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Summertime Sadness 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 & Final Thought Songwriter/Producer Takeaways

Audio/Video Back to Top

At a Glance Back to Top

Artist: Lana Del Rey Song/Album: Summertime Sadness / Born To Die Songwriters: Richard Nowels, Elizabeth Grant (Lana Del Rey) Genre: Pop Sub Genres: Alt Pop, Trip Hop, Shoegazing (Orig.), Dance (Remix) Length: 3:43 Structure (Form): See structure section Tempo: 125 bpm (Orig), 126 (Remix) First Chorus: 0:17/6% (Orig.), 0:38/18% (Remix) Intro Length: 0:17 (Orig.), 0:08 (Remix) Outro Length: 0:20 (Orig.), N/A (Remix) Electric vs. Acoustic: Electric (Both Versions) Primary Instrumentation: Mixed (Orig.), Synth (Remix) Lyrical Theme: Love/Relationships (Both Versions) Title Occurrences: “Summertime Sadness” occurs 16 times within the song (Orig.) Primary Lyrical P.O.V: 1st & 2nd

Overview Back to Top

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As an artist, having 1 version of your song land in the top 10 throughout the world is a cause for celebration.

However, doing it twice with 2 versions of the same song is a MAJOR ACHIEVEMENT.

This is exactly what Lana Del Rey achieved with both the original and the Cedric Gervais Dance remix versions of Summertime Sadness.

The compositional strengths of both enabled Del Rey to cross pollinate into multiple genres and demographics, ultimately taking her stature as a force within today’s mainstream music scene to the next level.

Song Structure Back to Top

Timeline (Shows when each section hits within the timeline of the song)

Original Version

Cedric Gervais Dance Remix

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Form

General Form

Original Version

Aside from the fact that it first kicks off with the chorus as opposed to the verse, the original version of Summertime Sadness utilizes the song structure that’s indicative of most of today’s (and yesterday’s) chart-topping Pop hits: B - A – B – A – B – C – B (Chorus – Verse – Chorus – Verse – Chorus – Bridge – Chorus).

Dance Remix

The Cedric Gervais Dance remix on the other hand deviates for the original in the sense that it first kicks off with the verse, incorporates instrumental breaks, heads back into the chorus AFTER the instrumental breaks, and DOESN’T feature a bridge: A – B – IB – B – A – B – IB – B (Verse – Chorus – Inst. Break – Chorus – Verse – Chorus – Instrumental Break – Chorus).

Full Form

Original Version

When you take into account ALL of the sections within the song, the original version looks like this:

Intro – Chorus 1 (Part A) – Verse 1 – Pre-Chorus 1 – Chorus 2 (Part A) – Chorus 2 (Part B) – Verse 2 – Pre-Chorus 2 – Chorus 3 (Part A) – Chorus 3 (Part B) – Bridge – Chorus 4 (Part B) – Chorus 4 (Part A) – Chorus 4 (Part B) – Outro

Dance Remix

The Dance remix looks like this:

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Intro – Verse 1 – Pre-Chorus 1 – Chorus 1 (Part A) – Chorus 1 (Part B) – Instrumental Break 1 – Chorus 2 (Part C) – Interlude – Verse 2 – Pre-Chorus 2 – Chorus 3 (Part A) – Chorus 3 (Part B) – Instrumental Break 2 – Chorus 4 (Part B) – Chorus 4 (Part B)

As you can see, both the original version and the remix possess some distinct similarities as well as some key differences in regard to their form. Regardless, one thing is indisputable – they both put a primary emphasis on their choruses. Not only are there more occurrences than any other section, but they both hit quite early as well, getting the listener into the “payoff” ASAP (even in the remix where it’s preceded by an intro, verse AND a pre-chorus).

We’ll be getting into individual section specifics later within the report.

Section Length, Count & Segmenting

I=Intro, V=Verse, PC=Pre-Chorus, TURN=Turnaround, CHR=Chorus, BRG=Bridge, BRK =Break

Original

Cedric Gervais Dance Remix

Section Count

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Original Version

The original version of Summertime Sadness contains 11 full sections within its framework as follows:

1 intro

2 verse sections

2 pre-chorus sections

2 full choruses

1 extended chorus

1 partial chorus

1 bridge

1 outro

Notice that everything is pretty “standard” except for the chorus sections:

First, notice that the first chorus occurrence is a partial, consisting solely of part A (i.e. “Kiss me hard before you go…”). Chorus part B (i.e. “I’ve got that summertime, summertime sadness…”) is not utilized at this point.

Later in the song, however, notice that the fourth full chorus first kicks off with an “extra” part B partial breakdown before heading back into parts A and B as was the case within the second and third occurrences within the song.

Remix

The remix version of Summertime Sadness also contains 11 full sections within its framework as follows:

1 intro

2 verse sections

2 pre-chorus sections

3 full choruses

1 partial chorus

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2 instrumental breaks

As was the case with the original version, everything is pretty “standard” except for the choruses:

First, notice that choruses 1 and 3 are the regular “full” choruses, consisting of parts A and B. Chorus 2, however, not only is a partial chorus, but it’s also changed up in nature from parts A and B. For this reason we’re going to refer to it as chorus part C (i.e. the repetition of “I’ve got that summertime…”).

You can look at chorus 2 part C in one of three ways:

You can consider it as an independent chorus section considering that it follows an instrumental break.

You can consider it as a continuation of chorus 1, acting to “bookend” or “sandwich” the instrumental break section.

You can also consider it to be an instrumental break/chorus hybrid section considering that it possesses characteristics of both sections.

All 3 would be correct, but we’re going to consider it as an independent chorus section for purposes of this analysis.

Section Length & Segmenting

Original Version

For the most part, FULL sections within the original version of Summertime Sadness range from the moderately short (~0:17 which defines most sections) to the moderately long (0:51 – full chorus 4).

One of the keys to keeping the listener engaged as you know is to cut longer full sections into shorter “segments” that will provide a new element entering the mix more frequently. This was primarily indicative of the chorus sections within the song as follows:

Chorus 1 (0:17)

Partial chorus (chorus part A)

Chorus 2 (0:34)

Chorus part A (0:17)

Chorus part B (0:17)

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Chorus 3 (0:34)

Chorus part A (0:17)

Chorus part B (0:17)

Chorus 4 (0:51)

Chorus part B (0:17) – Breakdown

Chorus part A (0:17)

Chorus part B (0:17)

After the segmentation was employed, all but 3 sections within the song landed at 0:17, and even those were pretty close:

Pre-Chorus 1: 0:18

Outro: 0:20

Bridge: 0:22

Remix

Notice that we have a very similar story with the remix as well, with the vast majority of sections landing at 0:15, just 0:02 shorter than the original version (specifically due to the change in tempo). The 2 exceptions were:

The intro within the remix is basically half the length of the original version, clocking in at 0:08. Remember, this is the Dance version of the song, and you need to get people moving ASAP!

There’s an 0:08 turnaround that follows chorus 2 part C, which transitions into the second verse of the song.

Total Section Breakdown (The total time consumed by each section and its percentage of the total song)

Original

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Cedric Gervais Dance Remix

As you can see in the graphs above, both the original version and Dance remix possess some key commonalities and differences.

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Commonalities

First and foremost, you can easily see that the VAST majority of time within both versions is dedicated to the chorus and all of its individual “parts,” comprising 52% of the original and 49% of the remix.

Trailing far behind the chorus, the amount of time allocated to the verse and pre- chorus sections within both versions is almost identical as well, comprising 13% of the original and 14% of the remix.

Additionally, despite the difference in their respective lengths, the amount of time allocated to the intro in both versions is quite close, comprising 6% of the original and 4% of the remix.

Differences

Here’s where the 2 songs part ways, specifically due to the types of sections that they both employ within their respective framework:

The original version of the song allocates 8% of its total composition to both the bridge and outro. Notice that these sections WERE NOT utilized within the remix.

On the other hand, the remix allocates 14% of the song to the instrumental breaks, which were not utilized within the original version. Notice that this was the same amount of time allocated to the verse and pre-chorus sections as well. If you’ve been reading our reports for a while, you know by now that today’s Dance/Pop songs feature the instrumental break just as prominently if not more so than other key sections within the song due to their usually ultra-infectious nature.

And finally, notice that just 5% of the song was allocated to the turnaround that occurs between the first chorus and second verse in the remix. This section was not utilized in the original version of the song.

In A Nutshell

Despite the differences between both versions of the song, it’s the chorus (“payoff”) where the listener is kept for the longest amount of time, which should come as no surprise.

All of the other sections carry significantly less weight in comparison, though equal or close to equal time allocation is provided to most.

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

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Original

Cedric Gervais Dance Remix

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.

MTI Level Progressions

Original Version

Essentially, there are 5 individual MTI level progressions within the original version of Summertime Sadness:

MTI level progression 1 (Increase): Intro through chorus 2

MTI level progression 2 (Increase): Verse 2 through chorus 2

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MTI level progression 3 (Constant/Slight Decrease): Bridge

MTI level progression 4 (Increase): Chorus 4 (throughout parts B, A & B)

MTI level progression 5 (Decrease): Outro through the end of the song

Progression 1

The intro kicks the song off in a laid back, serine manner.

The first chorus kicks the MTI level up a notch with the introduction of the vocals into the mix. Additionally, notice that there is an underlying tension elicited via the nature of the backing music and effects.

The first verse then further increases the MTI level over the preceding chorus via the introduction of the drums into the mix coupled with the shift in the nature of the vocal melody. Notice that both of these elements heighten the momentum of the section as opposed to providing a prominent shift in tension or intensity.

The MTI level is then further increased within the pre-chorus, and this time on all fronts. The nature of Del Rey’s lead vocal provides both an increase in momentum and intensity over the preceding section, as do the drums which are more prominent in the mix. These elements coupled with the nature of the backing music also act heighten the tension within the section, accentuating the listener’s anticipation for the “payoff” that is about to occur within the chorus that follows.

As soon as we hit chorus part A, the overall MTI level reaches its first peak within the song. This is due to the overall “heavier” nature of the section, elicited primarily via the nature of the backing music.

Chorus part B then takes the MTI level of the song to its second peak. Notice that it’s primarily brought about via the change up in the nature of Del Rey’s vocal and drum pattern, which are more driving in nature and also act to increase the overall intensity of the section.

Progression 2

Following the intense, driving nature of chorus part B, a transitional pause is instituted to immediately bring the MTI level all the way down and effectively “reset” the song.

The verse that follows kicks the MTI level back up but at a lesser degree than the fist time around within the song due to its sparse nature, very similar to the first chorus that directly followed the intro.

The pre-chorus then kicks the MTI level way back up via the change-up in Del Rey’s vocal delivery coupled with the reintroduction of the drums and synth/strings back into

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the mix. Notice that it’s virtually the same as it was during the first occurrence within the song but comes across in a more pronounced nature this time around due to the sparse nature of the verse that preceded it.

The MTI level progression that follows within the chorus is basically the same as it was during the first time around, taking the song to its second MTI level peak in chorus part B.

Progression 3

The third MTI level progression (stage) occurs within the bridge. Notice that it’s pretty much on par with that of the chorus B section that preceded it. Overall, it’s keeping the MTI level up there, which is in contrast to many other bridges that you’ll find in chart- topping Pop hits where the bridge provides the listener with a sonic break following a more intense chorus.

Progression 4

The fourth MTI level progression within the song occurs within the full chorus 4 section. Notice that it starts off with part B as opposed to A, which was the more intense chorus section within the preceding full chorus sections. This time around, however, part B is a “breakdown” chorus, with its sparse nature finally providing the listener with that sonic break that wasn’t found within the preceding bridge section.

Following the chorus B breakdown, the balance of the section kicks the MTI level way back up throughout chorus parts A and B, pretty much in the same manner that it was during their respective occurrences earlier within the song. Notice however that there is some additional instrumentation that has been added to the mix (specifically the more up front strings), which brings the overall intensity of the section and the song for that matter to an apex (albeit not by much). This is something that you’ll find in many chart- topping Pop songs considering that you want to maximize the excitement and intensity for the listener as it approaches the conclusion (i.e. institute the “soaring climax” of the song).

Progression 5

Directly following the intense chorus part B section, the MTI level then drops off within the outro primarily due to a sonic level drop within the overall mix. Notice, however, that the nature of the backing music is quite dense and tense, which keeps the MTI level at a moderate level until the EQ shifts over to the bass end of the spectrum, effectively bringing the song to a conclusion.

Remix

In contrast to the original version of the song, the remix consists of 2 primary MTI level progressions, despite the brief dips that are present within the transitions:

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MTI level progression 1 (Increase): Intro through chorus 2

MTI level progression 2 (Increase): Turnaround through Chorus 4

Progression 1

After kicking off with a “booming” start, the balance of the intro continues on in a serine manner until the synth swell heightens the overall MTI level as it moves into the first verse.

The MTI level is then further increased during the first verse specifically due to the vocals being added to the mix along with the hats which get the rhythm moving.

The pre-chorus further heightens the MTI level specifically due to the more driving nature of Del Rey’s vocal delivery coupled with the more intense nature of the synth chords being played.

The MTI level then increases even further at the onset of chorus part A, primarily due to the addition of the clap beat within the mix as opposed to the hats which defined the pre-chorus. This increases the overall intensity of the section.

Chorus part B then takes the overall MTI level to a greater degree than chorus part A via the more driving nature of Del Rey’s vocal delivery, the introduction of the snare along with the claps, and the “snarling” deep synth that helps to take the intensity to the next level.

Following the transitional pause that briefly brings the MTI level all the way down, the instrumental break slams in with full on club/EDM intensity, taking the song to its first MTI level peak.

The MTI level is then once again brought down briefly at the transition point between the instrumental break and chorus part C, where the backing music is pulled from the mix and we have an almost solo “I got that summertime” vocal.

The MTI level then shoots back up during chorus part C, which is basically a hybrid chorus/instrumental break section as discussed earlier. Note that this section possesses the highest MTI level section within the song, slightly above that of the preceding instrumental break due to the addition of the vocal into the mix.

Progression 2

Following the intense chorus part C section, the overall MTI level takes a substantial dive during the 0:08 turnaround which is defined primarily by a low-level “mellow” synth. The MTI level then increases once again during the verse and pre-chorus sections that follow, basically in the same manner that it did during the first occurrence of those sections within the song.

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Following the pre-chorus, we find a VERY SLIGHT increase in the MTI level during chorus part A. Notice that the increase is less than it was during the first time around due to the fact that the hats that were defining the pre-chorus continue on instead of adding the claps into the mix as was done within the first chorus A section within the song.

The MTI level then follows the same general progression as it did during the first time around within the song except for the fact that there is a brief transition after the chorus that follows the instrumental break as it launches into a repeat of chorus part B to conclude the song.

The Chorus & Instrumental Break “Accentuators”

The following methods were employed to provide both the chorus and instrumental break sections with increased impact and emphasis:

Chorus Accentuator: Original Version Of The Song

The 2, 3, 4 count.

