for him. Notice how it doesn’t necessarily establish the fact that the feeling was mutual. Otherwise, the line might have read something more like “we kissed, WE fell under A spell.”
Line 4: A love no one could deny
The final line of the section firmly establishes the deep love that she has for this guy.
Now you might be thinking, wouldn’t this relate to the love that they have for EACH OTHER? It’s doubtful considering the preceding line (line 3) switched to a FIRST PERSON perspective (i.e. “I”) from the “WE’s” that preceded it. It would make sense for the fourth line to pertain directly to her instead of switching back to them as a couple.
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Pre-Chorus
Line 1: Don’t you ever say I just walked a-way Line 2: I will always want you Line 3: I can’t live a lie running for my life Line 4: I will always want you
Here in the pre-chorus the story progresses , making the listener aware of 3 key things:
She left the relationship
She NEEDED to get out of the relationship
Regardless of needing to get out of the relationship, her love runs so deep that she will always still want this guy
Line 1: Don’t you ever say I just walked a-way
After suspecting that the relationship didn’t work out or was at least doomed to fail as established via the lyric “vain” on line 1 in the verse, we receive validation of this on the first line of the pre-chorus where we learn that she “walked away” from the relationship – meaning that it came to an end.
Additionally, the fact that she leads off by saying “don’t you ever say,” indicates that she DIDN’T want to have to leave this relationship, but she NEEDED TO. This may be because of the fact that she was so “wrecked” considering that she couldn’t “break through” to him as we’ll see later within the song, or possibly due to his actions as we’ll see on line 3 within this section.
Line 2: I will always want you
This reiterates the fact that she didn’t want to have to “walk away” from the relationship because she still, and always will, want and love this guy.
Line 3: I can’t live a lie running for my life
This is a very powerful line. Let’s take a look at the 2 individual phrases:
“I can’t live a lie” indicates that she couldn’t stay within the relationship and pretend that everything was ok. She would be “living a lie.”
“Running for my life” provides us with our first indication that she REALLY needed to get out of this relationship. It relates to the fact that she was so emotionally destroyed by not being able to break through to him that she had to “run for her life” so that she didn’t completely fall apart. If she stayed within the relationship, it would have wound up killing her emotionally and maybe even physically as well.
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Additionally, notice how this ties in with line 1 (“don’t you ever say I just walked away”), meaning that she didn’t leave because she wanted to, she left him because she HAD TO.
Line 4: I will always want you
Here we find her reiterating the fact that despite all of the negative aspects of the relationship that she will still always want and love him. That’s how deep her love is for this guy, which also ties into the “no one could deny” line that concluded verse 1.
Chorus
First Stanza: Choruses 1, 2 & 3
Line 1: I came in like a wrecking ball Line 2: I never hit so hard in love Line 3: All I wanted was to break your walls Line 4: All you ever did was brea-ea-eak me Line 5: Yeah you, you wre-e-eck me
Here in the “payoff” of the song we’re reminded of how very much she loved/loves this guy, how hard she tried to get through to him to make the relationship work, and ultimately how it destroyed her in the end and caused her to “run for her life.”
Line 1: I came in like a wrecking ball
Line 1 is a perfect example of what effective use of imagery can do for a story. Notice that it conveys 2 key things:
It provides the powerful imagery that accentuates the meaning of the line that follows, “I never hit so hard in love.” Meaning – she fell HARD for this guy. Picturing a wrecking ball slamming into a building hammers this point home in a BIG way.
“WRECKing ball” also provides us with the inclination she may be blaming herself for the relationship going awry (fast forward to the bridge if you want a spoiler). The key word here is “wreck,” meaning that she wrecked the relationship via her actions.
Line 2: I never hit so hard in love
This line is straight forward and ties directly into line 1 that preceded it via hitting “so HARD in love.” The fact that she “NEVER hit so hard in love” indicates that this was the biggest love that she ever had in her life and reiterates how much she really did/does love this guy.
Line 3: All I wanted was to break your walls
Here’s another really powerful line that utilizes imagery to tie right in with the “wrecking ball” theme (i.e. a wrecking ball smashing through a wall).
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The fact that she wanted to “break his walls” leads us to believe that he either wasn’t as into the relationship as she was or was just unwilling to open up to her in the manner that she wanted. So like a “wrecking ball” she aggressively tried to break through to him, but in the end her aggressive manner wound up “wrecking” the relationship. The harder she tried to break through, the more he pulled away and reinforced his wall.
