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Happy Deconstructed

Skip to: Audio/Video Overview Song Structure Momentum/Tension/Intensity (MTI) Music/Instrumentation/Vocal Delivery Lead Vocal Melody Lyrics Benchmarking A&R Hit Factors Highlights & Takeaways

Audio/Video Back to Top

At a Glance Back to Top

Artist: Pharrell Williams Song/Album: Happy / GIRL Songwriters: Pharrell Williams Genre: R&B/Soul Sub Genres: Retro Soul, Funk, Gospel Length: 3:51 Structure (Form): A-B-A-B-C-B-C-B Tempo: 160 bpm First Chorus: 0:26 / 11% into the song Intro Length: 0:02 Outro Length: n/a Electric vs. Acoustic: Electric Primary Instrumentation: Electric Piano, Claps, Bass, Prominent Drums Lyrical Themes: Love/Relationships, Inspirational Title Occurrences: Happy occurs 56 times within the song Primary Lyrical P.O.V: 1st & 2nd Person

Overview Back to Top

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Written specifically for a scene within the movie Despicable Me 2, Happy not only provided the perfect backdrop for Gru’s good mood to shine, but in the process wound up elevating the spirits of people throughout the world with its universal feel good vibe.

As you’ll see within this report, there were many factors that went into making Happy such an infectious, engaging and memorable song, including 62% of its entire composition being allocated to the chorus, 56 “Happy” title appearances, an inspirational lyrical theme and an irresistible fusion of Retro Soul, Funk & Gospel, to name just a few of many.

To-date, Happy has hit #1 on 35 charts in 29 countries throughout the world.

Song Structure Back to Top

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

Form

For the first 7 sections of the song, Happy follows the most popular of all mainstream song structures, the A-B-A-B-C-B form. This translates to verse – chorus – verse – chorus – bridge – chorus.

Notice however that instead of ending on the third double chorus, it instead goes back into a partial bridge, which is then followed by another double chorus and out. So in the end, Happy’s full form looks like this:

A-B-A-B-C-B-C-B (verse – chorus – verse – chorus – bridge – chorus – bridge – chorus).

Note that it’s a rarity for a current mainstream song to feature 2 bridge occurrences, but as you’ve probably figured out by now, Happy is not a “typical’ current mainstream song. More on that later.

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Additionally, note that Happy DOES NOT contain a pre-chorus, solo, instrumental break or outro within its framework.

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

I=Intro, V=Verse, CHR=Chorus, BRG=Bridge

Section Count

Happy contains 9 sections within its framework as follows:

1 intro

2 verses

2 full choruses (chorus 1 & 2)

2 double choruses (chorus 3 &4, 5 & 6)

1 full bridge

1 half bridge

Section Length

In regard to the length of full sections within the song, they range from the very short to quite lengthy as follows:

Very Short

0:02 intro

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Short

0:12 bridge 2 (part B only)

Moderate

0:24 verse 1

0:24 verse 2

0:24 chorus 1

0:24 chorus 2

0:24 bridge (full – parts A & B)

Long

0:48 (choruses 3 & 4 act as 1 double chorus)

0:48 (choruses 5 & 6 act as 1 double chorus)

Notice that the sections within the song that are the longest (i.e. the double choruses) are PRECISELY the ones that you would WANT to be the longest!

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

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As you know, the greatest amount of time within a song is typically allocated to the chorus considering that it is usually the most infectious, engaging & memorable section of the song (at least it should be!) and that it functions as the primary “payoff” for the listener.

As you can see in the graph above, this is certainly the case with Happy. It’s chorus accounts for a whopping 62% of its total composition!

Interestingly, Happy actually allocated more time to its chorus than 95% of all the songs that landed in the Billboard Pop songs top 10 during 2013. It just goes to show, if you have a really killer/infectious hook, hammer it home until you completely “brainwash” it into the listener’s head!

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Following the chorus, the verse and bridge trailed far behind at 21% and 16% of the song’s total composition respectively, and the intro barely registered due to its ultra short 0:02 length.

Now you know why people can’t get Happy’s ultra-infectious chorus out of their heads!

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)

CHR=Chorus, VB=Vocal Break, V=Verse, PC=Pre-Chorus, SV=Solo Vocal, P=Pause

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.

For the most part, Happy’s MTI levels are kept at a heightened state, which perfectly jibes with and accentuates the happy, elated vibe of the song.

The Importance Of Dynamic Diversity

As you know, there’s nothing more boring or disengaging than a song that dynamically flatlines throughout. The listener needs to be provided with dynamic shifts not only to help keep them engaged, but to also maximize the impact of specific sections, such as a powerful chorus.

What follows are some examples of how dynamic diversity was implemented throughout Happy, providing the listener with a dynamic, engaging listening experience:

The reintroduction of the bass, electric piano and full drums into the mix following the clap & conga driven bridge resulted in an increase in the song’s MTI level.

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The removal of the aforementioned instrumentation from the chorus within the bridge resulted in a decrease in the song’s MTI level.

The addition of the repetitive “happy” background vocals in bridge part B provided the section with a more intense nature relative to the single “happy’s” that defined bridge part A.

The additional voices that were added into the vocal harmony within double choruses 3 and 4 provided those sections with a heightened MTI level relative to choruses 1 and 2.

The increase in momentum brought about via the addition of claps and the rolling “funky” bass line into the mix within the chorus relative to the verse that preceded it.

The increase in momentum brought about via the shift in the nature of the claps coupled with the addition of the conga within the bridge.

MTI Play By Play

Intro & 1st Verse

Happy kicks off with mid-level intensity via the brief 0:02 electric piano/hat/kick combo. The MTI level is then thrust upward within the first verse due to the full drums, electric piano, bass and lead vocal being added into the mix.

Notice that the heightened MTI level is primarily elicited via the nature of the rhythm and William’s vocal delivery coupled with the prominent acoustic drums which take the intensity and grooving momentum to the next level.

The MTI level then increases a touch during the last line of the section where William’s vocal becomes multitracked, providing it with a slightly more intense essence leading into the chorus.

Chorus 1

As soon as we enter into the “payoff” of the song, notice that the MTI level is increased over that of the preceding verse due to the following factors:

The “funky/soul” bass and electric piano are now in full effect throughout the entire section, as opposed to their stop & start nature which defined the preceding verse. As a result, the section is provided with a more intense, grooving vibe.

Claps have been added to the mix, which increases the intensity and momentum of the section.

The “happy” background vocal provides the section with an increased intensity over the preceding verse as well.

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Notice that the overall MTI level remains pretty much constant throughout the section, though the intensity does increase a bit when Pharrell goes for that higher vocal register at the onset of the “clap along if you know what happiness is to you” line (reference the vocal melody section of the report for specifics).

Verse 2

Following the chorus, the second verse brings the MTI level back down to where it was during the first verse of the song considering that the nature of the lead vocal and backing music remain virtually the same.

That being said, notice that the new addition to the mix, the background vocal “yeah” stabs, provide a brief burst of intensity in between lead vocal lines.

