Happy Lyrics and Song Structure

Total Page:16

File Type:pdf, Size:1020Kb

Happy Lyrics and Song Structure Happy Lyrics and Song Structure Count in Introduction Verse 1 It might seem crazy what I'm ‘bout to say. Sunshine, she's here, you can take a break. I'm a hot air balloon that could go to space With the air, like I don't care baby by the way. Chorus Clap along if you feel like a room without a (Because I'm happy) roof. Clap along if you feel like happiness is the (Because I'm happy) truth. Clap along if you know what happiness is to (Because I'm happy) you. Clap along if you feel like that's what you (Because I'm happy) wanna do. Verse 2 Here come bad news talking this and that. (Yeah) Give me all you got, don't hold it back. (Yeah) Well I should prob’ly warn you I'll be just fine. (Yeah) No offence to you don't waste your time. Here's why: Chorus Clap along if you feel like a room without a (Because I'm happy) roof. Clap along if you feel like happiness is the (Because I'm happy) truth. Clap along if you know what happiness is to (Because I'm happy) you. Clap along if you feel like that's what you (Because I'm happy) wanna do. Bridge - section A Bring me down, (Happy) Can't nothing, (Happy) © Copyright 2017 Charanga Ltd Page 1 of 3 Bring me down, My level’s too high. (Happy) Bring me down, Can't nothing, (Happy) Bring me down, I said. (Happy, happy, happy, happy) Bridge - section B Bring me down, (Happy, happy, happy, happy) Can't nothing, Bring me down, (Happy, happy, happy, happy) My level’s too high, Bring me down, (Happy, happy) Can't nothing, Bring me down, I said. (ACTIVITY OPTIONS) Chorus Clap along if you feel like a room without a (Because I'm happy) roof. Clap along if you feel like happiness is the (Because I'm happy) truth. Clap along if you know what happiness is to (Because I'm happy) you. Clap along if you feel like that's what you (Because I'm happy) wanna do. Chorus (repeat) Clap along if you feel like a room without a (Because I'm happy) roof. Clap along if you feel like happiness is the (Because I'm happy) truth. Clap along if you know what happiness is to (Because I'm happy) you. Clap along if you feel like that's what you (Because I'm happy) wanna do. Bridge - section B (shorter) Bring me down, (Happy, happy, happy, happy) Can't nothing, Bring me down, (Happy, happy, happy, happy) My level’s too high, Bring me down, (Happy, happy, happy, happy) Can't nothing, Bring me down, I said. (Happy, happy) © Copyright 2017 Charanga Ltd Page 2 of 3 (ACTIVITY OPTIONS) Final Chorus Clap along if you feel like a room without a (Because I'm happy) roof. Clap along if you feel like happiness is the (Because I'm happy) truth. Clap along if you know what happiness is to (Because I'm happy) you. Clap along if you feel like that's what you (Because I'm happy) wanna do. Final Chorus (repeat) Clap along if you feel like a room without a (Because I'm happy) roof. Clap along if you feel like happiness is the (Because I'm happy) truth. Clap along if you know what happiness is to (Because I'm happy) you. Clap along if you feel like that's what you (Because I'm happy) wanna do. Final Chorus (2nd repeat) Clap along if you feel like a room without a (Because I'm happy) roof. Clap along if you feel like happiness is the (Because I'm happy) truth. Clap along if you know what happiness is to (Because I'm happy) you. Clap along if you feel like that's what you (Because I'm happy) wanna do. Final Chorus (last time) Clap along if you feel like a room without a (Because I'm happy) roof. Clap along if you feel like happiness is the (Because I'm happy) truth. Clap along if you know what happiness is to (Because I'm happy) you. Clap along if you feel like that's what you (Because I'm happy) wanna do. C’mon! C’mon! © Copyright 2017 Charanga Ltd Page 3 of 3 .
