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Dark Horse 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 & Takeaways

Audio/Video Back to Top

At a Glance Back to Top

Artist: Katy Perry Song/Album: Dark Horse / Prism Songwriters: Gottwald, Houston, Hudson, Martin, Perry, Walter Genre: Pop Sub Genres: Dark Pop, Trap, Hip Hop/Rap Length: 3:31 Structure (Form): A-B-A-B-C-B Tempo: 124 bpm First Chorus: 0:44 / 21% into the song Intro Length: 0:15 Outro Length: n/a

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Electric vs. Acoustic: Electric Primary Instrumentation: Synth Lyrical Theme: Love/Relationships Title Occurrences: “Dark Horse” occurs 4 times within the song Primary Lyrical P.O.V: 1st, 2nd, & 3rd

Overview Back to Top

Seductive, Dark, Edgy, mesmerizing and meticulously well crafted. These are just some of the terms that describe Katy Perry’s latest #1, Dark Horse.

Written by an all-star team of hitmakers including her go-to guys Max Martin, Dr. Luke and Cirkut, Dark Horse fuses elements of Dark Pop, Trap and Hip Hop/Rap in a unique manner which not only enables it to stand out amongst its mainstream contemporaries, but Perry’s overall body of work as well.

As you’ll see within this 100+ page report, there is a wealth of hit songwriting characteristics and techniques contained within Dark Horse that when studied will undoubtedly help take your songwriting and producing skills to the next level.

Song Structure Back to Top

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

FORM

Key A=Verse

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B=Chorus C=Bridge PC=Pre-Chorus I=Intro

Here we’re going to take a look at Dark Horse’s full form in a couple of ways, with the pre- chorus and bridge being the areas that are subject to debate:

Form 1: I-A-B-A-B-A-B

In this case we’re going to consider verses 1 and 2 to be ~0:30 in length, each consisting of 2 stanzas. Note that the second stanza within each verse is what we’re considering to be pre- choruses in form 2 below. We’re also going to consider Juicy’s rap to be a verse as well, as opposed to a bridge.

Form 2: I-A-PC-B-A-PC-B-C-B

Here we’re going to consider the second stanza of each verse in form 1 above to be a pre- chorus, and the third verse (Juicy’s rap), as a bridge.

Which is the correct way to view this? Technically, they’re both correct. For the purpose of this deconstruction, however, we’re going to go with form 2 for the following reasons:

Differentiation: Pre-Chorus vs. Verse

The first 2 vocal lines within the pre-chorus provides differentiation and a lift from the nature of the verse that preceded it. If these 2 lines were sung in a similar manner to that of the verse, THEN we would consider it to be a second stanza of the verse as opposed to a pre-chorus.

Now, you may be thinking that the last line of the pre-chorus reverts back to the vocal melody that defined the verse, and that throws a wrench into the whole equation. What you need to remember though is that we’re looking at the section as a whole, and the differentiation that occurs at the onset sets it apart.

Differentiation: Bridge vs. Verse

This one is actually a tough call. Technically, Juicy’s rap is his own verse section. However, the nature of the section, specifically the lyrical and vocal characteristics, provide a significant departure from that which defines all of the other sections within the song, which ultimately qualifies it as a bridge.

A-B-A-B-C-B

So, at its core Dark Horse utilizes the hands-down most popular, and arguably the most effective, form (structure) in Pop music: A-B-A-B-C-B (Verse – Chorus – Verse – Chorus – Bridge – Chorus).

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This form is also a favorite of Perry’s, considering that it was utilized on 7 out of 8 of her previous #1 hits!

SECTION LENGTH & COUNT (Length of each individual section within the song)

Section Count

Dark Horse contains 9 full primary sections and 1 secondary section within its framework as follows:

1 intro

2 verses

2 pre-choruses

3 choruses (each consisting of parts A and B)

1 bridge (consisting of parts A and B)

1 turnaround (secondary section that follows the first chorus)

Section Length

In regard to the length of full sections within the song, they range from the moderately short to the moderately long as follows:

Very Short

0:07 turnaround

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Moderately Short

0:14 pre-chorus 1

0:15 pre-chorus 2

0:15 verse 1

0:15 verse 2

0:15 intro

Moderate

0:29 chorus 1

0:29 chorus 2

0:28 chorus 3

Moderately Long

0:44 bridge

Sectional Segmenting

Engaging the listener and KEEPING them engaged throughout the song is what it’s all about. There are many factors that go into this (e.g. an infectious melody and rhythm, strong lyrics, etc…), but one factor that is of utmost importance is to provide the listener with new elements entering the mix as often as possible to help keep them engaged. If you linger on for too long within one particular section without providing diversity, they’re eventually going to start to lose interest.

As you can see above, the intro, verses, pre-choruses and turnaround are all relatively short on their own, so there isn’t any really concern that the listener going to get bored and lose interest within these sections.

The choruses and bridge, however, are lengthier in comparison. In order to make sure that the listener is kept engaged throughout, these longer full sections are “segmented” into short ones as follows:

Choruses

Each full chorus is split into 2 distinct segments:

Part A: ~0:14

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Encompasses the “so you want to play with magic” first half of the section.

Part B: ~0:14

Encompasses the more intense “are you ready for…” second half of the section.

Bridge

Notice that parts A and B not only possess a different Rap style from one another, but they also differ in regard to the nature of the backing music as well.

Part A: 0:29

Part A lands at 0:29 and is split into 3 distinct Rap variations which change over frequently as follows. Note that the nature of the backing music shifts as well:

Rap Variation 1 (2:19 – 2:33): 0:14

Rap Variation 2 (2:33 – 2:41): 0:08

Rap Variation 3 (2:41 – 2:48): 0:07

Part B: 0:15

Part B possesses 1 primary Rap style which is different from any of the styles that defined part A and provides a shift in the nature of the backing music as well:

2:48 – 3:03 (0:15)

As you can see, when you break these full sections down into shorter individual segments, you wind up with a new elements entering the mix more frequently which ultimately makes for a more engaging listening experience.

TOTAL SECTION BREAKDOWN (The total time consumed by each section and its percentage of the total song)

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Not surprisingly, the vast majority of time within Dark Horse was allocated to the chorus (i.e. the “payoff”), accounting for 41% of its total composition. This is due to 2 primary factors:

There are more chorus occurrences within the song than any other section (3).

Next to the bridge (which occurs just once), the chorus is the longest full section within the song (~0:29).

Now, typically you would expect the second most amount of time to be allocated to the verse sections, considering how important it is to fully develop the storyline. This is NOT the case within Dark Horse, however. The next highest amount of time went to the bridge, primarily because this is the ONLY section where the featured artist, Juicy J., has his time to shine. As a result, he’s given ample amount of time to “do his thing” and expound on the story (0:44).

As for the verse and pre-chorus, both occurrences of these sections add up to just 14% of the total song each. Note that the low percentage allocated to the verse didn’t hurt the development of the storyline, however. This is because each pre-chorus occurrence adds a new lyrical development, which typically is not indicative of pre-choruses (they usually possess the same lyrical content throughout all occurrences within the song).

And finally, the intro accounts for the least amount of time within the song as you would expect, encompassing just 7% of its entire composition.

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MTI (Momentum/Tension/Intensity) Back to Top

(Evaluation of the intensity of each section within the song timeline on a scale of 1 – 10, 10 being the most intense)

When we talk about a song’s MTI level, we’re referring to how fluctuations in momentum, tension and intensity levels are utilized within each section of the song.

Dark Horse MTI Level Breakdown & Key Points

MTI Level Contrast

Dark Horse contains a strong, effective balance of differing types of MTI levels throughout the song which provides the listener with an exceptionally engaging listening experience.

This ranges from tension within the intro, to the mid level seductive groove that defines the verse and pre-chorus (momentum), to the ultra intense peak within part B of the chorus which provides the “perfect storm” of momentum, tension and intensity levels all converging at the same moment.

The “Like Section” Intensity Build

With the exception of the verse, each subsequent section within the song becomes more intense as it progresses. This is the case with pre-choruses 1 and 2, the three segments within part A of the bridge, part B of the bridge compared to part A, and all 3 chorus occurrences. See below for details.

Tension Build & Relief

Chorus parts A and B act to increase tension and intensity levels throughout, ultimately

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The Tension Elevator & Setup

The abrupt stop that occurs at the end of each full chorus section (transition point) acts to briefly elevate the tension and anticipation factor prior to the tension relief being enacted within the section that follows. It also acts to perfectly set up the “there’s no goin’ back” vocal for maximum impact.

The Excitement Level Peak

The third and final chorus of the song takes the momentum, tension and intensity levels of the entire song to an apex, leaving the listener on a high and primed for a repeat listen.

MTI Levels – Section By Section – Lowest To Highest

Transitional segments

Intro & Turnaround

Verse 1 & Verse 2

Pre-Chorus 1

Pre-Chorus 2, Chorus 1 (Part A) and Bridge (Part A)

Chorus 2 (Part A)

Bridge (Part B)

Chorus 1 (Part B) and Chorus 3 (Part A)

Chorus 2 (Part B)

Chorus 3 (Part B)

MTI Play By Play

Intro

Dark Horse kicks off with a moderate MTI level specifically due to the tension and underlying intensity being elicited via nature of the 2 primary synths within the section (reference the music/vocal/instrumentation section below for details).

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The level remains constant throughout the section until being brought all the way down from a momentum and intensity standpoint during the transitional pause that precedes the “let’s rage” vocal. Notice, however, that this abrupt transitional pause increases the tension and anticipation factor.

Verse 1

Following the “let’s rage” vocal, the first verse enters with a simmering, seductive groove that possesses an MTI level which is a notch above that of the intro. Notice however that the increase in level is primarily brought about via a shift in momentum as opposed to the tension that defined the preceding section.

Pre-Chorus 1

The MTI level within the pre-chorus that follows is basically on par with that of the preceding verse considering that the nature of the backing music remains pretty much constant between both sections (i.e. the simmering groove is still in effect).

That being said, the shift in the nature of Perry’s vocal does provide a slight increase in the tension and intensity level over the preceding verse, but not by much.

Chorus 1

Part A

Once we get to the chorus, we find a profound shift taking place via the nature of the backing music. The seductive groove that defined the preceding verse and pre-chorus has been done away with, and in its place we have a reversion basically back to the nature of the intro, albeit in a changed up manner (more on that soon).

As a result, the momentum factor has significantly dropped off, but the tension and underlying intensity has significantly increased. All in all the tension and intensity brings the overall MTI level factor up a notch over the preceding pre-chorus, but in the end note that we’re really comparing apples and oranges here.

Part B

Now, once we hit chorus part B (“are you ready for, ready for…”) we find all 3 elements within the MTI equation (momentum, tension and intensity) all reaching an apex via the nature of the backing music and vocal delivery. As a result, the full MTI level abruptly skyrockets to its highest point so far within the song.

Notice that the overall level remains pretty much constant up until the tail end, where during the last 2 seconds of the section the “frantic” “heys” coupled with the shift in the nature of the drums and increase in the level of the synth brings the MTI level of the section to a grand climax, which is then followed by an abrupt full stop.

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This full stop is then followed by a split second transition point which consists of the trail off of the synth. Notice how the abrupt stop and transition very briefly accentuate the tension and anticipation factor leading into the “there’s no goin’ back” solo vocal that concludes the section, bringing the MTI level way back down relative to the full chorus that preceded it.

Additionally, notice how this is similar to the manner in which the intro transitioned into the first verse (i.e. the abrupt stop followed by the “let’s rage” vocal as opposed to “there’s no goin’ back”).

Turnaround

The turnaround that follows the solo vocal then kicks the MTI level back up, but notice that it is way down from that which defined the preceding chorus part B section. Essentially, the turnaround returns the song to the mid MTI evel seductive groove that defined the preceding verse and pre-chorus sections. The MTI level remains constant throughout the entire section.

Verse 2

The MTI level then increases a notch within the second verse that follows specifically due to the addition of the lead vocal into the mix. Notice that the nature of the backing music has essentially remained constant from that which defined the preceding turn around. The level remains constant throughout the entire section.

Pre-Chorus 2

The pre-chorus kicks the MTI level up a notch over the preceding verse, but notice that this time around it’s a bit more stringent than it was during pre-chorus 1. This is primarily due to the additional synth that has entered the mix (albeit at a pretty low level) coupled with the more impactful nature of the backing vocal that occurs on the lyrics “baby” and “maybe.”

Also notice that the manner in which Perry sings the lyrics “all to me” at the conclusion of the section is slightly more intense and animated than the manner in which she sang “your enemy” in pre-chorus 1.

Chorus 2

The MTI level progression that defined the first full chorus essentially repeats here in the second chorus as well. The key difference is that both parts A and B possess a higher intensity level than their counterparts during the first chorus occurrence within the song. This is due to a shift in the nature of the backing music, overall levels, and the nature of Perry’s vocal delivery. More on all this soon.

Bridge

Part A

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Segment 1

Following the MTI level peak that occurred at the end of chorus 2 and the “there’s no goin’ back” solo vocal, we have Juicy’s rap entering the mix over the backing music that defined the 2 preceding verses of the song. This returns the song to that mid MTI level groove, but notice that the nature of Juicy’s rap provides the section with a subtly higher MTI level compared to verses 1 and 2 which featured Perry’s vocal.

Also notice that the shift in the nature of his rap during the last line of the section kicks the momentum and intensity factors up a notch over that which defined the preceding lines within the segment.

Segment 2

Once we get to the “you may fall in love when you meet her…” segment of the bridge, notice that the MTI level increases once again due to the shift in the nature of Juicy’s delivery coupled with the addition of the rapid fire hat and snare into the mix. Working in tandem with one another, they act to increase the intensity and especially the momentum of the section relative to segment 1 that preceded it.

Now, a key characteristic of the segment to take note of is that the momentum does not remain constant throughout. Instead, there are stops and starts which provides the section with a choppy flow. Notice, however, that the background repeat vocal that occurs at the end of each phrase does manage to keep some assemblance of the momentum throughout.

The momentum does eventually take off during the last line of the section, though, due to its longer length in comparison to the preceding 2.

Segment 3

In contrast to the second segment, notice that the third and final segment within part A shifts gears in terms of its flow and momentum. Gone are the stops and starts from segment 2 and instead we have a consistent eighth note delivery run from Juicy.

This is then followed by a transitional pause which briefly brings down the MTI level before heading into part B that follows.

Part B

In contrast to part A, part B kicks the MTI level up a notch via the faster, more intense nature of Juicy’s delivery which significantly increases the momentum coupled with the shift in the nature of the backing music which increases the overall intensity level within the section.

Chorus 3

As soon as part A of the third and final chorus hits, you’ll notice that things have been changed

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The MTI level is much higher this time around due to the addition of the drums into the mix which significantly increases the momentum factor of the section, as well as the addition of the multitracked lead vocal, background vocals, and the overall higher levels of the instrumentation and vocals which all significantly increase the intensity level of the section as well.

Part B that follows then takes the overall MTI level of the entire song to its zenith, characterized by increased overall levels, a shift in the nature of the drums, and additional background vocals which take the intensity to a grand peak compared to its counterpart in choruses 1 and 2.

The MTI level of the section, and song for that matter, then peaks at the tail end where Perry bellows out the lyric “mine,” which then comes to the abrupt stop one more time and is followed by the solo “there’s no goin’ back” vocal which brings it all back down to conclude the song.

Waveform

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

Overall, Dark Horse provides strong dynamic diversity throughout the song which ultimately makes for an exceptionally engaging listening experience.

What follows is a breakdown of the sonic levels that define each section within the song – lowest to highest.

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Lowest Sonic Levels

Notice that the lowest sonic levels within the song all occur during the transition points between sections, segments and lines:

Transition point between the intro and first verse

Transition between the first chorus and the turnaround

Transition between the turnaround and second verse

Transition between the second verse and second pre-chorus

Transition between the second chorus and the bridge (Rap section)

Transition between segment 1 and segment 2 in part A of the bridge

The pause at the end of each line within the segment 2 in part A of the bridge

The transition between segment 2 and segment 3 within the bridge

The transition between bridge part A and bridge part B

Moderate Sonic Levels

The intro

Chorus 1 part A

The turnaround following chorus 1

Chorus 2 part A

Bridge part A

Moderately High Sonic Levels

Verses 1 and 2

Pre-choruses 1 and 2 (slightly higher than the verse sections)

Chorus 1 part B

Highest Sonic Levels

Chorus 2 part B

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Bridge part B

Chorus 3 part A

*Chorus 3 part B

* Chorus 3 part B (the “grand finale”) possesses the highest levels within the entire song.

Music/Instrumentation/Vocal Delivery Back to Top

Sub-Genres

Dark Horse contains 3 primary sub-genres that work both independently and concurrently with one another in shaping the song’s sound and vibe. They include:

Dark, Edgy Pop

Trap

Hip Hop/Rap

What follows is the breakdown of how these 3 independent sub-genres were utilized throughout the song:

Intro: Dark Pop & Rap

Verse 1: Trap/Dark Pop

Pre-Chorus 1: Trap/Dark Pop

Chorus 1- Part A: Dark Pop

Chorus 1- Part B: Intense Dark Pop

Turnaround: Trap/Dark Pop

Verse 2: Trap/Dark Pop

Pre-Chorus 2: Trap/Dark Pop

Chorus 2- Part A: Dark Pop

Chorus 2- Part B: Intense Dark Pop

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Bridge – Part A: Dark Pop, Trap, Rap

Bridge – Part B: Dark Pop, Rap

Chorus 3- Part A: Intense Dark Pop

Chorus 3- Part B: Intense Dark Pop

As you can see, the one common denominator that all of these sections share is that Dark Pop was an element throughout, brought about via the nature of synths 1, 2 and 3 as well as the nature of Perry’s vocal.

It fused with Trap within the verses, pre-choruses and turnaround, Rap within the intro and bridge part B, and combined with Trap and Rap all at the same time within bridge part A.

The manner in which this was strategically and meticulously structured throughout the song created an exceptionally infectious, engaging and memorable listening experience.

Repetition & Diversifying Factors

Here we’re going to take a look at the core similarities and differences between “like” sections within the song (i.e. all verses and choruses) to see how repetition was utilized in order to get these sections and the song as a whole engrained within the listener’s head while at the same providing diversity to enhance the engagement factor and to prevent monotony from setting in.

Verse 1 vs. Verse 2

Repetition

The nature of the vocal melody and backing music remains constant between both sections.

Diversity

The lyrics differ between both sections

Pre-Chorus 1 vs. Pre-Chorus 2

Repetition

The general nature of the backing music (i.e. Trap) and the vocal melody remain constant between both pre-chorus occurrences.

Diversity

Pre-chorus 1 and 2 both differ in terms of lyrical content.

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An additional synth has been added into the mix (panned toward 9:00) within pre- chorus 2.

The backing vocal on the lyrics “ba-by” and “may-be” is much more pronounced and contains additional voices within pre-chorus 2 as compared to pre-chorus 1.

Seductive “uhhh” vocals have been added to the mix within pre-chorus 2 in place of the delayed repeat of specific lyrics within pre-chorus 1 (see below for details)

Chorus 1 vs. Chorus 2

Repetition

The general nature of the backing music, vocal melody and lyrics remain constant throughout both chorus sections.