Chorus 2

The second chorus once again increases the MTI level of the song in the same manner as that of chorus 1, considering that they’re virtually carbon copies of one another.

Bridge 1

Part A

Directly following the second chorus, the MTI level is brought back down once again via the “breakdown” nature that defines the bridge, consisting solely of claps, congas, lead and background vocals.

Notice that even though the bass and electric piano have been removed from the mix that the momentum of the section remains in high gear due to the rhythmic nature of the congas and claps.

Part B

The second half of the bridge kicks the MTI level up a notch over that of part A due specifically to the shift in the nature of the background vocal. As opposed to the single “happy’s” which defined part A, part B institutes repetitive “happy’s” coupled with vocal harmony which provides the section with a heightened degree of intensity. Reference the vocal melody section of the report for specifics.

Chorus 3

The third chorus, which is a double, once again kicks the MTI level of the song back up over the section that preceded it. Notice that this time around its at a slightly higher level than the 2 preceding choruses due to the additional voices which have been added into the vocal harmony, providing the section with a subtly more intense vibe.

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Bridge 2

Part B

Following the chorus, the MTI level is brought back down once again in the bridge. Notice, however, that instead of heading back into part A, it goes directly into part B (i.e. consisting of the repetitive “happy’s”). As a result, the MTI level doesn’t drop as far down as it did when the second chorus transitioned into bridge part A earlier within the song.

Chorus 4

The final double chorus within the song kicks the MTI level back up to where it was during the third chorus occurrence, possessing the fuller, lusher vocal harmony which provides it with a heightened MTI level over that of choruses 1 and 2.

The overall MTI level remains pretty much constant throughout the entire section until coming to an abrupt full-stop when the “false ending” is employed at the tail end.

MTI Level Recap: In Brief

Intro: The song kicks off with mid-level intensity

Verse 1: MTI level increase

Chorus 1: MTI level increase

Verse 2: MTI level decrease

Chorus 2: MTI level increase

Bridge 1 (Part A): MTI level decrease

Bridge 1 (Part B): MTI level increase

*Chorus 3 (Double): MTI level increase

Bridge 2 (Part B): MTI level decrease

*Chorus 4 (Double): MTI level increase

*Indicates the sections with the highest MTI levels

WAVEFORM

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As you can see in the waveform graphic above, Happy’s levels are pushed up quite high throughout the majority of the song.

That being said, there is sonic diversity between successive sections, which along with shifts in MTI levels makes for an engaging listening experience.

What follows is a rundown of Happy’s sonic levels, going from lowest to highest:

Intro

Verse 1 & Verse 2 (pretty much identical)

Bridge part A

Bridge part B (a touch above that of bridge part A due to the shift in the nature of the background “happy” vocal)

Chorus 1 & 2 (pretty much identical)

Chorus 3, 4, 5 & 6 (they’re all on the same level as one another and possess a greater sonic value relative to choruses 1 & 2 specifically due to the additional background vocals that have been added into the mix.

As a whole, though, notice that the intro, verse and bridge sections are pretty much on par with one another as are all of the chorus occurrences, with just some slight variation.

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MUSIC/INSTRUMENTATION/VOCAL CHARACTERISTICS

Sub-Genres

As you’ve by now noticed, Happy is comprised of an infectious blend of Retro Soul, Funk & Gospel under 1 roof, with the key word being RETRO. It sounds like it belongs more in an early to mid-60?s rotation with artists such as Curtis Mayfield and Ray Charles than with contemporary artists who are currently topping the charts.

That being said, Happy DOES fit perfectly into the Retro R&B/Soul, Funk & Disco trend that is currently finding great success within today’s mainstream, capitalizing on the success of songs such as Treasure, Blurred Lines and Get Lucky (the latter 2 which also happen to feature Pharrell!)

Sub-Genre Elements

Note that some of the elements will appear in more than one category

Primary Soul Elements

Pharrell’s “Curtis Mayfield” natured vocal within the verse and chorus sections.

Pharrell’s “Ray Charles” natured vocal within the bridge.

The nature of the Fender Rhodes electric piano.

The nature of the drums and its associated pattern.

The nature of the background vocals

Primary Funk Elements

The nature of the bass.

The nature of the drums (in addition to Soul).

Gospel Elements

The lyrics (i.e. they’re primarily inspirational in nature)

The “call & response” nature of the song (vocally and instrumentally)

The claps

The nature of the background vocals (in addition to Soul)

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The Movie Edit

Pharrell composed Happy with the primary purpose of being featured within a scene in the movie Despicable Me 2. As you can see in the clip below, it suits the song perfectly. What follows is how the song was edited down from 3:52 to 1:17 to prime it for maximum impact:

Form: Intro – Verse – Chorus – Bridge – Chorus (A-B-C-B)

Intro: 0:00 – 0:02

Remains the same as the original.

Taken From Verse 1: 0:03 – 0:05

“It might seem crazy what I’m ’bout to say.”

Taken From Verse 2: 0:06 – 0:08

Notice that the instrumental portion that follows was taken from the second verse so that it includes the background vocal “yeah.”

Taken From Verse 1: 0:09 – 0:11

Here it reverts back to verse 1 for the “sunshine she’s here, you can take a break” line.

Taken From Verse 2: 0:12 – 0:14

The instrumental/“yeah” portion from the second verse is utilized once again.

Taken From Verse 1: 0:15 – 0:26

It then reverts back to the first verse for the “hot air balloon that could go to space” line followed by the instrumental portion from the first verse as well (i.e. there is no “yeah” vocal this time around). The final line of the first verse, “with the air, like I don’t care, baby by the way” then follows to conclude.

Taken From Chorus 1 or 2: 0:27 – 0:50

The first chorus (or second – considering that they’re both identical in nature) of the song is featured in its entirety.

Taken From Bridge Part B: 0:51 – 1:02

Notice that the song goes right into bridge part B (i.e. with the consecutive background “happy, happy, happy, happy” background vocals) and does not utilize

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bridge part A.

Taken From Double Chorus 4: 1:03 – 1:17

For the final chorus in the scene, the first line of the last chorus within the song is utilized, “clap along if you feel like a room without a roof (ay, ay, ay).” Notice that the background vocals are also more full and lush due to the additional voices which have been added into the mix in comparison to choruses 1 and 2.

Next, notice that line 2 is bypassed and it instead goes into a partial line 3, “clap along if you know what…” This enables Pharrell’s more “artsy” delivery to get into the scene, which provides it with a heightened evocative nature.

To conclude, the final portion of line 4, “that’s what you want to do” was spliced together with the partial line 3 above. This allows for the abrupt false ending/delay ring to transition seamlessly.

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 – 0:02)

Vocals & Primary Instrumentation Featured In The Mix

Kick (Acoustic – low level within the mix) 12:00

Hats (Mid/up within the mix) 12:00

Electric Piano (Fender Rhodes – up front within the mix) Primary around 12:00

Electric Bass (Low level within the mix) 12:00

Clocking in at just 0:02, Happy’s intro is not only exceptionally short, but it’s actually tied with Sweet Nothing as being the shortest intro out of the 61 songs that landed in the Billboard Pop songs top 10 during all of 2013!