Instrumental Break & Chorus Accentuators: Remix Version

The brief transitional pauses that precede the instrumental breaks provide them with much greater impact when they slam in as opposed to if the MTI level never took that drop.

The vocal break that precedes chorus 2 part C and chorus 4 part B (both occurrences) also provides these sections with increased impact when they hit.

WAVEFORM

Original Version

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Cedric Gervais Dance Remix

Looking at the waveform graphics above, you can easily see how sonic levels and the use of compression vary throughout both versions of the song.

A strong point that’s indicative of both is the fact that there’s dynamic diversity between sections that makes for an engaging listening experience. This is in contrast to many other chart-toppers where the sonic levels are pushed to the max throughout in order to come out ahead in the “loudness wars.”

Note the following sonic level breakdown for both versions of the song:

Original Version – Lowest To Highest Sonic Levels

Intro

Verse-2, Chorus-1, Verse-1, Chorus-4 Part B (first occurrence), Outro

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Pre-Chorus

Chorus-2, 3 and part of 4, Bridge

Remix – Lowest To Highest Sonic Levels

Transitional Pauses/Breaks

Turnaround

Intro, Verses & Pre-Choruses

Chorus-1 and Chorus-3 Part A

Chorus-1 Part B, Chorus-2, Chorus-3 Part B, Chorus 4, Instrumental Breaks

Not surprisingly, both versions have the chorus possessing some of the highest sonic levels within the song. This is also the case with the bridge in the original version as well as the instrumental breaks within the remix.

Music/Instrumentation/Vocal Delivery Back to Top

SECTIONAL COMPARISON – ORIGINAL VERSION

Here we’re going to take a look at the key similarities and differences between “like” sections within the song. The similarities help to accentuate the song’s overall “memorability” factor, while the differentiation heightens the engagement value for the listener. Reference the full section analysis that follows for details.

Verse 1 vs. Verse 2

Similarities

The overall nature of the vocal melody

The use of the background vocal effect

The inclusion of the fast picked acoustic guitar during the second half of the section

Differences

The lyrics

Verse 2 is a breakdown (i.e. sparse in nature)

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The nature of the background vocal effect

Pre-Chorus 1 vs. Pre-Chorus 2

Similarities

Overall, the general nature of pre-chorus 1 is the same as pre-chorus 2. This includes the lyrics, melody and backing music.

Differences

The only real difference between both pre-chorus occurrences is that the overall levels within pre-chorus 2 are running a bit hotter than they were during pre-chorus 1.

Choruses

As you can see in the table above, the lyrics, vocal melody and the nature of Del Rey’s vocal delivery remain pretty much constant from chorus to chorus.

The key difference resides within the chorus “parts” that are utilized from occurrence to occurrence as well as the nature of the backing music:

Chorus Parts

The first chorus consists solely of part A.

The second and third choruses consist of both parts A and B.

The fourth chorus kicks off with part B, and then goes into parts A and B to conclude in the same manner as the second and third occurrences within the song.

Backing Music

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The first chorus (part A) is sparse in nature compared to the other occurrences throughout the song.

The second and third choruses are “standard” full choruses.

Chorus 4 part B kicks the section off in a sparse manner (i.e. breakdown) relative to its “full” nature that defined choruses 2 and 3. Parts A and B that follow possess the same general nature as that of choruses 2 and 3, with the primary difference being the more pronounced level of strings within the section which provides the differentiation.

Additional Key Similarity & Differentiation Points To Note

The Progression The vast majority of Summertime Sadness follows a repetitive A – C#m – B – F#m progression. The bridge, however, deviates via a G#m – C#m – A – F#m progression across the first 2 lines and G#m – C#m – B on the 2 lines that follow.

The Drums There are 3 primary areas where the nature of the drums shift throughout the song – the pattern, instrumentation utilized and the sonic qualities.

Pattern

The general nature of the pattern remains pretty much constant throughout the first verse and pre-chorus sections. It retains the general characteristics of those sections coupled with a “rapid fire” change-up during chorus part A (sections 2, 3 and 4), and completely changes up during chorus part B. Additionally, it reverts back to the general nature of chorus part A within the bridge.

Instrumentation

The first verse is primarily defined by the snare, while the pre-chorus introduces the kick into the mix and remains in effect throughout the chorus and bridge sections of the song. Additionally, an electro snare/clap hybrid is employed during the chorus as well.

Sonic Qualities

Each subsequent section within the song (except for the bridge where it’s a notch below that of chorus B) possesses a more intense, more robust and overall higher level of drums within the mix relative to the preceding section.

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

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***NOTE – This section reflects the ORIGINAL version of the song. Details regarding the Cedric Gervais Dance remix can be found within the MTI level section above.

Intro (0:00 – 0:17)

Vocals & Primary Instrumentation Featured In The Mix:

Synth (Multi-layered – including the synth bass – warm – up-front within the mix ) Primary around 12:00 but spans the entire mix.

Strings (Prominent within the mix ) Primary between 10:00 and 2:00 but spans the entire mix.

Guitar (Electric – clean – up front within the mix) Primary around 1:00

Bells (“Church bell” type – low/mid level within the mix, mimicking the guitar) Primary between 10:00/11:00

Effect (Sounds like someone shouting in the background – reverb gives it the impression of being off in the distance – very low level within the mix at the tail end of the section) Primary between 11:00 and 1:00

The intro of Summertime Sadness is a PERFECT example of how an intro can instantly establish the entire mood of a song in 0:17 while keeping the listener engaged throughout. Note the following strengths:

It instantly hooks the listener in and establishes the vibe of the song.

The second you hear the synths and strings, you’re instantly enveloped in a lush soundscape that projects both beauty and sadness, which is essentially what Summertime Sadness is all about. The listener is instantly captivated by its cinematic/dramatic nature.

New Elements Keep It Engaging

At 0:17 in length, Summertime Sadness is skewed on the longer side of most Hit Pop song intros. In order to keep the listener engaged, new elements enter the mix throughout the section that function to hold their attention until the first chorus takes over. This includes the strings entering and leaving the mix, as well as the guitar and bells that enter toward the tail end of the section.

It transitions seamlessly into the first chorus

Notice that the backing music within the intro carries right over into the chorus that

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follows coupled with the additional instrumentation that has been added to the mix. This does a great job of helping to seamlessly usher the listener from one section to the next.

It acts as a “unique identifier” for the song

The overtly dramatic nature of the intro that’s elicited via the instrumentation as detailed above does a great job of enabling the section to act as a unique identifier for the song. What this means is that the second you hear it on the airwaves, you INSTANTLY know what song it is, and as a result it grabs your attention. There’s no mistaking it for something else. All in all, it breaks through the “clutter.”

Transition Point – Intro into Chorus 1: Seamless transition.

Chorus-1 (0:17 – 0:34)

Vocals & Primary Instrumentation Featured In The Mix:

Synth(Multi-layered – including the synth bass – warm – mid level within the mix ) Primary around 12:00 but spans the entire mix.

Strings (Low to mid level within the mix ) Primary between 10:00 and 2:00 but spans the entire mix.

Guitar (Electric – clean with a tremolo effect – mid/up within the mix) Primary around 12:00

*Background Effect (Sounds like someone shouting in the background – reverb gives it the impression of being off in the distance – low level within the mix) Primary between 11:00 and 1:00

*Vocal (Lana Del Rey – multitracked – moderate reverb – up front within the mix) Primary around 12:00 with the multitracking spanning the entire mix.

* Indicates a key new addition to the mix relative to the preceding section.

The first thing that you’ll notice about the first chorus is that the general vibe that was established during the preceding verse remains in effect. The backing music continues to elicit a feeling of beauty and tranquility coupled with a melancholy natured overtone.

Let’s now look at the 2 key additions to the mix and what they contributed to the section:

The Background Effect

This “off in the distance” shouting element that entered very low within the mix at the tail end of the preceding intro and has come into greater prominence during the first chorus. Not only does it provide the overall soundscape with a unique alternative/avant-garde nature, but more

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Lana Del Rey’s Vocal

Here in the first chorus Del Rey does a fantastic job of communicating the vocal melody in a manner that both perfectly jibes with the nature of the backing music and in bringing the lyrics to life.

Her vocal style is exceptionally evocative, exuding a morose vibe in a seductive styled manner. Whether your interpretation of the song is about a friend or lover who died, a summer fling that came to an end, or the lament for the end of the summer season, the nature of her delivery suits them all (reference the song flow/meaning section of the report for interpretation details).

Additionally, the multitracked/multipitched nature of the vocal does a fantastic job of both providing additional “coloring” to the sonic landscape as well as heightening the overall evocative nature of the section as well.

Transition Point – Chorus 1 into Verse 1: The first line of the verse enters at the tail end of the chorus (“I got my…”) with the full verse commencing on the lyric “red.”

Verse-1 (0:34 – 0:51)

Vocals & Primary Instrumentation Featured In The Mix:

Synth (Multi-layered – including the synth bass – warm – mid level within the mix ) Primary around 12:00 but spans the entire mix.

Guitar -1 (Electric – clean – mid/up within the mix) Primary around 11:00

*Guitar -2 (Acoustic – clean – mid level within the mix) Alternates between 9:00 and 3:00

*Drums (Acoustic sounding snare – bright – mid level within the mix) Primary around 12:00

Vocal (Lana Del Rey – moderate reverb – up front within the mix) Primary around 12:00 with the multitracking spanning the entire mix.

* Indicates a key new addition to the mix relative to the preceding section.

Here in the first verse we have a continuation of the general vibe elicited via the backing music and vocal that defined both the intro and preceding chorus. You get the feeling that the protagonist is lonely and depressed (despite the nature of the lyrics), and the serenity elicited via the nature of the backing music provides the perfect backdrop of a late summer evening under “the pale moonlight.”

Notice that there are 2 new key elements that have entered the mix that significantly contribute

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Drums

The repetitive snare pattern provides the perfect rhythmic companion to the other instrumentation featured within the mix. Notice that it’s not overbearing in any way, and that it perfectly gels via its “relaxed” and “loose” nature which ultimately acts to accentuate the section’s overall vibe.

Acoustic Guitar

The fast-picked acoustic guitar that enters the mix during the second half of the section is important for the following reasons:

It adds additional “coloring” to the section and as a result heightens the engagement value for the listener.

It provides an ethnic flavor to the section, eliciting the vibe of being in a small Greek or Italian town.

It provides differentiation from the first half of the section which again heightens the engagement value for the listener.

It’s descending nature does a great job of aiding in bringing the verse section to a conclusion.

Lead Vocal

As was the case within the preceding chorus, here Del Rey once again communicates the vocal melody in a seductive/melancholy natured manner. Notice that all of the multitracking that defined the vocal within the chorus is gone, and instead her primarily solo vocal shines front and center, softened with reverb but still possessing its full, rich nature.

What’s really interesting and effective is the manner in which the nature of the vocal contradicts the nature of the lyrics. The lyrics talk about being dressed up, dancing in a serene environment and looking one’s best. You would think she would sound happy and carefree, but instead she sounds downtrodden and depressed.

So what the listener gets from all of this is that despite the beauty and serenity being portrayed in the lyrics, there’s an undercurrent of torment which ultimately DOES jibe with the nature of the title, Summertime Sadness. Most clever of all, this is conveyed WITHOUT EVER HAVING TO MENTION IT WITHIN THE LYRICS. That is what strong, effective songwriting is all about!

Additionally, notice that the one area within the section where the nature of the lyrics, melody and vocal delivery all jibe with one another occurs at the tail end where she sings “I’m feelin’ alive.” By going up in register and singing with a heightened degree of passion, you FEEL that

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Reference the vocal melody and lyric section for specifics.

Transition Point – Verse 1 into Pre Chorus 1: Following the last lyric of the section, the fast picked acoustic guitar and synth continue to resonate, followed by a brief low-level swell at the tail end which leads directly into the pre-chorus that follows.

Pre-Chorus 1 (0:51 – 1:09)

Primary Instrumentation Featured In The Mix:

Synth (Multi-layered – including the synth bass – warm – mid/up within the mix ) Primary around 12:00 but spans the entire mix.

Strings (Low/mid within the mix ) Primary between 10:00 and 2:00 but spans the entire mix.

Guitar-1 (Electric – clean – low/mid level within the mix) Primary around 11:00

Guitar-2 (Acoustic – clean – low level within the mix) Alternates between 9:00 and 3:00

*Drums (Acoustic sounding snare & kick – up front within the mix) Primary around 12:00

Vocal (Lana Del Rey – moderate reverb – up front within the mix) Primary around 12:00 with the multitracking spanning the entire mix

* Indicates a key new addition to the mix relative to the preceding section.

Here in the pre-chorus we find a general continuation of the backing music that defined the preceding verse with the following key change-ups that provided the section with a relatively more intense nature:

Drums

Note the following shifts regarding the drums that aided in providing the pre-chorus with a more intense nature relative to the preceding verse:

The snare is now a lot more prominent within the mix and “fuller” sounding than it was during the verse.

A kick has been added to the mix (it wasn’t present or at least overtly audible during the preceding verse) which provides the section with increased power and intensity.

Synth/Strings

Notice that they’re a lot more prominent within the mix (primarily the synth) which provides the

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Vocal

In contrast to the primarily downtrodden nature of the vocals within the preceding verse, here in the pre-chorus we find the nature of the vocal melody and Del Rey’s delivery expounding on the “feelin’ alive” vibe that was established at the end of that section.

Notice that we now have a direct CONNECT between the nature of the vocal and the lyrics which wasn’t present within the preceding verse. You get the sense that she has finally snapped out of her morose, detached state and is finally able to feel the world around and within her. She conveys this with a sense of wonder, surprise, a degree of joviality and conviction (especially at the end when she sings “nothin’ scares me anymore”).

The 3 Elements Combined

The 3 elements detailed above work in perfect tandem with one another in taking the intensity of the song to the next level while at the same time perfectly jibing with and accentuating the nature of the lyrics. They also act to heighten the tension for the listener in anticipation of the payoff that follows within the chorus.

Transition Point – Pre-chorus 1 into Chorus 2: Resonation of the instrumentation at the tail end of the pre-chorus coupled with the “2, 3, 4? vocal count-in.

Chorus-2 (1:09 – 1:43)

Primary Instrumentation Featured In The Mix:

*Synths (Multi-layered – including the synth bass & now a semi-”fuzzed” synth as well – - up front within the mix ) Primary around 12:00 but spans the entire mix.

Strings (Mid level within the mix ) Primary between 10:00 and 2:00 but spans the entire mix.

Guitar-1 (Electric – clean – low to mid level within the mix) Primary around 11:00

Guitar-2 (Acoustic – clean – low level within the mix) Alternates between 9:00 and 3:00

*Flute (Low level within the mix – enters during the part B section) Primary around 12:00

*Drums (Acoustic sounding snare & kick plus an electro snare/clap hybrid – up front within the mix) Primary around 12:00

Bells (“Church bell” type – low/mid level within the mix, mimicking the guitar as was the case during the intro) Primary between 10:00/11:00

Vocal (Lana Del Rey – multitracked – moderate reverb – up front within the mix) Primary around

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12:00 with the multitracking spanning the entire mix.