Recommended publications
  • Songwriting Cheatsheet
    Songwriting Cheatsheet If you study the charts, you’ll realize that great pop songs are not accidents, and they are too plentiful to be the products of so-called “inspiration”. Pop songwriting is a craft that can be learned and applied with practice. I’d like to share what I’ve learned over the years from both my own writing and conversations with many professional songwriters. Hopefully you can apply these tips to your own songs! The elements of a great pop song are as follows: 1. Song Structure Great songs start with a great structure. While there are several popular structures used in pop music today, what they all have in common is that they provide a balance between repetition and presenting new information. A great song structure is designed to keep giving your listener something new, but also provide them with enough familiarity to keep them engaged. Let’s first define the typical sections, or parts of a pop song: Verse: Tells the story – answers “who, what where, when and why?”. Lyrics usually change from verse to verse, while the melody usually stays the same (though it is sometimes embellished upon slightly with each passing verse). Pre-chorus (or “the climb”): Functions to build energy and lead the listener into the chorus. Chorus: Sums up the message of the song – answers the question “so what?”. Contains the song’s “hook”. Lyrics and melody usually stay the same in each chorus. Bridge: Provides lyrical and melodic contrast – usually by offering a different point of view or perspective (something we haven’t heard before).
    [Show full text]
  • What Makes a Good Song? Exploring Popular Songs A
    SECOND ARY/KEY STAGE 3 MUSI C – WHAT MAKES A GOOD SONG? K NOWLEDGE ORGANISER What Makes a Good Song? Exploring Popular Songs A. Form and Structure in Pop Songs B. Typical Pop Song Structure C. Key Words FORM AND STRUCTURE – the different sections MELODY – The main tune of a popular song, often sung by the LEAD SINGER or sometimes of a piece of music or song and how they are INTRO played on instruments within the band e.g. LEAD GUITAR. A melody can move by STEP ordered. using notes that are next to or close to one another this is called CONJUNCT MOTION, or a INTRO – The introduction sets the mood of a VERSE 1 melody can move by LEAPS using notes that are further apart from one another which is song. It is often instrumental but can called DISJUNCT MOTION. The distance between the lowest pitched and highest pitched note in a melody is called the MELODIC RANGE. occasionally start with lyrics. VERSE 2 CHORD – A group of two or more pitched notes played at the same time. VERSES – Verses introduce the song theme. They CHORUS BASS LINE – The lowest pitched part of a song, often performed by bass instruments such are usually new lyrics for each verse which helps as the BASS GUITAR. The bass line provides the harmonies on which the chords are to develop the song’s narrative, but the melody is VERSE 3 constructed. the same in all verses. ACCOMPANIMENT – Music that accompanies either a lead singer or melody line – often PRE-CHORUS - A section of music that occurs CHORUS known as the “backing” – provided by a band or BACKING SINGERS.
    [Show full text]
  • Compound AABA Form and Style Distinction in Heavy Metal *
    Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .
    [Show full text]
  • MTO 23.3: De Clercq, Embracing Ambiguity in Pop/Rock Form
    Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991 Trevor de Clercq KEYWORDS: Form, popular music, rock music, verse, chorus, bridge ABSTRACT: A central concern for theories of form in pop/rock music is the division of a song into sections and, consequently, the categorization of these sections according to a standard set of section labels. Psychological research on categorization shows that it is inherently a perceptual process, one that involves graded membership and fuzzy boundaries. Thus in contrast to prior theorists, who often a2empt to minimi/e ambiguity in the analysis of form in pop/rock music, I confront ambiguity directly, organi/ing and describing many of the common types encountered. I focus e4clusively on the time period 198 –1991, 1hen verse5chorus form can be considered to have achieved 1idespread currency. After providing an illustrative e4emplar, I discuss three types of ambiguity common to this decade, each based on the main section role involved: 16 verse ambiguity, 1hich typically derives from 1eak section di7erentiation8 6 chorus ambiguity, 1hich usually involves a blend of more than one section role8 and 36 bridge ambiguity, 1hich often results from di7erent hierarchical meanings of the bridge label. Received December 2016 :olume 23, Number 3, September 2017 Copyright © 2017 Society for Music Theory Introduction ?1.1] ,he analysis of form in pop/rock music traditionally involves partitioning a song into various discrete sections, such as verse, chorus, and bridge. Perhaps unsurprisingly, this process is not al1ays straightfor1ard, since t1o di7erent analysts sometimes provide t1o di7erent interpretations of the same song.