Despite its 0:02 length, it’s highly effective and accomplishes a lot in a very limited amount of time. Note the following:

Genre Establishment

The 5 quarter note kick/hat/bass/F7 Fender Rhodes combo instantly establishes the Retro Soul vibe of the song. At no point do you think that it might launch into Electropop, Rock or any other

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Unique Identifier

Even as more and more mainstream songs incorporate a Retro R&B/Soul/Funk vibe into their sound, Happy’s 5 quarter note combo intro stands out from the pack, enabling the song to be instantly recognizable amongst all of the other “clutter” on the airwaves.

As a result, the second you hear it, you know exactly what song it is, and there’s no mistaking it for something else (except for a classic Ray Charles song or something of the like, but the chances of something like that landing in a mainstream radio rotation are slim to none – ok, none!).

Grabs, Hooks & Transitions

Considering that Happy’s intro is just 0:02 in length, it instantly grabs the listener’s attention via its unique nature in relation to other mainstream songs, hooks them in, and before they can blink their eyes the verse has already taken over and sealed the deal!

Transition Point – Intro into Verse 1: Turns on a dime. The snare that drives the verse is put right into effect when the intro ends.

Verse-1 (0:02 – 0:26)

Vocals & Primary Instrumentation Featured In The Mix

*Drums (Acoustic kit – bright snare, partially open hates, booming kick) Primary around 12:00 but bleeds throughout

Electric Piano (Fender Rhodes – mid level within the mix) Primary around 12:00

Electric Bass (Mid level within the mix) 12:00

*Lead Vocal (Pharrell Williams – reverb & delay – up front within the mix) Primary around 12:00

*Indicates a new or changed up instrument relative to the preceding section

Backing Music

If there was any doubt in the listener’s mind that they were in store for anything other than a Retro Soul song after hearing the intro, the first verse certainly puts all doubt to rest. All of the elements exude a Retro Soul/Funk nature, including the repetitive acoustic drum rhythm and its associated qualities, electric bass (no synth bass here!), and especially the use of the Fender Rhodes electric piano and its associated Fm7 – B-flat – C – B-flat progression.

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Working in perfect tandem with one another, they exude an infectious, uplifting, carefree and jovial vibe which instantly gets the listener grooving along with an uplifted spirit.

Lead Vocal

In addition to the exceptionally infectious vocal melody (reference that particular section of the report for details), the nature of Pharrell’s Curtis Mayfield inspired falsetto vocal provides the perfect accompaniment to the backing music as detailed above in accentuating the light, “happy” Soul vibe of the section.

Call & Response

The real strength of the section resides in how the backing music and vocal work in perfect tandem with one another in putting the Retro Soul nature of the section into full effect.

With the drums acting as the consistent driving force throughout the section in order to ensure that the listener never loses their groove, the lead vocal and synth/bass combo engage in a “call & response” type of flow which defines so many classic R&B/Soul/Funk songs (“Money” is a good example that comes right to mind).

Notice that each lead vocal line acts as the “call,” with only the drums providing the accompaniment. The “response” follows with the bass and Rhodes electric piano, which follows the progression as detailed above.

This achieves the following:

It provides the section with an infectious flow which has proved to be exceptionally effective for decades.

It enables the lead vocal melody and the Rhodes hook to shine independently of one another, and as a result each element gets fully engrained within the listener’s head.

The call and response nature of the section is unique in relation to the vast majority of current mainstream songs. As a result, it further stands out and resonates. (Note – the opposite would be true if you were listening to the song on a classic R&B/Soul/Funk station!)

Transition Point – Verse 1 into Chorus 1: The “because I’m” vocal enters at the tail end of the verse followed by the chorus hitting on the title lyric “Happy.” Note that the transition is seamless (i.e. there isn’t a drum fill, swell, transitional pause, etc…) with only a low/mid level bass riff occurring at the transition point.

Chorus-1 (0:26 – 0:50)

Vocals & Primary Instrumentation Featured In The Mix

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Drums (Acoustic kit – bright snare, partially open hates, booming kick) Primary around 12:00 but bleeds throughout

*Claps (“Group” claps – moderate reverb – mid level within the mix) Primary around 10:00/2:00 with the reverb trail spanning the entire mix

Electric Piano (Fender Rhodes – mid level within the mix) Primary around 12:00

*Electric Bass (Mid/up within the mix) 12:00

Lead Vocal (Pharrell Williams – reverb & delay – up front within the mix) Primary around 12:00

*Background Vocals (Male – up front within the mix): Spans the entire mix

*Indicates a new or changed up instrument relative to the preceding section

Pharrell knew he was on to something good when he wrote Happy’s chorus, so good in fact that it justified him incorporating it into 62% of the song’s total composition!

The best part is that the listener didn’t have to wait long for the first installment, considering that Happy has its first chorus hitting at just 0:26 / 11% of the way into the song.

So just what is it about this section that makes it so infectious, engaging and memorable? Note the following:

Backing Music

Note that the instrumentation that was utilized within the preceding verse remains in effect during the chorus, with the sole new addition being the claps.

Drums

Notice that the nature of the drum pattern remains virtually the same as it was within the preceding verse. The continuity provides for a seamless transition between sections.

Bass (Groove Accentuator)

The first thing that you’ll notice about the bass in the chorus is that it remains in effect throughout the entire section as opposed to being pulled from the mix during the vocal as it was during the preceding verse. As a result, its “rolling, percussive, funky, bottom heavy, fat” nature provides a solid Soul/Funk foundation that along with the drums takes the grooving nature of the song to the next level.

Electric Piano (“Happy” Accentuator #1)

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There are few instruments like the Fender Rhodes which elicit such a profound vibe of happiness and serenity the second you hear them. Here in the chorus, notice that the general characteristics of the Rhodes from the verse remain in effect, with the primary difference stemming from its progression, which is now D-flat-maj7 – C7sus – F7. This, along with the qualities of the Rhodes, elicits a tender, carefree, “happy” vibe which perfectly jibes with and accentuates the nature of the lyrics.

Claps (“Happy” Accentuator #2)

Rhythm

The claps hit on 2 & 4 in a repetitive and simplistic manner throughout each line within the chorus as follows:

1st Measure: Quarter Rest – Quarter Clap - Quarter Rest – Quarter Clap

2nd Measure: Quarter Rest - Quarter Clap – Quarter Rest - Eighth Clap – Eighth Clap

3rd Measure: Quarter Rest - Quarter Clap – Quarter Rest – Quarter Clap

4th Measure: Quarter Rest – Eighth Clap – Eighth Clap – Quarter Rest - Quarter Clap

The addition of the claps within the chorus was exceptionally effective on the following levels:

First, it ties right in with the “clap along” lyrics which kick off each line within the chorus. As a result, it strengthens the impact of the section as a whole.