* Indicates a key new addition to the mix relative to the preceding section.

CHORUS PART A

Following the “2, 3, 4? count-in to the section, chorus part A hits with increased vigor relative to the pre-chorus that preceded it. Notice that it’s basically the same elements that achieved this as was the case during the pre-chorus build over the verse: The drums, synth and also the nature of the vocal.

Drums

Notice the following key shifts in the nature of the drums that took the intensity of the section (and the song for that matter) to the next level:

First and foremost, the level of the drums as a whole has reached its apex. This factor alone significantly increases the power and intensity of the song.

Second, notice the newly introduced “rapid-fire” kick/snare combo that occurs at the onset as well as sporadically throughout the balance of the section. This also acts to increase the chorus’s intensity over the preceding sections of the song.

Third, notice that there’s an additional snare element within the mix that wasn’t present during the preceding sections of the song. It sounds like an electro snare/clap hybrid that works in tandem with the acoustic snare. This does a great job of changing- up the sonic landscape in a subtle manner which ultimately heightens the engagement value for the listener.

Synths

As was the case with the drums, the level of the synths also reach their first apex within the second chorus of the song. Notice that not only are they further up within the mix, but that there’s also a prominent “semi-fuzzed,” “thick” synth that significantly increases the density and overall “heaviness” of the section.

Vocal

Notice that the nature of the vocal reverted back to how it was during the first chorus occurrence within the song. Its multitracked/multipitched nature further fills out the sonic landscape and achieves a wider, deeper effect than was present within the preceding section.

Additional Infectious Elements: The Guitar/Bell Combo

One other addition that you need to take note of is the reintroduction of the E – G# – F# guitar/bell combo that made its first appearance within the intro but DID NOT occur during the

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It starts between the first and second phrases on the first and second lines of chorus part A via E – G# and concludes at the onset of the second phrase on F#. Not only does this increase the “coloring” and engagement value of the section, but it also functions as a memorable hook that accentuates the memorability factor for the listener.

CHORUS PART B

The following key elements provided a shift from the nature of chorus part A, doing a great job of taking the intensity of the song to its first peak as well as heightening the engagement value for the listener via the additional “coloring.”

The shift in the nature of the drum pattern from its more laid back, plodding nature that defined the preceding sections to one of more driving urgency.

The fast picked acoustic guitar progression becomes more prominent within the mix starting at the onset of the section, acting to accentuate the the section’s coloring, increase the intensity, and heighten the section’s evocative nature.

The addition of the flute into the mix (albeit in a subtle manner) does a great job of adding an additional burst of color to the sonic landscape and as a result heighten the engagement value for the listener.

The nature of Del Rey’s vocal delivery takes on a more driving, intense quality than its nature during the preceding chorus A section.

Combined, chorus parts A and B provide the listener with an exceptionally strong, engaging, evocative, powerful and multi-faceted “payoff” that they can really sink their teeth into.

Transition Point – Chorus 2 into Verse 2: Directly following the chorus, an abrupt transitional pause is put into effect consisting solely of a low-level trail of the instrumentation that preceded it.

Verse-2 (1:43 – 2:00)

Following the intense nature of chorus part B, the quiet imparted during the brief transitional pause essentially functions to “reset” the song.

First, notice that the lead vocal enters the mix during this silence via the first 2 lyrics “I’m feelin’,” before officially moving full on into the verse on the first syllable of the lyric “electric.”

Second, and what’s really interesting about the second verse is its “breakdown,” sparse nature. Notice that there isn’t any guitar, lush strings or synths to be found. Instead, we have the following:

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Rimshot beat.

Low level flute.

What sounds to be mid-level group “yeah’s.” As was the case with its differentiated nature during the first verse, notice that it once again provides the song with an avant- garde spin.

During the second half of the section, notice that there was only 1 addition to the mix:

The fast picked acoustic guitar that was present during the first verse.

Considering that the nature of Del Rey’s vocal is virtually identical to that of the first verse, this change-up in verse 2 achieves the following:

It provides the listener with a sonic respite from the intense nature of the chorus that preceded it.

If the other sections allowed for Del Rey’s vocals to shine front and center, the second verse REALLY provides a stage for this to happen.

Ultimately, the nature of this section heightens the overall engagement value of the song due to what I guarantee was an UNEXPECTED departure for the listener the first time around. Even with subsequent listens, if their attention happened to be wandering during the chorus for some odd reason, the unexpected quiet would suck them right back in.

As a side note, most Pop and Rock songs that you’ll find topping the charts ADD instrumentation into the second verse instead of detracting from the mix. It’s quite rare to find this, but it worked quite well in the case of Summertime Sadness.

Transition Point – Verse 2 into Pre-Chorus 2: Same type of transition as Verse 1 into Pre- Chorus 1.

Pre-Chorus-2 (2:00 – 2:17)

Essentially, the nature of the second pre-chorus is the same as that of the first, with the primary difference being that the overall levels are running a bit hotter this time around, providing for a subtly more intense listening experience.

Transition Point – Pre-chorus 2 into Chorus 3: Basically the same as the first pre- chorus/chorus transition within the song except for the fact that there’s a kick utilized in tandem with the “2, 3, 4? count.

Chorus-3 (2:17 – 2:51)

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The nature of chorus 3 is virtually identical to that of chorus 2.

Transition Point – Chorus 3 into the Bridge: Seamless transition.

Bridge (2:51 – 3:13)

As you know, the primary function of a bridge is to provide a twist and or departure from the other sections within a song. As you’ll see below, the nature of the bridge within Summertime Sadness both provides a departure yet retains some of the core qualities that defined the preceding sections of the song. The result – heightened engagement and memorability.

The first primary difference that you’ll notice is in regard to the progression. All of the other sections follow an A – C#m – B – F#m progression while the bridge changes things up via G#m – C#m – A – F#m on lines 1 and 2, followed by G#m – C#m – B across lines 3 and 4. Notice that the B along with the manner in which the “drive” vocal melody concludes acts in the manner of a “cliffhanger,” keeping the listener’s attention at a heightened level until chorus part B takes over.

Next we have the shift in the nature of Del Rey’s vocal. Her delivery, along with the nature of the associated progression elicits a much more “lighthearted” vibe compared to the other sections within the song. Also notice that during the first 2 lines of the section we once again have a disconnect between the nature of her vocal and the lyrics. Interestingly, this time around it’s the opposite of what we saw within the verse sections where her melancholy natured delivery clashed with the beauty and positivity contained within the lyrics. Here, her delivery is light and uplifting while the lyrics convey an immense degree of missing. It all comes together, however, on the final 2 lines of the section where she sings (“Later’s better than never. Even if you’re gone I’m gonna drive..”).

Third, we have a shift in the nature of the drum pattern relative to the pattern that defined the preceding chorus part B section. Notice that the bridge reverts back to the pattern that defined chorus part A, albeit not as “booming” in nature due to the decreased prominence of the kick within the mix. This enables the more lighthearted nature of the section to prevail.

Fourth, notice that the strings are now more prominent within the mix than they were during the preceding chorus. Even though the section as a whole is still quite dense, they manage to impart a lighter, soaring quality within the mix.

And fifth, notice that there are some “lighter” natured synths present within the mix at a relatively low level which also act to lighten up the vibe within the section relative to the preceding sections of the song.

All in all, the bridge does a great job of providing contrast while at the same time maintaining the overall fluidity of the song throughout the section. And unlike most Pop bridges that you’ll find, notice that it DIDN’T provide a pronounced sonic respite from the intense nature of the preceding chorus. That being said, see what happens in the chorus that follows!

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Transition Point – Bridge into Chorus 4: Turns on a dime.

Chorus-4 (3:13 – 4:04)

The fourth and final chorus of the song kicks off in an unexpected manner. First, it’s NOT chorus part A as you were probably expecting. Instead, it goes directly into chorus part B, which is actually a better fit when you think about it.

Second, this is where the listener finally gets that sonic respite that didn’t occur within the bridge. Chorus 4 part B is a breakdown in comparison to its corresponding occurrences within the song considering that the drums aren’t present within the mix and that it consists solely of multitracked vocals and lush natured strings.

Following the part B breakdown, parts A and B follow in the same manner as they did previously within the song. The one primary difference is that the strings that were defining the preceding breakdown are carried over throughout the balance of the chorus at a very high level. Not only does this further increase the evocative nature of the section, but it also provides differentiation from all of the other chorus sections which ultimately heightens the engagement value for the listener.

Transition Point – Chorus 4 into the Outro: Turns on a dime.

Outro / Ending (4:04 – 4:24)

Here’s yet another engaging twist that acts to further envelop the listener’s attention. Instead of employing an abrupt ending at the end of the final chorus as we find in the majority of chart- topping Pop songs, or employ an outro that is comprised of just the backing music of the preceding chorus, the outro within Summertime Sadness goes in a completely unexpected yet highly effective direction.

The second the chorus comes to a conclusion, the dark, foreboding, synth dominated outro immediately comes into play, possessing an essence that’s both familiar and unique to the song up until this point.

As the section progresses, an EQ sweep toward the bass end of the spectrum envelops the entire mix, bringing the overall levels down to nil except for the beating kick which lasts up until the very end.

Additionally, notice at the tail end you can hear a faint “dri-i-i-ive,” vocal which is quite clever in the sense that it actually functions in the manner of a false ending by giving the listener one last taste of the bridge which might very well pique their interest to take another listen to the song.

All in all, the outro does a fantastic job of putting the final stamp on a very left of center hit!

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Vocal Melody Back to Top

In addition to strong, effective lyrics and evocative backing music, what really hooks the listener into a song is an infectious, engaging and memorable vocal melody delivered in a compelling manner.

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

*Note: The vocal melody graphs above reflect the first verse of the song

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Line Reference

VERSE-1

Line 1: I got my red dress on tonight Line 2: Dancin’ in the dark in the pale moonlight Line 3: Done my hair up real big beauty queen style Line 4: High heels off, I’m feeling alive

Vocal Range High: B Low: F#

Considering the exceptionally similar nature of the vocal melody between verses 1 and 2, we’re going to look exclusively at verse 1 within this section.

LINE LENGTH & SEGMENTATION (Are the lines & phrases a mouthful to sing or are they broken into short, memorable segments?)

As you’ll see below, there isn’t any major phrase segmentation going on within the first 3 lines of the first verse. Each line essentially flows straight through without a pause. Line 4, however, is differentiated from the first 3 via its segmentation into 2 shorter phrases.

Line 1: “I got my red dress on to-night”

Word/Syllable Count: 7 words / 8 syllables

Segmentation Method: Quarter Rest

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Line 2: “Danc-in’ in the dark in the pale moon-light”

Word/Syllable Count: 8 words / 10 syllables

Segmentation Method: Quarter Rest

Line 3: “Done my hair up real big beaut-y queen style”

Word/Syllable Count: 9 words / 10 syllables

Segmentation Method: Quarter Rest

Line 4: “High heels off, I’m feeling a-live”

Word/Syllable Count: 6 words / 7 syllables

Phrase/Segment 1: “High heels off,”

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: Eighth Rest

Phrase/Segment 2: “I’m feeling a-live”

Word/Syllable Count: 3 words / 4 syllables

Segmentation Method: Quarter + Half Rest (segmenting the verse from the pre- chorus)

In contrast to lines 1 through 3, line 4 changes things up by segmenting the full line into 2 shorter phrases via an eighth rest. Notice that the rest acts in the manner of a “comma” on the line.

PROGRESSION & RHYTHM (Is the nature of the progression and rhythm simplistic or complex? What’s the flow?)

The name of the game in the first verse is SIMPLICITY. Notice that there aren’t any vocal “acrobatics” or complex off-center rhythms that might be hard to follow or sing along to.

What’s really interesting to take note of is how the downward nature of the progression throughout the first 3-1/2 lines of the section elicits a melancholy natured vibe while at the same being countered with the “beauty” conveyed via the lyrics.

So – even though she’s all dolled up and dancing, there’s an underlying sadness that’s permeating her soul. Combined, these 2 elements perfectly convey the “Summertime Sadness” title theme (i.e. summertime is beauty and joviality, sadness is well, sadness).

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What follows is a look at the 2 sets of line “groupings” within the section (i.e. stanzas) – lines 1 and 2 which make up the first group and lines 3 and 4 which make up the second.

Progression

Lines 1 & 2

As previously mentioned, the nature of the progression is exceptionally simplistic and straight forward, with the melody basically being conveyed via downward monotonesque “platforming” progressions.

First, notice the overall flow of the stanza. It starts out on C# and then continuously progresses downward to conclude an octave lower on C#.

Second, notice that there are only 3 points within the entire stanza that progress upward.

Line 1

“I got” (C# – E)

“my red” (B – C#)

Line 2

“Dance-in’ in” (G# – G# – B)

Now we’re going to take a look at the downward “platforming” progression that defines the entire stanza. The following will show each monotone natured “platform” as well as the method used for descending from platform to platform.

Platform 1

C# – C# – C# (“red dress on”)

Transition -Platform 1 (C#) to Platform 2 (B)

The lyric “on” in platform 1 is a C#, which is then followed by the first syllable of the lyric “tonight,” which is a B.

Platform 2

B – B (“to-ni-”)

Transition - Platform 2 (B) to Platform 3 (G#)

This occurs on the “stretched” lyric “to-ni-ight,” which is stretched past its normal syllable

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count from 2 to 3 syllables. The first 2 are B – B as previously mentioned, but notice what happens from the second to third syllable. “ni-” which is a B is then followed by “-ight,” which is G#. The platform that follows is sung primarily in G# except for 1 lyric.

Platform 3

G# – G# – - G# – G# (“dance-in’ the da-”)

Transition – Platform 3 (G#) to Platform 4 (F)

As we had with the stretched lyric “to-ni-ight,” we have the same story with the lyric “da- rk.” Notice that it’s stretched into 2 syllables via “da-rk.” “da-” is a G# (part of platform 3), while “-rk” is an F, which is indicative of platform 4.

Platform 4

F# – F# – F# (“in the pale”)

Transition – Platform 4 (F) to Platform 5 (E)

The lyric “pale” in platform 4 is an F, which is then followed by the first syllable of the lyric “moonlight,” which is an E.

Platform 5

E – E (“moon-li-”)

Transition – Platform 5 (F) to the conclusion of the stanza

Again, “moonlight” is a similar story to the lyric “to-ni-ight” which was stretched past its normal syllable count to be sung as (“moon-li-ight”). “li-” is an E, which is then followed by “-ight” which is a C#.

Lines 3 & 4

Line 3

After descending an octave from the beginning of line 1 to the end of line 2, the third line then initially jumps back up an octave at the onset of line 3, followed by a similar natured progression as line 1 with just some minor differences. Note the following:

Line Beginnings

Line 1: “I got my red” (C# – E – B – C#)

Line 3: “Done my hair up real” (C# – C# – D# – B – C#)

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As you can see, the difference between the two is that line 3 contains an extra C# lyric at the onset and progresses up to D# as opposed to E. They both possess the same general nature, however.

