Rock Chart Wire: Week of December 3Rd

Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com

Rock Chart Wire: Week of December 3rd

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*Note: “*” denotes a new addition to the top 5.

Changes from last week’s chart:

Bush holds onto the #1 spot for a third week in a row with “The Sound Of Winter” Foo Fighters hold onto the #2 spot for a third week in a row with “Walk.” Coldplay holds onto the #3 spot for a second week in a row with “Paradise.” The Black Keys remain at the #4 spot for a second week in a row with “Lonely Boy.” Seether rounds out the top 5 at the #5 spot with “Tonight.”

New Arrivals To The Top 5: None

Deconstruction:

Four out of five songs in the Rock top 5 have an Alternative nature to them. The exception is “Lonely Boy,” which possesses a Garage Rock/Blues vibe. In regard to song structure, two songs possess an A-B-A-B-C-B form (“Tonight” and “Walk”) and two possess an A-B-A-B-Inst. Break or Solo –B form (“Lonely Boy” and “The Sound Of Winter”). “Paradise” follows an A-B-A-B-Inst. Break-C-B form. All songs feature a male lead vocalist. In regard to when first choruses occur, two out of five songs have their first choruses occurring at 1:00 + into the song (“Lonely Boy and “Paradise”). With the exception of “Walk” (which sees its first chorus occurring at 14% of the way into the song), the other songs in the category have their first choruses hitting around one-fifth to one-quarter of the way into the song. Four out of five songs feature a distortion based electric guitar as the primary instrument, except for “Paradise”, which prominently features strings and synths. All five songs contain “proper” intro’s, one of which is exceptionally long in length (“Paradise,” landing at 1:01), one that is quite long in length (“Lonely Boy,” landing at 0:38), one that’s moderate in length (“Tonight,” which lands at 0:16), and two that are pretty short in length (“Walk”, landing at 0:09, and “The Sound Of Winter,” landing at 0:11). Two out of five songs contain “proper” outro sections, one of which is quite short in length (“Walk,” landing at 0:15), and one that’s moderate/long in length ( “Paradise,” which lands at 0:45). Three out of five songs contain a bridge, two of which occur after the second chorus and one that occurs after an instrumental break (“Paradise”). Three out of five songs contain a solo or an instrumental break that occurs after the

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second chorus. “Walk” and “Tonight” do not incorporate a solo into their framework.

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