Second, it adds to the section’s overall momentum and groove, working in perfect tandem with the drums and bass.

Third, there’s just something about hearing claps within a mix that elicits a “happy go lucky” type of vibe, which is obviously well warranted in the case of Happy!

Fourth, it accentuates the Soul/Gospel nature of the song.

Fifth, it functions as an infectious element which takes the engagement value for the listener to the next level. Think about it this way – when Pharrell sings to the audience “clap along if you…” in a live setting, I guarantee that when the audience sees and hears people clapping along on stage that they’re going to be clapping along as well in no time at all. As a result, the audience becomes directly involved with the performance of the song, which takes its impact to the next level.

Vocals

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Aside from the vocal melody, which is explored in depth within the vocal melody section of the report, notice that the general qualities of Pharrell’s lead delivery remain pretty much on par with that of the preceding verse (i.e. Curtis Mayfield is still in full effect).

The primary difference between the chorus and the preceding verse resides in the addition of the background vocals into the mix. Note the following:

The background vocals add a heightened degree infectious coloring to the section, which ultimately increases the engagement value for the listener. Remove those vocals from the mix and the section doesn’t possess nearly as much impact.

The nature of the harmony does a fantastic job of providing an additional level of “light soaring elation” to the section, which further accentuates the meaning and impact of the lyrics.

It functions as the sole deliverer of the “title payoff” within the section. What’s especially important to note is the manner in which it delivers the title payoff for maximum impact. The lyrics “because I’m” provide the lead in, and the title lyric “happy” is then sustained via an infectious progression over each lead vocal line within the section.

Overall Vibe

The true magic of Happy’s chorus resides in how all of the elements mentioned above come together and work in perfect tandem with one another in putting the ultra-infectious, elated Retro Soul/Gospel/Funk vibe into effect. Note the following:

The entire section possesses a Retro Soul quality which is primarily brought about via the nature of all of the instrumentation utilized within the mix coupled with the characteristics of Pharrell’s vocal.

The nature of the bass provides the Retro Funk element within the mix, albeit in a subdued manner.

The background vocals, lead vocal, claps and lyrics all work in perfect unison with one another in providing the section with its Gospel vibe. It doesn’t take a stretch of the imagination to picture Pharrell and a congregation in a place of worship, with the choir singing and clapping along while he preaches his “clap along…” sermon which gets the entire congregation out of their seats, clapping along and into a state of elation!

Transition Point – Chorus 1 into Verse 2: Seamless transition. The backing music of the chorus continues until concluding on F7, which then heads into the drum/vocal combo at the onset of the second verse.

Verse-2 (0:50 – 1:14)

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Musically, the second verse of the song is pretty much a carbon copy of that of the first. The primary differences reside in some of the characteristics within the lead vocal melody (reference the vocal melody section of the report for specifics), the lyrics, and most notably the addition of the background “yeah” vocals.

Appearing at the tail end of the instrumental “response” within the section, the “yeah” vocals achieve the following:

They take the “call and response” nature of the section to the next level. Not only does it occur between the lead vocal and instrumental run as we saw in the first verse, but now each “yeah” provides a “response” to the lead vocal as well.

They add a Gospel/Soul flavor to the section that wasn’t present within the first verse by harkening back to the style that background vocal groups like the Raylettes brought to the table for Ray Charles back in the 50?s and 60?s.

The use of a female background vocal adds increased coloring to the sonic landscape and provides contrast to Pharrell’s male lead vocal.

Bottom line – all of the qualities mentioned above provide differentiation between the first and second verses within the song, which ultimately increases the engagement value for the listener.

Transition Point – Verse 2 into Chorus 2: Same transition as verse 1 into chorus 1

Chorus-2 (1:14 – 1:38)

The second chorus of the song is essentially a carbon copy of that of the first on all levels (musically, vocally and lyrically).

The only discernible difference occurs toward the tail end, where the “hey, come on, UH” background vocals enter the mix. This functions as the transition into the bridge that follows as well as further accentuating the Retro Soul nature of the song specifically via the James Brownish “UH!”

Transition Point – Chorus 2 into Bridge 1: See above.

Bridge 1 (1:38 – 2:02)

Vocals & Primary Instrumentation Featured In The Mix

*Congas (Slight to moderate reverb – up front within the mix) Primary around 12:00

*Claps (“Group” claps – moderate reverb – mid/up within the mix) Primary around 9:00/3:00 but bleeds through the entire mix

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*Brass (What sounds to be a sax enters the mix in unison/mimicking Pharrell’s “high” vocal – moderate to ample reverb – mid/up within the mix) Primary around12:00 with a reverb trail that fans out l/r

Lead Vocal (Pharrell Williams – reverb & delay – up front within the mix) Primary around 12:00

*Background Vocal – Bridge Part A (Single “happy” female vocal – high register – up front within the mix) Primary around 12:00 but bleeds l/r

*Background Vocals – Bridge Part B (Multi “happy” female harmony vocals – harmony becomes more pronounced with additional vocals as the section progresses – up front within the mix) Starts around 12:00 and then proceeds to fan out l/r with each subsequent “happy” run which incorporates additional voices into the mix (i.e. the additional voices enter further panned out l/r).

*Background Vocals – Bridge Part A & Part B (Female & Male – “uh’s” and shouts – low level in the mix except for the “let me tell you know” male vocal that transitions part A into part B) Primary around 12:00 but fans out l/r

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

Following the full chorus, the bridge immediately launches the song into breakdown mode, consisting of claps, congas, lead and background vocals. Notice that the Rhodes, bass and drums have been completely removed from the mix.

This provides the section with an infectious spin that does exactly what a bridge SHOULD do – provide the song with a differentiated twist which ultimately heightens the engagement value for the listener and provides the song as a whole with increased depth.

Sectional Split

Notice that the full bridge is essentially split in half, consisting of parts A and B which are both 0:12 in length.

The nature of the backing music and lead vocal remain constant throughout both “parts.” The differentiation stems from a shift in the nature of the background vocals as you’ll see below.

Backing Music (Rhythmic Elements)

Conga

Follows a repetitive Eighth – Quarter Rest - Eighth – Quarter Rest – Eighth – Eighth – Eighth rhythm. Notice that the last 2 conga hits possess a higher pitch than the preceding hits.

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Claps

The claps follow a repetitive Eighth note rhythm throughout the entire section. Notice that considering that the rhythm never changes, the clap impact level is alternated throughout, which provides them with an engaging and infectious flow.

Conga & Claps Combined

Together, the conga and claps provide a solid, engaging and infectious foundation for the lead and background vocals to shine. Additionally, notice that the conga provides the section with an infectious, grooving and almost hypnotic quality, while the rapid claps put the Gospel fervor into high gear.

Vocals

In contrast to Pharrell’s Curtis Mayfield inspired vocal which defined the verse and chorus sections of the song, here we find him channeling the late, great, Ray Charles in the bridge (especially via the manner in which he sings the lyric “nothin’” as “nuttin’!)