Balance of Line 3

Following the line beginning as mentioned above, the balance of line 3 then follows a similar downward “platform” progression as line 1, with the primary difference being one extra syllable (which is a B).

Line 4

Here’s where things get completely changed up in order to set-up the pre-chorus that follows.

First, notice that after dropping down to G# at the end of line 3 (which was the same story at the end of line 1) that the first phrase on line 4 then follows a monotone G# delivery and concludes by dropping down to F#. Notice that this is similar to the beginning of line 2 EXCEPT for the fact that there is no bump up to B this time around:

Line 2: “danc-in’ in the da-rk” (G# – G# – B – G# – G# – F#)

Line 4: “High heels o-ff” (G# – G# – G# – F#)

Now, instead of continuing on with an F# delivery as was the case on line 2, the vocal shoots up an octave to F# after kicking off on B on the lyric “I’m” on the final phrase of the section. The balance of the line stays in F# before dropping down to E to conclude.

What this achieves is the following:

It provides diversity from the downward nature of the progression that defined the first 3-1/2 lines of the section.

It “shocks” the listener and engages them at a higher level via the jump at the onset.

It perfectly jibes with and accentuates the lyrical nature of the phrase “I’m feeling alive.” If Del Rey continued on with a downward progression as was the case at the end of line 2, there would have been a major disconnect between lyrical meaning and the delivery. If you’re feeling alive, you belt it out and say it with vigor!

Rhythm

Key: Green: Fast (Eighth Notes) Blue: Moderate (Quarter & Dotted Quarter) Red: Prolonged (Dotted Quarter +) (/): Eighth Rest (note that lines 1 through 3 end with a quarter rest)

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Line 1: I got my red dress on to-night Line 2: Danc-in’ in the dark in the pale moon-light Line 3: Done my hair up real big beaut-y queenstyle Line 4: High heels off / I’m feel-in’ a-live

As was the case with the nature of the progression, the rhythm also differs from line to line which keeps things fresh and engaging for the listener. Notice however that there are similarities throughout which along with the progression and rhyming scheme enables the melody to get engrained within the listener’s head.

REPETITION & DIVERSIFYING FACTORS (How is repetition utilized to get the melody engrained within the listener’s head? What was done to prevent the repetition from making things too monotonous?)

Unlike many (and I mean MANY) of the chart-topping Pop songs that utilize “cookie cutter” repetition including in-line, in-stanza, cross-stanza and cross sectional repetition, Summertime Sadness breaks from the pack by providing a heightened degree of “familiarity” WITHOUT the need to repeat lines in the same exact manner.

The result is that memorability is reinforced while at the same time keeping things fresh and engaging for the listener throughout. The melody never becomes overly monotonous, and this is indicative of the verse sections within the song.

COLOR ADDERS & EMPHASIZERS (Are certain lyrics sung in a certain manner or stretched past their normal syllable count to provide increased emphasis and “coloring?”)

The Lift As mentioned within the progression section, these lyrics provide a bit of color and a brief respite from melancholy nature of the monotonesque downard progressions.

Line 1: “I got” (C# – E)

Line 1: “my red” (B – C#)

Line 2: “Dance-in’ in” (G# – G# – B)

Line 3: “my hair” (C# – D)

Line 4: “I’m Feel-” (B – F#)

Stretched Lyrics

These lyrics were stretched past their normal syllable count, providing them with increased emphasis and coloring:

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Line 1: “To-ni-ight” (B – B – G#)

Line 2: “Da-rk” (G# – F)

Line 2: “Moon-li-ight” (E – E – C#)

Line 3: “Sty-le” (B – G#)

Line 4: “O-ff” (G# – F)

Line 4: “A-li-ive” (F# – F# – E)

*As a side note, a missed “magic moment” occurred on the lyric “up” on the third line.

In its current state it sounds just fine and the similarity between the way it and its counterpart “my” on the first line makes perfect sense in order to heighten the “familiarity factor” between lines.

That being said, it would have been really cool if instead of progressing DOWNWARD on the lyric “up” she instead progressed UPWARD in order to accentuate the meaning of that particular lyric.

Think about it – “up” means UP – not down! It’s little things like this that can help to put the song over the top.

PRE-CHORUS

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Line Reference

Line 1: Oh, my God, I feel it in the air Line 2: Telephone wires, above, are sizzlin’ like a snare Line 3: Honey I’m, on fire, I feel it everywhere Line 4: Nothin’ scares me anymore

Vocal Range

High: F# Low: C#

LINE LENGTH & SEGMENTATION (Are the lines & phrases a mouthful to sing or are they broken into short, memorable segments?)

In contrast to the first verse where the first 3 lines didn’t utilize segmenting but the fourth line did, here in the pre-chorus we have the opposite. The first three lines are all cut up into shorter segments, while the fourth (last) line of the section is sung straight through.

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The general flow of the three segments on lines 1 through 3 is short – short – long.

Key points to note:

The first 3 lines are all split into 3 individual segments.

With the exception of the first line (the lyric “oh”), each of the first 2 segments on each line consist of 2 lyrics.

The last segment on each line is the longest and consists of 6 syllables. This uniformity helps to accentuate the engagement and memorability factor of the section as a whole.

Line 1: “Oh, my God, I feel it in the air”

Word/Syllable Count: 9 words / 9 syllables

Phrase/Segment 1: “Oh,”

Word/Syllable Count: 1 word / 1 syllables

Segmentation Method: Eighth Rest

Phrase/Segment 2: “my God,”

Word/Syllable Count: 2 words / 2 syllables

Segmentation Method: Eighth Rest

Phrase/Segment 3: “I feel it in the air”

Word/Syllable Count: 6 words / 6 syllables

Segmentation Method: None (flows directly into line 2)

Line 2: “Tel-e-phone wires, a-bove, are siz-zlin’ like a snare”

Word/Syllable Count: 8 words / 12 syllables

Phrase/Segment 1: “Tel-e-phone wires,”

Word/Syllable Count: 2 words / 4 syllables

Segmentation Method: Eighth Rest

Phrase/Segment 2: “a-bove”

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Word/Syllable Count: 1 word / 2 syllables

Segmentation Method: Eighth Rest

Phrase/Segment 3: “are siz-zlin’ like a snare”

Word/Syllable Count: 5 words / 6 syllables

Segmentation Method: Quarternote timing on the lyric “snare.”

Line 3: “Hon-ey I’m, on fire, I feel it ev-’ry-where”

Word/Syllable Count: 8 words / 11 syllables

Phrase/Segment 1: “Hon-ey I’m,”

Word/Syllable Count: 2 words / 3 syllables

Segmentation Method: Eighth Rest

Phrase/Segment 2: “on fire”

Word/Syllable Count: 2 words / 2 syllables

Segmentation Method: Eighth Rest

Phrase/Segment 3: “I feel it ev-’ry-where”

Word/Syllable Count: 4 words / 6 syllables

Segmentation Method: Quarter note timing on the syllable “where” in “ev-’ry-where.”

Line 4: “Noth-in’ scares me an-y-more”

Word/Syllable Count: 4 words / 7 syllables

Segmentation Method: None – directly followed by the “two, three, four” count-in.

PROGRESSION & RHYTHM (Is the nature of the progression and rhythm simplistic or complex? What’s the flow?)

As was the case within the verse, here in the pre-chorus the name of the game is once again SIMPLICITY. Aside from the second phrase on line 2 and the “departure” on line 4, the vocal melody within the section fluctuates basically between just 2 notes – C# and E. Notice how this “up – down – up – down” progression provides exceptionally infectious contrast to the “platforming progression” that we saw defining the first verse of the song.

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Progression

Lines 1 & 3

Considering their similar nature, let’s first take a look at lines 1 & 3. With the exception of the extra lyric at the start of line 3 (“hon-ey” which is sung via C# – C#), they both follow the same exact progression for the duration.

Segment 1: E – C#

Line 1: “O-oh”

Line 3: “I-m”

Segment 2: D# – E – C#

Line 1: “my Go-d”

Line 3: “on fi-re”

Segment 3: C# – E – C# – E – C# – E

Line 1: ” I feel it in the air”

Line 3: “I feel it ev-’rey-where”

Notice that the first 2 segments on each line end on C#, which acts to bring them to a conclusion. The third segment on both lines, however, ends on an E. This acts in the manner of a “cliffhanger,” keeping the listener in a heightened state of attention until the next line takes over.

Line 2

Notice that the first 2 segments within the second line possess characteristics that are indicative of the first line while the last segment changes things up in order to bring the stanza to a conclusion.

Segments 1 & 2

Notice that the flow is basically the reverse of the flow that defined the preceding first line of the section (i.e. the first segment on line 2 follows the same progression as the last segment on line 1):

Segment 1: “Tel-e-phone wires”

The first segment picks up where the last segment on line 1 left off via a C# – E – C# – E

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– C# progression. By starting on C#, it effectively acts as a continuation of line 1, which ended on E and wasn’t followed by a rest.

Segment 2: “a-bo-ove”

The second segment then follows the same D# – E – C# progression that defined segment 2 on the first line (i.e. “my Go-d”).

Segment 3: “are siz-zlin’ like a snare”

Instead of following the C# – E progression that defined the preceding segments, the last segment of the stanza deviates via C# – E – F# – E – D# C# to conclude. Notice that Del Rey’s register initially climbs up to an F# (the highest register within the section) and then follows a prolonged descent relative to all of the other segments via E – D# – C#. Also notice that it ends on C# as opposed to E as was the case on line 1, which brings the stanza to its natural conclusion.

Line 4

Here on line 4 not only do we have a departure from the nature of the progressions defined lines 1 though 3, but we also have a reversion back to a version of the descending monotone “platform” progressions that defined the preceding verse section (albeit in a more “stretched out” manner).

Platform 1: E – E – E

“Noth-in’ scares”

Platform 2: D# – D# – D#

“me an-y mo-”

Platform 3 (conclusion): C#

“-ore”

Notice how the descending nature of the progression does a fantastic job of bringing the section as a whole to a conclusion.

Rhythm

Key: Green: Fast (Eighth Notes) Blue: Moderate (Quarter & Dotted Quarter) Red: Prolonged (Dotted Quarter +) (/): Eighth Rest

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Line 1: Oh / my God / I feel it in the air Line 2: Tel-e-phone wires / a-bove / are sizz-lin’ like a snare Line 3: Hon-ey I’m / on fire / I feel it ev-’ry-where Line 4: Noth-in’ scares me an-y-more

Looking at the above (as well as the notation and the vocal melody graphs), you can see that there is a combination of faster and slower passages that work in tandem with each other in creating an exceptionally infectious rhythm that perfectly complements the progression.

Lines 1 – 3

Rhythmic Similarities (Fosters Engagement & Memorability)

Quarter – Eighth – Quarter

Line 1: “Oh, my God “

Line 2: “wires, a-bove”

Line 3: “I’m, on fire”

Eighth – Eighth – Eighth – Eighth – Quarter

*Line 1: “I feel it in the air”

Line 2: “are sizz-lin’ like a snare”

Line 3: “I feel it ev-’ry-where”

*Note that “I feel it in the air” possesses the same rhythmic essence as the phrases on lines 2 and 3 EXCEPT for the fact it doesn’t end on a quarter note, instead ending on an eighth (considering that it flows straight through in a continuous manner into line 2 without any segmenting).

The “Mouthfull”

As previously mentioned, the 1 area where you don’t have any “segmenting” is between the second segment on line 1 (“I feel it in the air”) and the first segment that follows on line 2 (“telephone wires”). This eighth-note delivered “mouthful” provides infectious contrast to the nature of the other segments within the section.

Line 4

As was the case with the progression, the nature of the rhythm on line 4 also deviates from that of the preceding 3 lines to wind down the section and bring it to a conclusion. Notice that after kicking off in a similar manner to line 3 with 2 eighth notes that except for the syllable

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“y” in “anymore” the balance of the line is sung with a primarily quarter note delivery. This effectively slows things down and “puts the breaks” on the section in preparation of the chorus that follows.

REPETITION & DIVERSIFYING FACTORS (How is repetition utilized to get the melody engrained within the listener’s head? What was done to prevent the repetition from making things too monotonous?)

Even though there were certain progression and rhythmic characteristic similarities between the lines within the section (specifically lines 1 through 3), notice once again that no one line repeated in the SAME EXACT MANNER.

As you know this prevents the section as a whole from becoming overly monotonous while at the same time accentuating the memorability factor via the similarities. That’s what makes for an exceptionally engaging and infectious listening experience.

COLOR ADDERS & EMPHASIZERS (Are certain lyrics sung in a certain manner or stretched past their normal syllable count to provide increased emphasis and “coloring?”)

As we’ve seen, the section as a whole is exceptionally colorful in contrast to the more monotonesque platform progressions that defined the preceding verse. This is due BOTH to the nature of the rhythm and the alternating E – C# – E – C#… nature of the progression.

CHORUS

Part A

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Part B

Line Reference

Chorus Part A

Line 1: Kiss me hard before you go, summertime sadness Line 2: I just wanted you to know, that baby you’re the best

Chorus Part B

Line 1: I got that summertime, summertime sadness Line 2: Su-su-summertime, summertime sadness

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Line 3: Got that summertime, summertime sadness Line 4: Oh – oh, oh, oh, oh, oh

Vocal Range High: F# Low: G#

LINE LENGTH & SEGMENTATION (Are the lines & phrases a mouthful to sing or are they broken into short, memorable segments?)

CHORUS PART A

Here in part A, each full line is broken into 2 shorter segments. Notice the similarity of the syllable count within segments 1 and 2 on each line which accentuates the engagement and memorability factors:

Segment 1 – line 1: “Kiss me hard be-fore you go”

7 syllables

Segment 1 – line 2: “I just want-ed you to know”

7 syllables

Segment 2 – line 1: “Sum-mer-time sa-ad-ne-es”

Technically it’s 5 syllables, but when you factor in how the lyric “sadness” is stretched past its normal syllable count, it amounts to 7.

Segment 2 – line 2: “That ba-by you’re the be-est”

We have a similar story here on the second line. Technically there are 6 syllables, but when you take into account how the lyric “best” is stretched into 2 syllables, the full segment lands at 7 syllables.