Diversity

Perry’s lead vocal within chorus 2 is more processed in nature and multi-tracked compared to chorus 1.

The overall levels within chorus 2 are running hotter than they were during chorus 1

There is an additional male vocal that enters the mix toward the end of chorus 2 that wasn’t present within chorus 1 (this sets the stage for the Rap bridge that lies ahead).

Chorus 2 vs. Chorus 3

Repetition

The general nature of the backing music, vocal melody and lyrics remain constant throughout both chorus sections.

Diversity

Part A within the third chorus contains drums within the mix. This was not the case during chorus 2, or chorus 1 for that matter.

Additional vocal elements have been added into the mix within chorus 3 parts A and B that were not present within the preceding chorus occurrences.

The nature of the “foreboding” synth has been changed up relative to its nature within the preceding chorus occurrences (i.e. it’s “heavier”).

The overall levels within chorus 3 are running hotter than any other chorus section or any section within the entire song for that matter.

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Let’s now take a look at how both “parts” within the chorus compare to one another as well:

Chorus Part A vs. Part B

Repetition

The general nature of both synths within the mix remains constant.

Drums are present within the mix during parts A and B within the third chorus only.

Diversity

Synth 1 (see below for details) becomes more prominent within the mix during part B.

Drums enter the mix within part B (they were not present in part A within choruses 1 & 2).

The nature of Perry’s lead vocal.

The lyrics.

Part A features a female “Ahh-Ahh” backing vocal, while part B features the male “Hey!” vocal.

Reoccurring Vocal and Instrumental Elements

Here’s a look at some of the key elements that reoccur throughout the song which takes the memorability and engagement factors for the listener to the next level:

Synth 1

The general nature of synth 1 which follows the repetitive D-flat – C – B-flat – F progression shows up within the following sections within the song:

Intro

Chorus part A (low level)

Chorus part B (prominent)

Bridge part B

Synth 2 & 3

These are the “ominous” synths that follow the G-flat – D-flat – B-flat – A-flat progression. Even though their characteristics differ slightly from section to section, the nature of the progression

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Intro

Chorus part A

Chorus part B

Bridge part B

“There’s No Goin’ Back” Vocal

This “demonic” vocal hook is strategically placed throughout the song as follows:

Occurs at the end of the intro

Occurs at the end of chorus 1

Occurs at the end of chorus 2

Occurs at the end of chorus 3 and concludes the song as well

SECTION BY SECTION Note: Pan is represented on a scale from 9:00 to 3:00 (i.e. left to right, with 12:00 being right up the middle). Keep in mind that in most cases an instrument will bleed throughout the entire mix, but the pan depicted here represents its primary placement in the mix (i.e. where the level is most pronounced).

Intro (0:00 – 0:15)

Vocals & Primary Instrumentation Featured In The Mix

Synth – 1 (This is the synth that features the descending D-flat – C – B-flat – F progression. Bright in nature – moderate reverb – up-front within the mix ) Primary around 9:00/3:00 but spans the entire mix

Synth – 2 (This is the synth that follows the G-flat – D-flat – B-flat – A-flat – G-flat – D- flat progression. Dark and foreboding in nature – dull with a tremolo natured effect – moderate reverb – mid/up within the mix ) Primary around 10:00 – 2:00

Processed Vocal (This is the vocal that kicks the song off which sounds like a kid saying “oh no!” in a very “processed” manner- up front within the mix) Primary around 12:00

Lead Vocal (Juicy J. – reverb – up-front within the mix ) Primary around 12:00

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As you’ll see below, Dark Horse’s intro gets a lot done in a very short amount of time, incorporating a number of the most effective characteristics that we find in chart-topping Pop song intros.

Characteristic #1: It’s Short

Clocking in at just 0:15, Dark Horse’s intro is just 0:02 longer than the Pop Song Top 10 Average of Q4-2013. It’s short enough to keep the listener engaged until the verse takes over, and long enough to allow it to fully develop in an exceptionally engaging and effective manner.

Characteristic #2: Unique Identifier

When I talk about the importance of having an intro function as a “unique identifier” for a song as I do in many of our reports, I’m talking about the need for it to possess a unique quality that enables it to stand out and instantly engage the listener amongst all of the clutter on the airwaves, as well as to be instantly recognizable for the song that it is.

This is exactly what the “oh no!” vocal achieves at the onset of Dark Horse. Its unique nature instantly grabs the listener’s attention and engages them within the song. Bottom line – the second you hear it, there is no mistaking it for another song.

Characteristic #3: The Artist Plug (Free Marketing Built Into The Song)

This is an intro characteristic that you’ll see a lot in Hip Hop/Rap songs as well as Pop songs that possess a Hip Hop/Rap element within the mix.

Here at the onset Juicy J takes the opportunity to plug both himself and Katy Perry to the listener. What this essentially does is act in the manner of “free marketing” for the artists at hand.

So not only are you getting the artist’s names further engrained within the listener’s head with each subsequent listen (which may subconsciously lead them to become bigger fans and buy more of their output), but you’re also eliminating any guess work for the listener as to who appears on the song. Since they’re BEING TOLD who appears on the song, it makes it easy for them to go find and buy if they so desire.

Additionally, it also acts to heighten the artist’s clout within an airplay environment as well. Most times when you hear a song, you’re just hearing THE SONG. In this case, however, you’re also hearing the artist’s names as well WITHIN the song, which enables them to stand out and resonate amongst the artists who are NOT mentioned within their own songs.

As a side note, “Mr. Worldwide” is the true master at this.

Characteristic #4: Vibe Establishment

The nature of both synths within the section work in perfect tandem with one another in instantly

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Synth-1 as detailed above provides the section with a “witchy,” “mystical” quality, while synth-2 functions to elicit a “dark” and “foreboding” vibe that traverses the entire song.

As soon as you hear the intro, you know that you’re not in store for a “carefree,” “jovial” Katy Perry Pop song. Instead, you’re store for something much darker and edgier.

Characteristic #5: In Piques Interest

As most hard core Katy Perry fans and prospective fans alike know, Prism was slated to provide a departure from the Katy Perry sound of old into a new, more mature and allegedly darker direction.

As a result, as soon as you hear Dark Horse’s intro you know this to be true. The curiosity factor then sets in to see just how different this song will be from her previous output, whether you’re a current fan or not.

Characteristic #6: It Creates Suspense & Provides The Perfect Lead-In

The abrupt manner in which the intro concludes briefly heightens the tension and anticipation factor for the listener heading into the verse that follows. Otherwise stated, it creates DRAMA.

All in all, Dark Horse’s intro is a perfect example of what an exceptionally effective mainstream Pop intro looks like.

Transition Point – Intro into Verse 1: Following the abrupt, brief transitional pause at the end of the intro, Juicy J follows with the lyrics “let’s rage!” which is then followed by the verse immediately kickiing in.

Verse-1 (0:15 – 0:30)

Vocals & Primary Instrumentation Featured In The Mix

Synth – 1 (Basically the same synth that was featured within the intro. Bright in nature – moderate reverb – mid/up within the mix) Primary around 9:00/3:00 but spans the entire mix

*Bass Synth/Kick (This is the 808 sub-bass/kick combo which defines the Trap influence throughout the song. Up front within the mix) Primary around 12:00 but bleeds out l/r

*Snap/Clap (Bright with moderate reverb. Up front within the mix) Primary around 12:00 but bleeds out l/r

*”Call” Vocal (This reflects the nature of Perry’s vocal on the first phrase within each

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line in the verse. Heavily processed with reverb – a tad below the “response” vocal but still up front and prominent within the mix) Primary around 12:00 with the reverb spilling out l/r

*”Response” Vocal (This reflects the nature of Perry’s vocal on the second phrase within each line in the verse. Further up front within the mix compared to the call vocal and contains significantly less reverb processing) Primary around 12:00

*Indicates a new element that has been added to the mix relative to the preceding section.

If the nature of the intro didn’t provide you with enough of a clue that you were in store for something completely different from the majority of songs on Teenage Dream, the verse manages to put all doubt to rest.

Let’s now look at some of the core elements that work together in making this section so effective:

New Sound

First and foremost, the section possesses an overtly Trap nature, primarily defined by the 808 sub-bass/kick and corresponding rhythm. This instantly provides a significant departure from the sound that defined the majority of Katy Perry’s previous works.

Backing Music & Rhythm

As you can tell, the nature of the backing music within the verse is quite sparse, consisting of the 808 sub-bass/kick, synth 1 (bright) from the intro, as well as snaps and claps.

Here’s a look at the rhythmic and melodic qualities of the 808 sub-bass/kick, synth 1 and the claps/snaps:

Synth 1

Melody

Follows a repetitive D-flat – D-flat – D-flat – D-flat – C – C – B-flat – F progression throughout the entire section.

Rhythm

Each note within the melody detailed above possesses a quarter note value.

Sub-Bass/Kick

Rhythm

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There are 2 variations to take note of:

Variation 1: Dotted Quarter – Eighth – Quarter – Half + Eighth – Eighth – Quarter – Quarter

Variation 2: Dotted Quarter – Eighth – Quarter – Quarter – Dotted Quarter – Eighth – Quarter – Quarter

Clap/Snap

Hits on the 2.

As you can see, the repetitiveness of the melodic and rhythmic nature of the synth as well as the occurrence of the snap/clap remains constant throughout the entire section, creating a solid backdrop for Perry’s vocals to shine.

On the other hand, notice that there are 2 variations of the sub-bass/kick rhythm that occur back to back throughout. By changing it up in just a subtle manner, this manages to keep the rhythm infectious and engaging for the listener as well as prevents the section as a whole from becoming overly monotonous.

Additionally, notice that the prolonged nature of some of the 808 notes provide the section with a sub-base drone quality which both fills in the sparse nature of the section as well as provides an increased air of heaviness as well.

The Vocal

Here’s where we find one of the most clever and infectious aspects of the song taking place. Notice that there are 2 independent vocal themes occurring throughout the section, conveyed in a “call and response” type manner.

The “Call”

The “call” represents the first segment on each line as follows:

Line 1: “I knew you were“

Line 2: “And here you are”

Line 3: “‘Cause I, I, I”

Notice that this vocal appears a bit farther back within the mix in comparison to the “response,” and is also significantly more drenched in reverb as well. This, along with the nature of the melody (which is discussed within the vocal melody section of the report) and Perry’s delivery provides the “call” with a haunting, mystical, other worldly and most of all highly seductive quality.

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The “The Response”

The “response” represents the second segment on each line as follows:

Line 1: ” You were gonna come to me “

Line 2: ” But you better choose carefully “

Line 3: ” I’m capable of anything, of anything and everything “

In contrast to the “call,” the “response” segment is at the forefront of the mix and is also more direct in nature as opposed to the heavy reverb processing that defined the “call” that preceded it. Notice how this quality, along with the nature of the melody and Perry’s delivery provides this segment with a more “earthly human” quality as opposed to the more haunting, “spirit natured” “call.”

“Call” & “Response” Combined

Together, the contrast between the 2 creates a clever, ultra-infectious flow that engages the listener on a profound level.

The Vibe

What ultimately makes this section so effective is the manner in which all of the elements work in perfect tandem with one another in eliciting the intended vibe:

Backing Music

The nature of the sub-bass/kick and rhythm provides a hypnotic, droning, dark groove that mesmerizes the listener, the repetitive bright synth elicits a “witchy” type of vibe, and the sparse snaps claps and claps which provide a brief splash of “brightness” to the section also act to elicit almost a “pagan” type of quality within the section.

Vocal

The nature of Perry’s vocal within both the “call” and “response” segments provides the section with its dark, haunting, yet highly seductive and sensual qualities which ultimately establish her as a “Siren” type of figure. Notice how this perfectly jibes with and accentuates the nature of the lyrics.

Transition Point – Verse 1 into Pre Chorus 1: The last note within the synth pattern drops down to a lower level at the transition point between the 2 sections coupled with the sub-bass being pulled for a split second from the mix. Combined, it does a great job of bringing the verse theme to a conclusion while at the same time providing a “fresh start” for the pre-chorus that enters.

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Pre-Chorus-1 (0:30 – 0:44)

As you’ll see below, pre-chorus 1 possesses qualities that are both similar and different in comparison to verse 1 that preceded it:

Backing Music

The overall nature of the backing music that defined the preceding verse remains virtually the same during the first pre-chorus within the song. This provides for a seamless transition and continuity between sections while keeping the hypnotic, grooving rhythm intact. Ultimately, it continues to provide the perfect backdrop for the vocal melody and lyrical content to shine.

The only real difference, as subtle as it is, resides in the nature of the claps & snaps. Where they were primarily uniform in nature within the verse, here within the pre-chorus some are “quick and dry” while others are heavier on the reverb and as a result have an extended trail and subtly changed up sonic quality as well.

Again, this is subtle, but the differentiation ultimately makes for a more engaging listening experience and prevents things from becoming overly monotonous, whether the listener realizes it or not.

The Vocal

The key shift within the section as compared to the preceding verse resides within the nature of the vocal, both in the delivery and the melody as well.

Lines 1 & 2

Line 1: “Make me your Aphrodite”

Line 2: “Make me your one and only”

On these 2 lines the nature of the vocal melody was changed up significantly from that which was defining the preceding verse, which provides engaging contrast between the 2 sections. 2 key points to note:

Notice that Perry’s delivery coupled with the nature of the melody evokes a “witchy spell” type of vibe, which jibes with and accentuates the “make me your…” lyrics. The manner in which she sings these lines evokes the sensation that she’s casting a spell on this guy.

Another new element that has entered into the mix that wasn’t present within the verse is the vocal harmony. This occurs on the syllables “-di-te” in “Aphrodite” and “on-ly” as well. Notice how this provides the vocal, and section as a whole for that matter, with infectious “coloring” that takes the engagement factor for the listener to the next level.

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Line 3

Line 3: “But don’t make me your enemy, your enemy, your enemy”

Notice that the nature of line 3 reverts back to the melody and delivery that defined the preceding verse section of the song. This breaks away from the “spell” type of vibe that defined lines 1 and 2 and instead puts forth a foreboding, dark vibe which perfectly jibes with and accentuates the “warning” nature of the lyrics.

Additionally, notice that there is low-level delayed processing on the first 2 “your enemy’s” which provides the section with enhanced coloring.

Reference the vocal melody section of the report for further details.

Transition Point – Pre-chorus 1 into Chorus 1: Basically turns on a dime with a processed cymbal hit at the transition point in concurrence with the syllable “-my” in “en-e-my.”

Chorus-1 (0:44 – 1:13)

Vocals & Primary Instrumentation Featured In The Mix

PART A

*Synth – 1 (This is the synth from the intro that follows the descending D-flat – C – B- flat – F progression. It’s shifted more toward the bass end of the spectrum within the chorus and is low level within the mix) Primary around 10:00/2:00 but spans the entire mix

*Synth – 3 (Synth Bass – Dark, dull, heavy, brooding and foreboding in nature – mid/up within the mix) 10:00 – 2:00

Lead Vocal (Katy Perry – some reverb and processing, but not as much as other sections within the song – up front within the mix) Primary around 12:00

*”Ahh” Background Vocal (Female – multi-tracked – heavy on the reverb – mid//up within the mix) Primary around 9:00/3:00 but spans the entire mix

*Indicates a new or changed up element that has been added to the mix relative to the preceding section.

PART B

*Synth – 1 (Brighter in nature and more prominent within the mix compared to part A) Primary around 10:00/2:00 but spans the entire mix

Synth – 3 (Synth Bass – Dark, dull, heavy, brooding and foreboding in nature – mid/up within

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*Drums (Kick drives throughout – snare enters toward the tail end – moderate reverb and acoustic in nature – mid/up within the mix throughout – increases in prominence toward the tail end crescendo) Primary around 12:00

*Lead Vocal (Katy Perry – multi-tracked – processed with a tremolo type of effect which provides it with a “quivering” quality – up front within the mix) Spans the entire mix

*”Hey!” Background Vocal (Male – multi-tracked – heavy on the reverb – mid//up within the mix) Primary around 12:00

*Indicates a new or changed up element that has been added to the mix relative to the preceding section.

The first thing that you need to take note of regarding the full chorus is that it’s essentially broken into 2 distinct segments which possess differing qualities. We’ll refer to them as parts A and B moving forward.

Part A possesses more of a dark, simmering, tense nature in contrast to part B, which takes the all of the elements within the MTI equation to a grand peak.

PART A

Directly following the pre-chorus, a few major shifts (vocal and backing music) immediately occur:

The nature of Perry’s lead vocal melody changes from that which was defining the preceding pre-chorus and verse.

A new background vocal element enters the mix that was not present during the preceding sections.

A major shift takes place in the nature of the backing music in comparison to the Trap defined pre-chorus and verse.

Backing Music

The first thing that you’ll notice is that the Trap instrumentation and rhythm that defined the preceding pre-chorus and verse has been done away with.

In its place, the song essentially reverts back to the nature of the intro, albeit in a changed up manner. The D-flat – C – B-flat – F synth reenters the mix at a lower level and is more shifted toward the bass end of the spectrum (i.e. it’s not as bright as it was within the intro).

The synth bass reenters the mix as well, following the same G-flat – D-flat – B-flat – A-flat

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Vocal

Lead Vocal

As previously mentioned, here within chorus part A we have a shift in the nature of the lead vocal melody from that which was defining the preceding sections of the song.

This is covered in-depth within the vocal melody section of the report, but it’s worth noting that its overall characteristics air on the simplistic/repetitive side and is exceptionally infectious, memorable and cleverly constructed as well.

Background Vocal (“Ahh, Ahh”)

This is a new element that has been added to the mix which provides infectious and engaging coloring and texturing to the section as a whole.

Notice how it provides the perfect complement to Perry’s lead vocal without overshadowing it, and also cleverly follows the lead of the synth bass as follows:

The Ascent

Following the synth bass ascension from G-flat to D-flat, the background vocal ascends from E-flat to F.

The Descent

As the synth bass then descends via D-flat – B-flat – A-flat – G-flat, the vocal reverses course in a descent as well.

PART B

Ushered in by a swell that occurs at the tail end of part A, chorus part B provides engaging contrast to the nature of part A via the following:

A pronounced shift in the nature of the backing music that utilizes some of the key elements from part A coupled with new elements that take the section in a different direction.

A key shift in the nature of Perry’s lead vocal delivery.

A new backing vocal element which provides stringent contrast to the element that defined part A.

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Backing Music

Drums

The most pronounced difference that you’ll notice between part A and part B is that part B has introduced drums into the mix, specifically the kick. This has a significant impact on the momentum and intensity within the section via it’s propulsive straight-up quarter note rhythm, ultimately kicking the second half of the chorus into high gear.

Synth 1

Synth 1 possesses qualities that are both in-line with the nature of part A and different as well.

As for the similarities, it’s still following the same progression and is also the same type of synth that was being utilized in part A.

The primary difference is that it’s reverted back to the full bright nature that defined the intro, and is also much higher up within the mix than it was within part A.

Another key point to note is in regard to its level fluctuation throughout the section. Notice when Perry is singing, it drops back a notch so as to not overpower her vocals. In between phrases, however, it’s thrust back up to the forefront of the mix. More on the importance of this quality along with the nature of the progression shortly.

Synth 3 (Heavy/Dark Synth Bass)

The qualities of this synth remain virtually the same throughout chorus parts A and B.