Notice that the Gospel/Soul vibe is once again in full effect, with Pharrell testifying via his Retro Soul persona “bring me down, can’t nothin’, bring me down, your love is too high…”

As you’ll see within the vocal melody section of the report, the nature of the lead vocal and lyrics repeat in the same manner, with the core differentiation between bridge part A and part B stemming from the nature of the background vocals as previously mentioned. Note the following:

Part A

Part A of the bridge consists of a single female high register “happy” vocal which occurs prior to each lead vocal line. Notice that this is similar in nature to the “yeah’s” that were put into effect within verse 2 (specifically the placement, not the register).

As brief as this vocal comes and goes within the mix, notice that it puts the “call and response” theme back into effect as well as in adding a “light” and, well, “happy” vibe to the section as a whole.

Part B

In contrast to part A, part B increases the frequency of the “happy” vocal so that it occurs 4 times via a descending progression over each lead vocal line except for the last time around where it’s just 2.

Notice that additional voices are added to the mix with each successive “happy” run, which along with its more frequent nature helps to take the Gospel natured intensity of the section to a climax before releasing into the chorus that follows.

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Additional Background Vocals

Notice that there are both female and male vocals that pop up sporadically throughout the entire section at a very low level within the mix which do a great job of both accentuating the excitement of the section via the “uh’s” and shouts as well as providing it with a “live” vibe (i.e. accentuating the house of worship feeling).

Transition Point – Bridge 1 into Chorus 3: The “happy” background vocals are pulled from the mix at the tail end of the bridge which provides a brief “background vocal respite” before the chorus “because I’m happy” vocals reenter. If the last 2 “happy’s” from the bridge weren’t pulled, it would have wound up being “happy” overload!

Chorus-3 (2:02 – 2:50)

The third chorus of the song, which is a double (i.e. it repeats in pretty much the same fashion twice in a row) is virtually the same as choruses 1 and 2 except in regard to the background & lead vocals.

Where those choruses primarily featured Pharrrell’s harmony, chorus 3 features what sounds to be a primarily female vocal choir. Additionally, notice that there are a lot more voices within the mix this time around, which provides the section with a fuller, lusher quality in comparison.

Now, in regard to Pharrell’s lead vocal, his delivery remains pretty much the same as it was during choruses 1 and 2 during the first of the 2 choruses. On the first line of the second chorus, however, notice that he changes up the manner in which he sings the first line “clap along if you feel like a room without a roof.” As subtle as it is, it was ultra-important in preventing the section as a whole from becoming overly monotonous.

Transition Point – Chorus 3 into Bridge 2: A background “hey, come on, uh!” vocal enters the mix at the tail end of the bridge which then transitions directly into bridge 2 part B.

Bridge 2 (2:50 – 3:02)

Now here’s something that you rarely ever see in current mainstream Pop, R&B/Soul, Rock or Country songs – a reversion back to the bridge as opposed to a chorus and out after the third chorus (i.e. keeping in line with the most popular song structure – A-B-A-B-C-B).

In Happy, this comes as an unexpected surprise. Notice however that it forgoes part A and goes right into part B (i.e. the part with the frequent “happy’s”). This thrusts the listener right back into full on intense Gospel mode, taking them to an elated high before providing with them one last chorus payoff.

Transition Point – Bridge 2 into Chorus 4: Same transition as bridge 1 into chorus 3.

Chorus-4 (3:02 – 3:50)

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Just to make sure that the listener gets their fill of “Happy” choruses, not only does Pharrell decide to launch back into another run following the preceding bridge part B section, but he makes it a double, just as was the case with chorus 3!

As was the case with chorus 3, here in chorus 4 the revamped expanded choir is in full effect, with the only differentiation between the two stemming from the nature of the lead vocal.

Notice that although the differences are subtle, they do a great job in functioning to break up the monotony between the 2 sections. The most profound differences include:

The manner in which Pharrell sings the lyric “roof” at the onset of the section via “roof- ah.”

The “ay, ay, ay” that follows the line “..what happiness is to you” within the first of the two choruses.

The “artsy” manner in which he concludes the line “…what happiness is to you” followed by 2 “ay ay’s.”

Ending (3:50 – 3:51)

The only point within the entire song where a modern twist is put into effect occurs at the very conclusion.

Instead of providing a nice resolve or a chorus fadeout (which probably would have made the most sense considering the retro nature of the song coupled with the fact that the final chorus is a double), Pharrell instead ops for the current mainstream fav – the abrupt “false” ending.

In this case, the song abruptly cuts off at the transition point at the tail end of the chorus, leaving the listener with a brief “come on” delay that lingers for 3 go-arounds over the span of a second before coming to a final conclusion at 3:51.

By ending so abruptly, it acts as a psychological tool which leaves the listener feeling unsatiated, and as a result increasing their craving for another listen.

Considering how well the song has performed all over the world, I think it’s safe to say that people went back for another helping of Happy!

Lead Vocal Melody Back to Top

VERSE

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Verse-1

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Verse 2

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Line Reference

Verse 1

Line 1: It might seem crazy what I’m ’bout to say Line 2: Sunshine she’s here you can take a break Line 3: I’m a hot air balloon that could go to space Line 4: With the air like I don’t care baby by the way

Verse 2

Line 1: Here come bad news talking this and that Line 2: Well give me all you got and don’t hold it back Line 3: Well I should probably warn you I’ll be just fine Line 4: No offense to you don’t waste your time, here’s why

Vocal Range

High: A-flat Low: F

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

Verse 1

All of the lines within the section incorporate some degree of segmentation. As you’ll see, some of the segmentation methods are more pronounced than others (i.e. rests vs. prolonged lyrics), but ultimately they all have the same effect – making it easier for the listener to process and remember.

Line By Line Rundown

Line 1: It might seem cra-zy what I’m ’bout to say

Word/Syllable Count: 9 words / 10 syllables

Segmentation Method: 2 whole rests

Line 2: Sun-shine she’s here / you can take a break

Word/Syllable Count: 8 words / 9 syllables

Segmentation Method: Dotted whole rest

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Line 3 (Full): I’m a / hot air bal-loon that could go to space

Word/Syllable Count: 10 words / 11 syllables

Line 3 (Segment 1): I’m a

Word/Syllable Count: 2 words / 2 syllables

Segmentation Method: Quarter rest

Line 3 (Segment 2): hot air bal-loon

Word/Syllable Count: 3 words / 4 syllables

Segmentation Method: The syllable “loon” in “bal-loon” possesses a dotted quarter note value

Line 3 (Segment 3): that could go to space

Word/Syllable Count: 5 words / 5 syllables

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

Notice that the lyrics “I’m a” are spoken as opposed to being sung, and are followed by a quarter rest which provides segmentation from the balance of the line. Additionally, notice that by providing the syllable “loon” in “bal-loon” with a prolonged nature in relation to the lyrics/syllables that both precede and follow it, it provides the line as a whole with subtle further segmentation.