Line 1: “Kiss me hard be-fore you go, sum-mer-time sad-ness”

Word/Syllable Count: 8 words / 12 syllables

Phrase/Segment 1: “Kiss me hard be-fore you go,”

Word/Syllable Count: 6 words / 7 syllables

Segmentation Method: Quarter + Half rest

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Phrase/Segment 2: “sum-mer-time sad-ness”

Word/Syllable Count: 2 words / 5 syllables

Segmentation Method: Quarter + Half rest

Line 2: “I just want-ed you to know, that ba-by you’re the best”

Word/Syllable Count: 11 words / 13 syllables

Phrase/Segment 1: “I just want-ed you to know,”

Word/Syllable Count: 6 words / 7 syllables

Segmentation Method: 2 Quarter + Eighth Rest

Phrase/Segment 2: “that ba-by you’re the best”

Word/Syllable Count: 5 words / 6 syllables

Segmentation Method: Quarter + Half + Eight rest

CHORUS PART B

Line 1: “I’ve got that sum-mer-time, sum-mer-time sad-ness”

Word/Syllable Count: 6 words / 11 syllables

Segmentation Method: Quarter rest

Line 2: “Su-su-sum-mer-time, sum-mer-time sad-ness”

Word/Syllable Count: 3 words / 10 syllables

Segmentation Method: Quarter rest

Line 3: “Got that sum-mer-time, sum-mer-time sad-ness”

Word/Syllable Count: 5 words / 10 syllables

Segmentation Method: None – flows directly into line 4

Line 4: “Oh, oh-oh-oh-oh”

Word/Syllable Count: 5 words / 10 syllables

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Phrase/Segment 1: “Oh,”

Word/Syllable Count: 1 words / 1 syllable

Segmentation Method: Quarter rest

Phrase/Segment 2: “oh-oh-oh-oh”

Word/Syllable Count: 4 words / 4 syllables

Segmentation Method: Quarter + Eighth Rest

PROGRESSION & RHYTHM (Is the nature of the progression and rhythm simplistic or complex? What’s the flow?)

As we’ve just seen, both the verse and pre-chorus sections of the song came across in an exceptionally infectious, engaging and memorable manner, achieved both via the nature of the rhythm and the progression.

The chorus, however, trumps them both in terms of its sheer simplicity. That, coupled with the more regimented nature of the repetition gets the infectious nature of the section completely engrained within the listener’s head without having to work at it.

And THAT is what you want to achieve in the “payoff” of your song!

CHORUS PART A

Progression

Line 1

The first thing that you’ll notice is that once again the melody reverts back to the downward monotonesque “platforming” progressions that defined the verse and the last line within the pre-chorus:

Platform 1: C# – C# – C# – C# – C#

“Kiss me hard be-fore”

Transition: B – G#

“you go”

Platform 2: F# – F# – F#

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“sum-mer-time”

Line Ending: F# – E – E – C#

Now notice what happens on the last lyric of the line, “sadness” (also reference the color adder/emphasizer section below as well).

It’s essentially “stretched” over 4 syllables via F# – E – E – C# (sa-ad-ne-ess).

The first 2 syllables descend from F# to E, while the final 2 then descend further via E – C# to conclude the line.

Line 2

Platform 1: C# – C# – C# – C# – C#

“I just want-ed you”

Transition: B – G#

“to know”

Platform 2: – F# – F# – F#

“ ba-by you’re”

Line Ending: E – E – C#

“the be-est”

*Note that we’ll be exploring the similarities and differences between lines 1/2 and 3/4 in the repetition/diversifying factor section that follows.

CHORUS PART B

In contrast to the downward platforming nature of chorus part A, here on the 3 first lines in chorus part B we have a more “colorful” natured progression that incorporates both monotone natured “set-ups” coupled with interspersed leaps that make for an exceptionally infectious, engaging and memorable melody.

Notice that each line consists of a monotone natured “set-up” and a leaping “payoff” that follows:

Line 1 – First Half: “I got that sum-mer-time”

The Monotone Set-Up: “I got that” (C# – C# – C#)

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The Payoff: “sum-mer-time” (E – F# – E)

Line 1 – Second Half: “Sum-mer-time sa-d-ness”

The Monotone Set-Up: “sum-mer-time” (C# – C# – C#)

The Payoff: “sa-d-ness” (E – F# – E)

Line 2 First Half: “su-su-sum-mer-time”

The Monotone Set-Up: “su-su” (C# – C#)

The Payoff: “sum-mer-time” (E – F# – E)

Line 2 Second Half: “Sum-mer-time sa-d-ness”

The Monotone Set-Up: “sum-mer-time” (C# – C# – C#)

The Payoff: “sa-d-ness” (E – F# – E)

Line 3 First Half: “Got that sum-mer-time”

The Monotone Set-Up: “got that” (C# – C#)

The Payoff: “sum-mer-time” (E – F# – E)

Line 3 Second Half: “Sum-mer-time sad-ness”

The Monotone Set-Up: “sum-mer-time” (C# – C# – C#)

*The Payoff: “sad-ness” (F# – E)

*Notice that this time around the lyric “sadness” isn’t stretched into 3 syllables to enable it to follow the E – F# – E progression as was the case elsewhere within the section. This time around it consists of its normal syllable count of 2 (i.e. “sad-ness”), and instead of following E – F# – E it immediately ascends up to F# before progressing downward to E to conclude. More on this in the color adder/emphasizer section that follows.

Line 4

Instead of ending the chorus on a “summertime sadness” lyric, the writers instead opted to conclude on a “nonsense” “oh – oh, oh, oh, oh” run that follows a D# – D# – E – D# – C# progression. Notice that the one quick leap up to E sandwiched between the 2 D’s gives one last burst of “color” to the section before concluding on a C#.

Rhythm

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CHORUS PART A

Key: Green: Fast (Eighth Notes) Blue: Moderate (Quarter & Dotted Quarter) Red: Prolonged (Dotted Quarter +) (/): Rest

Line 1: Kiss me hard be-fore you go / sum-mer-time sa-ad-ne-ess Line 2: I just want-ed you to know / that ba-by, you’re the be-est

Let’s first look at the similar rhythm that encompasses the first phrase on both lines 1 and 2:

Line 1: “Kiss me hard be-fore you go” (7 syllables)

Line 2: “I just want-ed you to know” (7 syllables)

As you can see, the first 5 syllables on both lines are conveyed with an eighth note rhythm. To conclude, the balance of both lines change the rhythm up via a quarter – eighth – quarter delivery.

We have a similar case of repetition being utilized within the second phrase of both lines as well, but only at the end:

Line 1: “sa-ad-ne-ess” (quarter – eighth- eighth – quarter)

Line 2: “you’re the be-est” (quarter – eighth – eighth – quarter)

The key differential factor on both lines stems from the beginning of both of the second phrases:

“sum-mer-time” (eighth – eighth – quarter)

“that ba-by” (eighth – quarter – quarter)

As subtle as it is, the fact that the first syllable in “ba-by” is a quarter note as opposed to an eighth does a great job of decreasing the momentum of the line as the section progresses into chorus part B.

CHORUS PART B

Key: Green: Fast (Eighth Notes) Blue: Moderate (Quarter & Dotted Quarter) Red: Prolonged (Dotted Quarter +) (/): Rest

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Line 1: I got that sum-mer-time, sum-mer-time sa-d-ness Line 2: Su-su-sum-mer-time, sum-mer-time sa-d-ness Line 3: Got that sum-mer-time, sum-mer-time sad-ness Line 4: Oh / oh, oh, oh, oh, oh

Here it’s really easy to see the general rhythmic scheme throughout the first 3 lines of the section.

Each line is sung with an eighth note delivery EXCEPT on the last syllable of each title lyric (i.e. “summertime sadness”). The one exception occurs at the end of line 3 where the full lyric “sad- ness” is sung via 2 quarter notes. As subtle as this is, along with the change up in the progression as previously mentioned it does a great job of bringing the lyrical portion of the chorus to a conclusion and sets up the “nonsense” “oh’s” that follow.

As for the “oh’s” on line 4, notice that the first one is prolonged via a quarter note and followed by a quarter rest. The balance are eighth notes except for the very last one, which is a quarter.

REPETITION & DIVERSIFYING FACTORS (How is repetition utilized to get the melody engrained within the listener’s head? What was done to prevent the repetition from making things too monotonous?)

As you’ve seen, the chorus possesses a good amount of repetition that gets the vocal melody engrained within the listener’s head while at the same time employing diversifying factors which prevents things from becoming overly monotonous.

CHORUS PART A

As a whole, lines 1 and 2 within part A are exceptionally similar to one another with just some minor differences.

The first segment on lines 1 and 2 follows the same progression and utilizes the same rhythm.

The second segment on lines 1 and 2 follow the same progression EXCEPT for the dip down to C# on the lyric “that” on line 2. In regard to the rhythm, note that there are a combination of similarities and differences between both lines.

CHORUS PART B

As we’ve seen, the overall nature of the first 3 lines of chorus part B are exceptionally similar to one another with just some minor differences. The real “departure” occurs on line 4 (i.e. “oh…”) which acts to bring the section to a conclusion.

COLOR ADDERS & EMPHASIZERS (Are certain lyrics sung in a certain manner or stretched past their normal syllable count to provide increased emphasis and “coloring?”)

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CHORUS PART A

As a whole, the entire downward progression that spans lines 1/2 and 3/4 does a fantastic job of accentuating the “sadness” vibe that’s enveloping the protagonist within the story. This is similar to what was going on within the verse as we saw earlier.

The manner in which the lyric “sadness” is sung via its prolonged nature and downward progression does a great job of accentuating the “sadness” vibe conveyed in the meaning of the lyric.

The drop down to C# on the lyric “that” does a great job of both providing diversity and setting up the “baby you’re the best” line that follows.

CHORUS PART B

First, we have the E – F# – E progression that follows each monotone C# set-up, providing great contrast and coloring against the downward platform progressions that defined chorus part A.

Second, the manner in which the final “sadness” lyric is sung on line 3 prior to the “oh’s” does a great job of bringing the nature of lines 1 through 3 to a conclusion while at the same time setting up line 4 that follows.

Third, notice that the song title is never emphasized as a whole at any point. “Summertime” is always emphasized via the E – F# – E progression at the end of the first half of each line, while “sadness” is emphasized at the end of the second half. This functions to take the infectious, engaging and memorable nature of the section to the next level.

And fourth, the nonsense “oh – oh, oh, oh, oh, oh” vocal departure that occurs on line 4 puts a final infectious cherry on top of an otherwise exceptionally infectious section.

Bridge

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Line Reference

Line 1: Think I’ll miss you forever Line 2: Like the stars miss the sun in the morning sky Line 3: Later’s better than never Line 4: Even if you’re gone I’m gonna drive, drive, drive

Vocal Range High: C# Low: B

LINE LENGTH & SEGMENTATION (Are the lines & phrases a mouthful to sing or are they broken into short, memorable segments?)

Here in the bridge notice that all of the lines run straight through – there isn’t any in-line segmentation being utilized.

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Notice that the line to line flow (albeit exaggerated) is short – long – short – long, with each subsequent line possessing 7 syllables / 11 syllables / 7 syllables / 11 syllables. By alternating in this “predictable” manner, it enhances the engagement and memorability factors for the listener.

Line 1: “Think I’ll miss you for-ev-er”

Word/Syllable Count: 6 words / 7 syllables

Segmentation Method: 2 Quarter rests

Line 2: “Like the stars miss the sun in the morn-ing sky”

Word/Syllable Count: 10 words / 11 syllables

Segmentation Method: Quarter rest

Line 3: “La-ter’s bet-ter than nev-er”

Word/Syllable Count: 4 words / 7 syllables

Segmentation Method: 2 Quarter rests

Line 4: “E-ven if you’re gone I’m gon-na drive, drive, drive”

Word/Syllable Count: 9 words / 11 syllables

Segmentation Method: Eighth rest

PROGRESSION & RHYTHM (Is the nature of the progression and rhythm simplistic or complex? What’s the flow?)

Here once again we have a simplistic natured melody that utilizes a combination of repetition and diversifying factors to create an infectious, engaging and memorable section.

Progression

For the first time within the song we have 2 sets of lines that repeat in the same exact manner from a progression standpoint with the one exception being the repetition of the lyric “drive” at the end of line 4.

Notice that each set (i.e. lines 1/2 and 3/4) starts on B and eventually drops down an octave to conclude.

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Let’s first take a look at lines 1 and 3:

Notice that both kick off with a monotone B delivery on the first 3 syllables.

Following the monotone B delivery, melodic “coloring” is added via the G# – B – C# – G# progression.

Now let’s take a look at lines 2 and 4:

The first thing to take note of is the fact that once again we have monotone natured “platform” progressions in effect on both lines:

G# – G# – G#

Line 2: “Like the stars”

Line 4: “E-ven if”

F# – F# – F# – – F#

Line 2: “miss the sun in the “

Line 4: “you’re gone I’m gon-na”

Notice that the one subtle burst of additional coloring stems from the drop down to E on the lyric “in” on line 2 as well as the syllable “gon-” on line 4. Additionally, it also acts to set up the ascent/descent progression that occurs at the tail end of both lines:

E – F# – G – F# – E – C# – B

Line 2: “in the morn-in’ sky-y-y”

Line 4: “gon-na dri-i-i-i-ve”

A core strength of this final progression is the fact that by initially progressing up to G# before embarking on its descent down to B it breathes some life and lightheartedness into the section that counters the more melancholy nature of the progressions that defined the preceding sections of the song. This was also the case on lines 1 and 3 via the G# – B – C# – G# progression as well.

Section Ending

As you’ve seen (and heard), line 4 repeats the lyric “drive” 3 times in a row. The first 2 times it’s sung in the same exact manner via the G# – F# – E – C# – B progression. The third (and last) time however, notice that it initially descends via G# – F# – E on “dri-i-i,” but then instead of progressing further downward as it did the first 2 times it concludes early by

56 / 96 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com progressing upward to F# on the final syllable “ive.” Not only does this set up the chorus that follows, but it also ends the section on a more positive, uplifting note which jibes with the nature of the lyrics.

Rhythm

Key: Green: Fast (Eighth Notes) Blue: Moderate (Quarter & Dotted Quarter) Red: Prolonged (Dotted Quarter +) (/): Rest

Line 1: Think I’ll miss you for-ev-er Line 2: Like the stars miss the sun in the morn-ing sky-y-y Line 3: Lat-er’s bet-ter than nev-er Line 4: Ev-en if you’re gone I’m gon-na dri-i-i-i-ive, dri-i-i-i-ive, dri-i-i-ive

In contrast to the nature of the progression where lines 1/2 and 3/4 were identical, the rhythm combines repetition as well as some diversifying factors that keeps the memorability level high while at the same time preventing the section as a whole from becoming overly monotonous.

Similarities

Lines 1 & 3

Both of these lines consist of all eighth notes up until the last syllable which is a quarter.

Lines 2 & 4

The last part of both of these lines possess the same rhythm:

Eighth – Eighth- Quarter – Quarter – Quarter – Eighth – Eighth

Line 2: “In the morn-in’ sky-y-y”

Line 4: “gon-na dri-i-i-i-ive” (except during the last occurrence)

Differences

The only area within the bridge where the nature of the rhythm differs between lines 2 and 4 occurs at the onset of both:

Line 2: “like the stars miss the sun”

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Eighth – Eighth – Quarter – Eighth – Eighth – Quarter

Line 4: “e-ven if you’re gone I’m”

Eighth – Eighth – Eighth – Quarter – Quarter – Eighth

COLOR ADDERS & EMPISIZERS (Are certain lyrics sung in a certain manner or stretched past their normal syllable count to provide increased emphasis and “coloring?”)