Vocal

Lead Vocal

The most pronounced shift in the nature of the lead vocal in relation to part A resides in its processing and multi-tracking.

First, notice that a tremolo type of effect has been put on the vocal which provides it with a “quivering” type of quality. Second, notice that Perry’s lead now REALLY traverses the entire mix, with the multi-tracking present from 9:00/3:00 on in. This provides her vocal with a much more “grand” effect in relation to part A.

Clever Element

Notice how the nature of Perry’s F – D-flat – C – B-flat vocal melody works in tandem with the repetitive F – D-flat – C – B-flat synth 1 progression within the section. They occur at the same time during each vocal line, and the synth pattern repeats twice in between vocal lines as well.

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Combined, they hammer home that infectious melody into the listener’s head and take the section’s infectious nature to the next level.

Background Vocal

Here’s where we have a complete changeup from that which was defining chorus part A.

The more “serene” and prolonged female “ahh – ahh” vocal that defined part A has been done away with, and in its place we have these short, intense male “hey!” bursts that occur throughout the section. Notice that the frequency of these bursts increase throughout part B as follows:

1 “hey!” occurrence precedes the first and second lines.

2 “heys!“ precede the third line.

5 rapid fire “heys!” precede the final “there’s no goin’ back” line that concludes the section.

The Vibe

Part A

In contrast to the hypnotic groove, “witchy spell” and “seductive warning” natured vibe that defined the pre-chorus, the elements within part A of the chorus shifts gears to provide the following:

The nature of the synth bass (i.e. synth 3) provides an ominous, foreboding and heavy air within the section.

Synth 1 enacts an “incantation” type of vibe, as if the spell has been activated.

Perry’s lead vocal is direct and forthcoming.

The background “ahhh” vocals give the impression of a bunch of Siren’s gathering around helping to cast the spell.

Most importantly, notice how all of the elements above work in perfect tandem with one another in jibing with and accentuating the nature of the lyrics.

Part B

Part B of the chorus takes the overall vibe that was established in part A to the next level via its more intense nature.

Notice how once again all of the elements are working in perfect tandem with one another to

30 / 117 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com accentuate the nature of the lyrics. The driving kick, quivering lead vocal, “hey!” bursts, ominous bass synth and more up front synth 1 provides the feeling that the spell is now in full effect, creating an intense whirlwind of a vibe that brings the “are you ready for…a perfect storm…’cause once your mine…” lyrics to life.

The real kick comes at the tail end, where after this ultra-intense incantation/warning the section comes to an abrupt end followed by the “demonically” processed vocal hook, “there’s no goin’ back.” It’s the ultimate way to convey with heightened gravity “be careful what you wish for!”

Transition Point – Chorus 1 into the Turnaround: Directly following the “there’s no goin’ back” solo demonic vocal at the tail end of the chorus, the short 0:07 turnaround “resets” the song so to speak by reverting back to the nature of the backing music that defined the first verse and pre-chorus within the song (i.e. Trap). The key difference is that a male “demonic” “hey” chant occurs throughout, which further expounds on the song’s overall dark and “witchy” vibe.

Verse-2 (1:20 – 1:35)

The second verse within the song basically reverts back to the nature of verse 1 on all fronts, save for a changeup in the lyrics.

A couple of key points to note:

Perry’s Delivery

Notice how the nature of Perry’s vocal delivery within both the “call” and “response” segments of the section does a fantastic job of really accentuating the seductive, sensual context of the lyrics on lines 1 and 2:

Line 1: “Mark my words / This love will make you levitate”

Line 2: “Like a bird / Like a bird without a cage”

What’s really cool though is that she DOESN’T shift the nature of her delivery on the “warning” lyrics that define line 3:

Line 3: “But down to earth / If you choose to walk away, don’t walk away”

By keeping her seductive/sultry delivery in effect, it manages to heighten the impact of the warning considering that she comes across in a manner like “I know you’re not even going to CONSIDER walking away, so no need to emphasize the point. If you do – the demonic guy at the end of the chorus is going to come and getcha!”

All in all, stating things in an unexpected manner can have much greater impact than going the “expected” route.

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Background Vocal

Notice how the addition of the female “uhhhh” vocal acts to accentuate the seductive and sultry nature of the section following the lyrics “walk away,” while the delay on “walk away” manages to help “fill out” the last part of the section considering that it contains 1 less phrase compared to its counterpart within verse 1:

Verse 1: “I’m capable of anything, of anything and everything”

Verse 2: “If you choose to walk away, don’t walk away”

Transition Point – Verse 2 into Pre-Chorus 2: Essentially the same type of transition that occurred between verse 1 and pre-chorus 1.

Pre-Chorus-2 (1:35 – 1:50)

The second pre-chorus within the song possesses the same general framework as the first time around coupled with the following new elements that have been added into the mix:

An additional low level synth has been added into the mix, panned around 9:00. This provides the section with subtly increased coloring and texturing compared pre-chorus 1.

The backing vocals that occur on the lyrics “ba-by” and “may-by” are much more pronounced and contain additional voices that were not present within pre-chorus As a result, it envelopes the entire mix and comes across much more grand in nature.

In contrast to the first pre-chorus where there was low-level delay on the first 2 “your enemy’s,” here in the second pre-chorus that effect is done away with (or it’s so low within the mix that it’s not audible) and in its place we have an ultra-seductive “uhhh” vocal that occurs after the first 2 “(give it) all to me” phrases. This does a great job of concluding the section on a heightened sensual note, which as you know perfectly jibes with and accentuates the nature of the lyrics as well.

All in all, these differences along with the change up in lyrics from the first pre-chorus (which as a side note isn’t indicative of most pre-choruses) does a fantastic job in taking the engagement factor for the listener to the next level.

Transition Point – Pre-chorus 2 into Chorus 2: Turns on a dime.

Chorus-2 (1:50 – 2:19)

As was the case with the second pre-chorus, the second chorus also possesses the same general framework as chorus 1 but implements the following changes which functions to keep the song as a whole fresh, engaging and exciting for the listener. Note the following:

Perry’s lead vocal in part A is more processed in nature than it was during the first

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chorus and is now multi-tracked with harmony as well which traverses the entire mix. This does a great job of accentuating the coloring and texturing within the section.

The overall levels are hotter this time around, which provides both “parts” with a greater intensity in comparison to the first time around. This is especially evident in part B.

There’s an additional male vocal that occurs during the climax of the section which wasn’t present the first time around. It’s “Rap” nature does a great job of “prepping” the listener for the Rap departure that occurs within the bridge that follows.

So as you can see, there weren’t too many new elements added into the mix in comparison to the first chorus, but the overall intensity of the section has increased which manages to take the excitement level for the listener to the next level. This does a great job of accentuating the overall engagement value for the listener, as opposed to if the section was just a “cookie cutter” version of the first.

Transition Point – Chorus 2 into the Bridge: Same transition that defined chorus 1 going into the transition.

Bridge (Rap) (2:19 – 3:03)

As you know, the purpose of a bridge is to provide a departure and a twist from all of the other sections within the song. This can occur via a shift within the nature of the backing music, vocal delivery, lyrics, or a combination of all 3.

In Dark Horse, the shift occurs primarily from a vocal delivery standpoint (i.e. Juicy J’s Rap), a lyrical standpoint (the story is now told from the guy’s P.O.V. and incorporates the 3rd person for the first and only time within the song), and to a lesser extent via the nature of the backing music.

The characteristics of Juicy’s delivery are covered in-depth within the vocal melody section of the report, and the shifts in momentum, tension and intensity was previously covered within the MTI level section earlier. So here we’ll focus primarily on the shifts in the nature of the backing music within each segment in parts A and B.

Part A

Segment 1 (“She’s a beast…”)

Juicy’s multi-tracked Rap delivery is being imparted over the same Trap natured backing music that defined both verse sections as well as pre-chorus 1.

Segment 2 (“You may fall in love when you meet her…”)

During the second segment of part A, 2 key shifts occur:

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Hats and snare enter into the mix in a prominent manner for the first time within the song, which acts to heighten the engagement factor for the listener.

The backing music is pulled from the mix on the last 2 lyric/syllables on each line, “meet her,” “keep her,” and “freez-er.” This, coupled with the brief rest that follows creates an engaging shift in the nature of the rhythm in relation to segment 1 that preceded it.

Also notice that an additional vocal repeats the last 2 lyrics/syllables of lines as well. The differing nature of the vocal quality each time around manages to keep things fresh and engaging as opposed to if it was just a delayed repeat as we saw with Perry’s vocal earlier within the song.

Segment 3 (“That fairy tale ending…”)

The elements that defined segment 2 remain in effect within the third segment of part A, with 2 primary differences as follows:

The segment runs continuously all the way through. There aren’t any stops and starts as we saw within segment 2.

Notice the rhythmic nature of the snare and hats is subtly differentiated as well, specifically via sped up points with the hats that didn’t occur during the preceding segment. The general framework remains intact, however.

Additionally, notice how the snare works in tandem with the “put her in a coma” vocal at the tail end of the segment, providing the lyrics with increased impact and emphasis. The brief pause followed by the “woo” vocal then acts to bring part A to a conclusion and usher in the departure that occurs within part B that follows.

Part B

Here is where we find the most pronounced departure within the entire bridge. In addition to the shift in Rap style (which is covered later on within the report), notice that the Trap influence that defined part A of the section has been done away with and in its place we find a reversion back to the general nature of the backing music that defined chorus part A:

The general nature of synth 1 essentially retains the same qualities that it possessed within chorus part A, and increases in level as the section progresses.

The nature of the “ominous” synth which follows the G-flat – D-flat – B-flat – A-flat progression possesses a changed up quality from that which defined it within the intro and chorus sections of the song. It now has more in common with the 808 sub-bass than the dark, foreboding qualities elsewhere within the song.

Notice that there is a new “airy” synth/vocal element panned around 9:00 that enters and remains in effect throughout the duration of part B. Not only does this provide

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contrast to all of the other segments within the bridge and the song as a whole for that matter, but it also provides effective coloring and texturing which ultimately makes for a more engaging listening experience.

Ultimately what part B achieves is the following:

It provides a departure from the nature of part A which heightens the overall engagement factor for the listener.

It begins to shift the course of the song away from the Trap natured Rap and back toward the nature of the chorus. To do this, it combines elements from part A of the bridge (i.e. the Rap), elements that defined chorus part A (general nature of the backing music), and new elements as well (the “airy” synth/vocal) which ultimately provide for an infectious and seamless transition back into the revamped chorus part A that follows.

Transition Point – Bridge into Chorus 3: A swell enters the mix at the tail end of the bridge which transitions seamlessly into chorus part A that follows.

Chorus-3 (3:03– 3:31)

Here within the third and final chorus (which also happens to be the final section of the song), we find the excitement and intensity level of the song reaching a climax.

As you’ll see, the general framework of both parts A and B remain intact in order to foster memorability, but new elements are added into the mix as well which provides the listener with infectious contrast which ultimately takes their experience to the next level.

Part A

The first thing that you’ll notice about chorus part A is that while it retains the general framework from that which defined the section during the 2 preceding occurrences within the song, new elements have been added into the mix which provides it with a new twist as follows:

Drums

First and foremost, the kick, which was the driving force within part B during the first and second chorus occurrences, is now in effect at a heightened level at the onset of part A as well.

This manages to both keep the momentum that was driving the preceding bridge going while at the same time taking the overall intensity to the next level as the section, and song for that matter, continues to grow to its grand finale.

Additional Vocal Elements

The multi-tracked nature of the lead vocal remains in effect throughout as it did within the second chorus, but notice that additional vocal elements have been added into the mix as well

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A higher register “so you wanna…” vocal is imparted on top of the lead vocal that defined the preceding chorus section. As a result it immediately kicks the section off with a higher degree of intensity.

The “you should know” additional vocal that occurs over the “boy you should know what you’re fallin’ for” lead acts to both increase the intensity of the section as well as provide additional “coloring,” which takes the infectious, engaging nature of the section to the next level.

During the “payoff” line “’cause “I’m commin’ at you like a Dark Horse,” notice that there’s an additional “Dark Horse” vocal imparted on top which again both takes the intensity to the next level, provides additional coloring, and also reinforces the title lyric within the listener’s head.

Overall Levels

Notice that the overall levels within part A are at a heightened state compared to all of the preceding chorus occurrences within the song. This manages to help take the “excitement” level of the song as well as its intensity to an apex.

Part B

Following another transitional swell which ushers in part B, notice that as was the case with part A the general framework of the section remains constant with the preceding sections of the song, while at the same time introducing new elements which take the intensity and engagement factor for the listener to the next level:

Drums

Notice that the drums are at a significantly increased level compared to the preceding occurrences within the song and possess changed up qualities as well:

As opposed to what sounded as a straight kick during choruses 1 and 2, here within chorus 3 it sounds as if the kick has been combined with the snare to provide a significantly more intense and driving effect.

Notice that there is an infectious rhythmic “flourish” that takes place during the transition between lines within the section. This acts to both heighten the infectious nature of the section, increase the intensity, and also provide effective contrast against the preceding part B’s within the song.

The Dark Synth

Notice that the “dark” synth which follows the ominous G-flat – D-flat – B-flat – A-flat

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Additional Vocal Elements

Notice that Perry repeats the last lyrics on lines 1 and 2 as follows:

Line 1 Lead: “Are you ready for, ready for.” Repeat: “Ready for”

Line 2 Lead: “A perfect storm, perfect storm.” Repeat: “Perfect storm”

Now, notice what happens at the end of line 3. Instead of repeating the full “once your mine” phrase, she bellows out just the lyric “mine” at a high register which takes the intensity of her delivery to its zenith within the song.

Overall Levels

Notice that the overall levels within the section have been pushed to the max, working in tandem with the instrumentation and vocal to bring the intensity to a grand climax. Reference the Waveform section of the report for a pictorial view.

Ending

As was the case within choruses 1 and 2, chorus 3 builds to a rousing crescendo at the tail end, which is followed by the demonic “there’s no goin’ back” solo vocal to conclude.

Two key things to note:

The crescendo this time around is more intense than it was during the preceding sections due both to the overall higher levels within the section as well as Perry’s higher register “miiiiiiiine” bellow. This takes the excitement and intensity levels of the entire song to its grand climax, leaving the listener on an intense high.

Deciding to end the song on the demonic “there’s no goin’ back” vocal was exceptionally clever. Not only does it sum up the premise of the entire song, but it also concludes on an exceptionally infectious and memorable note by leaving the listener with that final hook to resonate within their heads.

All in all, Dark Horse perfectly concludes in a dramatic fashion that leaves the listener wanting more.

Vocal Melody Back to Top

In addition to strong, effective lyrics and evocative backing music, what really hooks the listener

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As you’ll see below, Dark Horse‘s vocal melody makes great use of a combination of repetitive and diverse elements which allows for it to get easily engrained within the listener’s head and remain engaging without becoming overly monotonous.

Additionally, there are a good number of clever and engaging elements/moments to keep an eye out for which helped to put specific sections, and the song for that matter over the top.

GRAPHICAL KEY Blue Line: Lead Vocal Melody Red Diamond: Rest Grey Diamond: Half & Dotted Half Blue Diamond: Quarter & Dotted Quarter Green Diamond: Eighth & Dotted Eighth Yellow Diamond: Sixteenth Note

VERSE

Verse-1

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Verse-2

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Line Reference

Verse 1

Line 1: I knew you were / You were gonna come to me Line 2: And here you are / But you better choose carefully Line 3: ‘Cause I – I – I / I’m capable of anything, of anything and everything

Verse 2

Line 1: Mark my words / This love will make you levitate Line 2: Like a bird / Like a bird without a cage Line 3: But down to earth / If you choose to walk away, don’t walk away

Vocal Range

High: A-flat Low: B-flat

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

As mentioned earlier within the report, each full line within each verse section possesses a “call and response” type structure, and is split into 2 distinct segments:

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The “Call” (Segment 1)

The first segment on each line is quite short in nature, consisting of just 3 to 4 lyrics and syllables as follows:

Verse 1 – Segment 1

Line 1: “I knew you were” (4 lyrics, 4 syllables) Line 2: “And here you are” (4 lyrics, 4 syllables) Line 3: “‘Cause I, I, I” (4 lyrics, 4 syllables)

Verse 2 – Segment 1

Line 1: “Mark my words” (3 lyrics, 3 syllables) Line 2: “Like a bird” (3 lyrics, 3 syllables) Line 3: “We’re down to earth” (4 lyrics, 4 syllables)

The “Response” (Segment 2)

In contrast to the short nature of the first segment, notice that the second segment on lines 1, 2 and 3 are quite lengthy in comparison, close to double the length in terms of syllable count:

Verse 1 – Segment 2

Line 1: “You were gon-na come to me” (6 lyrics, 7 syllables) Line 2: “But you bet-ter choose care-ful-ly” (6 lyrics, 7 syllables) Line 3: “I’m ca-pa-ble of an-y-thing “ (4 lyrics, 8 syllables)

Verse 2 – Segment 2

Line 1: “This love will make you lev-i-tate” (6 lyrics, 7 syllables) Line 2: “Like a bird with-out a cage” (6 lyrics, 7 syllables) Line 3: “If you choose to walk a-way” (6 lyrics, 7 syllables)

The “Response” (Additional Segments)

Following the second segment “response” on line 3 within both verse sections, notice that additional lyrics follow which are “segmented” into very short phrases. Note that this was NOT indicative of lines 1 and 2 within both sections:

Verse 1 – Additional segments

Segment 3: “of an-y-thing” (2 lyrics, 4 syllables) Segment 4: “and ev-’ry-thing” (2 lyrics, 4 syllables)

Verse 2 – Additional segment

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Segment 3: “don’t walk a-way” (3 lyrics, 4 syllables)

The overall differences in terms of segment length WITHIN EACH FULL LINE as we’ve seen above (i.e. “call & response”) does a great job of providing effective contrast, which as you know is a key ingredient in heightening the engagement factor for the listener.

On the other hand, the similar length of “like” segments ACROSS LINES (save for the additional segments on line 3 within both verse sections) does a great of accentuating the ability of the vocal melody to get completely engrained within the listener’s head.

Segmentation Methods

The “call” (segment 1) is segmented from the “response” (segment 2) via the following:

The last lyric/syllable at the end of segment 1on each line possesses a longer duration than the other lyrics on the line (half note).

In most cases, the final lyric/syllable is followed by a rest (eighth or quarter).

As for the “response” on lines 1 and 2 (segment 2), notice that there isn’t any pause (i.e. segmenting) being instituted. Instead, they flow directly into the next “call” line and keep the momentum of the vocal delivery going as a result.

In regard to line 3 within both verse sections, notice that the additional “responses” are segmented from one another via rests as follows:

Verse 1

I’m ca-pa-ble of an-y-thing of an-y-thing and ev-’ry-thing

Verse 2

If you choose to walk a-way don’t walk a-way

The segmentation methods detailed above are not only an integral component to the effectiveness of the rhythmic nature of the section, but they also serve an important role in enabling each segment of the vocal melody to get engrained within the listener’s head by giving it additional time to sink in and resonate.