Line 4 (Full): With the air / like I don’t care / ba-by by the way

Word/Syllable Count: 11 words / 12 syllables

Line 4 (Segment 1): With the air

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: The last lyric, “air,” possesses a dotted quarter value followed by an eighth rest

Line 4 (Segment 2): like I don’t care

Word/Syllable Count: 4 words / 4 syllables

Segmentation Method: The last lyric “care” possesses a dotted quarter value

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Line 4 (Segment 3): ba-by by the way

Word/Syllable Count: 4 words / 5 syllables

Segmentation Method: Half + dotted quarter rest segments the verse from the chorus

First, note that line 4 is the longest line within entire section, consisting of 11 words/12 syllables. In order to make it easier for the listener to process and remember, the line was broken up into 3 individual segments via the following segmentation methods:

Segment 1 (“With the air”) was segmented from segment 2 (“like I don’t care”) via an eighth rest and dotted quarter timing on the lyric “air.”

Segment 2 (“like I don’t care”) was segmented from segment 3 (“baby by the way”) via the timing of the lyric “way,” which is prolonged in relation to the lyrics that both precede and follow it (i.e. it possesses a dotted quarter value).

Verse 2

Here in the second verse we once again find segmentation occurring on each line as follows:

Line 1 (Full): Here come bad news / talk-ing this and that / (yeah)

Word/Syllable Count: 8 words / 9 syllables

Line 1 (Segment 1): Here come bad news

Word/Syllable Count: 4 words / 4 syllables

Segmentation Method: The lyric “news” possesses a dotted quarter value in contrast to the quarter and eighth notes that precede and follow it, respectively

Line 1 (Segment 2): talk-ing this and that / (yeah)

Word/Syllable Count: 5 words / 5 syllables

Segmentation Method: Dotted whole rest precedes the backing vocal “yeah”

Line 2 (Full): Well give me all you got / and don’t hold it back / (yeah)

Word/Syllable Count: 11 words / 11 syllables

Line 2 (Segment 1): Well give me all you got

Word/Syllable Count: 6 words / 6 syllables

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Segmentation Method: The lyric “got” possesses a quarter note value in contrast to the eighth notes that follow

Line 2 (Segment 2): and don’t hold it back / (yeah)

Word/Syllable Count: 5 words / 5 syllables

Segmentation Method: Dotted whole rest precedes the backing vocal “yeah”

Notice that even though the quarter note value of the lyric “got” isn’t that stringent, it still manages to provide brief segmentation from the phrase that follows.

Line 3 (Full): Well I should prob-’bly warn / you I’ll be just fine / (yeah)

Word/Syllable Count: 10 words / 11 syllables

Line 3 (Segment 1): Well I should prob-’bly warn

Word/Syllable Count: 5 words / 6 syllables

Segmentation Method: The lyric “warn” possesses a quarter note value in contrast to the eighth notes that follow

Line 3 (Segment 2): I’ll be just fine / (yeah)

Word/Syllable Count: 4 words / 4 syllables

Segmentation Method: Dotted whole rest precedes the backing vocal “yeah”

Here on line 3 we have a similar story to what we found on line 2 that preceded it. Notice however that the segmentation occurs prior to the end of the full phrase (i.e. it occurs after the lyric “warn” as opposed to “you”).

Line 4 (Full): No of-fense to you / don’t waste your time / Here’s why

Word/Syllable Count: 10 words / 11 syllables

Line 4 (Segment 1): No of-fense to you

Word/Syllable Count: 4 words / 5 syllables

Segmentation Method: The lyric “you” possesses a dotted quarter value in contrast to the notes of shorter duration that both precede and follow

Line 4 (Segment 2): don’t waste your time

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Word/Syllable Count: 4 words / 4 syllables

Segmentation Method: Dotted quarter rest

Line 4 (Segment 3): here’s why

Word/Syllable Count: 2 words / 2 syllables

Segmentation Method: Half + eighth rest

Notice that line 4 is broken into 3 individual segments. Segments 1 and 2 are separated by the prolonged lyric “you,” while segment 3 is separated from segment 2 by a much more pronounced dotted eighth rest.

Notice how this does a great job of setting up the chorus that follows via both its lyrical meaning and its individuality in relation to the rest of the line.

PROGRESSION & RHYTHM

The name of the game within both verse sections of Happy is one of infectious simplicity coupled with the perfect blend of repetition and diversity.

The infectious simplicity allows for the listener to easily get engaged and sing along to the melody, while the repetition and diversity enables the melody to get completely engrained within the listener’s head while remaining fresh and engaging from line to line and section to section.

VERSE 1

Lines 1 & 2

Let’s first take a look at both of the segments/phrases on lines 1 and 2 considering that they possess similar qualities to one another:

Segment/Phrase 1 (Line Beginning)

Line 1: “It might seem cra-zy” (C – F – F – F – C / Eighth – Eighth – Quarter – Quarter – Eighth)

After kicking off on a C, the progression leaps up to F on the next 3 syllables until concluding where it began, on C.

Notice that the rhythm kicks off with a 2 eighth note flurry followed by slowing down for the balance of the phrase via a quarter and a quarter/eighth combo on the lyric “cra-zy.”

Line 2: “Sun-shine she’s here” (A-flat – A-flat – A-flat – A-flat / Eighth – Quarter – Quarter – Dotted Quarter)

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As opposed to the F’s that defined the body of the first phrase on line 1, notice that the entire first phrase of line 2 leaps up to A-flat and resides there for the duration. Not only does this provide infectious contrast in relation to line 1, but the higher register also does a fantastic job of accentuating the “happy” meaning of the lyrics “sunshine she’s here.”

In regard to the rhythm, notice that it possesses similar qualities to that which defined the first phrase on the first line. This both helps to get the lines engrained within the listener’s head as well as setting up phrase 2 that follows, which possesses a contrasting nature.

Segment/Phrase 2 (Line Ending)

As you just saw, the first phrase on lines 1 and 2 possess both similar as well as differentiated qualities. The second phrase, however, is identical from both a melodic and rhythmic standpoint:

Segment/Phrase 2, Line 1: “what I’m ’bout to say”

Segment/Phrase 2, Line 2: “you can take a break”

Notice that both lines follow a C – C – E-flat – E-flat F progression and utilize an Eighth – Eighth – Eighth – Eighth – Half rhythm.

Note the following:

The eighth note flurry that defines phrase 2 on both lines provides infectious contrast against the slower delivery that defines phrase 1.

Not only does the melodic and rhythmic repetition enable phrase 2 on both lines to easily get engrained within the listener’s head, but it also acts as the key tying agent between lines 1 and 2 as well, enabling the “line grouping” as a whole to easily connect and resonate.

Line 3

Looking at the graphs and notation above, you can see that the third line of the section possesses both similar and differing qualities in relation to lines 1 and 2 that preceded it. Note the following:

Segment/Phrase 1 (Line Beginning)

“I’m a” (Spoken / Eighth – Eighth)

In contrast to lines 1 and 2 that preceded it, notice that the lyrics “I’m a” are conveyed in a spoken manner via an eighth note delivery and are followed by a quarter rest as mentioned earlier.