Line 4: All you ever did was brea-ea-eak me
This important line sums the end result of the relationship. Despite her intensive efforts to break through his walls in order to get him to love her as much as she loves him and to open up to her as established on line 3, it wound up backfiring and she was the one who got “broken” in the end.
Additionally, notice that HE (i.e. “you”) is the one that she blames for breaking/wrecking her (at least for now).
Line 5: Yeah you, you wre-e-eck me
Line 5 reiterates the ultra hurt nature depicted on line 4, but this time ties in a partial title lyric (i.e. “wreck”), to conclude the section in a memorable, familiar manner.
Second Stanza: Choruses 2 & 3
Line 1: I came in like a wrecking ball Line 2: Yeah I just closed my eyes and swung Line 3: Left me crouching in a blazing fall Line 4: All you ever did was brea-ea-eak me Line 5: Yeah you, you wre-e-eck me
Notice that lines 1, 4 and 5 are identical to the corresponding lines in the first stanza that preceded it. Here we’re going to take a look at the 2 new additions, lines 2 and 3:
Line 2: Yeah I just closed my eyes and swung
The key lyrics to take note of here are “closed my eyes.” This leads us to believe that she refused to see him and the relationship for what they really were. She was hoping against hope that she would be able to break through his walls to make him love her, open up, and be committed to the relationship as much as she was. But as we found out on the very first line of the song, it was all in “vain.”
Line 3: Left me crouching in a blazing fall
Again, more potent imagery. After really giving it her all to break through, she ultimately failed. The result is that it completely destroyed her, considering all of the high-hopes that she had for this relationship coupled with how much she loves him. This is why she had to “run for her life.”
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“Blazing fall” provides the perfect picture of how hard she fell from all of the love/high hopes that she had into total despair.
“Crouching” provides the perfect picture of the immense toll that this took on her. She can’t stand up and be strong. Instead, she’s down for the count.
Verse-2
Line 1: I put you high up in the sky Line 2: And now you’re not coming down Line 3: It slowly turned you let me burn Line 4: And now we’re ashes on the ground
In contrast to the first verse of the song which pertained to the beginning of their relationship, the second verse takes us through the middle (lines 1 & 2) through the end (lines 3 and 4).
Lines 1 & 2: I put you high up in the sky / And now you’re not coming down
The first line relates to the degree of the love that she had for this guy and how much she thought of him. The line that follows indicates that even though the relationship is going downhill (as we’ll see on line 3), her love for him is still at an apex. This is a big problem because it’s going to cause her to “break” and get “wrecked” much harder than if she was gradually falling out of love with him as the relationship started to turn.
Lines 3 & 4: It slowly turned you let me burn/ And now we’re ashes on the ground
On the first half of line 3 we find out that the relationship didn’t just crumble overnight. Instead, it was a gradual process as indicated via the lyrics “it slowly turned.”
The second half of the line is quite powerful. While she was still trying to break through to him like a “wrecking ball” to make the relationship work even though it was going downhill, he, who obviously had no desire to make it work, let her keep trying full knowing that she would get “burned” in the end, which describes the great degree to which she got hurt.
As for line 4, this spells out the result of it all by utilizing stringent imagery that ties directly into the lyric “burned” on the preceding line - “and now, we’re ashes on the ground.” The relationship is OVER.
Bridge
1st Stanza
Line 1: I never meant to start a war Line 2: I just wanted you to let me in Line 3: And instead of using force Line 4: I guess I should’ve let you in
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Here in the bridge the protagonist is realizing that by her pursuing the relationship like a “wrecking ball” that it ultimately led to the relationship’s demise.
Lines 1 & 2: I never meant to start a war / I just wanted you to let me in
Here she’s accepting the role that she played in the failure of the relationship. She realizes that approaching it like “wrecking ball” is what caused all of the turmoil in the first place, but it was never her intention to do so (i.e. “start a war”). She was doing it because all she so desperately wanted was for this guy to “let her in.”
Lines 3 & 4: And instead of using force / I guess I should’ve let you in
Here on line 3 she comes to the realization that approaching the relationship like a “wrecking ball” (i.e. “using force”) was the wrong course of action. Instead of forcing it, she should have just “relaxed” a bit and let HIM in as we find out on line 4 that follows.