VERSE SEGMENTATION BREAKDOWN

Verse 1

Line 1 (Full): “I knew you were / You were gon-na come to me”

Word/Syllable Count: 10 words / 11 syllables

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Phrase/Segment 1: “I knew you were”

Word/Syllable Count: 4 words / 4 syllables

Segmentation Method: Last lyric is a half note followed by a Quarter rest

Phrase/Segment 2: “You were gon-na come to me”

Word/Syllable Count: 6 words / 7 syllables

Segmentation Method: None – flows straight through to the next line

Line 2 (Full): “And here you are / But you bet-ter choose care-ful-ly”

Word/Syllable Count: 9 words / 12 syllables

Phrase/Segment 1: “And here you are”

Word/Syllable Count: 4 words / 4 syllables

Segmentation Method: Last lyric is a half note – prolonged in relation to the others

Phrase/Segment 2: “But you bet-ter choose care-ful-ly”

Word/Syllable Count: 5 words / 8 syllables

Segmentation Method: None – flows straight through to the next line

Line 3 (Full): “‘Cause I – I – I / I’m ca-pa-ble of an-y-thing / of an-y-thing / and ev-’ry-thing”

Word/Syllable Count: 12 words / 20 syllables

Phrase/Segment 1: “And here you are”

Word/Syllable Count: 4 words / 4 syllables

Segmentation Method: Last lyric is a half note, followed by an eighth rest

Phrase/Segment 2: “I’m ca-pa-ble of an-y-thing”

Word/Syllable Count: 4 words / 8 syllables

Segmentation Method: Dotted quarter rest

Phrase/Segment 3: “of an-y-thing”

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Word/Syllable Count: 2 words / 4 syllables

Segmentation Method: Dotted quarter rest

Phrase/Segment 4: “and ev-’ry-thing”

Word/Syllable Count: 2 words / 4 syllables

Segmentation Method: Eighth rest

Verse 2

Line 1 (Full): “Mark my words / This love will make you lev-i-tate”

Word/Syllable Count: 9 words / 11 syllables

Phrase/Segment 1: “Mark my words”

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: Last lyric is a half note followed by an eighth rest

Phrase/Segment 2: “This love will make you lev-i-tate”

Word/Syllable Count: 6 words / 8 syllables

Segmentation Method: Eighth rest

Line 2 (Full): “Like a bird / Like a bird with-out a cage”

Word/Syllable Count: 9 words / 10 syllables

Phrase/Segment 1: “Like a bird”

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: Last lyric is a half note followed by a quarter rest

Phrase/Segment 2: “Like a bird with-out a cage”

Word/Syllable Count: 6 words / 7 syllables

Segmentation Method: None – flows straight through to the next line

Line 3 (Full): “But down to earth / If you choose to walk a-way / don’t walk a-way”

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Word/Syllable Count: 13 words / 15 syllables

Phrase/Segment 1: “But down to earth”

Word/Syllable Count: 4 words / 4 syllables

Segmentation Method: Last lyric is a half note, followed by a quarter rest

Phrase/Segment 2: “If you choose to walk a-way”

Word/Syllable Count: 6 words / 7 syllables

Segmentation Method: Dotted quarter rest

Phrase/Segment 3: “don’t walk a-way”

Word/Syllable Count: 3 words / 4 syllables

Segmentation Method: Half + eighth rest

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

As you can see within the graphs and notation above, the overall nature of the vocal melody within both verse sections is exceptionally simplistic and repetitive, which makes for an exceptionally engaging and memorable listening experience.

Notice that the simplicity and repetition IN NO WAY detracts from the overall infectious nature of each verse section. On the contrary, it enhances it and as a result serves the song perfectly.

There are 3 primary characteristics of the vocal melody to take note of, each jibing with and accentuating the nature of the “call & response” theme:

Characteristic #1: The “Call”

This defines the first segment on lines 1, 2 & 3 in both verse sections.

Characteristic #2: The “Response”

This defines the second segment on lines 1, 2 & 3 in both verse sections.

Characteristic #3: “Response” Additions

This defines segments 3 and 4 in the first verse and segment 3 in the second verse.

Characteristic #1: The “Call”

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Segment Beginning & Middle

Verse 1

The first segment on each line of the first verse initially kicks off in the same manner via an infectious, yet very simplistic and straight-forward ascending B-flat – F – A-flat progression utilizing eighth note timing:

Line 1: “I knew you…” Line 2: “And here you…” Line 3: “‘Cause I – I…”

Verse 2

The first segment on each line within the second verse essentially possesses the same flow as their counterpart within the first verse with the primary difference stemming from 1 less lyric/syllable on lines 1 and 2. As a result, theses segments omit the B-flat at the onset, instead beginning on F followed by ascending up to A-flat:

Line 1: “Mark my…” Line 2: “Like a…” Line 3: “We’re down to…” (notice that this line possesses the same characteristics that defined its counterpart within the first verse – specifically that it starts on B-flat and contains 3 lyrics/syllables).

Segment Ending

Now, notice what happens on the last lyric/syllable of the first segment within each line in both verse sections. Following the climb up to A, the progression then descends down to F to conclude.

Also notice that those specific lyrics/syllables are prolonged via a half note duration in relation to the eighth note timing of the lyrics that preceded them.

Combined, these 2 characteristics coupled with the manner in which Perry is singing the lyrics (reference the music/vocal delivery/instrumentation section of the report for details) elicits a seductive quality which provides exceptionally engaging and infectious contrast to the “response” second segment that follows.

Verse 1

Line 1: “…were” Line 2: “…are” Line 3: “…I”

Verse 2

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Line 1: “…words” Line 2: “…bird” Line 3: “…earth”

Characteristic #2: The “Response”

Segment Beginning & Middle

In contrast to the first segment which kicked off with an ascent up to A-flat and concluded with a drop down to F, the second segment on each line begins by either following with another F before proceeding down to E-flat on the lyric that follows (line 3 in the first verse, line 1 in the second verse), or by immediately dropping down to E-flat at the onset (lines 1 and 2 in the first verse, lines 2 & 3 in the second verse).

What follows is a monotone E-flat runs that spans the majority of the segment. With the exception of one lyric (“choose” on line 2 in the first verse, which is a quarter note), notice that each lyric possesses eighth note timing:

Verse 1

Line 1: “You were gonna come…” Line 2: ” But you bet-ter choose care-…” Line 3: ” I’m ca-pa-ble of an-… “

Verse 2

Line 1: ” This love will make you lev-…” Line 2: ” Like a bird with-out…” Line 3: ” If you choose to walk…”

Segment Ending

Following the monotone E-flat run, the second segment on each line is brought to a conclusion via a descending D-flat – B-flat progression on the last 2 lyrics/syllables. Notice that the second to last lyric/syllable consists of an eighth note, but the final lyric/syllable of the segment differs as follows:

Lines 1 & 2 – Both Verse Sections

The last lyric/syllable of the segment consists of an eighth note value and flows continuously through to the line that follows.

Line 3 – Both Verse Sections

The last lyric/syllable consists of a quarter note value and is followed by a rest.

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Characteristic #3: “Response” Additions

Notice what’s going on toward the end of line 3 within both verse sections. Following the monotone run and conclusion that we just saw above, the last 4 notes are then repeated twice in the first verse and once in the second as follows:

Verse 1 (E-flat – E-flat – D-flat – B-flat / Eighth – Eighth – Eighth – Quarter)

End of segment 2: “of an-y-thing”

Segment 3: “of an-y-thing”

Segment 4: “and ev-’ry-thing”

Verse 2 (E-flat – E-flat – D-flat – B-flat / Eighth – Eighth – Eighth – Quarter)

End of segment 2: “to walk a-way”

Segment 3: “don’t walk a-way”

This repetition not only does a great job of getting the melody engrained within the listener’s head, but it also acts as an additional infectious element within the section and provides some much needed contrast against the progression/rhythm that defined lines 1 and 2 which prevents the overall nature of the section from becoming overly monotonous.

REPETITION (How is repetition utilized to get the melody engrained within the listener’s head?)

As you’ve just seen, there is a vast amount of repetition being utilized WITHIN each verse section as well as ACROSS verse sections which accentuates the ability for the vocal melody to get completely engrained within the listener’s head. Note that this includes melodic, rhythmic and syllable count repetition as well. Here’s a recap:

In-Line Repetition

On line 3 , the end of segment 2 and 3 in both verse sections as well as segment 4 within the second verse all follow the same E-flat – E-flat – D-flat – B-flat progression and utilize the same Eighth – Eighth – Eighth – Quarter rhythm.

Cross-Line Repetition

With just some very minor differences, lines 1 and 2 in the first verse essentially follow the same progression and rhythm, as does the first 2 segments on line 3. This is also the case within the second verse as well.

Cross-Sectional Repetition

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Again, with just some very minor differences, the general nature of the progression and rhythm on lines 1 and 2 as well as the first 2 segments on line 3 repeat in essentially the same manner within both verse sections of the song.

Additionally, notice that line 3 in both verse sections provides a departure from the other 2 via the addition of the additional segments, all of which follow the same progression and utilize the same rhythm.

Syllable Repetition

Notice that we have an exact to almost exact syllable count within the “call” and “response” segments as detailed below. This is a primary ingredient in helping to get the vocal melody engrained within the listener’s head in addition to melodic/rhythmic repetition and rhyming schemes.

Verse 1

Segment 1 (The Call)

Each line contains 4 syllables.

Segment 2 (The Response)

The first 2 lines contain 7 syllables, the last line contains 8.

Segment 3 (Response Addition)

4 syllables

Segment 4 (Response Addition)

4 Syllables

Verse 2

Segment 1 (The Call)

The first 2 lines contain 3 syllables, the last line contains 4.

Segment 2 (The Response)

Each line contains 7 syllables

Segment 3 (Response Addition)

4 syllables

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DIVERSIFYING FACTORS (What diversity within the melody is utilized to prevent the repetition from making things too monotonous?)

In order to prevent each verse section, and the song for that matter, from becoming overly monotonous due to all of the repetition that was utilized throughout, the following diversity was implemented to make sure that things were kept fresh and engaging for the listener.

In-Section Diversity

First Verse

Subtle differences:

Segment 2 on the third line kicks off on an F as opposed to an E-flat which was the case on lines 1 and 2.

The lyric “choose” on the second segment of the second line possesses a quarter note value as opposed to an eighth note.

The last syllable at the end of segment 2 on line 3 consists of a quarter note value. This is in contrast to lines 1 and 2, which has the last syllable consisting of an eighth note value.

More pronounced differences:

The third line of the section features 2 additional repetitive segments which did not occur on lines 1 and 2.

Second Verse

Subtle differences:

Lines 1 and 2 kick off on an F, while line 3 begins on a B-flat.

Segment 2 on the first line kicks off on an F as opposed to an E-flat which was the case on lines 2 and 3.

The last syllable at the end of segment 2 on line 3 consists of a quarter note value. This is in contrast to lines 1 and 2, which had the last syllable consisting of an eighth note value.

More pronounced differences:

The third line of the section features 1 additional segment which did not occur on lines 1 and 2.

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Cross-Section Diversity

Aside from the differences mentioned above, the primary difference between both verse sections occurs on the third line. In the first verse, there are 2 repetitive segments that follow at the end of the second segment, while in the second verse there is only 1 additional repetitive segment.

The extra time that is present between the end of the verse and beginning of the pre-chorus as a result is filled up with a low-level “delay” repeat of the lyrics “walk away.”

CLEVER ELEMENTS & WOW FACTORS (Is there anything about the nature of the vocal melody which puts the section, and the song over the top?)

Call & Response Interplay

This is one of the key ingredients that not only makes the verse sections so infectious, engaging and memorable, but the song as a whole as well.

The “call,” via the nature of the progression and prolonged final lyric, accentuates the seductive, dark vibe elicited in Perry’s vocal delivery coupled with providing “colorful” contrast to the monotone run the that follows. Notice that this segment is also heavy on the reverb, which further accentuates the overall seductive, haunting nature of the section and the song for that matter (more on that within the music / vocal / instrumentation section of the report).

The “response” on the other hand is more straight-forward and direct, via its mostly monotone natured progression and repetitive eighth note rhythm (for the most part). This, coupled with the more upfront, unprocessed nature of the vocal provides solid contrast which ultimately makes for an exceptionally infectious and engaging section, despite all of the repetition being utilized.

Clever Phrasing

In order to remain in line with the nature of segment 1 on all lines within both verse sections, notice the clever manner in which Perry sings the lyric “I” on line 3 within the first verse.

She prolongs and stutters the delivery via “I – I – I,” which enables it to fall into the framework of segment 1 across the other lines and as a result keep the repetition, memorablity, and engagement factors intact.

PRE-CHORUS

Pre-Chorus 1

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Pre-Chorus 2

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*Correction: the lyric “up” in “up to me” should be “all.”

Line Reference

Pre-Chorus 1

Line 1: Make me your Aphrodite Line 2: Make me your one and only Line 3: But don’t make me your enemy, your enemy, your enemy

Pre-Chorus 2

Line 1: It’s in the palm of your hand now baby Line 2: It’s a yes or no, no maybe Line 3: So just be sure before you give it all to me, all to me, give it all to me

Vocal Range

High: B-flat Low: B-flat

As you’ll see below, the vocal melody within the pre-chorus initially begins with an infectious departure from the nature of the verse that preceded it, but concludes in a similar manner which brings it full circle as well as sets up the chorus that follows.

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

Here we have a combination of shorter and longer length lines utilized throughout the section. As you’ll see, however, the longer length lines are “segmented” into shorter segments

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Short/Moderately Short Lines

Pre-chorus 1

Line 1: “Make me your Aph-ro-di-te” (7 syllables) Line 2: “Make me your one and on-ly” (7 syllables)

Pre-chorus 2

Line 1: “It’s in the palm of your hand now ba-by” (10 syllables) Line 2: “It’s a yes or no no may-be” (8 syllables)

Longer Length Lines

Pre-chorus 1

Line 3: “But don’t / make me your en-e-my / your en-e-my / your en-e-my” (16 syllables)

Pre-chorus 2

Line 3: “So just be sure / be-fore you give it all to me / all to me / give it all to me” (20 syllables)

Segmentation Methods

In order to make line 3 easier to digest and as a result heighten the memorability factor for the listener, notice that prolonged lyrics and rests are implemented to get the job done:

Pre-chorus 1

Line 3: “But don’t / make me your en-e-my / your en-e-my / your en-e-my” (19 syllables)

The lyric “don’t” is “stretched” past its normal syllable count to possess a dotted half duration and is followed by a quarter rest.

The first “enemy” is followed by a dotted quarter rest.

The second “enemy” is also followed by a dotted quarter rest.

Pre-chorus 2

Line 3: “So just be sure / be-fore you give it all to me / all to me / give it all to me” (16 syllables)

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The lyric “sure” possesses a half note value and is followed by an eighth rest.

The first “me” is followed by a dotted quarter rest.

The second “me” is also followed by a dotted quarter rest.

PRE-CHORUS SEGMENTATION BREAKDOWN

Pre-Chorus 1

Line 1: “Make me your Aph-ro-di-te”

Word/Syllable Count: 4 words / 7 syllables

Segmentation Method: Quarter rest

Line 2: “Make me your one and on-ly”

Word/Syllable Count: 6 words / 7 syllables

Segmentation Method: Eighth rest

Line 3: “But don’t / make me your en-e-my / your en-e-my / your en-e-my”

Word/Syllable Count: 10 words / 16 syllables

Phrase/Segment 1: “But *don’t”

Word/Syllable Count: 2 words / *2 syllables

Segmentation Method: Quarter rest

*This lyric is stretched past it’s normal syllable count via “do-o-on’t.”

Phrase/Segment 2: “make me your en-e-my”

Word/Syllable Count: 4 words / 6 syllables

Segmentation Method: Dotted quarter rest

Phrase/Segment 3: “your en-e-my”

Word/Syllable Count: 2 words / 4 syllables

Segmentation Method: Dotted quarter rest

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Phrase/Segment 4: “your en-e-my”

Word/Syllable Count: 2 words / 4 syllables

Segmentation Method: The last syllable, “-mey” is prolonged via a dotted half value

Pre-Chorus 2

Line 1: “It’s in the palm of your hand now ba-by”

Word/Syllable Count: 9 words / 10 syllables

Segmentation Method: Flows straight through to line 2, although the lyric “baby” is prolonged via a dotted half

Line 2: “It’s a yes or no no may-be”

Word/Syllable Count: 7 words / 8 syllables

Segmentation Method: Prolonged lyric “maybe” (dotted half) followed by an eighth rest

Line 3: “So just be sure / be-fore you give it all to me / all to me / give it all to me”

Word/Syllable Count: 19 words / 20 syllables

Phrase/Segment 1: “So just be sure”

Word/Syllable Count: 4 words / 4 syllables

Segmentation Method: Prolonged lyric “sure” (half note) followed by an eighth rest

Phrase/Segment 2: “be-fore you give it all to me”

Word/Syllable Count: 7 words / 8 syllables

Segmentation Method: Half rest

Phrase/Segment 3: “all to me”

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: Quarter rest

Phrase/Segment 4: “give it all to me”

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Word/Syllable Count: 5 words / 5 syllables

Segmentation Method: The last lyric, “me” is prolonged via a dotted half value

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

In contrast to the majority of the vocal melody that defines the verse sections of the song, here in the pre-chorus, and specifically on lines 1 and 2 within both sections, we find a more “vibrant” and “animated” vocal melody taking place by comparison.

Line 3 within both occurrences, however, essentially reverts back to the nature of the vocal melody that defined the preceding verse.

Let’s first take a look at lines 1 and 2 within both pre-choruses to see their overall characteristics as well as how they compare and differ in nature to one another.

Pre-Chorus 1

Lines 1 & 2

As you can see, in contrast to the verse which featured that lengthy monotone “response” run, here in the pre-chorus the melody is alternating between peaks and valleys which provides it with a more “colorful” nature in comparison.

Essentially, there are 2 key components that define lines 1 and 2:

Component 1

Line 1

“Make me your Aph-ro-…”

Progression: B-flat – F – B-flat – A – E-flat

Rhythm: Quarter – Eighth – Eighth – Quarter – Quarter

Line 2

“Make me your one and…”

Progression: B-flat – F – B-flat – A – E-flat

Rhythm: Quarter – Eighth – Eighth – Quarter – Quarter

As you can see, this component on both lines utilizes the same progression and rhythm.

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Consisting of quarter and eighth notes, it essentially acts to set up the most infectious part of the line as follows:

Component 2

Line 1

“…di-te”

Progression: E-flat – F

Rhythm: Half – Quarter

Line 2

“on-ly”

Progression: E-flat – F

Rhythm: Half – Quarter

Notice that this component also utilizes the same progression and rhythm on both lines as well.

Combined – Components 1 & 2

When you tie both of these components together, it makes for an exceptionally infectious and memorable run. The faster rhythm and descending nature of the B-flat – A – E-flat progression within component 1 enables the more prolonged and ascending nature of component 2 to really stick out and resonate.

To further accentuate this, notice that we also have vocal harmony being implemented within component 2 as well, via C – D-flat.

Pre-Chorus 2

Lines 1 & 2

As you can see in the graphs and notation above, lines 1 and 2 in the second pre-chorus essentially possess the same progression and rhythmic framework as that of the first pre- chorus.

The primary difference occurs at the beginning of each line as follows:

Line 1

There’s a monotone B-flat eighth note lead in via the lyrics “it’s in the.”