    [Show full text]
  • Handout For: 'Repetition's Sonic Connection in Lyric Writing By: L Dunn
    Handout for: ‘Repetition’s sonic connection in lyric writing by: L Dunn ● Chorus or Refrain: is the repeated section in a song that’s function is to crystallize the idea, the intent, the emotional point and statement the song is making and is often repeated verbatim at least 3 times in a song’s structure. I should note for those who don’t already know, that a ‘refrain’ is defined as the same lyric line, word for word, that ends each separate verse section (the last line of the verse). It can occasionally appear as the first line instead of the last line of each verse. It differs from the ‘chorus’ which is a separate multi-lined section of it’s own that generally follows a verse or pre-chorus. But a chorus can also be the first section, leading off a song. ●Pre-Chorus or Lift: is a repeated song section, often using the same lyric each time it repeats. This section precedes the choruses in a song’s structure. ●anaphora: is the repetition of a word or short phrase at the beginning of successive lines. This is a very commonly used device in lyric writing, here are 2 examples: * “When Will I be Loved” by Phil Everly, recorded by: The Everly Brothers, Linda Ronstadt, Vince Gill, Carrie Underwood, John Fogerty, and Tanya Tucker among others. I’ve been pushed down/I’ve been pulled ‘round/when will I be loved I’ve been made blue/I’ve been lied to/when will I be loved *“Who’s Cheatin’ Who” by Charly McClain, recorded by Alan Jackson.
    [Show full text]
  • God Is a Woman Deconstructed Excerpt from the Vocal Melody Analysis Section
    God Is a Woman Deconstructed Excerpt from the Vocal Melody Analysis Section Ariana Grande’s God Is A Woman is the second single from her 2018 hit album, Sweetener. Co-written by Grande along with some of the biggest names in songwriting, including Max Martin, Ilya, Savan Kotecha and Rickard Goransson, God Is A Woman packs quite the musical punch and quickly became a favorite of listeners around the world. To date, the song has landed in the Top 10 on over 20 charts throughout the world, peaking at #1 in the US on the Billboard Dance Club Songs and Mainstream Top 40 charts. God Is A Woman is largely driven by its vocal melody and Ariana Grande’s signature vocal chops. The song features infectious hooks throughout, embellished by Grande’s effortless vocal runs and lush harmonies. Below you’ll find an excerpt from the Vocal Melody analysis section of the Hit Song Deconstructed report, God Is A Woman Deconstructed. © 2010-2019 Hit Songs Deconstructed, All Rights Reserved - 1 - Table of Contents (click to go to each section) Overview >> Verse 1 >> Pre-Chorus >> Chorus >> Key Form Abbreviations A=Verse | PC=Pre-Chorus | B=Chorus Vocal Melody Part Classifications Main melodic parts, such as upper-case A, B and C, reflect the main melodic structure of each line in a song section. Melodic sub parts, such as lower-case a, b, and c, reflect melodic structure both within and across lines. The vocal melody part classifications in each section are specific to that particular section and do not relate to other sections with the one exception being for the two verses.
    [Show full text]
  • How to Write a Rap Song
    How to Write a Rap Song Though every artist can come at the same project with a completely different process, having a foundation to work from is useful if you're struggling to write your music. To write a rap song, follow these instructions. Part 1 Writing Lyrics Brainstorm While listening to a beat on repeat, allow yourself to free-associate or even 1 freestyle out loud to get your creative juices flowing. Do this for a while without setting pen to paper. When you're ready, make a list of every concept, unique perspective, or potential lyric that popped into your head. Allow these to guide and inspire the content of your song as you move forward. § Let your ideas brew for a while. Carry a notepad around with you so that if you get a flash of inspiration while you’re on a bus, working out, or buying groceries, you can capture the moment and hopefully expand on it. Write the hook If you were writing a term paper, you'd start with a thesis. But this is a rap 2 song so start with a hook (a.k.a. chorus). The hook should not only capture the theme of the song, but, more importantly, be catchy and unique as well. A great hook will often inspire other elements of the song such as the beat or other lyrics, so don’t settle for something that doesn’t prompt any other ideas. § If you’re having trouble coming up with something out of the blue, riff off of or respond to a line you love from another rap song.