There were a few characteristics in regard to the nature of the progression and rhythm within the section that helped to take its infectious nature to the next level:

The B – C# – G# Lift

Line 1: “for-ev-er”

Line 3: “than nev-er”

The Final Ascent/Descent

Line 2: “in the morn’n sky”

Line 4: “gonna drive”

Infectious Rhythm: Eighth – Eighth – Quarter – Eighth - Eighth – Quarter - Eighth - Eighth

Line 2: “like the stars miss the sun in the…”

Lyrics Back to Top

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

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A – C#m (7 Words / 8 Syllables) I got my red dress on to-night

(C#m) – B – F#m (8 Words / 10 Syllables) Danc-in’ in the dark in the pale moon-light

(F#m) – A – C#m (9 Words / 10 Syllables) Done my hair up real big beaut-y queen style

(C#m) – F#m (6 Words / 7 Syllables) High heels off, I’m feeling a-live

PRE-CHORUS-1

A – C#m (9 Words / 9 Syllables) Oh, my God, I feel it in the air

(C#m) – B – F#m (8 Words / 12 Syllables) Tel-e-phone wires, a-bove, are siz-zlin’ like a snare

(F#m) – A – C#m (8 Words / 11 Syllables) Hon-ey I’m, on fire, I feel it ev-’ry-where

(C#m) – B – F#m (4 Words/7 Syllables) Noth-in’ scares me an-y-more

(F#m) (3 Words/3 Syllables) *Two, three, four

CHORUS (Part A)

A – C#m – B – F#m (8 Words / 12 Syllables) Kiss me hard be-fore you go, sum-mer-time sad-ness

A – C#m – B – F#m (11 Words / 13 Syllables) I just want-ed you to know, that ba-by you’re the best

CHORUS (Part B)

*A – C#m (6 Words / 11 Syllables) I’ve got that sum-mer-time, sum-mer-time sad-ness

*B – F#m (3 Words / 10 Syllables) S-s-sum-mer-time, sum-mer-time sad-ness

*A – C#m (5 Words / 10 Syllables)

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Got that sum-mer-time, sum-mer-time sad-ness

B (5 Words / 5 Syllables) Oh, oh, oh, oh, oh

VERSE-2

A – C#m (4 Words / 8 Syllables) I’m feel-in’ e-lec-tric to-night

(C#m) – B – F#m (8 Words / 11 Syllables) Cruis-in’ down the coast go-in’ ’bout nine-ty nine

(F#m) – A – C#m (8 Words / 11 Syllables) Got my bad ba-by by my heav-en-ly side

(C#m) – B – F#m (9 Words / 11 Syllables) I know if I go, I’ll die hap-py to-night

BRIDGE

*G#m – C#m (6 Words / 7 Syllables) Think I’ll miss you for-ev-er

(C#m) – A – F#m (10 Words / 11 Syllables) Like the stars miss the sun in the morn-ing sky

*G#m – C#m (4 Words / 7 Syllables) La-ter’s bet-ter than nev-er

(C#m) – B (9 Words / 11 Syllables) E-ven if you’re gone I’m gon-na drive (drive, drive)

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 & phrases “paint a picture” in your mind and provide detail as to what’s happening within the story – literally, metaphorically, or both)

Examples include:

Verse 1

I got my red dress on tonight

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Dancin’ in the dark in the pale moonlight

Done my hair up real big beauty queen style

High heels off, I’m feeling alive

Verse 2

Cruisin’ down the coast goin’ ’bout 99

Got my bad baby by my heavenly side

Pre-Chorus

Telephone wires above are sizzlin’ like a snare

Honey, I’m on fire, I feel it everywhere

Chorus

Kiss me hard before you go

Bridge

Like the stars miss the sun in the morning sky

Even if you’re gone I’m gonna drive

Place & Time Lyrics & Phrases (These lyrics reflect places and the timeline within the story)

Verse 1 I got my red dress on tonight (Time) Dancin’ in the dark in the pale moonlight (Place)

Verse 2 I’m feelin’ electric tonight (Time) Cruising down the coast goin’ ’bout 99 (Place) Got my bad baby by my heavenly side (Place)

Pre-Chorus Oh, my God, I feel it in the air (Place) Telephone wires above are sizzlin’ like a snare(Place) Honey, I’m on fire, I feel it everywhere (Place)

Chorus

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Kiss me hard before you go (Time) summertime sadness (Time – i.e. season)

Bridge I think I’ll miss you forever (Time) Like the stars miss the sun in the morning sky (Time, Place) Later’s better than never (Time)

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)

Verse 1

High heels off, I’m feeling alive

Verse 2

I’m feelin’ electric tonight

Got my bad baby by my heavenly side

I know if I go, I’ll die happy tonight

Pre-Chorus

Honey, I’m on fire, I feel it everywhere

Nothin’ scares me anymore

Chorus

Kiss me hard before you go, summertime sadness

I just wanted you to know, that, baby, you’re the best

Bridge

I think I’ll miss you forever

Like the stars miss the sun in the morning sky

Action Based Lyrics & Phrases (These lyrics get you into what the characters within the story have done, are doing or will do)

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Verse 1

Dancin’ in the dark in the pale moonlight

Verse 2

Cruising down the coast goin’ ’bout 99

I know if I go, I’ll die happy tonight (Possible future action)

Pre-Chorus

Telephone wires above are sizzlin’ like a snare

Chorus

Kiss me hard before you go (Possible future action)

Bridge

Even if you’re gone I’m gonna drive

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

I got my red dress on tonight Dancin’ in the dark in the pale moonlight Done my hair up real big beauty queen style High heels off, I’m feeling alive

Pre-Chorus

Oh, my God, I feel it in the air Telephone wires above are sizzlin’ like a snare Honey, I’m on fire, I feel it everywhere Nothin’ scares me anymore

(1, 2, 3, 4)

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Chorus

Kiss me hard before you go, summertime sadness I just wanted you to know, that, baby, you’re the best

I’ve got that summertime, summertime sadness S-s-summertime, summertime sadness Got that summertime, summertime sadness Oh, oh, oh, oh, oh

Verse 2

I’m feelin’ electric tonight Cruising down the coast goin’ ’bout 99 Got my bad baby by my heavenly side I know if I go, I’ll die happy tonight

Bridge

I think I’ll miss you forever Like the stars miss the sun in the morning sky Later’s better than never Even if you’re gone I’m gonna drive (drive, drive)

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.

Red: Rhyming scheme 1 Blue: Rhyming scheme 2 Green: Repetitive Lyrics

Verse 1

I got my red dress on tonight

Dancin’ in the dark in the pale moonlight

Done my hair up real big beauty queen style

High heels off, I’m feeling alive

Notice that lines 1 and 2 rhyme via “ight,” lines 3 and 4 via “y” and “i,” and all lines rhyme with

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Verse 2

I’m feelin’ electric tonight

Cruising down the coast goin’ ’bout ninety-nine

Got my bad baby by my heavenly side

I know if I go, I’ll die happy tonight

Here we have a similar story as with verse 1. All lines possess the “i” rhymer, while lines 1 and 4 feature “ight” and lines 2 and 3 feature “i.”

Pre-Chorus

Oh, my God, I feel it in the air

Telephone wires above are sizzlin’ like a snare

Honey, I’m on fire, I feel it everywhere

Nothin’ scares me anymore

Here we have the end of lines 1 through 3 rhyming via “air,” “are” and “ere.” It’s also the case with the lyric “scares” on line 4.

Chorus

Part A

Kiss me hard before you go, summertime sadness

I just wanted you to know, that, baby, you’re the best

Here in chorus part A notice that we have 2 sets of rhymers. “o” and “o” at the end of the first phrase on each line, as well as “ess” and “es” at the end of second phrase.

Part B

I’ve got that summertime, summertime sadness

S-s-summertime, summertime sadness

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Got that summertime, summertime sadness

Oh, oh, oh, oh, oh

Here in chorus part B it’s all about repetition. The first 3 lines repeat “summertime“ and “ sadness,” while the fourth line consecutively repeats the lyric “oh.”

Bridge

I think I’ll miss you forever

Like the stars miss the sun in the morning sky

Later’s better than never

Even if you’re gone I’m gonna drive (drive, drive)

In the bridge we have “ever” that ties lines 1 and 3 together, while the “y” and “i” does the same on lines 2 and 4. Additionally, notice the repetition of the lyric “drive” at the end of line 4.

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).

Summertime Sadness certainly falls into the first category due specifically to the manner in which the 2 lyrics basically contradict each other.

When you think of summertime, sunny, warm weather and happy times usually comes to mind. Following “summertime” with “sadness,” however, is something that you don’t normally see and as a result comes across as being unique and possessing a powerful connotation.

Think about it this way – if the song were called “Summertime Happiness,” it wouldn’t have had

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It would be the same story as if the song title was “Wintertime Sadness.” It’s cold, dreary, and you can easily relate wintertime with sadness.

Does it pique your interest to take a listen?

Yes, specifically in regard to the pairing of the words “summertime” and “sadness” as mentioned above. It’s something that you normally don’t see, and as a result piques your interest to take a listen and find out WHY sadness would be associated with the summertime.

Is it memorable?

There are 5 factors that work in tandem with one another in making Summertime Sadness a very memorable title:

The individual words are familiar but the pairing is unique, which enables it to resonate and get engrained within the listener’s head.

It’s the only song within the Pop mainstream (and non-Pop for that matter) to possess that specific title.

It rolls of your tongue.

It’s short – just 2 words.

The fact that the title appears 16 times within the song coupled with the manner in which it’s utilized gets the title completely engrained within the listener’s head after just the first listen (see below for specifics).

How does it work within the lyrical framework of the song?

Summertime Sadness is the central focus of the entire storyline, occurring as the lyrical “payoff” within the chorus. Reference the story flow and meaning section for details.

Title Occurrences:

Summertime Sadness occurs 16 times within the song within the chorus sections as follows:

Chorus 1 – Part A (1 time): Comprises the second line of the section.

Chorus 2 – Part A (1 time): Comprises the second line of the section.

Chorus 2 – Part B (3 times): The last lyrics on lines 1 through 3.

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Chorus 3 – Part A (1 time): Comprises the second line of the section.

Chorus 3 – Part B (3 times): The last lyrics on lines 1 through 3.

Chorus 4 – Part B (3 times): The last lyrics on lines 1 through 3.

Chorus 4 – Part A (1 time): Comprises the second line of the section.

Chorus 4 - Part B (3 times): The last lyrics on lines 1 through 3.

CHORUS PART A

Kiss me hard before you go Summertime sadness I just wanted you to know That, baby, you’re the best

CHORUS PART B

I’ve got that summertime, summertime sadness Su-su-summertime, summertime sadness Got that summertime, summertime sadness Oh, oh, oh, oh, oh

Not only does the title Summertime Sadness appear frequently within the song, but it’s placement, progression and rhythm also plays an integral role in getting the title engrained within the listener’s head.

Title Placement, Rhythm & Progression

CHORUS PART A

Placement

It occurs as the second standalone line within the section.

Timing/Rhythm

It’s set up and provided with increased emphasis due to the half + quarter rest that segments it from the preceding line.

It possesses a prolonged, drawn out nature in relation to all of the other lyrics within the section, providing it with increased emphasis. Reference the vocal melody section for specifics.

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Progression

To further accentuate the “sadness” vibe, the “summertime sadness” line starts off with a lower monotone natured delivery than the preceding line, and further progresses downward over the lyric “sadness” to hammer the melancholy theme home. Reference the vocal melody section for specifics.

CHORUS PART B

Placement

Summertime Sadness occurs at the end of the first three out of four lines within the section. The result is that it’s the last thing that the listener hears and as a result sticks within their head. Also keep in mind that the fourth line of the section consists of some consecutive “oh’s” and does not interfere with the resonation of “summertime sadness.”

Timing/Rhythm

With the exception of the ultra-infectious and memorable “su-su-summertime” vocal within the section, “summertime” possesses virtually the same rhythm in part B as it did in part A. As a result the repetition gets it further engrained within the listener’s head.

With the exception of the final occurrence within part B, the manner in which “sadness” is “stretched” over 3 syllables provides it with the same general rhythm in which “summertime” is sung. Again, the repetition helps to get it engrained within the listener’s head.

Progression

The title progression within this section is exceptionally infectious and memorable due the manner in which monotone natured “set-ups” enable the E – F# – E title progressions to pop and shine. Reference the vocal melody section of the report for specifics.

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 Summertime Sadness.

As with most lyrics, there are multiple possible interpretations depending on what the listener thinks or how it relates to their own life.

Below are some of the possible interpretations of Summertime Sadness that we’ll be exploring within this section:

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Scenario 1: As it relates to the loss of a lover or friend due to suicide (which jibes with the nature of the video) or other causes.

Scenario 2: As it relates to a summer fling coming to an end.

Scenario 3: As it relates to the ending of one’s favorite season (i.e. summertime)

Regardless of the many possible interpretations, one thing is certain – it relates to a relationship that the protagonist was involved in – be it with a person or the love of a particular season.

Verse-1

I got my red dress on tonight Dancin’ in the dark in the pale moonlight Done my hair up real big beauty queen style High heels off, I’m feeling alive

The first verse can relate to any of the scenarios that were previously mentioned. Notice the great use of detail, imagery, action and emotion within the section that sets the scene and envelops the listener within the story.

Line 1: “I got my red dress on tonight”

The first line of the song is very strong considering that it establishes 3 key things right off the bat: It establishes the time (i.e. “tonight”), it establishes the fact that she’s dressed up in a formal manner (i.e. “dress”), and it establishes that there’s love in the air (i.e. “RED dress”).

Line 2: “Dancin’ in the dark in the pale moonlight”

Here we find out what she’s doing while wearing that red dress during the evening. She’s dancing, either with someone or by herself, and she’s outside. Notice how the lyrics “pale moonlight” elicit a serine quality amidst her “dancing in the dark.” It gives us the impression that it’s a warm, tranquil summer evening.

Line 3: “Done my hair up real big beauty queen style”

Again, more imagery. Along with her red dress we’re getting the impression that she’s aiming to look her very best.

Line 4: “High heels off, I’m feeling alive”

Here we have an important combination of detail and a first look at her emotional state.

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First, the fact that she was wearing high heels jibes with the formal attire/look that was established on lines 1 and 3.

Second, the fact that her high heels are OFF provides the connotation that she’s outside and probably dancing on grass. Notice how this further accentuates the imagery of the section without coming right out and saying it (which is the mark of really effective lyric writing).

Additionally, notice that having her high heels off also has an indirect emotional inference as well, being the fact that she’s directly connected to the ground (i.e. grounded in reality) which reinforces her FEELING “alive” in the phrase that follows. It also gives us the impression that she’s feeling free and not feeling stagnated by her formal attire.

Last, but certainly not least, the phrase that follows, “I’m feeling alive” is the first time that there is any direct mention of her emotional state within the section. Her look, being outside, dancing with her heels off are all bringing her elation and making her feel “alive.”

What’s really interesting about this section is that there is NO MENTION of anything that has to do with a key word in the title – SADNESS. On the contrary, it’s all about being vibrant and elated.

Here’s how this section can relate to the possible interpretations as mentioned earlier:

Scenario 1

She’s celebrating the life of the person that passed away, most likely by herself. Her joy and “feeling alive” stems from the pleasant memories of that person coupled with the realization of how fragile life is, and how every moment should be enjoyed to the fullest.