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Line 2

Similar to line 1, we have another monotone B-flat eighth note lead in via the lyrics “it’s a.” The primary difference between the two is that line 1 has a 3 note lead in and line 2 has 2 note lead in.

Directly following these lead ins, however, notice that the balance of each line follows in the same manner that was indicative of lines 1 and 2 within the first pre-chorus occurrence within the song.

Line 3

In contrast to lines 1 and 2, notice that the third line of the section essentially reverts back to that which defined line 3 within both verse sections, with some differences being implemented in order to keep things fresh and engaging for the listener (as opposed to repeating it in the exact same manner, which would be a bit too monotonous).

Pre-Chorus 1

Line 3

The first thing to take note of is that the “call and response” nature of the first segment within each line of both verse sections is back in effect:

“But do-o-on’t”

It follows the same B-flat – F – A-flat- F progression and utilizes the same Eighth – Eighth – Eighth – Half rhythm as well.

Segment 2 that follows embarks on the same monotone E-flat run, followed by the D-flat – B-flat descent. We then have an additional E-flat – E-flat – D-flat – B-flat segment just as we did within the verse. What follows, however, is the departure that sets up the chorus that follows.

The Chorus/Payoff Setup

Instead of following with another E-flat – E-flat – D-flat – B-flat segment which was utilized to conclude both verse sections, the final segment of the section repeats the lyrics of the preceding segment but changes up the progression and rhythm as follows:

“Your en-e-my”

F – G-flat – F – D-flat

Eighth – Quarter – Eighth – Dotted Half

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So what we have is the melody going to a higher register than it did within the verse, and concluding on a D-flat as opposed to a B-flat, which acts to heighten the anticipation and suspense for the listener leading into the chorus/payoff that follows (i.e. it doesn’t bring them to a natural conclusion – it leaves them “hanging” so to speak).

Additionally, notice that the second syllable of the section (“en” in “en-e-my”) possesses a quarter note value, as opposed to the eighth which defined its counterpart within the verse sections.

Pre-Chorus 2

Line 3

Line 3 within the second pre-chorus possesses both similar characteristics to its occurrence within the first pre-chorus as well as some key differences as well. Note the following:

It starts out in the same manner (segment 1) via a B-flat – F – A-flat – F progression and Eighth – Eighth – Eighth – Dotted Half timing.

Instead of dropping directly to an E-flat at the onset of the second segment as was the case in the first pre-chorus, it instead drops all the way down to B-flat on the syllable “be-” in “be-fore” followed by leaping back up to E-flat to embark on the monotone run and then back down to D-flat – B-flat to conclude the second segment.

The repetitive segment that follows (“up to me”) differs from the one that occurred in the first pre-chorus in the sense that it’s one lyric short (i.e. if it was going to follow the same progression, you would need to include the lyric “give” as well).

The final segment of the section provides a more pronounced departure relative to its counterpart within the first pre-chorus in the sense that it follows an eighth note driven alternating E-flat – D-flat progression before leaping up to F at the onset of the prolonged “me-e” lyric, followed descending back down to D-flat to conclude. The nature of her delivery here comes across as being more animated than it did during the first pre-chorus occurrence as a result.

REPETITION (How is repetition utilized to get the melody engrained within the listener’s head?)

The following 2 types of repetition were utilized within the pre-chorus in order to get it engrained within the listener’s head:

Cross-Line Repetition

Cross-Sectional Repetition

Once again, note that this includes both melodic AND rhythmic repetition.

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Cross-Line Repetition

Lines 1 and 2 within the first pre-chorus follow the same melody and utilize the same rhythm.

Lines 1 and 2 in the second pre-chorus also follow the same melody and utilize the same rhythm, with just 1 minor difference (an extra note in the lead in).

Cross-Sectional Repetition

Lines 1 and 2 in both pre-choruses essentially utilize the same melody and rhythm EXCEPT for the lead ins.

Line 3 in both sections follows the same general “framework” (i.e. segment 1, segment 2, the repetitive segment 3, and the change-up/lead in to the chorus that follows).

The nature of line 3, segment 1 in both sections utilize the same progression and rhythm.

The nature of line 3, segment 2 in both sections utilize ALMOST the same progression and rhythm.

The nature of line 3, segment 3 in both sections utilize ALMOST the same progression and rhythm.

Line 3 within the pre-chorus possesses the same general framework as line 3 within the verse sections.

DIVERSIFYING FACTORS (What diversity within the melody is utilized to prevent the repetition from making things too monotonous?)

Cross-Line Diversity

Lines 1 and 2 in both pre-choruses differ in nature from line 3 on all levels (i.e. line 3 reverts back to the nature of the intro).

Line 1 in the second pre-chorus contains 1 additional lyric within the lead in compared to line 2 (3 vs. 2).

Cross-Sectional Diversity

Lines 1 and 2 within the second pre-chorus contain the lead in, while lines 1 and 2 within the first pre-chorus don’t.

Line 3 in the second pre-chorus contains a subtle difference in the second and third

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segments compared to the first pre-chorus, and a more significant change up within the final segment of the section that precedes the chorus.

CLEVER ELEMENTS & WOW FACTORS (Is there anything about the nature of the vocal melody which puts the section, and the song over the top?)

Vocal Harmony/Rhythmic & Melodic Contrast (Lines 1 & 2)

As mentioned earlier, the contrast between the last 2 syllables on lines 1 and 2 and the lyrics/syllables that preceded them provide the section with an exceptionally infectious, memorable quality.

Reversion Back To The Verse

Instead of continuing on in a different direction as was the case with lines 1 and 2, the third line of the pre-chorus brings everything full-circle by reverting back to the call and response nature of the verse (specifically line 3) to conclude the section. This does a fantastic job of reinforcing the infectious nature of the section within the listener’s head.

The Final Segment Change-Up

By changing up the nature of the final segment within each pre-chorus occurrence compared to what occurred previously on the line or even at the end of each verse section, it not only added an additional infectious element into the mix, but the diversity also prepared the listener for the shift that was about to occur within the chorus/payoff that follows.

CHORUS

Part A

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Part B

Line Reference

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Part A

Line 1: So you wanna play with magic Line 2: Boy you should know what you’re fallin’ for Line 3: Baby do you dare to do this? Line 4: ‘Cause I’m comin’ at you like a dark horse

Part B

Line 1: Are you ready for, ready for Line 2: A perfect storm, perfect storm Line 3: ‘Cause once you’re mine, once you’re mine Line 4: There’s no goin’ back

Vocal Range

High: D-flat

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Low: B-flat

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

All of the lines within the chorus are moderately short in length, ranging from 6 to 10 syllables.

CHORUS PART A

There are 2 key points to take note of within chorus part A:

Notice that there aren’t any pronounced in-line segmentation methods (i.e. rests) being utilized in any of the lines within the section. With the exception of some prolonged lyrics, each line flows continuously straight through.

Each line except for line 2 is segmented from the line that follows via a lengthy half rest. Line 2 differs in the sense that it ends with a quarter rest. The “space” that these rests create is filled by the background “ah” vocals.

Line 1: “So you wan-na play with mag-ic”

Word/Syllable Count: 6 words / 8 syllables

Segmentation Method: Half rest

Line 2: “Boy you should know what you’re fall-in’ for”

Word/Syllable Count: 8 words / 9 syllables

Segmentation Method: Quarter rest

Line 3: “Ba-by do you dare to do this?”

Word/Syllable Count: 7 words / 8 syllables

Segmentation Method: Half rest

Line 4: “‘Cause I’m com-in’ at you like a dark horse”

Word/Syllable Count: 9 words / 10 syllables

Segmentation Method: Half rest

CHORUS PART B

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Similar to chorus part A, each line within chorus part B runs through without a pause and are segmented from one another via a lengthy rest. And as with the “ah’s” that filled the space within part A, here in part B we have Juicy’s “hey, hey” vocal doing the job.

Additionally, notice the similar syllable count on each line which aids in accentuating the memorability factor for the listener.

Line 1: “Are you read-y for, read-y for”

Word/Syllable Count: 6 words / 8 syllables

Segmentation Method: Dotted half + eighth rest

Line 2: “A per-fect storm, per-fect storm”

Word/Syllable Count: 5 words / 7 syllables

Segmentation Method: Dotted half + eighth rest

Line 3: “‘Cause once you’re mine, once you’re mine”

Word/Syllable Count: 7 words / 7 syllables

Segmentation Method: Whole + quarter rest

Line 4: “There’s no go-in’ back”

Word/Syllable Count: 4 words / 5 syllables

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

As you’ll see, the nature of the progression and rhythm utilized throughout the chorus leans on the simplistic/repetitive side, which makes it very easy for the listener to connect and remember.

That’s not to say that it isn’t completely infectious, however. Remember – this song was written by an all-star team of hitmakers. Enough said!

Let’s now take an individual look at parts A and B considering their diverse nature.

PART A

Chorus part A consists of the following 4 lines:

Line 1: So you wanna play with magic?

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Line 2: Boy you should know what you’re fallin’ for Line 3: Baby do you dare to do this? Line 4: ‘Cause I’m comin’ at you like a dark horse

Looking at the graphs and notation above, you can see that there are both repetitive characteristics as well as core differences that appear throughout the section.

Lines 1 and 2 function as 1 full “line grouping,” as do lines 3 and 4 as well.

Additionally, the lines above that contain the same font color possess similar qualities to one another (i.e. lines 1 & 3 as well as 2 & 4).

Simplicity

The key commonality that all of the lines share is that they are exceptionally simplistic in nature and posses a very limited vocal range. The majority reside in just 3 notes – D-flat, A-flat and C.

Notice that the tail end of lines 2 and 4 differ just a bit by throwing one more note into the mix, a B-flat which brings each full line grouping to a conclusion.

Let’s first start with lines 1 and 3 considering their virtually identical nature. Note that these lines begin each full “group.”

LINES 1 & 3

Monotone “Platforms”

In contrast to the pre-chorus that preceded it which featured a more “vibrant” vocal melody, notice that lines 1 and 3 in the chorus possess a “platform” monotone nature, with the first platform residing in D-flat and the second residing in A-flat.

Not only does this provide engaging, infectious contrast to the pre-chorus at the onset of the chorus, but it also does the same in comparison to chorus part B that follows. More on that in a bit…

First Half (Segment 1)

Notice that lines 1 and 3 both kick off with a eighth note monotone D-flat delivery on the first 4 syllables as follows:

Line 1

“So you wan-na…”

Line 3

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“Ba-by do you…”

Again, this progression on line 1 provides strong contrast to the nature of the pre-chorus, and as a result hooks the listener deeper into the song (i.e. it further captures their attention).

Additionally, the same progression on line 3 acts to enhance the memorability factor for the listener due to the repetition being utilized.

Second Half (Segment 2)

Following the monotone D-flat eighth note run above, notice what happens next. The following lyric on each line (“play” on line 1 and “dare” on line 2) is accentuated via the leap up to A-flat coupled with its prolonged nature (quarter note) relative to the eighth note that preceded it.

The progression then embarks on another monotone natured run (this time in A-flat), but notice that the nature of the rhythm has been changed up. Instead of the all Eighth note delivery, here we have a Quarter – Eighth – Quarter – Dotted Quarter rhythm. Notice how this, along with the higher register of the “platform” provides increased coloring, emphasis and intensity to the second half of the line in relation to the first.

Lyrical Accentuator

What’s really clever and effective about these 2 platform progressions is how they interrelate from a lyrical standpoint as well. Note the following:

Line 1

First Half (D-flat): “So you wan-na”

Question: So you wanna what?

Second Half (A-flat): “play with magic”

Answer: Play with magic.

Line 3

First Half (D-flat): “Ba-by do you”

Question: baby do you what?

Second Half (A-flat): “dare to do this”

Answer: dare to do this.

As you can see, the nature of the progression and rhythm that defines the first half of the line

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LINES 2 & 4

As was the case with lines 1 and 3, notice that lines 2 and 4 are also contain 2 “platform” segments. The key difference is that lines 2 and 4 are NOT identical in nature from both a progression and rhythmic standpoint, which was the case with lines 1 and 3.

Additionally, notice that lines 2 and 4 also contain a third segment as well which provides a departure to conclude part A of the section.

First & Second Thirds (Segments 1 & 2)

The first commonality between lines 2 and 4 that we need to take note of is that they both revert back to the D-flat and A-flat “platform” progressions that we saw on lines 1 and 3 that preceded them. Notice however that line 2 contains 3 notes in each platform level, while line 4 contains 4:

Platform 1 (D-flat)

Line 2

“Boy you should”

Line 4

“‘Cause I’m com’in”

Platform 2 (A-flat)

Line 2

“know what you’re”

Line 4

“at you like a”

Now, from a rhythmic standpoint, this is where segments 1 and 2 on lines 2 and 4 part ways. Note the following:

Line 2

Both platforms utilize a Quarter – Eighth – Eighth rhythm.

Line 4

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Both platforms utilize an Eighth – Eighth – Eighth – Eighth rhythm.

Final Third (Segment 3 & Group/Part A Conclusion)

Following the A-flat run that defined the second segment on both lines, notice the first lyric that follows drops all the way down to C to begin the final segment of chorus part A. Note the following:

Line 2 (“fallin’ for”)

“Fallin’”

The lyric “fall-in’” is sung via 2 C notes, and consists of a Quarter – Eighth rhythm.

“For”

In contrast to the monotone C delivery of the lyric “fallin’,” notice that the final lyric of the line, “for,” is provided with an infectious splash of color via the manner in which its sung. It’s prolonged past its normal syllable count via “fo-o-or” over a D-flat – C – B-flat progression utilizing a Sixteenth – Sixteenth – Quarter rhythm. Additionally, by concluding on B-flat, it brings the “line grouping” to a natural resolve.

Line 4 (“Dark Horse”) ***TITLE LYRIC***

Similar to what we just saw on line 2, there’s an initial drop down to C on the lyric “dark,” which is then followed by “hor-se” which is also prolonged past its normal syllable count via C – B-flat.

Now, as you’ve by now noticed, this is the ONLY TIME within the entire section where the title lyric appears. Because of this, it’s EXCEPTIONALLY important to make sure that it’s accentuated and stands out relative to the other lyrics on the line. The title lyrics need to completely connect with the listener and get engrained within their head. Here is how it was done:

Melodic Progression

The drop down to C provides contrast to the A-flat run that preceded it.

Rhythm

Equally important, if not more so, is the shift that occurs in the nature of the rhythm. The 8 notes that preceded it (“‘Cause I’m comin’ at you like a”) were all sung with an Eighth note rhythm. In contrast, the title lyric slows things down via a Dotted Quarter – Eighth – Quarter rhythm on “Dark Hor-se.” This enables it to further stand out and resonate relative to the lyrics that preceded it.

Additionally, notice that it concludes on B-flat, which brings the line, and part A as a

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whole to a full resolve.

Lyrical Accentuator

As was the case on lines 1 and 3, notice how these platforms/segments also cleverly interrelate lyrically as well:

Line 2

First third (D-flat): “Boy, you should “

Question: Boy, you should what?

Last two-thirds (A-flat and on…): “know what you’re fallin’ for”

Answer: know what you’re fallin’ for.

Line 4

First two-thirds (D-flat & A-flat): “‘Cause I’m comin’ at you like a “

Question: You’re coming at me how?

Last two-thirds (C – B-flat): “Dark Horse”

Answer: Like a Dark Horse

Considering that we have the third segment here which wasn’t present on lines 1 and 3, notice that line 2 had the setup in the first third followed by the answer in the last two-thirds, while line 4 did the opposite by providing the setup on the first two-thirds followed by the answer on the last third. Notice why, though. It’s setting up the title lyrics!

PART B

Chorus part B consists of the following lines:

Line 1: Are you ready for, ready for Line 2: A perfect storm, perfect storm Line 3: ‘Cause once you’re mine, once you’re mine Line 4: There’s no goin’ back

Contrast

The first thing that you’ll notice about part B relative to part A is the contrast between the 2 sections, both from a rhythmic and melodic standpoint.

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Where part A primarily consists of monotone natured “platform” progressions, part B consists of repetitive leaps followed by descending progressions.

Where part A varied in the nature of its rhythm throughout parts of the section, part B features a repetitive Eighth – Eighth – Quarter rhythm throughout.

This contrast takes the infectious, engaging nature of the chorus as a whole to the next level, without compromising its ability to get fully engrained within the listener’s head.

Lines 1 – 3

Line 1 (“Are you read-y for, read-y for”)

Progression: D-flat – D-flat – D-flat (Octave Up) – C – B-flat – D-flat – C – B-flat

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

Line 2 (“A per-fect storm, a per-fect storm”)

Progression: F – D-flat – C – B-flat – D-flat – C – B-flat

Rhythm: Eighth – Eighth – Eighth – Quarter – Eighth – Eighth – Quarter

Line 3 (“‘Cause once you’re mine, once you’re mine”)

Progression: F – D-flat – C – B-flat – D-flat – C – B-flat

Rhythm: Eighth – Eighth – Eighth – Quarter – Eighth – Eighth – Quarter

Cross-Line Repetition

Notice that each line follows the same general melodic and rhythmic framework, with lines 2 and 3 being identical in nature.

Cross-Line Diversity

The only diversity occurs at the onset of the section within the first line as follows:

It starts on a D-flat as opposed to an F, which is indicative of lines 2 and 3.

It includes an extra lyric/note at the onset.

In-Line Repetition & Diversity

As you’ve by now noticed, the name of the game in chorus part B is repetition. Not only is each line similar or identical in nature, but we also have rhythmic, melodic and even lyrical

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There is some subtle diversity, however, which is just enough to prevent the section from becoming overly monotonous. Note the following:

Line 1 (“Are you read-y for, read-y for”)

Repetition: “read-y for / read-y for”

D-flat – C – B-flat progression on each segment.

Eighth – Eighth – Quarter rhythm on each segment.

Diversity: “Are you”

These 2 lyrics kick the line off and do not repeat a second time around.

Line 2 (“A per-fect storm, a per-fect storm”)

Repetition: “per-fect storm / per-fect storm”

D-flat – C – B-flat progression on each segment.

Eighth – Eighth – Quarter rhythm on each segment.

Diversity: “A”

This lyric kicks the line off and doesn’t repeat a second time around.

Line 3 (“‘Cause once you’re mine, once you’re mine”)

Repetition: “once you’re mine / once you’re mine”

D-flat – C – B-flat progression on each segment.

Eighth – Eighth – Quarter rhythm on each segment.

Diversity: “‘Cause”

This lyric kicks the line off and doesn’t repeat a second time around.

So as you can see, as subtle as the diversity is within each segment on each line, it’s just enough to keep things fresh and engaging. That, coupled with the fact that part B only lasts for around 0:15, prevents the listener from ever having the chance to get “bored.”

The Section Concluder: “There’s no goin’ back”

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Directly following Perry’s “once your mine” vocal, we find a major shift taking place that acts to bring the chorus to a conclusion.

As opposed to a Perry vocal, we find a very heavily processed lower register male vocal narrate the “there’s no goin’ back” line via an all eighth note delivery. This concludes the section on an ultra-infectious note that provides substantial contrast to the nature of the vocal melody that preceded it. As a result, it completely stands out and resonates with the listener, functioning as an additional hook.

REPETITION (How is repetition utilized to get the melody engrained within the listener’s head?)