Line 4 establishes the fact that maybe HE was trying to connect with HER at the same time that SHE was trying to connect with HIM, but her forceful manner prohibited it from happening. If she just eased up and let the relationship progress naturally without forcing it, they might have connected with EACH OTHER and as a result most likely still be together.
Additionally, take note of the lyrics “I guess” at the beginning of line 4. This is HER coming to the realization of what she should have done AFTER THE FACT (i.e. in the same manner as when someone will say “I guess I should have done that!”)
2nd Stanza
Line 1: I never meant to start a war Line 2: I just wanted you to let me in Line 3: I guess I should’ve let you in
The second stanza is a reiteration of the first, minus the need to repeat line 3, “and instead of using force.“ We already know that very well by now!
Summed Up
This is a story about a relationship between 2 people that seems to have started abruptly without either one knowing each other particularly well. The protagonist is completely head over heels in love with this guy (i.e. love at first site) and wants him TO LET HER into his life, but unfortunately it doesn’t seem like it happening at all, or at least to the degree that she wants.
As a result, she starts trying to break through to him like a “wrecking ball,” utilizing force to make it happen. This winds up turning him off and causing him to put up even more walls and pull away even further.
Ultimately she fails with her mission to break through, and winds up being wrecked and broken
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In the end, however, she realizes that it was her “wrecking ball” approach which probably doomed this relationship from the get-go. If she just eased off a bit, and let HIM in the way that SHE wanted to be let in, they might have wound up being the happy couple after all.
Benchmarking Back to Top
TOP 10 HIT POP SONG COMPARISON
This section explores how Wrecking Ball compositionally compares to the 23 songs that landed in the Billboard Pop Songs top 10 during Q3-2013.
The aim is to spotlight the similarities which make it easy for the song to connect with a mainstream Pop audience (i.e. the “familiarity factor”) , coupled with its core differences which enables it to stand out from the pack.
SECTION LENGTH
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* Considering that each of Wrecking Ball’s choruses possess a different length, the number above reflects the average of the 3.
** The length of the pre-chorus reflects the FULL 0:14 pre-chorus occurrences within the song, NOT the 0:07 half pre-chorus 3 section.
As you can see in the graph above, some of the sections within Wrecking Ball are close to being in line with chart-topping Pop song averages, while others aren’t as much.
Intro
Wrecking Ball’s intro is 0:05 (38%) shorter than the Pop songs average.
Verse
Wrecking Ball’s verses are 0:09 (36%) shorter than the Pop songs full verse average.
Pre-Chorus
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Wrecking Ball’s pre-choruses are just 0:02 (13%) shorter than the Pop songs average.
Chorus
Wrecking Ball’s average chorus length is just 0:03 (11%) longer than the Pop songs average.
Bridge
Wrecking Ball’s bridge is 0:13 (68%) longer than the Pop songs average.
Bottom Line
Wrecking Ball’s intro and verse sections are moderately shorter than the Pop songs average while conversely its bridge length is significantly longer than the average. The average amount of time allocated to the pre-chorus and chorus were close to being in-line.
SECTION COUNT
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As you can see in the graph above, Wrecking Ball contains the same number of sections as the majority of top 10 Pop hits EXCEPT for its pre-chorus. It has an additional half occurrence following the bridge.
TOTAL SECTION BREAKDOWN
From a percentage standpoint, you can see that Wrecking Ball allocated almost the same amount of time to the intro, pre-chorus and chorus sections as the Pop songs average.
Where it really deviated, however, was in the time it allocated to the verse and bridge sections. It allocated 9% less time to the verse and 6% more time to the bridge.
ADDITIONAL COMPOSITIONAL CHARACTERISTICS
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Wrecking Ball being in-line or close to in-line with the 23 top 10 Pop hits of Q3-2013
The A-B-A-B-C-B form
It contains an intro within its framework
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It doesn’t contain an outro
Its first chorus occurs just 0:02/1% farther into the song than the Pop songs average
It features primarily electric based instrumentation within the mix
Wrecking Ball utilizes a combination of primary instrumentation within the mix including synth, electric guitar, piano and strings.
Although a slight majority of top 10 Pop hits featured a male lead vocal (57%), women weren’t that far off at 43%.