It’s also possible that her joy and feeling alive is stemming from the fact that she’s planning to commit suicide due to the overwhelming “sadness” of that person being gone too much to bear. Think of it in the sense of REALLY LIVING your last minutes on earth because you know it’s all about to come to an end. You’ll see how this connects later within the song…

Scenario 2

In this scenario she’s with her “summer fling,” dancing and living it up under the pale moonlight in her red dress, which signifies her love for him. Her high heels are off, inferring that she feels totally comfortable and free, and as a result feels completely “alive” with him.

Scenario 3

Here we can picture that she just walked outside from some formal affair taking place in the country. She’s by herself, takes her heels off, and goes into a secluded grassy

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area to soak up and celebrate the perfect summer night, which makes her feel completely alive.

Pre-Chorus

Oh, my God, I feel it in the air Telephone wires, above, are sizzlin’ like a snare Honey I’m, on fire, I feel it everywhere Nothin’ scares me anymore

What’s interesting and clever about the pre-chorus is how the entire section is built off and relates to the final lyric in the preceding verse, “alive.” Again, notice the abundant use of detail, imagery, action and emotion to connect with the listener on a deep level.

Line 1: “Oh, my God, I feel it in the air”

The first line of the pre-chorus is very important due primarily to the first phrase, “oh, my God.” This indicates surprise or coming to a realization.

The fact that she “feels it in the air” indicates that not only does she feel alive from within as was established in the first verse, but she also now senses the vibrancy of the world around her as well.

Line 2: “Telephone wires above are sizzlin’ like a snare”

What’s really clever about line 2 is that it elicits both imagery and detail as well as conveys her emotional state of feeling “electric,” which completely jibes with “alive” in the first verse and “feeling it in air” in the line above

Line 3: “Honey I’m, on fire, I feel it everywhere”

The fact that she’s “on fire” once again reiterates the point that she’s feeling alive, but now at a very heightened state. Her “feeling it everywhere” indicates that she feels this extreme state both within and outside her being.

Now, the mystery on this line is this – who is she referring to as “honey?” Is it the person that she’s with at that very moment? The person that she is reminiscing about? Is she referring to nature? It all depends on your interpretation of the story.

Line 4: “Nothin’ scares me anymore”

This is one of the most important and potent lines within the entire song. She’s all dressed up, dancing in the pale moonlight, feeling alive & electric, sensing the vibrancy of the world around her and she’s on fire. Now we find out that “nothing scares her anymore.” Depending on your interpretation of the song, this can have multiple significant meanings.

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Scenario 1: One of two things is possible.

She’s finally come to terms with the death of the person that meant a lot to her, and as a result she starts to FEEL again – both internally as well as the world around her. After experiencing the tragedy of death up front and personal, “nothing scares her anymore.” She’s ready to live life to the fullest because she now knows what the alternative is. She’s moving on…

An alternative way of looking at it is that she can no longer bear to live without this person. As a result, she makes up her mind to kill herself. She’s ultra-present, feeling alive and has a heightened awareness of her surroundings because death is imminent. Nothing scares her anymore because she has come to terms with her decision and accepts it. If she’s accepting death, what else could possibly scare her beyond that?

Scenario 2

She’s so in love with her summer fling that she feels completely electric, alive and on fire. The fact that “nothing scares her anymore” relates to her extreme love for him. The way that he makes her feel is enough to enable her to go through life with confidence and assurance – whether they’re together or apart.

Scenario 3

She’s feeling so alive, electric and on fire enjoying this perfect summer night that absolutely nothing can ruin the moment. She’s completely at peace and in a jovial state. Any adversity from the outside world has no chance of affecting her.

Additionally, notice that once again that there isn’t any mention of anything SADNESS related within the section. On the contrary, it’s all positive (at face value).

Chorus

Part A

Kiss me hard before you go Summertime sadness I just wanted you to know That, baby, you’re the best

Part B

I’ve got that summertime, summertime sadness Su-su-summertime, summertime sadness Got that summertime, summertime sadness Oh, oh, oh, oh, oh

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Here’s where the “payoff” title lyrics appear within the song.

Notice that here in the chorus we finally find out WHY she’s got that “summertime sadness,” and it’s conveyed via just 1 lyric, “go,” at the end of the first line. This relates to the 3 scenarios as follows:

Scenario 1: One of two things is possible

As she reminisces about the person that passed away, she imagines one last powerful (“hard”) kiss before she or he died. Depending on who this person is, the kiss can relate either to love, passion, or a combination of the two.

“Go” can also refer to her finally being able to move on with her life. It’s her final goodbye to this person after the “celebration” and “reawakening” that transpired in the verse and pre-chorus.

Scenario 2

Her summer fling has come to an end. Even though she feels “electric” and “alive,” she’s of course immensely sad about this person leaving. That “hard kiss” provides the perfect illustration of how much she cares for this person.

Scenario 3

The “hard” kiss is figurative. This is her emotional goodbye to the Summer in the wake Fall being around the bend.

In regard to the “I just wanted you to know, that baby you’re the best” line, this can relate either to a specific person as in scenarios 1 and 2, or to the summer season as depicted in scenario 3. Regardless, it’s a very powerful statement. This person or summer season was/is VERY important to her.

As for the balance of the section, it features the repetition of the title lyrics “Summertime Sadness.” The key here is that her sadness is equated to taking place during the summer, meaning:

The person who passed away died during the summer (scenario 1)

Her fling took place during the summer, and as a result ends in sadness because he’s leaving her.

She’s sad that the summer season is coming to an end.

Verse-2

I’m feelin’ electric tonight

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Cruising down the coast goin’ ’bout 99 Got my bad baby by my heavenly side I know if I go, I’ll die happy tonight

Here in the second verse the story of the particular night that defined the first verse continues.

Line 1: “I’m feelin’ electric tonight”

This line immediately reestablishes how she was feeling in the first verse (i.e. “alive”) and pre- chorus (“electric” via “sizzling wires”).

Line 2: “Cruising down the coast goin’ ’bout 99?

Once again we have great use of imagery and detail. “Crusin’ down the coast” elicits the feeling of being care free and paints the picture of serenity & beauty via the beach and ocean (i.e. things that you would expect to see and experience while driving down the coast).

“Goin’ ’bout 99? is quite important and can be looked at in a couple of ways:

The excessive speed jibes with her feeling electric, on fire and alive. Considering that “nothing scares her anymore,” she’s going to live life to the utmost extreme.

On the other hand, the excessive speed could relate to her having a death wish.

Line 3: “Got my bad baby by my heavenly side”

Again we have another line that can be looked at in a couple of ways:

The spirit of the person who died is “in” the car with her. The fact that she relates to this person as her “bad baby” could either indicate a lover or a very close friend, but whichever it is they were probably quite mischievous together (hence the lyric “bad”). Additionally, “heavenly” not only relates to her current emotional state, but can also infer that she might very well be ready to take her own life (i.e. she’s about to “go up to heaven” to meet the person that died ).

She’s taking one final joyride down the coast with her summer fling before he leaves. “Heavenly” relates to the utter state of bliss that she’s feeling being with him.

Line 4: “I know if I go, I’ll die happy tonight”

This is an exceptionally important line within the section and song as a whole.

Assuming the fact that she DOESN’T have a death wish, she’s feeling so good after having the perfect evening she’ll certainly die with a smile on her face if it happens.

Assuming that she DOES have a death wish, we can infer that she has made her peace

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and has no fear of dying. When she goes, she’ll die happy.

Additionally, a key lyric that we need to take note of, however, is the lyric “if.”

If she WAS thinking about killing herself, it lets us know that she hasn’t yet made up her mind.

If she WASN’T thinking about taking her own life, then her reckless manner of living it up (i.e. going “99?) lets us know that she feels no fear, and if it happens, it happens. She’s feeling too good to care.

Bridge

Think I’ll miss you forever Like the stars miss the sun in the morning sky Later’s better than never Even if you’re gone I’m gonna drive

Lines 1 & 2: “Think I’ll miss you forever, like the stars miss the sun in the morning sky”

Here on the first 2 lines of the bridge we once again find great use of imagery, detail, emotion and time used to convey the feelings of the protagonist. Whether she’s missing the person who died, the person she was having the fling with or the summer season, she’s going to miss them A LOT and it’s going to feel like FOREVER.

Line 3: “Later’s better than never”

This is a very interesting and powerful line. This gives us the impression that she WON’T be separated from this person, spirit or season forever. It may feel like forever, however, until they’re reunited.

Additionally, notice that we first got a glimpse of this on the preceding line “like the stars miss the sun in the morning sky.” The sun and stars might be separated during the morning, but there are always 2 points during the day where they’re reunited – at dawn and at dusk.

Line 4: “Even if you’re gone I’m gonna drive”

And here’s yet another powerful line. What this means is that even if this person is gone forever (or for a long time as it relates to the summer), she’s going “drive,” meaning continuing to live her life whether they will be reunited or not.

Here’s how the bridge relates to each of our 3 scenarios:

Scenario 1:

She misses the person that passed away immensely. Whether or not they will be

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reunited in the afterlife is up in the air, but regardless she has chosen to move on and live her life (i.e. “drive”).

In regard to our protagonist wanting to kill herself, here in the bridge we get the sense that she has reconsidered specifically due to the nature of the “drive” line as well. She’s going to die eventually, so maybe she’ll see that person once again at a later date (i.e. “later’s better than never,”) but for now she’s going to go on living her life.

Scenario 2:

She’s going to miss this guy immensely, and hopefully she’ll run into him once again at a later date. If they don’t, however, she’s not going to let it hold her life back. She’s going to move on.

Scenario 3:

She misses the summer in a profound way, and it’s going to seem like forever until it comes back. In the meantime she’s going to live life to its fullest until it returns once again in the following year.

Benchmarking Back to Top

TOP 10 HIT POP SONG COMPARISON

This section explores how the original version of Summertime Sadness compares to the 23 songs that landed in the Billboard Pop songs top 10 during Q3-2013, as well as how the Dance remix compares to the 4 Dance songs that landed in the Pop top 10 as well.

The aim is to spotlight the similarities that make it easy for people to instantly connect to the song (i.e. the familiarity factor), as well as the core differences which enables the song to stand out from the pack (i.e. the originality factor).

Section Length

Original Version

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In-line or close to in-line with chart-topping Pop hits:

Pre-chorus (just 0:01 / 6% longer)

Bridge (0:03 / 16% longer)

Outro (0:02 / 11% longer)

Not in-line with chart-topping hits:

Intro (0:04 / 31% longer)

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Verse (0:08 / 32% shorter)

Chorus (0:07 / 26% longer)

*Note – the 0:34 chorus reflects the “standard” chorus within the song that consists of parts A and B (choruses 2 and 3). It does not reflect the half chorus 1 and extended chorus 4.

The 3 key areas to take note of are the intro, verse and chorus sections:

The intro is quite lengthy by mainstream Pop standards. During the third quarter of 2013, only 5 out of 23 songs possessed an intro that landed over 0:17, and all of them stemmed either from the Hip Hop/Rap, R&B/Soul or Rock sub-genre categories.

The verse was the only section to have less time allocated to it compared to the Pop songs average. And where did that extra time go? To the chorus, of course, which has it’s “standard” full sections encompassing 0:07 more time than the average.

Remix

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In-line or close to in-line with chart-topping Dance Pop hits:

Intro (just 0:01 / 14% longer)

Pre-Chorus (Equal)

Not in-line with chart-topping Dance Pop hits:

Verse (0:05 / 25% shorter)

Chorus (0:09 / 43% longer)

Instrumental Break (0:05 / 25% shorter)

In contrast to the original version of the song, the cut down length of the intro is virtually identical to that of the Dance average.

On the other hand, the section length breakdown of both the verse and chorus was similar between the original and the remix. The verse was allocated one-quarter less time than the average, and the “standard” full chorus was provided with a sizable 43% more time than the average.

Interestingly, the instrumental break was also about one-quarter shorter than the Dance Pop average. Why? It’s an important, infectious section, but the chorus is still what it’s all about within Summertime Sadness.

Section Count

Original

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As you can see in the graph above, the original version of Summertime Sadness is in-line with the majority of top 10 Pop hits EXCEPT in its chorus count. Remember that it has an extra chorus occurrence at the beginning of the song, prior to the verse.

In Q3-2013, only 17% of all songs kicked off with the chorus as opposed to the verse.

Remix

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The remix version of Summertime Sadness has its section count being directly in-line with the majority of top 10 Dance Pop hits EXCEPT in regard to its instrumental break count.

A small majority have 3 instrumental breaks compared to the 2 found within Summertime Sadness.

Total Section Breakdown

Original

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In-Line or close to in-line with chart-topping hits:

Both allocate 6% of the total composition to the intro.

Summertime Sadness allocates 2% less time to the pre-chorus than the average.

Summertime Sadness allocates 1% less time to the bridge than the average.

Summertime Sadness allocates 1% more time to the outro than the average.

Not in-line with chart-topping hits:

Summertime Sadness allocated 11% less time to the verse than the average.

Summertime Sadness allocated 8% more time to the chorus than the average.

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Remix

In-Line or close to in-line with chart-topping Dance Pop hits:

Summertime Sadness allocates 1% more time to the intro than the Dance Pop average.

Summertime Sadness allocates 3% less time to the verse than the Dance Pop average.

Summertime Sadness allocates 2% less time to the pre-chorus than the Dance Pop average.

Summertime Sadness allocates 1% more time to the outro than the Dance Pop average.

Not in-line with chart-topping Dance Pop hits:

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Summertime Sadness allocates 12% more timeto the chorus than the Dance Pop average.

Summertime Sadness allocates 8% less time to the instrumental break than the Dance Pop average.

Additional Compositional Characteristics

Original

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In-Line or close to in-line with chart-topping Pop hits:

A-B-A-B-C-B form (except for the fact that it first kicks off with the chorus as opposed to the verse).

Intro (Summertime contains one and it’s just 0:03 longer than the average).

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Outro (Summertime contains one and it’s just 0:02 longer than the average).

Instrumentation (Summertime features a combination of primary instrumentation within the mix and is primarily electric in nature).

Summertime contains a pre-chorus and a bridge but NOT a solo or instrumental break.

Summertime features a love/relationship lyrical theme.

Summertime features a fusion of sub-genre influences that define its sound.

NOT In-line or close to in-line with chart-topping Pop hits:

Summertime’s length is 0:33 longer than the average.

Summertime’s first chorus hits 0:22/11% earlier within the song compared to the average.

Summertime is 13 BPM faster than the average.

Summertime is sung with a female lead vocal, where the majority of chart-topping Pop hits are sung with a male lead.

BOTTOM LINE How similar is the original version of Summertime Sadness to the chart-topping Pop hits of Q3?

The original version of Summertime Sadness possesses many of the compositional characteristics that can be found within today’s chart-topping Pop songs, making it very easy for the listener to connect via its superb craft and familiar elements.