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Note that this is effective on the following levels:

It provides brief, stringent, infectious contrast in relation to lines 1 and 2 that preceded it.

The lower register spoken nature of those lyrics coupled with the rest that follows enables the “hot air balloon” line to be provided with increased impact and emphasis when it hits (see below for details).

Segment/Phrase 2 (Line Middle)

“hot air bal-loon” (F – F – F – G / Quarter – Quarter – Eighth – Dotted Quarter)

Following the “I’m a” set-up as mentioned above, notice that the phrase that follows, “hot air bal- loon,” immediately leaps back up to F and resides there until the tail end where it steps up to G to on the syllable “loon” to conclude. Note the following:

The leap at the beginning is similar in nature to the C – F leap that occurred at the onset of line 1. This similarity, as subtle as it is, does a great job of accentuating the sections overall memorability factor.

The leap up to F, and especially the further step up to G on the syllable “loon” in “balloon” does a fantastic job of jibing with and accentuating the meaning of the lyrics “hot air balloon” (i.e. the upward flow).

Notice that the F – F – F portion of the progression reinforces the F – F – F run of the first phrase on line 1.

In regard to the rhythm, notice that it possesses similar qualities in relation to the first phrases on lines 1 & 2 via its use of quarter notes. As you’ll see below, this acts to provide the same type of rhythmic contrast as we saw on lines 1 and 2 that preceded it.

Segment/Phrase 3 (Line Ending)

“that could go to space” (E-flat – E-flat – E-flat – E-flat – F / Eighth – Eighth – Eighth – Eighth – Half)

As was the case with the preceding lines and segments, the last segment on line 3 possesses both similarities in relation to how lines 1 and 2 end, as well as a core difference:

Similarities (reinforces the memorability factor):

It follows the same exact rhythm

The last 3 lyrics follow an E-flat – E-flat – F progression

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Differences (heightens the engagement factor):

Instead of kicking off with a C – C delivery as we saw on lines 1 and 2, line 3 instead kicks off with an E-flat – E-flat delivery and stays there up until the tail end as we just saw above. It’s a subtle difference, but a difference none-the-less.

Line 4

In contrast to lines 1 – 3 which followed alternating ascending and descending progressions, line 4 shifts gears by essentially following a descending progression which concludes an octave lower than lines 1 – 3.

Despite the differences via the nature of the progression, note there are rhythmic similarities which reinforces the memorability factor for the listener.

Segment/Phrase 1 (Line Beginning)

“With the air” (E-flat – E-flat – E-flat / Eighth – Eighth - Dotted Quarter)

The first segment/phrase of the section kicks off with a monotone natured E-flat eighth note delivery on the first 2 lyrics followed by a prolonged dotted quarter value on the last lyric, “air.” This is then followed by an eighth rest which provides the extra segmentation from the segment/phrase that follows as mentioned earlier.

Segment/Phrase 2 (Line Middle)

“like I don’t care” (D – E-flat – D – C – B-flat / Eighth – Eighth – Quarter – Eighth – Quarter)

Following a brief dip down to D followed by a step up to E-flat at the onset, the balance of the segment/phrase then embarks on a downward progression via D-flat – C – B-flat to conclude.

Notice how the incorporation of quarter notes into the mix slows the flow down a bit in a similar manner to what we saw on lines 1 – 3, which provides the same type of infectious contrast in relation to the eighth note flurry that follows in segment/phrase 3.

Additionally, notice that the last lyric, “care,” is prolonged past it’s normal syllable count via C – B-flat / Eighth – Quarter which puts the segmentation from segment/phrase 3 into effect.

Segment/Phrase 3 (Line Ending)

“baby by the…” (B-flat – A-flat – B-flat – A-flat / Eighth – Eighth – Eighth – Eighth)

“…way” (B-flat – C – B-flat – A-flat – F / Sixteenth – Sixteenth – Eighth – Sixteenth – Half + Sixteenth)

In contrast to the descending progression that preceded it, notice that the first half of the last

34 / 85 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com segment/phrase of the section consists of an infectious alternating B-flat – A-flat progression consisting of all eighth notes.

Notice that this all eighth note rhythm which is preceded by the “slowed down” nature of the segment that preceded it functions as the primary tying link between the “like” areas on lines 1 – 3:

Eighth – Eighth – Eighth – Eighth

Line 1: “what I’m ’bout to”

Line 2: “you can take a”

Line 3: “that could go to”

Line 4: “ba-by by the”

This rhythmic repetition plays a key role in helping to get the section as a whole engrained within the listener’s head, despite the variation in the nature of the melodic progression.

Now, notice what happens on the last lyric of the section, “way.” Instead of concluding on an F with a dotted quarter value as was the case on lines 1 – 3, Pharrell instead gets a bit “artsy” via stretching the lyric across a B-flat – C – B-flat – A-flat – F progression with a sixteenth – sixteenth – eighth – sixteenth – half + sixteenth rhythm. This achieves the following:

It provides the line with increased melodic “coloring,” which concludes the section on a very infectious note.

By concluding an octave down from the F that defined lines 1 – 3, it provides the perfect set-up for the lift that occurs at the onset of the chorus.

***CLEVER ELEMENT***

One important aspect of this line that you should pay close attention to is how the nature of the progression, rhythm and Pharrell’s vocal delivery work in perfect tandem with one another in eliciting a relaxed, carefree vibe which perfectly jibes with and accentuates the meaning of the line “with the air, like I don’t care, baby by the way.” This is what strong, effective songwriting is all about!

VERSE 2

As you know, the key to keeping the listener engaged throughout a song is to provide the perfect blend of repetition and diversity. This is especially the case within “like” sections of the song (e.g. verse 1 vs. verse 2).

More times than not, the nature of the vocal melody within verse sections of a song will be quite

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In the case of Happy, however, the exact opposite is true. The nature of the backing music remains virtually the same between both verse occurrences, and it’s the nature of the vocal melody which provides the differentiation, some subtle, and some more stringent, as you’ll soon see.

Here we’re going to look at the key similarities and differences between verse 1 and verse 2. The goal is to show the similar characteristics which hammers home the memorability factor while also spotlighting the diversity which keeps the listener engaged, without jeopardizing the effectiveness of the melody’s ability to resonate and sink in.

Line 1

Verse 1: “It might seem cra-zy / what I’m ’bout to say” Verse 2: “Here come bad news / talk-ing this and that”

Segment 1 Comparison: “It might seem cra-zy” / “Here come bad news”

Similarities

They both essentially possess the same rhythm. The only difference occurs at the tail end considering that “cra-zy” is a 2 syllable word compared to “news,” which is just 1. “Cra-zy” consists of a quarter + eighth, while “news” possesses a dotted quarter value.

They both kick off with a lower register note value followed by leaping upward into a monotone 3 note run.

Differences

Both differ in terms of the melodic progression that they follow. Verse 1 follows a C – F – F – F – C progression, while verse 2 follows E-flat – A-flat – A-flat – A-flat. Note that segment 1 in the second verse is starting off at the heightened level that we saw with segment 2 in the first verse.