Wrecking Ball contains a pre-chorus and a bridge within its framework
Wrecking Ball DOES NOT contain a solo or an instrumental break
It features a love/relationship lyrical theme
NOT In-line or close to in-line with the 23 top 10 Pop hits of Q3-2013
Wrecking Ball is primarily a Power Ballad, where the vast majority of Q3?s top 10 hit Pop songs were not
It’s 0:09 longer than the Pop Songs average (granted, it’s not that far off)
Its intro is 0:05 (38%) shorter than the Pop songs average
Its tempo is 52 BPM slower than the average
Bottom Line
Overall, Wrecking Ball’s compositional qualities are quite similar to the average/majority of top 10 Pop songs from Q3-2013. It’s these qualities that heighten the “familiarity factor” for the listener, ultimately making it effortless for them to connect with the song. This is especially important in an airplay environment (i.e. it’s not something that’s completely out of left field that would hinder their ability to connect right off the bat without having to work at it).
That being said, the core quality that enables Wrecking Ball to stand out and resonate amongst most others in the mainstream Pop pack is the fact that it’s a Power Ballad. During Q3, only 2 out of 23 songs possessed a Ballad nature – Just Give Me A Reason and Mirrors.
When you combine the familiarity and differential factors mentioned above, you wind up with a song that connects effortlessly yet stands out and grabs the listener’s attention due to its differing nature from most everything else.
A&R Hit Factor Assessment Back to Top
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Artist Career Factor Does the song have what it takes maintain or grow the artist’s clout in the mainstream?
When you employ Gottwald, McDonald, Moccio, Skarbek, and Walter to write you a hit to help take your career to the next level, unless you REALLY BLOW IT with your interpretation and delivery, chances are that it’s going to happen.
Miley Cyrus certainly didn’t blow it.
She took a song written by a crack team of writers, made it her own, and delivered it in a manner that connected and resonated with the masses.
Now, when you throw the racy video into the mix as well, the 2 factors combined wound up taking her mass exposure (no pun intended) to the next level.
The only problem is that the nature of the video coupled with her recent “twerking” antics and outlandish behavior have cast a shadow on how talented of an artist she really is, and as a result could possibly have a detrimental effect on her career in the sense of being taken “seriously” as an artist (i.e. people are getting the impression that she’s all hype and no substance because they can’t see past it).
When and if Cyrus finds the right balance between the 2, she’s going to be one of the most formidable artists in today’s mainstream Pop scene, guaranteed.
Originality Factor Does the song possess a unique nature or have you heard it all before? Does it stand out in the Pop mainstream?
Aside from the clever, unique “wrecking ball” elements that we saw throughout the report, there is nothing about the song that is so exceptionally unique that you haven’t heard before. Wrecking Ball is a through and through Pop Power Ballad, nothing more, nothing less (albeit a VERY strong one).
That being said, it DOES however stand out in TODAY’S mainstream Pop scene due to the manner in which it communicates a “love gone bad” lyrical theme in a unique, engaging manner coupled with the fact that it’s a Power Ballad (remember – in Q3-2013 only 2 out of 23 top 10 Pop songs were Power Ballads).
Social, External & Controversy Factors Were there any external, controversy or social factors surrounding the release of the song that could help increase its visibility, reach and success potential?
It goes without saying that Cyrus has done a fantastic job of getting herself noticed in recent times. Whether it was declaring that pot is the “best drug on earth,” twerking at the VMA’s, or appearing nude while swinging on a Wrecking Ball in the song’s video (350,000,000+ views and counting), her antics have thrust her to the forefront of Pop culture.
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The result is that Wrecking Ball has surely benefited from this mass exposure, ultimately driving sales and her climb up the charts.
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?
We need to look at the “full package” here – both the song and the accompanying video.
Age
What I’ve found really interesting through talking to people is that Wrecking Ball the song traverses a very wide age demographic – ranging from mid to late teens all the way through people in their 60?s. This is due both to the universal nature of the love/relationship themed lyrics coupled with the song’s evocative, stellar craft.
On the flip side, the demographic shrinks considerably in regard to the video. It’s too racy for a younger audience (their parents have probably put a block on it), while an older age group probably sees it more as just a lewd “gimmick.”
It’s the middle of the road age group, however, where it connects and resonates the most, with a core certainly within the late teens to mid twenties.