    [Show full text]
  • Teacher's Guide
    TEACHER’S GUIDE FOR GRADES 3–6 Teach Language Arts Through Lyric Writing Made possible by generous support from Teach Language Arts Through Lyric Writing We’re always together, always forever, Nothing can stop us now When I’m with you the sky turns blue Feels like I’m floating on a cloud Words & Music • Country Music Hall of Fame® and Museum 1 Teach Language Arts Through Lyric Writing TEACHER’S GUIDE FOR GRADES 3 - 6 Table of Contents Overview 3 Lessons 1. What Is Songwriting? 7 2. Parts of a Song 11 3. Subject and Title 18 4. Theme and Message 23 5. Rhythm and Syllables 28 6. Rhyme 32 7. Creating Strong Images 36 8. Focused Lyric-Writing Day 41 9. Revision 46 Preparing for Songwriter Workshop 47 Guidelines for Lyric Submission to Museum 48 10. Copyright and Post-Unit Reflection 51 Appendix Common Core Curriculum Standards 55 Music Curriculum Standards 56 Supplemental Materials 57 Pre-Unit Assessment Rubric 58 Final Lyric Assessment Rubric 59 Songwriter Manuscripts 64 Acknowledgments Inside Back Cover “ I was twelve when I learned my first three chords on guitar and wrote my first song. My life changed forever... Music became the way I told my stories.” —Taylor Swift Since 1979, the Country Music Hall of Fame and Museum has been helping students tell their stories through its innovative Words & Music program. Over 35 years, nearly 100,000 students have learned how to write song lyrics while developing key skills in language arts. Not only does Words & Music teach core curriculum but it also connects young people to Nashville’s music community, pairing participating classes with songwriters who turn students’ work into finished songs that are performed in an interactive workshop.
    [Show full text]
  • Understanding the Business of Popular Songs
    The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-10-2012 Understanding the Business of Popular Songs Jeremiah Stricklin University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Arts and Humanities Commons Recommended Citation Stricklin, Jeremiah, "Understanding the Business of Popular Songs" (2012). Honors Theses. 87. https://aquila.usm.edu/honors_theses/87 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi UNDERSTANDING THE BUSINESS OF POPULAR SONGS By Jeremiah Evan Stricklin A Thesis Submitted to the Honors College Of the University of Southern Mississippi in Partial Fulfillment of the requirements for the Degree of Bachelor of Arts in the Department of Mass Communication and Journalism March 2012 ii Approved by ______________________________ Paul Linden Assistant Professor of Entertainment Industry ______________________________ Christopher Campbell, Director School of Mass Communication and Journalism ______________________________ David R. Davies, Dean Honors College iii Abstract UNDERSTANDING THE BUSINESS OF POPULAR SONGS By Jeremiah Evan Stricklin March 2012 This paper presents an analysis of Billboard Music Charts’ top twenty popular songs from the year 2011. These songs are studied to determine whether or not their songwriters adhere to hypothetical rules left by songwriting scholars from the past. The criteria for analysis include: length of introduction, length of the entire song, the presence of a memorable ‘hook’, the connection between tempo and key tonality, and the form of each song.
    [Show full text]
  • Song Structure
    Music and Culture・音楽文化論 Song Form Explanation Examples AB AB Popular form since the 1960s. Used in love - “Stand By Me” (Ben E. King, 1961) songs, pop, country, rap and rock music. - “Bad Moon Rising” (CCR, 1969) Verse / Chorus / Verse / Chorus Unlike the AABA form or AAA, which both - “More than This” (Roxy Music, 1982) highlight the verse, ABAB puts emphasis - “I Really Like You” (Carly Rae Jepsen, entirely on the chorus. 2015) AB AB CB Same as ABAB with verse-chorus. This form - “(Sittin’ On The) Dock of the adds a third distinct section C (the bridge, Bay” (Otis Redding, 1968) Verse / Chorus / Verse / Chorus / also known as the “Middle 8”). - “Fly By Night” (Rush, 1975) Bridge / Chorus - “High and Dry” (Radiohead, 1995). AB AB CB / AB AB As above with a pre-chorus which introduces / “Firework” (Katy Perry, 2010) builds to the chorus. “New Summer” (Young Galaxy, ) … Pre-Chorus / Chorus ... AA B A (also ABAB) A denotes the verse, while B denotes the "Don’t Stop" (Fleetwood Mac, 1977) bridge. There’s no chorus in this structure. "Every Little Thing She Does is Verse / Verse / Bridge / Verse Instead, each verse usually ends (or begins) Magic" (The Police, 1981) with a refrain. "Somebody That I Used To Know" (Gotye, 2011) A refrain is a line or two that is part of the verse and repeats throughout the song. AAA Also called strophic song form. Rare in "Amazing Grace" (Traditional) contemporary music. Like the AABA structure, “All Along the Watchtower” Verse / Verse / Verse this one also makes use of a refrain in the (Jimi Hendrix, 1969) verses.