Here’s a brief recap of the repetition utilized throughout both parts of the chorus which enables it to get fully engrained within the listener’s head:

Part A

Segments (platforms) 1 & 2 on all 4 lines follow a very similar melodic progression.

Platform 1 on lines 3 and 4 both utilize an eighth note rhythm and follow the same progression as well.

Segment 3 on lines 2 and 4 both drop to a C and conclude on B-flat to bring the line grouping/section to a resolve.

Lines 1 and 3 repeat in the same exact manner, both from a progression and rhythmic standpoint.

Segments 1 and 2 on each line contains the same number of notes. This is also the case across segments 1 and 2 within lines 3 and 4 (each segment contains 4 notes).

Part B

Each line utilizes the same general melodic and rhythmic framework.

Lines 2 and 3 repeat in the same exact manner, both from a progression and rhythmic standpoint. This is also the case with the majority of line 1 as well.

The last 2 lyrics on each line repeat in the same exact manner

DIVERSIFYING FACTORS (What diversity within the melody is utilized to prevent the repetition from making things too monotonous?)

What follows is a brief recap of the diversity utilized throughout which keeps the section as a whole fresh and engaging for the listener by providing a counter to all of the repetition that was

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Part A

Group 1 (Lines 1 & 2)

The first segment (platform) on each line utilizes a differing rhythm.

This is also the case with the second platform as well.

Segment 1 on both lines as well as segment 2 contain a different number of lyrics/notes.

Segment 3 on line 2 provides a departure from the nature of the all of the other segments across all lines.

Group 2 (Lines 3 & 4)

The second segment (A-flat platform) on each line features a different rhythm.

Segment 3 on line 2 provides a departure from the nature of the all of the other segments across all lines.

Group 1 Vs. Group 2

Lines 2 and 4 feature a differing note count in each segment (3 vs. 4), and feature a different rhythm as well.

Segment 3 on lines 2 and 4 features a changed up progression, syllable count and rhythm.

Part B

Line 1 contains an additional lyric and starts on D-flat as opposed to F, which defines all of the other lines.

The second segment on each line forgoes the first lyric that kicked the line off (i.e. “are you ready for / ready for”).

Part A vs. Part B

Both feature a completely changed up nature from one another.

CLEVER ELEMENTS & WOW FACTORS (Is there anything about the nature of the vocal melody which puts the section, and the song over the top?)

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Melodic/Lyrical Interplay (Part A)

The manner in which the “platform” progressions are utilized to provide infectious coloring to the section coupled with the manner in which they interact with the lyrics is exceptionally effective.

Infectious Contrast

The contrast between parts A and B takes the engagement factor of the entire section to the next level.

D-flat – C – B-flat Progression (Part B)

The repetitive, simplistic and most of all infectious nature of this progression works in perfect tandem with the nature of Perry’s delivery, the backing music and the lyrics in taking the tension and intensity level of the section to an apex in a very memorable manner.

BRIDGE

Here within the bridge is where Juicy J has his time to shine. The key point to take note of is that the section is RAPPED, not SUNG.

Because of this, it comes down to the nature of the rhythm (coupled with rhyming schemes which will be discussed within the lyric section of the report) which makes it so infectious, engaging and memorable.

Before we get started, here’s a recap of how the bridge is structured:

Part A

Consists of 3 individual segments, each of which is different in terms of Juicy’s rap style.

Part B

Consists of 1 primary rap style.

Key Magenta Font: Sixteenth Note Green Font: Eight Note Blue Font: Dotted Eighth & Quarter

PART A

SEGMENT 1

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Uh Line 1: She’s a beast I call her Kar-ma Line 2: She eat your heart out like Jef-frey Dahmer Line 3: Be care-ful try not to lead her on Line 4: Shaw-ty heart is on ster-oids cause her love is so strong

Lines 1 – 3

Nature of the rhythm

Notice that with the exception of 1 lyric, “heart” (quarter note), lines 1 – 3 all follow an eighth note rhythm.

Segmentation

In order to make the nature of the rap infectious and engaging considering the repetitive eighth note delivery, it comes down to strategically placed rests to get the job done.

As you can see, a rest is implemented midway through and at the end of each line. This achieves the following:

It keeps individual lyrical segments short (3 to 6 syllables), which makes it easy for the listener connect and remember.

The rests act to cleverly heighten the anticipation for the second segment on each line and provide it with increased impact when it hits. For example, on line 2 “she eat your heart out” is followed by a rest that sets up the payoff, “Jeffrey Dahmer.” This is also the case with “be careful,” where the rest enables it to resonate with greater impact, and is then followed with what you need to be careful in not doing (i.e. “try not to lead her on”).

Clever Phrasing

Getting back to the lyric “heart,” notice that by it possessing a prolonged nature relative to the other lyrics on the preceding lines enables it to further stand out and resonate. On its own, “eat your HEART out” is a strong line, but when you tie it in with the cannibal serial killer, Jeffery Dahmer, it takes on increased significance and impact.

Line 4

Here we find the primary departure from the nature of the 3 lines preceding lines which provides effective, engaging contrast within the section. Note the following:

Nature Of The Rhythm

In contrast to the eighth notes which defined the vast majority of lines 1 – 3, here on line 4 we

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Segmentation

Notice that there isn’t a rest being implemented within the line. Instead, it flows straight through and is quite lengthy with 13 syllables.

Clever Phrasing

Specifically take note of the lyric “ster-oids,” where each syllable consists of a dotted eighth value. Not only does this briefly slow down the vocal delivery within the section to enable it to sink in with the listener, but it also provides that particular powerful lyric with increased impact and emphasis as well.

SEGMENT 2

Line 1: You may fall in love when you meet her Line 2: If you get the chance you bet-ter keep her Line 3: She’s sweet as pie but if you break her heart she turn cold as a freez-er

Lines 1 & 2

Nature Of The Rhythm

In contrast to the first 3 lines in segment 1 which were defined primarily by an eighth note delivery, here within the first 2 lines of the second segment we find a sped up delivery in places via the use of sixteenth notes.

Segmentation

One of the most pronounced shifts between segments 1 and 2 which significantly affects the nature of the rhythm resides in where the rests are being implemented.

In contrast to the first segment where there were 2 rests per line on lines 1 – 3 which created relatively short phrases (3 to 6 syllables), here in the second segment the rest occurs solely at the end of the line. As a result, each full line runs all the way through without a pause, consisting of 9 to 10 syllables – which is significantly longer in comparison.

Also notice that the rests are shorter in duration than they were within the preceding segment. Instead of utilizing dotted quarter rests at the end of each line, here we find eighth rests being implemented, which keeps the overall flow of the segment moving at a faster pace in comparison.

Line 3

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Just as was the case with the final line within the first segment, here in the second segment we find the last line being much longer in comparison to the 2 lines that preceded it, in this case consisting of 17 syllables.

As you can see, there aren’t any rests being implemented within the line to break things up. As a result, the line possesses a pretty much continuous flow throughout utilizing primarily eighth and sixteenth notes.

Notice however that 2 key lyrics on the line (“pie” and “heart”) possess a quarter note value, which acts to subtly break up each phrase via their prolonged nature. This both provides the line with a more engaging flow (as opposed to if they were eighth or sixteenth notes) and also helps to get the line engrained within the listener’s head as a result. Here’s how the line breaks down with the quarter notes:

“She’s sweet as pie / but if you break her heart / she turn cold as a freez-er”

So as you can see, the strategic placement of quarter notes works in conjunction with the lyrics as well. It breaks them into individual phrases as opposed to just being randomly placed throughout.

SEGMENT 3

Line 1: That fair-y tale end-ing with a knight in shin-y ar-mor she can be my Sleep-in’ Beau-ty I’m gon’ put her in a co-ma Woo!

As for the third, and last segment within part A, notice that once again we have a major shift in the nature of the delivery.

With the exception of one lyric, “tale,” each syllable on the entire line is rapped with an eighth note delivery without any pause (rest) being implemented throughout.

As a result, 30 syllables are sung without a stop which makes for the longest line so far within the section.

That’s not to say that it isn’t effective, though. The uniform nature of the rap throughout provides the segment with an engaging rhythmic groove that works in perfect tandem with the nature of the backing music.

PART B

Along with the nature of the backing music, here in part B we find the most profound shift taking place in regard to the nature of Juicy’s rap.

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SEGMENT 1

Line 1: Damn I think I love her Line 2: Shaw-ty so bad Line 3: I’m sprung and I don’t care Line 4: She got me like a roll-er coast-er turn the bed-room in-to a fair

Nature Of The Rhythm

Let’s first take a look at lines 1 and 2. Compared to all of the other lines within the section, they possess the fastest flow (i.e. primarily sixteenth notes), and as a result provide stringent contrast and diversity in relation to all of the other lines within the section.

Lines 3 and 4 that follow on the other hand slow the pace down a bit by reverting back to a mostly eighth note delivery.

Segmentation

Notice that the first 3 lines of the segment revert back to the short bursts that defined segment 1 in part A, with lines 1 and 3 consisting of just 6 syllables and line 2 consisting of 4.

Lines 1 and 2 are briefly segmented from one another via an eighth and sixteenth rest, respectively, while line 3 differs in the sense that no rest is implemented, and instead the lyric “care” is prolonged in relation to the others via a Dotted Eighth value. This segmentation as you know accentuates the ability for each short phrase to connect and get engrained within the listener’s head.

As for the last line of the segment (line 4), notice that as was the case with the segments that preceded it that it’s the longest line within the segment (17 syllables) and runs straight through without a pause.

This structural repetition again helps to get the full section engrained within the listener’s head.

Segment 2

Her love is like a drug I was try-na hit it and quit it but lil’ ma-ma so dope I messed a-round and got ad-dict-ed

The first thing that you should take note of is that along with the final segment in part A, this line/segment, which concludes part B, is also by far the longest compared to all of the other lines within the section (30 syllables).

Second, notice that there aren’t any rests being implemented on the line, as was the case in part A. Instead, we have some interspersed quarter notes on the lyrics “drug” and “so” which act to briefly slow down the primarily eighth note pace to enable portions of the line to connect

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Overall, the similarity with its corresponding segment in part A provides familiarity within the section, which as you know accentuates the engagement and memorability factors for the listener.

Lyrics Back to Top

*Note: The word/syllable count section now appears within the vocal melody section of the report.

LYRIC TYPES This section highlights the types of lyrics and phrases used throughout each section of the song. Notice that some of the lyrics and phrases appear in more than one category.

Detail/Imagery Lyrics & Phrases (These lyrics “paint a picture” in your mind and provide detail as to what’s happening within the story, literally, metaphorically, or both)

The vast majority of the lyrics within Dark Horse feature non-imagery related detail that depicts what’s going on within the story. Reference the Storyline & Flow section of the report for details.

What follows is the handful of imagery laden detail that appears throughout, both literally and metaphorically. Notice that the majority occurs within Juicy’s Rap during the bridge.

Examples include:

Verse 1

None

Verse 2

Like a bird

Like a bird without a cage

Pre-Chorus 1

None

Pre-Chorus 2

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It’s in the palm of your hand

Chorus

Dark Horse

A perfect storm

Bridge

She eats your heart out

Shawty heart is on steroids

Sweet as pie

She’ll turn as cold as a freezer

Knight in shiny armor

She ride me like a roller coaster

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

Examples include:

Verse 1

You were gonna come to me (wherever that specific place may be)

And here you are (with her)

Verse 2

But down to earth (place – metaphorically speaking)

If you choose to walk away, don’t walk away (leaving a place)

Pre-Chorus 1

None

Pre-Chorus 2

It’s in the palm of your hand (place – metaphorically speaking)

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Chorus

‘Cause I’m comin’ at you like a dark horse (moving toward a place)

‘Cause once you’re mine, once you’re mine (relates to future time)

There’s no going back (place / time)

Bridge

You may fall in love when you meet her (relates to future time)

Turn the bedroom into a fair (place)

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)

The majority of lyrics/lines within Dark Horse possess an emotional driven context coupled with informing the listener of the state of mind of characters within the story.

Examples include:

Intro

Let’s rage

Verse 1

You better choose carefully

I’m capable of anything

Verse 2

This love will make you levitate

If you choose to walk away, don’t walk away

Pre-Chorus 1

Make me your Aphrodite

Make me your one and only

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Don’t make me your enemy, your enemy, your enemy

Pre-Chorus 2

It’s in the palm of your hand now baby

It’s a yes or no, no maybe

So just be sure before you give it all to me

Chorus

Boy, you should know what you’re fallin’ for

Baby do you dare to do this?

‘Cause I’m comin’ at you like a dark horse

Are you ready for, ready for

A perfect storm, perfect storm

‘Cause once you’re mine, once you’re mine

There’s no going back

Bridge Basically the entire section possesses emotional and frame of mind based lyrics. Reference the Story Flow & Meaning section of the report for a full rundown.

Some examples include:

Be careful, try not to lead her on

Shawty heart is on steroids ’cause her love was so strong

You may fall in love when you meet her

She’s sweet as pie but if you break her heart

She’ll turn cold as a freezer

Damn I think I love her

Her love is like a drug

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

Verse 1

You were gonna come to me

But you better choose carefully

Verse 2

This love will make you levitate

If you choose to walk away, don’t walk away

Pre-Chorus 1

Make me your Aphrodite

Make me your one and only

Pre-Chorus 2

So just be sure before you give it all to me

Chorus

So you wanna play with magic

‘Cause I’m comin’ at you like a dark horse

Bridge

She eats your heart out

You may fall in love when you meet her

She’s sweet as pie but if you break her heart

she’ll turn cold as a freezer

I’m gon’ put her in a coma

She ride me like a roller coaster

I was tryna hit it and quit it

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I messed around and got addicted

Character Lyrics & Phrases (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

As you’ll see below, the verse, pre-chorus and chorus sections are all communicated in the first and second person, while the bridge adds the third person into the mix as well.

Also note the specific references that appear within the section, including:

Dark Horse Aphrodite Boy Baby Beast Jeffrey Dahmer Shawty Knight Sleeping Beauty ‘Lil mama

Intro

Yeah Ya’ll know what it is Katy Perry Juicy J, aha. Let’s rage

Verse 1

I knew you were You were gonna come to me And here you are But you better choose carefully ‘Cause I-I-I, I’m capable of anything Of anything and everything

Pre-Chorus 1

Make me your Aphrodite

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Make me your one and only Don’t make me your enemy, your enemy, your enemy

Chorus

So you wanna play with magic Boy, you should know what you’re fallin’ for Baby do you dare to do this? ‘Cause I’m comin’ at you like a dark horse

Are you ready for, ready for A perfect storm, perfect storm ‘Cause once you’re mine, once you’re mine There’s no going back

Verse 2

Mark my words This love will make you levitate Like a bird Like a bird without a cage But down to earth If you choose to walk away, don’t walk away

Pre-Chorus 2

It’s in the palm of your hand now baby It’s a yes or no, no maybe So just be sure before you give it all to me All to me, give it all to me

Bridge (Rap)

Uh She’s a beast I call her Karma (come back) She eats your heart out Like Jeffrey Dahmer (woo)

Be careful Try not to lead her on Shawty heart is on steroids ‘Cause her love was so strong

You may fall in love when you meet her If you get the chance you better keep her

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She’s sweet as pie but if you break her heart She’ll turn cold as a freezer

That fairy tale ending with a knight in shiny armor She can be my Sleeping Beauty I’m gon’ put her in a coma Woo!

Damn I think I love her Shawty so bad I’m sprung and I don’t care She ride me like a roller coaster Turn the bedroom into a fair

Her love is like a drug I was tryna hit it and quit it But lil’ mama so dope I messed around and got addicted

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.

Key Red Font: Cross-line rhyming Blue Font: In-line rhyming Green Font: Repetitive lyrics

Verse 1

Line 1: I knew you were / You were gonna come to me Line 2: And here you are / But you better choose carefully Line 3: ‘Cause I – I – I / I’m capable of anything, of anything and everything

Here in the first verse we have a combination of in-line and cross-line rhyming as well as repetitive lyrics as follows:

“You”

This lyric not only repeats within a particular line, but provides cross-line rhyming/repetition as well:

The lyric “you” occurs in both segments (i.e. call and response) on the first line.

The lyric “you” also occurs in both segments on the second line as well.

The lyric “choose” on the second line also rhymes with “you.”

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“e & y“

These vowels connect lines 1 and 2 together via “me“ and “carefully“ at the end of both lines, as well as “everything” and “anything” in line 3.

Notice that the lyrics of “anything” repeat twice on line 3.

There’s also rhyming that occurs via “-ything” in the second segment of the third line via “anything“ and “everything.”

Verse 2

Line 1: Mark my words / This love will make you levitate Line 2: Like a bird / Like a bird without a cage Line 3: But down to earth / If you choose to walk away, don’t walk away

Here in the second verse notice that there’s a rhyming scheme that occurs within the first segment across all 3 lines (i.e. the “call”) as well as in the second segment across all 3 lines as well (the “response”).

Additionally, we also have repetition of the lyrics “walk away” on the third line, similar to “of anything” and “everything” in verse 1.

“or,“ “ir” and “ear“

The last lyric within the first segment of each line rhymes (“words, bird, earth“)

“a“

The last lyric within the second segment of each line rhymes (“levitate, cage, away“)

“walk away“

These lyrics repeat within the final segment on line 3.

Pre-Chorus 1

Line 1: Make me your Aphrodite Line 2: Make me your one and only Line 3: But don’t make me your enemy, your enemy, your enemy

Here we have a combination of in-line lyrical repetition, in-line rhyming, and cross-line rhyming.

“Make me your“

Kicks off lines 1 and 2 and appears on line 3 as well.

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“e” and “y“

The “e – e” rhyming combo on line 1 via “me” and “Aphrodite.” The “e – y” rhyming combo on line 2 via “me” and “only.” The “e – y” rhyming combo on line 3 via “me” and “enemy” x 3. Cross-line rhyming via “e – y” on all 3 lines above.

Pre-Chorus 2

Line 1: It’s in the palm of your hand now baby Line 2: It’s a yes or no, no maybe Line 3: So just be sure / before you give it all to me, all to me, give it all to me

In the second pre-chorus, there’s a combination of cross-line rhyming and lyrical repetition as well.

“It’s“

Kicks off lines 1 and 2.

“-aby“

Concludes lines 1 and 2 via “baby” and “maybe.”

“give it all to me” / “all to me“

Repeats 3 times back to back on line 3.

“e“

Occurs at the end of lines 1, 2, and within all of the “me‘s” on line 3.

Chorus

PART A

Line 1: So you wanna play with magic Line 2: Boy you should know what you’re fallin’ for Line 3: Baby do you dare to do this? Line 4: ‘Cause I’m comin’ at you like a dark horse

Here in part A of the chorus we have a rhyme occurring at the end of lines 1 and 3 as well as 2 & 4 as follows:

“i”

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“Magic” at the conclusion of line 1rhymes with “this” at the end of line 3. Notice that the “i” is also prolonged in relation to the other lyrics, which accentuates the nature of the rhyme.

“or”

“for“ at the conclusion of line 2 rhymes with “horse” at the end of line 4.

PART B

Line 1: Are you ready for, ready for Line 2: A perfect storm, perfect storm Line 3: ‘Cause once you’re mine, once you’re mine Line 4: There’s no goin’ back

Here in chorus part B we have cross-line rhyming as well as lyrical repetition utilized throughout.