Gender
In regard to the song itself, its Power Ballad nature being conveyed from a female point of view certainly relates more toward that gender demographic than a male audience. That being said, this certainly isn’t a “sappy” song by any means, and it’s powerful, evocative nature has no problem connecting with a male audience as well.
Now, in regard to the video, I think it goes without saying that a male audience would be just as, if not more into the video than a female audience. If you haven’t seen it yet, put it on and you’ll understand why. Enough said!
Genre
Unlike songs that incorporate more than one distinct sub-genre into the mix which enables them to cross-pollinate into genres/fanbases outside their norm (i.e. Locked Out Of Heaven, Wake Me Up, etc…), Wrecking Ball is pretty much through and through a Pop Power Ballad as previously stated and as a result primarily relegated to the Pop genre.
The “Holly Sh*t – You Gotta Hear This NOW” Factor 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!!!”
In regard to the song itself, there is nothing that is so overtly special about Wrecking Ball that
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It’s a VERY strong song, don’t get me wrong. It’s just not a song that causes you to stop in your tracks.
On the other hand, the video certainly qualifies as one of those “holy sh*t!!!” moments due to its overtly racy nature. The first time that you view it, you have to ask yourself, “is she REALLY doing this? “ As a result it’s not out of the question that someone would immediately call up a friend and say “I can’t believe what I’m seeing – check this out NOW!”
The “Multiple Listen” Factor Is this song engaging enough to warrant repeat listens?
Wrecking Ball is certainly strong enough where it would warrant repeat listens, specifically due to its infectious, powerful nature, universal love/relationship themed lyrics and diversity utilized throughout which keeps the song as a whole fresh and engaging for the listener.
But as with all songs that are overplayed and milked for all their worth, the law of diminishing returns eventually sets in and you just plain start getting sick of hearing it. This will certainly happen with Wrecking Ball, but it will take a bit longer to happen then a lot of other chart- topping Pop songs that have less to offer.
The Hard To Beat / Next Single Factor Is this song so good that the single that follows will have trouble living up to its standards? Does this song accentuate the anticipation for the next single?
Wrecking Ball is an exceptionally well crafted song and will be hard to beat. However, considering the caliber of mainstream Pop writers that she’s using to write her hits, it’s more than feasible!
The “Pushing The Envelope” Factor Does this song chart new ground, push genre boundaries and act as a trendsetter within the genre?
Aside from its clever nature, there is nothing about Wrecking Ball that charts new ground or pushes genre boundaries within today’s Pop mainstream. Again – it’s a straight-up Pop Power Ballad – nothing more, nothing less.
The “Human Emotion” Factor Does this song exude a vibe that enables the listener to connect on a deep, emotional, HUMAN level?
This is certainly one of Wrecking Ball’s core strengths. Every aspect of the song, including the lyrics, nature of the instrumentation being utilized, associated progressions, vocal melody and Cyrus’s delivery are all evocative in nature and as a result connect with the listener on a deep
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Memorability Factor How easy is it to remember the song’s lyrics & melody? Is each section of the song equally as memorable?
Another core quality of Wrecking Ball is the fact that it’s an exceptionally memorable song, brought about via the following factors:
The K.I.S.S. Principal
Wrecking Ball “keeps it simple” in all aspects of the song including the nature of the backing music, the vocal melody and lyrics, which makes it very easy for the listener to connect, follow along to and remember.
The complexity lies within the manner in which all of those simplistic elements are expertly fused together to come across as being “simple,” which creates an exceptionally infectious, engaging and memorable song that the listener can’t get out of their head. That’s the beauty with a lot of chart-topping Pop songs including Wrecking Ball. When someone says – “that #1 song is so simple – I could write something like it in my sleep,” then the writers have certainly done their job well!
Repetition
This is the primary weapon in fostering memorability within a song. Massive amounts of repetition were utilized throughout Wrecking Ball to get it completely engrained within the listener’s head, but the diversity employed prevented the song from becoming overly monotonous. Examples of repetition utilized within Wrecking Ball include:
Vocal melody repetition (this includes melodic and rhythmic repetition)
In-line repetition
In-stanza repetition
Cross-stanza repetition
Cross-sectional repetition
Lyrical repetition
Pre-choruses 1 and 2 feature the same lyrical content. Pre-chorus 3 does as well, though only 1 stanza worth.