    [Show full text]
  • Elements of Music
    GCSE Music DR SMITH Definitions Elements of Music & Listening and Appraising Support DR SMITH Definitions D Dynamics – Volume in music e.g. Loud (Forte) & Quiet (Piano). Duration – The length of notes, how many beats they last for. Link this to the time signature and how many beats in the bar. R Rhythm – The effect created by combining a variety of notes with different durations. Consider syncopation, cross rhythms, polyrhythm’s, duplets and triplets. S Structure – The overall plan of a piece of music e.g Ternary ABA and Rondo ABACAD, verse/chorus. M Melody – The effect created by combining a variety of notes of different pitches. Consider the movement e.g steps, skips, leaps. Metre – The number of beats in a bar e.g 3/4, 6/8 consider regular and irregular time signatures e.g. 4/4, 5/4. I Instrumentation – The combination of instruments that are used, consider articulation and timbre e.g staccato, legato, pizzicato. T Texture – The different layers in a piece of Music e.g polyphonic, monophonic, thick, thin. Tempo – The speed of the music e.g. fast (Allegro), Moderate (Andante), & slow (Lento / Largo). Timbre – The tone quality of the music, the different sound made by the instruments used. Tonality – The key of a piece of music e.g Major (happy), Minor (sad), atonal. H Harmony – How notes are combined to build up chords. Consider concords and discords. Elements of Music – Music Vocabulary Dynamics - Volume Fortissimo (ff) – Very loud Forte (f) – Loud Mezzo Forte (mf) – Moderately loud Mezzo Piano (mp) – Moderately quiet Piano (p) – Quiet Pianissimo (pp) – Very quiet Crescendo (Cresc.) - Gradually getting louder Diminuendo (Dim.) - Gradually getting quieter Subito/Fp – Loud then suddenly soft Dynamics - Listening Is the music loud or quiet? Are the changes sudden or gradual? Does the dynamic change often? Is there use of either a sudden loud section or note, or complete silence? Is the use of dynamics linked to the dramatic situation? If so, how does it enhance it? Duration/Rhythm (length of notes etc.) Note values e.g.
    [Show full text]
  • Music 5 Year Curriculum Onwards
    Music 5 Year curriculum onwards Autumn Spring Summer Elements of Music, pitch, musical Musical Form Chords and triads Topic notation, rhythm, keyboard layout Instruments of the orchestra Binary, ternary and rondo form- Time signature simple time Elvis Presley –notation recall Composing pieces of music in the Right hand first hand position Singing Keyboard right hand with some Keyboard work 2 hands Left Skill music form Singing in 2 parts in unison movement of position hand 3 finger chords Notation, treble clef reading, note Orchestra layout, function and values, Rhythmic notation and note Theory behind major and minor values historical development of the The theory behind the musical forms, triads Knowledge Simple time-time signatures instruments rd the sections and variations Intervals 3 2/4,3/4,4/4 Recap and introduce musical Key signatures C major-A major periods, focusing on Romantic Oranges and lemons, theory Love me Tender, musical form test and Theory low threat quiz, whiteboard, Assessment testsbase line test EastEnders and orchestral test 3 mini composition tasks multiple choice Basic reading of music and rhythm Musical elements-treble clef, stave, Binary, ternary, rondo, introduction, Vocabulary/key Vibrato, legato, staccato, arco, Intervals, semitones, octave, triad, unison Crotchet, minim, semibreve, composition, sonata form-listening tests words pizzicato, conduct chord, 3rds and 5th quaver, syncopation Popular Music- Blues Music/ Chords and Topic Rhythm recap 1-time signature African Music-rhythm recall Film Music/rondo
    [Show full text]