“or“

“For“ in the middle and end of line 1 rhymes with “storm” which occurs at the middle and end of line 2. Also notice that it ties in with “for“ and “horse” in part A as well.

“ready for“

Occurs twice back to back on line 1.

“perfect storm“

Occurs twice back to back on line 2.

“once your mine“

Occurs twice back to back on line 3.

Bridge

PART A

Segment 1

Uh Line 1: She’s a beast / I call her Kar-ma (come back) Line 2: She eats your heart / out / like Jef-frey Dah-mer (woo)

Line 3: Be care-ful / try not to lead her on Line 4: Shaw-ty heart is on ster-oids cause her love was so strong

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Here in the first segment of the bridge we have cross line rhyming occurring as follows:

“-arma“ and “ahmer“

The last lyric on line 1, “karma“ rhymes with the final lyric on line 2, “D“

“on“

The last lyric on line 3, “on“ rhymes with the last lyric on line 4, “strong.”

Segment 2

Line 1: You may fall in love when you meet her Line 2: If you get the chance you bet-ter keep her Line 3: She’s sweet as pie but if you break her heart she’ll turn cold as a freez-er

Here in the second segment of the section we once again have the rhyme occurring at the end of the line coupled with cross-line repetitive lyrics as well.

“er“

The last lyric on all three lines rhyme via “her,” “her,” and “freezer.”

“her“

Notice that this lyric concludes both lines 1 and 2.

Segment 3

Line 1: That fair-y tale end-ing with a knight in shin-y ar-mor Line 1 (con’t): she can be my Sleep-ing Beau-ty I’m gon’ put her in a co-ma Woo!

Technically segment 3 is just 1 long run on sentence (reference the vocal melody section for details). Notice that the rhyme occurs half way through and at the end via “armor“ and “c oma.”

Part B

Segment 1

Line 1: Damn I think I love her Line 2: Shaw-ty so bad Line 3: I’m sprung and I don’t care Line 4: She ride me like a roll-er coast-er turn the bed-room in-to a fair

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Here in the first segment we have the rhyme occurring at the end of lines 2, 3 and 4 as follows:

“a“

This is the commonality within the last lyric of each line – “bad,” “care,” and “fair.”

“are“ and “air“

Notice that the rhyme is accentuated on lines 3 and for where they include the full “are” and “air” in the lyrics “care“ and “fair“ as opposed to just the “a“ in “bad” on line 2.

Segment 2

Line 1: Her love is like a drug I was try-na hit it and quit it Line 1: (con’t): but lil’ ma-ma so dope I messed a-round and got ad-dict-ed

As was the case on line 3 of the third segment of part A, here we have what is technically a long run on sentence. Note the following:

“it“

Within the first half of the line we have 4 cases of “it“ via “hit it“ and “quit it.”

“i” and “i“

Notice that the “i“ rhymer in “it” that occurs within the first half of the line rhymes with the “i“ in “addicted.”

“addicted”

Notice that the “i“ and “ed“ in “addicted“ rhyme in a similar manner as “hit it“ and “quit it“ did on the first half of the line.

SONG TITLE

When gauging the effectiveness of a song’s title, there are a number of factors that you need to consider:

Is it unique/clever/powerful or “run-of-the-mill?”

Does it pique your interest enough to take a listen to the song?

Is it memorable?

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

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Is it unique/clever/powerful or “run-of-the-mill?

During the fourth quarter of the year, chart-topping Pop song titles fell into 1 of 2 categories – those that are unique, clever and or powerful (e.g. Timber, Wrecking Ball, Royals), and those that are more universal/generic in nature (e.g. I Need Your Love, Do What U Want, Still Into You).

Dark Horse certainly falls into the grouping of unique, clever and powerful titles. As defined by Merriam-Webster, a “dark horse” is:

A person (such as a politician), animal, or thing that competes in a race or other contest and is not expected to win.

A person who has interesting qualities or abilities that most people do not know about.

In the context of this particular song, Dark Horse relates to the unexpected and someone who is not to be underestimated.

Overall, the name alone is quite powerful, but when you couple it with the fact that it’s not clear as to how “Dark Horse” will relate to the song’s overall storyline without hearing it, it takes on a mysterious quality as well helps to put it over the top.

Does it pique your interest to take a listen?

Absolutely. As mentioned above, without really delving into the lyrics, the first time that you hear or see the title “Dark Horse” you have absolutely no idea how it relates to the overall storyline within the song. As a result, it piques your interest to find out what it’s all about.

Now, couple that with the fact that this is a Katy Perry song and it takes the curiosity factor to the next level. WHY would Katy Perry be singing about a “Dark Horse?” Does this relate to one of her relationships? If so, who? Or maybe it doesn’t relate to a specific relationship at all and is just a really cool story. Gotta check it out to find out!

Is it memorable?

There are 4 factors which make Dark Horse a very memorable title:

It’s just 2 words.

It’s powerful and stands out.

It’s intriguing, and as a result resonates within the listener’s head

The manner in which it’s used within the song (see below)

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

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The entire story revolves around the Dark Horse theme, which relates to the central figure within the story – the witchy Siren protagonist. Reference the storyline and meaning section of the report for details.

Title Occurrences

Dark Horse occurs just 4 times within the song (which is quite low by mainstream standards) within the chorus as follows:

Chorus 1: They’re the final lyrics within part A.

Chorus 2: They’re the final lyrics within part A.

Chorus 3: They’re the final lyrics within part A.

Chorus 3: “Dark Horse” is also featured in the background vocal that takes place in conjunction with the “Dark Horse” lead vocal.

Chorus 1, 2 & 3

PART A

So you wanna play with magic Boy, you should know what you’re fallin’ for Baby do you dare to do this? ‘Cause I’m comin’ at you like a dark horse (dark horse repeats an additional time within the 3rd chorus)

Notice that Dark Horse occurs as the last lyrics within part A, which enables it to further stand out, resonate, and get engrained within the listener’s head.

PART B

Are you ready for, ready for A perfect storm, perfect storm ‘Cause once you’re mine, once you’re mine There’s no going back

Notice that the title Dark Horse DOES NOT occur at the end of part B, and as a result does not end the section, or the song for that matter.

Instead, the “demonic” vocal hook ,”there’s no goin’ back,” gets the job done. Notice however that it doesn’t conflict with the impact of the Dark Horse lyrics that preceded it within part A.

What this means is that the listener won’t assume any part of that line is the title compared to Dark Horse if they have no idea what the song title is. It functions as a phrase – not a title.

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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 “Dark Horse.”

As you know, lyrics are subject to interpretation by the listener. What they perceive to be the true meaning of the song in HOW IT RELATES TO THEM will always be the correct way of viewing it, whether it jibes with what the writers intended or not.

That being said, in the case of Dark Horse it pretty much goes without saying that this is a love/relationship themed song conveyed in a clever manner. In a nutshell it’s about a witchy Siren who warns her potential mate about the repercussions of getting involved with her.

Here’s what Katy Perry had to say about the lyrics in an interview with MTV back in late August:

“…and the lyrics are kind of witchy and dark, as if I was a witch warning this man not to fall in love with me, and if you do know I’m going to be your last.”

Now, that doesn’t mean that the song doesn’t possess an additional hidden meaning which isn’t quite as obvious.

We can also interpret the lyrics to be a warning against using drugs. Drugs as you know have a strong allure with addictive qualities, just as Perry’s “Siren” figure does within the story. Once you “hit it,” it’s very difficult to “quit it.” And ultimately, both can destroy you in the process! Keep this possible interpretation in mind while you read through the lyrics and analysis below to see how it relates.

Let’s now explore the lyrical theme as it relates to each section within the song:

Verse-1

Line 1: I knew you were / You were gonna come to me Line 2: And here you are / But you better choose carefully Line 3: ‘Cause I, I, I / I’m capable of anything, of anything and everything

Here within the first verse the “witchy” / “dark” vibe is instantly established.

Line 1: I knew you were / You were gonna come to me

The first line within the song establishes the fact that she is some kind of witch or clairvoyant with Siren qualities, which will come to define this character throughout the entire story. She KNEW that he was going to come to her – which is mystical and let’s be honest, kinda creepy!

Line 2: And here you are / But you better choose carefully

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In line 1, she knew this guy was coming to her. In line 2, here he is! The key focus of the line are the lyrics “but you better choose carefully.” The warning sign has gone up, which further accentuates the overall theme’s dark nature. We’re going to find out WHY he should choose carefully on line 3 that follows.

Line 3: ‘Cause I, I, I / I’m capable of anything, of anything and everything

Why should he “choose carefully? “ Because she’s capable of “anything and everything.” That could be really GOOD, really BAD, or, it can be a combination of the 2.

In a nutshell, she knew through her mystical powers that this guy was going to show up, he does, and now he better really think it through before moving forward with this relationship, because it’s going to be quite unpredictable in its outcome.

Pre-Chorus – 1

Line 1: Make me your Aphrodite Line 2: Make me your one and only Line 3: Don’t make me your enemy, your enemy, your enemy

After warning her prospective lover to “choose carefully” in regard to his decision within the first verse, here in the pre-chorus she tells him what he needs to do, and NOT do if he so chooses to move forward.

Lines 1 & 2: Make me your Aphrodite / Make me your one and only

Here she plainly states to this guy what he needs to do:

He needs to make her his “Aphrodite” – i.e. his goddess. As you know, Aphrodite is the goddess of love, beauty and sexual rapture.

He needs to make her his “one and only.” Very simply put, there will be no others except for this goddess.

Together, both of these lines communicate that he needs to put her on a tremendous pedestal, and he should lose the thought of having any other women within his life besides her.

Line 3: Don’t make me your enemy, your enemy, your enemy

Here’s where she warns him of what NOT to do, specifically anything that would make her his enemy (i.e. the potential repercussions if he DOESN’T make her his “Aphrodite” or his “one and only”).

Tying Into The First Verse

Notice how both of these lines cleverly tie into line 3 in the first verse, “I’m capable of

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If he makes her his “Aphrodite” and “one and only,” what she’s capable of can have quite pleasurable consequences.

Conversely, if he DOESN’T do those things, or does something to cross her, she’s going to become his “enemy,” and then he’ll find out what she’s “capable” of on the negative side.

Chorus

PART A

Line 1: So you wanna play with magic? Line 2: Boy, you should know what you’re fallin’ for Line 3: Baby do you dare to do this? Line 4: ‘Cause I’m comin’ at you like a dark horse

PART B

Line 1: Are you ready for, ready for Line 2: A perfect storm, perfect storm Line 3: ‘Cause once you’re mine, once you’re mine Line 4: There’s no going back

Let’s first briefly recap where we are with the story. The guy shows up, she warns him that she’s capable of anything and everything, which as you now know could be good or bad, and that he should make her his one and only goddess within his life, and of course not to piss her off.

Here within the chorus she provides him with his final warning considering that it looks like he’s leaning toward being with her.

PART A

Lines 1 & 2: So you wanna play with magic? / Boy, you should know what you’re fallin’ for

The first line of the section poses the question to our potential suitor, “so you wanna play with magic?” This leads us to believe that he has a strong desire to be with her, specifically conveyed via the lyric “so” (as opposed to utilizing a lyric like “do,” which would heighten the nature of his uncertainty).

Additionally, the key lyric on the line, “magic,” conjures up an air of unpredictability and power.

Line 2 then answers the question with “boy, you should know what you’re fallin’ for,” otherwise

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Lines 3 & 4: Baby do you dare to do this? / ‘Cause I’m comin’ at you like a dark horse

On line 3 she gives him one more warning posed as a question, “baby do you dare to do this?”, which sets up line 4 which contains the answer, “’cause I’m commin’ at you like a dark horse.”

***Line 4 is the lyrical “payoff,” of the song, containing the title lyrics “Dark Horse.”***

The line “’cause I’m commin’ at you like a dark horse” is the REASON WHY he should give a lot of thought to if he really wants to be with her. Building on the premise of the lyric “magic” on line 1 within the chorus, “don’t make me your enemy” in the pre-chorus, and “I’m capable of anything and everything” back in the first verse, “Dark Horse” relates to the fact that he should be ready to expect the unexpected (favorable or not), and that she is someone NOT to be underestimated.

PART B

Lines 1 & 2: Are you ready for, ready for / A perfect storm, perfect storm

The first 2 lines within part B finds our protagonist witch/Siren posing the question to the potential suitor, “are you ready for a perfect storm?” The 2 key lyrics here to take note of are “perfect storm.” By definition, a perfect storm is:

A critical or disastrous situation created by a powerful concurrence of factors

Based on previous lines within the song which indicated that him choosing to be with her could wind up being really good or really bad, we can look at this “perfect storm” that she proposes in 1 of 2 ways:

A PERFECT storm in where he makes her his “Aphrodite” and “one and only,” leading to a love and ecstasy that is transcendent and immensely powerful. The “perfect storm” analogy is used to heighten the magnitude of it.

On the other hand, the true definition of a perfect STORM as mentioned above will be the result if he chooses NOT to make her his “Aphrodite” and “one and only” and decides to “walk away.”

Lines 3 & 4: ‘Cause once you’re mine, once you’re mine / There’s no going back

The last 2 lines of the section spell out the final consequence if he chooses to be with her. Line 3 sets up the “punch line” or second “payoff” line that follows via “”cause once your mine…,” while line 4 hammers home the finality of it all via “there’s no goin’ back.”

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All the more reason for him to “choose carefully” in his decision!

Verse-2

Line 1: Mark my words / This love will make you levitate Line 2: Like a bird / Like a bird without a cage Line 3: But down to earth / If you choose to walk away, don’t walk away

Here in the second verse, the witchy Siren initially shifts gears on the first 2 lines of the section where she tells this guy WHAT SHE WILL DO FOR HIM, as opposed to what he did, what he should do for himself, or what he should do for her as depicted within the preceding sections of the story.

It concludes, however, with a dire ultimatum, which is in-line with the nature of the preceding sections.

Lines 1 & 2: Mark my words / This love will make you levitate / Like a bird / Like a bird without a cage

Playing off of the “Aphrodite” theme, here on line 1 she gives this guy her Siren natured “sales pitch” that no man can resist, “this love will make you levitate,” with the key word being “levitate.” This does a fantastic job of hammering home the transcendent nature of the love that she promises.

We’ll also assume that this love is both a “relationship” and “sexual” based love, but it’s safe to say that it probably leans more toward the sexual end of things.

Additionally, notice that the certainty of this claim is exemplified via the manner in which she kicks the line off, “mark my words.”

Line 2 then provides a very strong analogy of just HOW HIGH and FREE this love will make him feel via “like a bird without a cage.”

Line 3: But down to earth / If you choose to walk away, don’t walk away

Line 3 is quite powerful in the sense that after making this guy feel the transcendent, heavenly nature of the love that she has to offer on lines 1 & 2, she quickly slams him back down to reality (i.e. “earth”) on line 3 by stating “but down to earth, if you choose to walk away, don’t walk away.”

So here we have yet another warning, otherwise translated as “if you have any thoughts about leaving, you should probably strongly reconsider before you do. Remember, don’t make me your enemy, because I’m capable of doing anything and everything!”

Pre-Chorus – 2

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Line 1: It’s in the palm of your hand now baby Line 2: It’s a yes or no, no maybe Line 3: So just be sure before you give it all to me, all to me, give it all to me

Here in the second pre-chorus, the demands, warnings and promises that defined the preceding sections of the song have come to an end. She’s said her piece, and now it’s up to him as to how he wants to precede The time for uncertainly and internal debate is over. Bottom line – it’s a “yes or a no, NO MAYBE.”

That being said, she had to get in one last subtle hint of a warning to conclude the section. In a nutshell, she’s telling him that before he decides to fully commit, he better be prepared to FULLY COMMIT. If he doesn’t, we know that the repercussions will not be fortuitous!

Bridge (Juicy J – Rap)

Here within the bridge is where we find our lyrical departure. Instead of having the story continue being conveyed by the witch/Siren (i.e. Katy Perry), as was the case during the verse, pre-chorus and chorus sections, here we get the guy’s P.O.V., as communicated by Juicy J.

By enabling the guy to give his side of things, it provides the storyline and song as a whole with an increased depth which leads to a much more engaging and satisfying listening experience.

What’s really interesting to note about the bridge is that it’s being communicated in reverse.

Even though we don’t technically find out that he hooked up with and completely fell for her until part B of the section, after you find out you then realize that part A was him communicating a warning to others based on the experience THAT HE ALREADY WENT THROUGH. It’s quite a clever manner in which to narrate the story.

PART A

Segment 1

Line 1: She’s a beast / I call her Karma Line 2: She eat your heart / out / like Jeffrey Dahmer

On lines 1 and 2 we find the guy communicating the evil and demonic side of this witch to the audience:

Referring to her as a “beast” has the equivalence of referring to her as Satan.

Stating that “she eat your heart out like Jeffrey Dahmer” hammers home the point that if you cross her, the price you pay will be significant. If you don’t already know, Jeffrey Dahmer was a cannibal serial killer.

What’s really interesting and powerful though is the fact that he calls her “Karma.” Otherwise

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Line 3: Be careful / try not to lead her on Line 4: Shawty heart is on steroids cause her love was so strong

In addition to the warning on line 3, line 4 is very important in the sense that it communicates the strength of the “Siren love power” that she has over men which makes her so irresistible.

Segment 2

Line 1: You may fall in love when you meet her Line 2: If you get the chance you bet-ter keep her Line 3: She’s sweet as pie but if you break her heart she’ll turn cold as a freezer

The lines tie directly into the premise set forth by Katy Perry throughout the verse, pre-chorus and chorus sections within the song.

In a nutshell, once you meet her it’s highly probable that you’re going to completely fall for her. And if you do, don’t even think about breaking her heart and leaving, because it will make her your “enemy,” who as you know is capable of “anything and everything.”

*Note the clever lyrics on line 3 that effectively paint 2 the distinct facets of this witchy Siren:

“Sweet as pie”

“Cold as a freezer”

Segment 3

Line 1: That fairy tale ending with a knight in shiny armor Line 1 (con’t): she can be my Sleeping Beauy I’m gon’ put her in a coma

What’s interesting about segment 3 is that it’s the reverse of what happens within the Sleeping Beauty story. The knight in shining armor (though it sounds like Juicy is saying it as “shiny”) is supposed to be waking sleeping beauty up, NOT putting her in a coma!

That leaves this segment open to interpretation by the listener. I don’t think that him “putting her in a coma” is being conveyed in a negative sense. When you look at it in terms of the stringent love that she holds over him, and the “levitating love” that she has to offer, it sounds more like he plans on wearing her out in bed more than anything else.

Part B

Where part A of the bridge set the scene and communicated to the audience what could potentially happen by falling in love with this witchy Siren, part B is where we find out that he couldn’t resist her powers, and as a result falls for her – hard.

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Note that this is the only point within the entire song that establishes this fact. THAT, is your bridge departure/development.

Segment 1

Line 1: Damn I think I love her Line 2: Shawty so bad Line 3: I’m sprung and I don’t care Line 4: She ride me like a roller coaster turn the bed-room into a fair

Here on line 1 we find the guy coming to the realization that she’s completely hooked him in. It’s too late! Lines 2 and 3 that follow then communicate that despite her being “bad” for him, he’s completely hooked and he just doesn’t care about the potential consequences. That’s the power of the spell that this Siren has over him.