The first stanza in all 3 choruses features the same lyrical content. The same is the case within the second stanza in choruses 2 and 3. Remember that chorus 1 does not
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contain a second stanza.
Sectional repetition
Both verse sections utilize generally the same vocal melody and backing music.
The general nature of pre-choruses 1 and 2 is the same with some minor differences.
The general nature of choruses 1, 2 and 3 are the same with some minor differences.
As a side note, remember that the diversity employed throughout “like” sections within the song kept things infectious and engaging for the listener while not interfering with the memorability being elicited.
Longevity Factor – Artist Will this song become a staple of the artist’s repertoire and catalog?
Considering Wrecking Ball’s overall strength and strong chart performance throughout the world, I think it goes without saying that the song will be featured within Cyrus’s live sets and considered as a highlight within her catalog for a long time to come. But then again, she’s only 20 years old. If she keeps aligning herself with the right songwriting teams, there is always the chance that Wrecking Ball will fall by the wayside in comparison. Only time will tell!
Longevity Factor – Genre Does this song have what it takes to stand the test of time and rank amongst the all-time greats?
Probably not. Again, Wrecking Ball is an exceptionally well crafted, clever Power Ballad, but it isn’t so overtly amazing or possess that “magic special quality” that will enable it to rank amongst the all time greats.
That being said, it would certainly be a strong asset to any time period or Power Ballad compilation, as well as some sustained longevity in licensing initiatives.
Recap, Takeaways & Final Thought Back to Top
Now that we have thoroughly explored Wrecking Ball, let’s recap some of the song’s core strengths and characteristics that worked in tandem with one-another in creating this global hit.
Full sections are “segmented” into relatively short stanzas which provides the listener with new elements entering the mix frequently. The result is that the song is always
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kept fresh and engaging throughout.
The vast majority of time within the song (42%) was allocated to the ultra-infectious, powerful chorus, and for good reason!
Wrecking Ball makes great use of MTI level shifts throughout the entire song, making for a dynamic, engaging listening experience.
The 2 different manners in which the first line of the chorus is set-up within the song is highly effective, including the transitional pause which elicits suspense between pre- chorus 1 and chorus 1, and the “jolt” that occurs between pre-chorus 2 and chorus 2.
The departure/contrast provided within the bridge via the nature of Cyrus’s vocal delivery, lyrics and instrumentation being utilized takes the infectious, engaging nature of the song to the next level.
The sparse nature of the “unconventional” third pre-chorus does a fantastic job of setting up the MTI level peak that occurs within the final chorus of the song.
The manner in which the synth and piano “mimic” the lead vocal melody within in certain sections of the song acts to enhance the “infectious coloring” of those sections, heighten the melody’s memorability factor, as well as prime the song for use as an effective instrumental as well.
Wrecking Ball contains not 1 but 2 “magic moments” that helped to put it over the top, both of which occur within the chorus (payoff) sections of the song. They include the section’s “wrecking ball” natured lead in and impact, as well as the ultra infectious and memorable manner in which Cyrus sings “bre-ea-eak me” and “wre-e-eck me” at the end.
The clever manner in which the kick and snare were utilized within the chorus did a fantastic job of keeping the “wrecking ball” vibe intact throughout the entire section.
Wrecking Ball makes great use of traditional “Power Ballad” elements including the synth, piano, strings and ride cymbal which defined the ballad, while the electric guitars, powerful drums and crash cymbal brought the POWER.
All of the elements within the song (vocal, instrumentation, music and lyrics) worked in perfect tandem with one another in creating an ultra-infectious, engaging, memorable and evocative listening experience that connects with the listener on a deep level.
A strong balance between repetitive and diversifying factors were utilized throughout the song which enabled Wrecking Ball to get fully engrained within the listener’s head while remaining fresh and engaging throughout.
Although just 0:08 in length and simplistic in nature, the intro does a great job of
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instantly engaging the listener within the song, establishing the song’s vibe and holding their attention until the verse takes over.
The overall nature of the backing music does such a fantastic job of communicating the different types of emotion present throughout the song that you don’t even need the lyrics to “tell you how to feel.”
The sonic contrast between the powerful, intense choruses and the “quieter” verse, pre-chorus and bridge sections provides for an exceptionally engaging listening experience.