On the other hand, the song’s overall vibe and essence completely goes against the grain of what’s currently charting in the Pop and Rock genres. From the lush, dramatic nature of the backing music to Del Rey’s unique vocal style and the clever interplay with the lyrics, Summertime Sadness come across in a unique manner and as a result stands out amongst most other current mainstream hits.

Remix

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In-Line or close to in-line with chart-topping Dance Pop hits:

Summertime contains an intro and is just 0:01 longer than the average.

Summertime’s first chorus hits just 0:05/4% farther into the song than the average.

Summertime’s tempo is just 1 BPM slower than the average.

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Summertime features a prominent synth within the mix and is electric in nature.

Summertime features a female lead vocal.

Summertime contains pre-chorus and instrumental break sections within its framework and NOT a solo.

Summertime features a love/relationship lyrical theme.

NOT In-line or close to in-line with chart-topping Dance Pop hits:

Summertime is 0:23 shorter than the average.

Summertime does not contain an outro within its framework.

Summertime does not contain a bridge within its framework.

BOTTOM LINE How similar is the Cedric Gervais Dance remix of Summertime Sadness to the chart-topping Dance Pop songs of Q3?

As was the case with the original version of the song, the Cedric Gervais Dance remix of Summertime Sadness possesses many of the same compositional characteristics and attributes that can be found within today’s chart-topping Dance Pop songs.

In contrast to the original, however, the overall essence of the remix blends right in to what’s going on within today’s Dance Pop scene. This is primarily due to the dare I say “run of the mill” EDM nature of the backing music. That being said, Del Rey’s vocal and corresponding melody does manage to provide a unique spin that ultimately enables it to stand out from the pack, though not by much.

Remember – in a Dance/Club/Party environment the name of the game is to get people revved up, in motion and staying in motion without the need for any significant “brain power” usage. This is where the “familiarity” factor comes into the mix. If the song is too “left of center,” it could impede all this from happening. The Cedric Gervais remix achieved the perfect blend, and the results showed in the charts throughout the world.

A&R Hit Factor Assessment Back to Top

Artist Career Factor Does the song have what it takes maintain or grow the artist’s clout in the mainstream?

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It’s actually a combination of the two. The strength of the original version of the song both maintains and strengthens Del Rey’s footing with her core fan base, while the Dance remix provided her with exposure and success in a segment of the industry that she never had before.

Together, they certainly elevated Del Rey’s stature as a major force within today’s music scene.

Originality Factor Does the song possess a unique nature or have you heard it all before? Does it stand out in the Pop mainstream?

Without a doubt Lana Del Rey has her own unique vibe going on. The second you hear one of her songs in an airplay environment , you know exactly who it is and there’s no mistaking her for someone else.

The original version of Summertime Sadness is a perfect case-in-point. From the lush, dramatic nature of the backing music to the melancholy/seductive vocals and unique title, it stands alone in the current mainstream Pop & Rock scene with its left of center nature.

On the other hand, we have the Cedric Gervais remix. Yes, it possesses the same vocal melody and lyrics as the original which provides it with a unique standing amongst other mainstream Dance/Pop hits, but that’s where the originality ends. You’ve heard the Dance/EDM nature of the backing music many, many times before including the general nature of the syths, the swells & dramatic pauses used to transition from section to section, the beat, as well as other characteristics that can be found in many of the Dance songs that top the charts.

In the end, though, it’s the Del Rey influence that provides the remix with a slight edge, enabling it to stand out and resonate amongst all the others.

*As a side note in regard to vocal style originality – there are points within the song, especially during the chorus, where I could swear Annie Lennox had taken over the vocal duties – but that’s an entirely different conversation to be had!

Social/External Factors Were there any social factors surrounding the release of the song that could help increase its visibility, reach and success potential?

Besides the remixes which enabled Summertime Sadness to cross-over into the Dance scene and further heighten its exposure, the one factor that really helped to accentuate it’s visibility was the video for the original version of the song.

Its suicide themed, melodramatic, dark nature resonated on a wide scale, to-date scoring 94,000,000 + YouTube hits. If you haven’t seen it, go watch it and you’ll understand why.

Additionally, the YouTube bump crossed over into other social media which in the end helped to

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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?

Age

The original version of the song is more suited to resonate with an older demographic (late teens and up) than anyone in their tweens and younger. The melancholy, dark nature of the music and vocal coupled with the “heavy” nature of the video certainly doesn’t make for “light” listening or viewing ala Carly Rae Jepsen’s “Call Me Maybe,” for example.

As for the Dance remix, it would start to have its appeal starting in the mid teens, peaking in the late teens to mid 20?s, and trail off from there (i.e. the older you get, the more your clubbing days diminish).

Gender

The original version of the song leans more toward a female demographic primarily due to the nature of the lyrics and the fact that it’s being conveyed with a female lead vocal. The Alt/Pop nature of the music, however, would be appealing to both genders, with an edge going once again to women due to the lush, melodramatic nature of the song.

On the other hand, put the Cedric Gervais remix into a club setting and it’s going to have an equal resonation with both a male and female demographic.

Genre

One of the great things about Lana Del Rey as an artist is that she’s not pigeonholed into one specific genre. Where someone like Britney is primarily relegated to a Pop demographic, Del Rey traverses Pop, Rock, Alternative, Hip Hop, Singer/Songwriter and others.

The original version of Summertime Sadness is a perfect case in point. the song’s alternative nature packs a fusion of influences including Pop, Trip Hop and Shoegazing that enabled it to not only to land on Pop charts throughout the world, but Rock charts as well including the Billboard Rock songs chart where it peaked at #5.

As for the Dance remix, it’s obviously more limited in its appeal, specifically resonating with fans of Dance/Club music as well as songs that possess a more mainstream Pop flavor.

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!!!”

As you would have to agree, (and if you don’t please let me know why!), most mainstream

91 / 96 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com songs that we find topping today’s charts (not all) do not qualify as “holy sh*t – you gotta hear this now!!!” songs. There’s nothing so overtly special about then that would cause someone to drop what they’re doing, call up a friend and tell them to listen to the song right away.

Although Summertime Sadness is a very strong song, it isn’t so groundbreaking or utterly amazing that it would qualify as one of those songs. That being said, the original version would certainly lean more in that direction than the remix, which is more “run of the mill.”

On the other hand, the over-the-top, dark, melodramatic nature of the VIDEO could certainly warrant someone calling up a friend and telling them to check it out right away. It’s one of the more disturbing, cinematic music videos to come along in a while.

The “Multiple Listen” Factor Is this song engaging enough to warrant repeat listens?

As is the case 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 obviously happen with the original version of Summertime Sadness, though its evocative nature and lack of “cookie cutter” repetition within the song will certainly prolong its longevity in a personal listening environment more so than most other mainstream Pop and Rock songs that we find topping the charts.

As for the Dance remix, its shelf life in a personal listening environment is certainly limited considering that it doesn’t possess as much engaging depth as the original. That being said, put that version on in a gym, a club or anything of the like, and it’s going to continue to engage for some time to come.

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?

As previously mentioned, the original version of Summertime Sadness very strong but it’s not so over-the-top that it’s going to make any future singles that she releases pale tremendously in comparison. Summertime manages to stay in line with the output she’s know for (albeit a cut above), and keeps the fan flame alive in anticipation of her future releases.

The “Pushing The Envelope” Factor Does this song chart new ground, push genre boundaries and act as a trendsetter within the genre?

The overall nature of the original version certainly stands out and pushes the boundaries of what we’re finding in the current mainstream Pop and Rock genres, though its nothing new when looked at in a historical context.

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Will the song establish a new trend of the like making its way into the upper reaches of the charts in the same way that Smells Like Teen Spirit did for Grunge? Doubtful. But ultimately that’s good for Del Rey, considering that she’ll benefit from being the sole purveyor of that specific style of music.

As for the Dance remix version of the song, I think that you would have to agree that aside from the vocals it doesn’t chart any new territory or act as a trendsetter. It’s overall nature is pretty much “one of the bunch.”

The “Human Emotion” Factor Does this song exude a vibe that enables the listener to connect on a deep, emotional, HUMAN level?

This is one core area where the original version of Summertime Sadness really shines. Everything about it, including the lyrics, vocal, backing music and even the music video is exceptionally evocative and as a result connects with the listener on a deep level.

On the other hand, the Dance remix doesn’t connect on a level nearly as DEEP as the original, but it doesn’t need to. The purpose of the remix is to provide people with a vehicle to let loose and enjoy themselves, which btw IS a strong human emotion. People for some reason tend to forget that what they deem as emotionally devoid “shallow” Pop or Dance songs still elicit a strong emotional connection with the listener because it makes them FEEL GOOD. A song doesn’t need to always be gut wrenchingly dramatic to connect!

Longevity Factor – Artist Will this song become a staple of the artist’s repertoire and catalog?

In regard to the original version of the song, its well crafted, evocative nature coupled with its popularity will certainly provide it with sustained longevity within Del Rey’s body of work as well as a featured staple in her live performances for a long time to come.

As for the Cedric Gervais Dance remix, it will have longevity as far as remixes go, but it’s not indicative of what Del Rey is all about as an artist (at least at this point within her career). I don’t think you’re going to find this version being played at her live performances anytime soon!

Longevity Factor – Genre Does this song have what it takes to stand the test of time and rank amongst the all-time greats?

No. Again, the original version of Summertime Sadness is an exceptionally strong song, but there is nothing that is so overtly amazing and undeniable about it that will enable it to stand the test of time with the all time greats. The same goes for the remix. That being said, the original version should find some longevity in terms of licensing for TV or film projects, however, due to its exceptionally evocative and cinematic nature.

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Recap & Final Thought Back to Top

Now that we have thoroughly explored both versions of Summertime Sadness, let’s review some of the core characteristics & attributes that helped shape them into global hits:

Both versions of the song made good use of MTI level shifts throughout the song, providing for a dynamic, engaging listening experience.

Both versions employed effective tactics to accentuate the impact of the chorus including the “2, 3, 4? count-in within the original version and the transitional pauses within the remix. And don’t forget that these pauses were also employed to increase the impact of the instrumental breaks as well.

Both versions of the song provided a strong “payoff” for the listener within the chorus, while the remix provided an additional payoff via the instrumental breaks.

The “hybrid” chorus/instrumental break section that follows the first instrumental break within the remix acted to take the infectious nature of the section and the song to that matter to the next level while accentuating the memorability factor of the title lyric.

The “against the grain” breakdown nature of the second verse within the original version did a great job in both “resetting” the song as well as accentuating the dynamic diversity of the song in a place where you normally wouldn’t have expected to find it.

The intro within the original version of the song is very strong in the sense that it instantly engages the listener and establishes the mood, keeps the listener engaged throughout and also acts as a “unique identifier” for the song in an airplay environment.

The vocal effects that were employed within the first chorus and second verse of the original version of the song added an “uneasy,” avant-garde element into the sonic landscape that further accentuated the song’s unique and evocative nature.

The nature of the vocal melody and backing music within the original version does a fantastic job of communicating “sadness” without the need to convey it within the lyrics. Remember, only 1 lyric within the entire chorus and 2 lines within the bridge communicate WHY she has “summertime sadness.” For the most part throughout the song, there’s an effective lyrical & musical/vocal disconnect that hammers this home.

Both versions of the song made good use of “sectional segmenting,” enabling a new or differentiated section to enter the mix frequently which ultimately accentuated the engagement value for the listener.

The original version of the song is exceptionally evocative on all fronts including the vocal, lyrics and backing music, providing for a deep, engaging listening experience.

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The relationship themed lyrics can be interpreted in a multitude of ways to suit the listener’s vision of the song.

The E – G# – F# guitar/bell combo within the original version acted as an additional hook within the song, taking the infectious, engaging and memorable nature of the song to the next level.

The outro provided a unique, evocative, unexpected yet highly engaging twist at the end of the original version of the song.

Repetitive elements coupled with effective diversifying factors within both versions of the song made for a memorable, engaging listening experience.

The nature of Del Rey’s vocal is exemplary and paramount to the success of the song. Another vocalist couldn’t have pulled it off with the same effect or impact.

The nature of the vocal melody throughout the song is equally infectious from section to section. This includes the “platform” progressions, the C# – E alternations within the pre-chorus, the “su-su-summertime” vocal, amongst many others.

In order to ensure that the “payoff” within the chorus gets properly hammered into the listener’s head, the nature of the vocal melody was made to be more simplistic, the lyrics are easier to remember, and copious amounts of repetition were utilized to get the job done.

The nature of the music video PERFECTLY jibed with the dark, melancholy, seductive, cinematic nature of the original version of the song. They worked hand in hand in elevating Del Rey’s exposure and stature within the mainstream.

The original version of the song possesses many of the compositional characteristics found in today’s chart-topping hits, enabling it to easily connect with the listener due to the “familiarity factor.” It’s overall vibe and essence, however, enables it to stand out and resonate amongst most other current mainstream hits.

The remix version of the song blends right in with most other current Dance Pop songs found the charts, though Del Rey’s vocal does provide the song with a unique quality that enables it to stand out. As a whole, however, it is PERFECTLY primed for success in a Dance/Club/Party atmosphere.

Final Thought – The Price of Admission

These days, it’s more important than ever to maximize the exposure of your song by any means necessary. This includes intensive marketing and PR initiatives, social media interaction, an over-the-top video, and much to the chagrin of many an artist, THE REMIX.

Why do most artists have a problem with the very mention of a remix? Because they think that

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it “destroys” the original vision of how they intended the song to be heard and compromises their “artistic integrity” to a degree. And you know what? They’re right!

Take Summertime Sadness, for example. The ORIGINAL version of the song is intense, dramatic, evocative and connects with the listener on a deep level.

Now, remove the song defining drum pattern and swap in a “typical” Dance/Club beat, sub the lush orchestration out for “typical” EDM synths, get rid of the bridge and swap in “typical” EDM natured instrumental breaks, and speed it up a notch so that it loses its original dramatic flair and you get the Cedric Gervais remix.

When you compare the 2, the remix loses most of the core characteristics that made the song so special in the first place.

SO WHAT!!!

Remember, it was the REMIX that technically outperformed the original version on charts throughout the world, and it was BECAUSE of the REMIX that Del Rey’s status as a key player in mainstream was taken to the next level via the additional exposure that would have been a lot more difficult to achieve without.

As an artist, I know that it’s EXCEPTIONALLY DIFFICULT to let go of something that you created with your own unique vision only to be “re-purposed” and “repackaged” to resonate with the masses and maximize sales.

But if you’re looking to compete and make a name for yourself within the mainstream, you’re going to need to bite the bullet and pull all the stops to make it happen. And yes, this sometimes includes going against the grain of your own unique artistic vision.

However, if you put a positive spin on it and look at it in the sense of “paying the price of admission” to achieve the widespread success that you so desire, it’s going to be a much easier pill to swallow.

Once the success starts to happen, you’ll be in a much better position to dictate what can and can’t be done with your music. But you need to get to that level first, and the REMIX on one of the most effective ways to help make it happen.

Bottom line - always stay true to your artistry, but remember, it’s called the “music INDUSTRY” for a reason!

alegar

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