Line 4, which concludes the section, ties right back into lines 1 and 2 within the verse where she states that “this love will make you levitate, like a bird without a cage.” Her “riding him like a roller coaster” and as a result “turning the bedroom into a fair” certainly finds her keeping her promise of “MARK MY WORDS, this love will make you levitate!”

Segment 2

Line 1: Her love is like a drug I was tryna hit it and quit it Line 1 (con’t): but lil’ mama so dope I messed around and got addicted

Here on the last 2 lines of Juicy’s Rap section we find out that he screwed up – big time.

This is communicated via a drug reference that relates to thinking you can try a potent drug once and then give it up with no problem, which is never the case.

In a nutshell, he thought that he could hook up with her just once and then leave (i.e. like a 1 night stand). But the fact that her love “makes him levitate” and that she “rides him like a roller coaster and turns the bedroom into a fair” was too powerful for him to resist, and as a result he continued to hook up with her and got completely addicted as a result.

Now, any hope that he had for leaving is gone. He’s her’s – FOREVER.

Story Flow Breakdown – In A Nutshell

Verse 1 (Witchy Siren P.O.V.)

She knew the guy would be coming to her, he shows up, and she gives him his first warning to think things through before pursuing her.

Pre Chorus 1 (Witchy Siren P.O.V.)

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She tells him that he needs to make her the one and only “goddess” within his life. If he doesn’t, she’ll be his “enemy,” and he certainly doesn’t want that!

Chorus (Witchy Siren P.O.V.)

She provides him with a final warning about pursuing her. If he chooses to move forward, it could be AMAZING, but it could also be terribly HORRIFIC. Regardless, one thing is certain – “there’s no goin’ back once he commits!”

Verse 2 (Witchy Siren P.O.V.)

She communicates the transcendent nature of the love that she has to offer him. But of course, that comes with another warning – specifically don’t even THINK of leaving once you’ve decided to be with me!

Pre-Chorus 2 (Witchy Siren P.O.V.)

The warnings are over, and now it’s time for him to make a decision. He better be sure though that if he’s going to commit, he better commit FULLY, or else!

Bridge (The guy’s P.O.V.)

Here’s where we get the guy’s perspective within the story and find out that he succumbed to her temptations. He’s lived to tell about it, however, and provides a warning to all other guys who may decide to follow suit.

Benchmarking Back to Top

TOP 10 COMPARISON

This section explores how Dark Horse compositionally compares to the 23 songs that landed in the Billboard Pop Songs top 10 during Q4-2013. The aim is to spotlight the similarities which makes it easy for people to connect with, as well as its core differences which enables it to stand out from the pack.

Section Length

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*Note: The section length for the verse and chorus reflects the first occurrence within the song.

Dark Horse being in-line or close to in-line with top 10 Pop hit averages

The intro is just 0:02 longer

The pre-chorus is just 0:03 shorter

The chorus is 0:04 longer than the average

Dark Horse NOT being in-line or close to in-line with top 10 Pop hit averages

The verse is 0:09 shorter than the average

The bridge is 0:22 longer than the average

Despite the song’s short verse length in comparison to the Pop songs average, as you’ve seen it no way hinders the development of the story. Sometimes less can actually communicate more!

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Additionally, the primary reason why the bridge is twice the length of the average is because this is where Juicy J. has his only time to shine within the song. That, coupled with the fact that the bridge is where the lyrical theme shifts from the witchy Siren P.O.V. to the guy’s P.O.V. As a result, he needs ample time in which to communicate it, since the witch had both the verse and pre-chorus sections within the song to do so.

TOTAL SECTION BREAKDOWN

Dark Horse being in-line or close to in-line with top 10 Pop hit averages

Dark Horse allocates just 1% more time to the intro compared to the top 10 average

Dark Horse allocates 3% less time to the pre-chorus compared to the top 10 average

Dark Horse allocates an equal amount of time to the chorus compared to the top 10 average

Dark Horse NOT being in-line or close to in-line with top 10 Pop hit averages

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Dark Horse allocates 11% less time to the verse compared to the top 10 average

Dark Horse allocates 11% more time to the bridge compared to the top 10 average

Again, we see less time being allocated to the verse and significantly more time being allocated to the bridge for the reasons previously stated within the section above.

ADDITIONAL COMPOSITIONAL CHARACTERISTICS

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Dark Horse being in-line or close to in-line with top 10 Pop hit averages

Use of the A-B-A-B-C-B form

Dark Horse contains an intro which is just 0:02 longer than the average

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Dark Horse does not feature an outro, solo or instrumental break within its framework

The inclusion of a pre-chorus and bridge

The use of primarily electric based instrumentation within the mix

Dark Horse is sung with a female lead vocal

A love/relationship lyrical theme

A fusion of multiple sub-genres that shape the song’s sound

Dark Horse NOT being in-line or close to in-line with top 10 Pop hit averages

Its first chorus hits 0:08 / 5% farther into the song compared to the top 10 average (it’s close, but not exceptionally close)

Its 41 BPM slower than the average top 10 Pop song

It primarily features a synth within the mix, compared to the majority of top 10 Pop songs which feature a combination of primary instrumentation

Bottom Line

Dark Horse possesses many of the core compositional characteristics that are found within the majority of today’s chart-topping Pop hits, which ultimately makes it very easy for the listener to connect and get engaged within the song (i.e. the “familiarity factor”).

The core differences though, specifically the manner in which it communicates a “been there, done that” lyrical theme in a unique and clever manner coupled with the sub-genre combination of Dark Pop, Trap and Hip Hop/Rap enables Dark Horse to stand out from the pack and resonate on a more profound level than most of its contemporaries (i.e. the “originality factor”).

As a side note, most of the songs that you’ll find landing within the upper echelons of the charts possess the perfect “familiarity” / “originality” balance.

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 within the mainstream?

Absolutely. Not only does Dark Horse maintain Perry’s high standard for delivering exceptionally well crafted, unique, infectious and memorable songs, but it also solidifies the hype surrounding her moving in a more “mature” direction in relation to most of the songs found on Teenage Dream.

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Roar was the perfect lead “bridge” single (bridging the sound of old with the new), Unconditionally is a “safe” and solid power ballad, but Dark Horse on the other hand pushes the envelope and possesses that “extra special something” that sets it apart from the rest.

The lyrics, the sensual seduction, the darkness, the Trappy hypnotic groove and all of the other core components of the song showcase Perry’s development as a writer and artist coupled with the willingness to continuously follow the muse and push the envelope of what has been done before.

Bottom line – her experimentation is starting to pay off in a big way. It might take people a bit longer to view her in this new light compared to what they were used to on Teenage Dream, but once they do she’s in for a lengthy ride atop the charts and at the forefront of the mainstream Pop scene.

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

When you break the song down into its individual components, there isn’t anything that is so overtly original about Dark Horse.

There’s nothing new about the Trap natured backing music, many Pop songs have included a Rapped bridge section within their framework, and this certainly isn’t the first time that a song has revolved around a witchy Siren type of figure, amongst others…

That being said, when you combine all of the song’s individual components into one sonic soup of a composition coupled with Perry’s unique nature, you wind up with a song that comes across as being unique and fresh in relation to all of the other songs that are currently topping the Pop charts.

As I always say, it’s about taking something that’s been done before and putting a unique spin on it to make it your own. Remember, you’re not reinventing the wheel with your compositions. You’re pushing the envelope of what’s been done before, which is otherwise known as MUSICAL EVOLUTION.

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

In addition to live performances and standard PR initiatives, the key social factor and catalyst that helped to launch Dark Horse into the charts was the fact that a contest was held to let fans decide whether the next single would be Walking On Air or Dark Horse. Details regarding the promotion can be found within Pepsi’s press release as detailed below:

“To build excitement and anticipation for Katy Perry’s forthcoming new album, PRISM, MTV

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Fans who tweet #KATYNOW will unlock clues around two of the album’s tracks, including the song titles and select lyrics. Once fans have unlocked the song clues by reaching a certain number of tweets, Pepsi and MTV will unveil the two never-before-heard preview clips via pepsi.mtv.com.

Pepsi and MTV give fans a chance to sample the songs and decide which one will be released early by tweeting, using one of two unique hashtags to vote. The winning song, which will be released on Tuesday, September 17 via iTunes album pre-order, will be revealed live on MTV just moments before Katy’s VMA performance.”

By getting the fans directly involved in the decision making process, it accentuated the hype and excitement surrounding the single’s impending release, which ultimately enabled it to make a bigger splash when it finally dropped.

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

Dark Horse certainly leans more toward an older demographic than the majority of hits on Teenage Dream, due in part to the nature of the lyrical content, backing music, and Juicy J’s involvement within the song.

Otherwise stated, it’s not intended for her “tween” fanbase. Dark Horse is suited for late teens and up.

Gender

Dark Horse is perfectly primed to connect with both a male and female audience alike. Again, this is due to the nature of the lyrics, backing music, and Juicy J’s involvement within the song.

Genre

One of the core strengths of Dark Horse is that its multi-genre blend enables it to traverse and cross-pollinate into a number of genres. This includes connecting with an audience that’s into Trap, dark/edgy Pop, and of course Hip Hop/Rap thanks to Juicy J’s involvement with the song.

Bottom line – as Perry’s “Teen Pop” stigma continues to wear off, you’re going to find her connecting with a much wider array of fans that can appreciate her more mature direction and adventurous forays into new musical directions.

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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!!!”

Usually the answer to this question is no when it comes to the vast majority of chart-topping Pop hits, but in this case Dark Horse comes very close, and for 2 reasons:

For anyone who was disappointed by Roar and Unconditionally due to the lacking amounts of darkness and edginess as was hyped, Dark Horse finally gives them what they were looking for. As a result, it’s not a far stretch to think that someone would immediately drop what they’re doing, call a friend and say “holy sh!t!!! You gotta check out Dark Horse – THIS is what we were waiting for!”

And the second reason is simple. The song IS THAT GOOD. Even if you’re not in o Juicy’s Rap section of the song, the rest of it is brilliant and certainly warrants an immediate listen!

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

As with all songs that are overplayed and milked for all their worth, the law of diminishing returns eventually sets in and you just plain start getting sick of hearing it. This will certainly happen with Dark Horse, but it’s strong and engaging enough where it will take a bit longer to happen than a lot of other chart-topping Pop songs that have less to offer.

And after a quick break, it’s primed to reengage at the same level as the first time that you heard it!

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?

Dark Horse certainly sets the bar at a very high level for Perry’s next single to compete with. It’s undisputedly one of the strongest cuts on the entire album and possesses a unique, engaging and evocative nature that will be tough to beat.

Her next single is going to need to be equally as strong but also completely different in nature in order to maximize its chances for success.

Think about it this way. Each of Perry’s successive Teenage Dream singles possessed a different core quality from one another which enabled them to stand out and resonate in their own unique way. California Gurls, Teenage Dream, Firework, E.T., Last Friday Night and The One That Got Away all possess unique characteristics in relation to one another.

But even that’s no guarantee of success. Just look at what happened with Unconditionally. It was completely different from Roar (though not as adventurous as her other works), and wound up stalling at #14 on the Hot 100.

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Maybe this proves that the more adventurous, edgy and unique Katy Perry is what her fans want, and best to leave the Power Ballads to Miley Cyrus!

Regardless, one thing is for sure – the success of Dark Horse will certainly increase the curiosity factor and heighten the anticipation for the release of her next single.

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

Yes. The fusion of dark, edgy, seductive Pop with Trap and Hip Hop/Rap has certainly pushed the boundaries of what’s been seen within the upper reaches of the charts. It will be interesting to see what type of an influence it has on the mainstream moving forward!

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

Dark Horse is a highly evocative song, with its intense, dark, mesmerizing, seductive, edgy and tension laden nature connecting with the listener on a profound level. Most importantly, it achieves this on all levels, including Perry’s vocal delivery, the diverse nature of the backing music within specific sections of the song and the lyrical content as well.

The only area within the song where its evocative nature seems to be lacking resides in Juicy’s delivery. It just doesn’t compare to the other elements within the song on that level. That’s not to say that his delivery isn’t infectious and engaging, however. It is.

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

There is no doubt that Dark Horse will be a featured staple within Perry’s catalog and live performances for the duration of her career. Not only is the song that strong, but it’s unique nature secures it a place amongst her other diverse #1?s as well.

Bottom line – it fulfills an important niche within her overall body of work.

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

I would have to say yes on this one. Not only is it exceptionally well crafted and unique, but it’s highly evocative as well and possesses that “special magical quality” that is tough to describe in words. It’s something that you just know when you hear it. Roar didn’t have it. Unconditionally didn’t have it. But Dark Horse has it!

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Recap & Takeaways Back to Top

Now that we have thoroughly explored Dark Horse, let’s recap some of the song’s core strengths that helped it to reach the top of the charts.

Dark Horse utilizes the most popular, and arguably most effective form in Pop music: A- B-A-B-C-B. This form also defined 7 out of 8 of Perry’s previous #1 hits.

The longer nature of the full chorus and bridge sections were “segmented” into shorter distinct segments which ultimately act to heighten the engagement factor for the listener via new elements entering the mix more frequently.

The vast majority of time within the song (41%) was allocated to the chorus. This was followed by Juicy’s bridge at 21%.

The full chorus acts as a “tension and intensity builder,” with the relief occurring within the section that directly follows (i.e. the turnaround following the first chorus, and the bridge following the second).

The full chorus is broken into 2 distinct segments, parts A and B, each of which possesses their own unique characteristics and vibe.

Both pre-choruses possess differing lyrical content, which is a rarity. This was important though in order to fully develop the storyline, considering the short amount of time allocated to both the verse and pre-chorus sections (just 0:15 each).

Dark Horse makes great use of MTI level (momentum, tension & intensity) shifts throughout the song, which provides for a very dynamic and engaging listening experience.

For the most part, each subsequent “like” section within the song becomes more intense as it progresses, culminating in the third chorus where the momentum, tension and intensity levels reach their apex, leaving the listener on a high and primed for a repeat listen.

Dark Horse features a blend of 3 distinct sub-genres that work in tandem with one another in shaping its sound: Dark Pop, Trap and Hip Hop/Rap. Not only does this enable the song to stand out amongst its mainstream contemporaries, but Perry’s overall body of work as well (it’s closest relative is E.T.).

The manner in which different sub-genres were mixed and matched with one another throughout each section within the song provided it with an exceptionally infectious and engaging flow.

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Dark Horse possesses a very effective blend of repetition and diversity (contrast) throughout the song which makes for a very memorable and engaging listening experience. This includes the nature of the vocal melody, backing music and lyrics.

The intro is exceptionally effective, possessing a number of the most effective characteristics found in today’s chart-topping Pop songs including being short (0:15), acting as a unique identifier for the song (“ohhh noooo!”), plugging the artists (free marketing), establishing the vibe, piquing interest and providing the perfect lead-in for the verse that follows.

All of the instrumentation utilized throughout the song plays an integral role in establishing its overall vibe. This includes the 808 sub-bass/kick combo and associated rhythm (Trap – seductive, hypnotic groove), the bright synth from the intro which reoccurs throughout the song (accentuates the “witchy” vibe of the song), and the “dark synth” and it’s associated progression which elicits and accentuates the song’s dark, foreboding nature.

The nature of Perry’s vocal is exceptionally clever, infectious, engaging and memorable throughout the entire song. This includes the “call and response” theme that defines the verse, the repetitive “incantation” progression that defines chorus part B, and of course her seductive, sensual and dark delivery which brings the lyrics to life.

The different types of processing that were utilized on Perry’s vocals throughout the song were an integral component in maximizing its effectiveness. This includes the heavy reverb on the “call” within the verse, which provides it with an other-worldly, haunting quality, as well as the quivering tremolo type of effect utilized during her delivery within chorus part B which both heightens the tension and intensity within the section as well as accentuating the “incantation” nature of the melody and backing music.

The background vocal elements utilized throughout the song do a fantastic job of providing specific sections with increased “coloring” and “texturing” which accentuates the vibe and ultimately makes for a more engaging listening experience. This includes the female “ahhh, ahhh’s” and male “hey’!” bursts within the chorus, the “demonic” hey’s” within the turnaround, Perry’s seductive “uhhh’s” throughout, and the background vocals that occur on the syllables “-di-te” in “Aphrodite” and “on-ly” in the pre-chorus, amongst others.

The nature of Juicy J’s Rap within the bridge is meticulously well structured and memorable, with the shifts in his delivery and backing music doing a great job of keeping the listener engaged throughout. That being said, the effectiveness of his contribution to the overall strength of the song is subject to debate.

Part B of the bridge is very effective in the sense that it starts to shift the course of the song away from Trap natured Rap back into the nature of the chorus which ultimately provides for an infectious and seamless transition into the final chorus of the song.

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Deciding to end the song on the “demonic” solo vocal hook “there’s no goiin’ back” was exceptionally clever. It both sums up the premise of the entire song as well as leaves a highly infectious and memorable element resonating within the listener’s head.

The overall nature of the vocal melody throughout the song leans on the simplistic/repetitive side with a limited vocal range, making it easy for the listener get engaged, remember and sing along to.

Effective segmentation methods were employed within the vocal melody throughout most of the song, creating short segments that easily connect and get engrained within the listener’s head.

The lyrics are filled with imagery, action, detail and emotion which enable the listener to get engaged on a deeper level within the overall story line.

All of Perry’s sections within the song (verse, pre-chorus and chorus) are communicated is the first and second person. Juicy’s section (the bridge), is communicated in the first, second and third person.

Dark Horse makes great use of effective rhyming schemes and repetitive lyrics which help to get the melody and lyrics completely engrained within the listener’s head.

The lyrical contrast and development within and between Perry’s and Juicy’s sections is exceptionally effective. Perry communicates her sections from the witch Siren’s P.O.V., while Juicy provides the listener with insight into the male character within the story. As a result, the story has a very engaging flow.

Despite Dark Horse’s obvious love/relationship lyrical theme, it is also subject to interpretation by the listener, specifically in the manner that it could relate to a warning against using drugs.

The title “Dark Horse” is both powerful and memorable and does a great job of piquing the listener’s interest to check out what the song is all about. It’s also strategically placed at the tail end of chorus part A to ensure that it resonates.

Dark Horse acts as the perfect vehicle in which to solidify Perry’s clout as a more “mature” and “adventurous” artist within today’s Pop mainstream.

The decision to let fans pick her next single paid off in a big way by accentuating the hype and excitement surrounding its impending release.

The fusion of Dark Pop, Trap and Hip Hop/Rap enabled Perry to traverse and cross- pollinate into genres outside her norm while at the same time heightening her clout as an adventurous and trendsetting artist.

Dark Horse possesses many of the characteristics and attributes found within the

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majority of today’s chart-topping hits which makes it easy for the listener to connect, while at the same time possessing a unique and differentiated nature which enables it to stand out from others within the mainstream Pop pack. Plainly stated, it contains the perfect balance of originality and familiarity.

All of the elements within the song, including the vocal, backing music and lyrics work in perfect tandem within one another in bringing the song to life on a profound level. It’s the “complete package” of a Pop song.

Last, but certainly not least, Dark Horse has that “extra special something” type of magical quality that should enable it to stand the test of time amongst other Pop greats.

alegar

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