Wrecking Ball employs strong rhyming schemes, simplistic melodies as well as in-line, cross-line, cross-stanza and cross-sectional repetition that gets the vocal melody and the song for that matter completely engrained within the listener’s head.
The overall nature of the vocal melody within EACH SECTION of the song is exceptionally infectious, engaging and memorable and accentuated via the perfect blend of repetition and diversity, the K.I.S.S. principal, and use of clever “color adders and emphasizers.”
The lyrics covey a typical “love/relationship gone wrong” theme in a universal, clever, engaging manner , brought about via ample use of imagery, detail, action and emotion. The result is that it connects with a vast audience on a deep level.
The title “Wrecking Ball” instantly piques the prospective listener’s interest to take a listen and find out what the song is all about. It’s also utilized in an exceptionally clever and unique manner within the overall storyline as well.
Despite the low number of title occurrences relative to other songs that we find topping the charts, the manner in which its used coupled with its placement enables it to jump out and resonate.
Wrecking Ball possesses many similar characteristics and attributes that are found within today’s chart-topping Pop songs which makes it very easy for the listener to instantly connect with the song. Additionally, its clever nature coupled with the fact that it’s a Power Ballad enables it to stand out from the pack.
And finally, it was Cyrus’s outlandish, controversial behavior that enabled her, and the song, to gain mass exposure.
Final Thought: The “Extra Something”
It’s certainly not easy these days (not that it ever was) for artists to break into the music industry and attain massive mainstream success. More so than ever, possessing an exceptionally well crafted song coupled with a marketable good look just isn’t enough.
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The fact is that there are a plethora of artists who have the voice, the talent, the look and the presence who are all looking to get signed and score the big deal.
Unfortunately, if you’re not already an established superstar (and even if you are), you need that “extra something” that enables you to stand out from the pack, get noticed, get signed and resonate with the masses.
When you think about it, many of today’s hottest artists (and yesterday’s as well) had that “extra something” that put them over the top. Here are just a handful of examples:
Adele: An ultra-evocative, bluesy voice coupled with incredibly strong songs to boot. Throw her non-mainstream look into the mix and you wind up with an artist that stood out from the pack and achieved massive worldwide success.
Susan Boyle: Insanely good voice coupled with a look that screamed anything but Pop superstar. The combination of the 2 provided her a unique edge in relation to everyone else.
Avicii: Wake Me Up created controversy by going against the grain of what was expected of him by fusing Country/Folk with EDM. The result, a MASSIVE global hit that sent his career skyrocketing.
Daft Punk: Get Lucky’s retro Disco/Funk/R&B nature went against the grain of EVERYTHING in today’s mainstream, but still managed to chart at #1 all throughout the world.
Lorde: Royal’s unique sound relative to everything else in the current mainstream coupled with clever, anti-mainstream/lavish lifestyle lyrics and the fact that she was just 16 when the song was released enabled her to stand out from the pack and get noticed.
PSY: We all know how this one went. He had the song, the video, AND the horse dance. That plus he’s a K-Pop artist!
Bob Dylan: Created an enormous amount of controversy at the Newport Folk Festival in 1965 by abandoning his acoustic Folk roots to go electric. He was met with a thunderous round of “boo’s,” though I think he wound up doing alright for himself afterward!
The list goes on and on, but I think you get the picture. The bottom line is that there needs to be something – be it in your music, your video, your look, your actions or anything else that can get you noticed and cause an industry exec to say “that person has IT. Sign ‘em up!”
But if your “extra something” is relying on controversial, outlandish behavior to garner attention, going too far to the extreme for too long can wind up being a recipe for disaster, and this is something that Miley Cyrus needs to pay special attention to.
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Right now she’s a household name primarily due to her calculated publicity stunts that include twerking at the VMA’s, publically proclaiming to Rolling Stone that “weed is the best drug on earth,” and of course swinging nude from a wrecking ball (which to-date has scored over 350,000,000 views).
But as the shtick gets old, people are going to start to lose interest. Once that happens, all of the A list material that she receives from today’s hottest hitmakers won’t be able be able to put her back on top of the charts because pure and simple – people just won’t care anymore.
If she wants to secure longevity, she’s eventually going to need to attain the perfect balance between controversial publicity and respected artistry. Once she does that, there is no doubt that she will be a formidable presence within the Pop mainstream for a long time to come.
alegar
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