Segment 2 Comparison: “what I’m ’bout to say” / “talk-ing” this and that”

Similarities

Both follow the same exact rhythm: Eighth – Eighth – Eighth – Eighth – Half

With the exception of the first note, they both follow the same melodic progression via C – E-flat – E-flat – F

Differences

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The only difference (aside from the lyrics of course) resides in the first note of the segment. The second segment in verse 1 kicks off with a C on the lyric “what,” while verse 2 begins with an E-flat on the syllable “talk” in “talk-ing.”

Note that the difference of that one note is quite inconsequential, however. The overall framework of both segments is basically spot on with one another.

Line 2

Verse 1: “Sun-shine she’s here / you can take a break” Verse 2: “Give me all you got / don’t hold it back”

Segment 1 Comparison: “Sun-shine she’s here” / “Give me all you got”

Similarities

With the exception of 1 note (the F on the lyric “you”) (I know – F “you” – I caught it!), the entire segment consists of a monotone A-flat delivery.

Differences

The brief drop down to F as mentioned above.

Both segments possess a differing rhythmic flow (Eighth – Quarter – Quarter – Dotted Quarter vs. Eighth – Eighth – Dotted Quarter – Eighth – Quarter).

Segment 2 Comparison: “you can take a break” / “don’t hold it back”

Similarities

The last 3 lyrics follow the same melodic progression and rhythm (E-flat – E-flat – F / Eighth – Eighth – Half).

Differences

Verse 1 kicks off with 2 consecutive C notes, while verse 2 begins on a single E-flat. Remember – segment 2 in verse 2 only consists of 4 syllables as opposed to the 5 in verse 1).

Line 3

Verse 1: “I’m a / hot air bal-loon / that could go to space” Verse 2: “Well I should prob-’bly warn / you I’ll be just fine”

The first difference that you need to take note of is that line 3 in verse 1 consists of 3 individual segments, as opposed to verse 2 which contains 2. Essentially, verse 2 doesn’t contain he

37 / 85 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com spoken “I’m a” lead in that kicks off line 3 verse 1.

For purposes of this analysis, we’re going to refer to “hot air balloon” as being the first segment considering that the “I’m a” segment does not occur within verse 2.

Segment 1 Comparison: “hot air bal-loon” / “Well I should prob-’bly warn”

Similarities

Aside from the spoken lyric(‘s) at the onset (“I’m a” from verse 1 and “well” in verse 2), both segments follow a monotone F delivery up until the final lyric/syllable.

Both have their final lyric/syllable possessing a quarter note value coupled with a bump up to a G which provides them with increased emphasis as well as puts the segmentation into effect (“loon” in “bal-loon” in verse 1 and “warn” in verse 2). As a side note, just as the bump up to G made sense in regard to the meaning of the lyric “balloon,” it also makes sense in the second verse with the accentuation of the powerful lyric “warn.”

Differences

Both segments possess a rhythm that differs in nature from one another.

The emphasis and segmentation occurs at the end of a “proper” phrase in the first verse (i.e. “I’m a hot air bal-loon”), while this isn’t the case in the second verse (i.e. “Well I should prob-’bly warn”). Notice that if it was going to be a complete phrase, the lyric “you” would have been included as well.

Segment 2 Comparison: “that could go to space” / “you I’ll be just fine”

Similarities

Both follow the same exact melodic progression via E-flat – E-flat – E-flat – E-flat – F.

Both follow the same rhythm EXCEPT on the second to last lyric as detailed below.

Differences

The second to last lyric within both sections (“to” in verse 1, “just” in verse 2) possess different timing. “To” consists of an Eighth note value, while “just” is a Quarter note. As a side note, notice that by providing the lyric “just” with a prolonged nature relative to the lyrics that preceded it enables “just fine” to come across and resonate with increased impact, which is important considering it’s connotation.

Line 4

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Verse 1: “With the air / like I don’t care / ba-by by the way” Verse 2: “No of-fense to you / don’t waste your time / Here’s why”

Here within the fourth and final line of both verse sections is where we find the most profound differences between the two.

Essentially, the melodic progression which defines line 4 in the second verse reverses course from that which defined line 4 in the first (i.e. it primarily descends in the first verse, and ascends in the second). As a result, the nature of the progression is completely different, as is the vast majority of the rhythm as well.

The key element that both share is the fact that both are split into 3 individual segments.

Despite the differences that they possess in relation to one another, as well as every other line within both sections for that matter, they’re both still exceptionally infectious and memorable and perfectly set up the chorus that follows as well.

BACKING VOCALS (“Yeah”)

Aside from the differences that were detailed above, the other core difference between verse 1 and verse 2 is the addition of the background vocal “yeah’s” into the mix within verse 2. Note the following:

Each “yeah” follows a Dotted Whole Rest at the end of lines 1 – 3.

The use of female backing vocals as opposed to male provides the sonic landscape with increased coloring and vibrancy.

The “yeah” puts into effect the infectious Retro Soul/Gospel “call and response” theme of the section.

The fact that the “yeah’s” were not utilized within the first verse provides differentiation between the 2 sections and as a result heightens the engagement factor for the listener.

CHORUS

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Line Reference

Lead Vocal

Line 1: Clap along if you feel like a room without a roof Line 2: Clap along if you feel like happiness is the truth Line 3: Clap along if you know what happiness is to you Line 4: Clap along if you feel like that’s what you wanna do

Vocal Range

High: C Low: C

Background Vocal

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Precedes lines 1 – 4: Because I’m happy

Vocal Range

High: C Low: C

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

Lead Vocal

As a whole, each full lead vocal line within the chorus is quite lengthy, consisting of 10 or 11 words and 13 syllables. In order to make it easier for the listener to process and remember, each full line was segmented into 3 shorter segments/phrases.

As you’ll see below, this was put into effect in a very subtle manner via the use of prolonged lyrics/syllables in relation to the other lyrics on the line as opposed to rests. As subtle as the segmentation might be, it’s none the less effective in what it needs to achieve.

Additionally, notice that each “like” segment on each line possesses the same syllable count. The uniformity accentuates the ability for each line to get fully engrained within the listener’s head.

Segment 1 on each line: “Clap a-long”

Consists of 2 lyrics / 3 syllables

Segmented from the phrase that follows via the last syllable consisting of a Dotted Quarter value

Segment 2 on each line: “if you feel” (lines 1, 2 & 4), “if you know” (line 3)

Consists of 3 lyrics / 3 syllables

Segmented from the phrase that follows via the last syllable consisting of a Dotted Quarter value

Segment 3 on each line: Varies from line to line

Consists of 5 or 6 lyrics / 7 syllables

Line By Line Breakdown

Line 1 (Full): Clap a-long / if you feel / like a room with-out a roof

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Word/Syllable Count: 11 words / 13 syllables

Line 1 (Segment 1): Clap a-long

Word/Syllable Count: 2 words / 3 syllables

Segmentation Method: The last syllable is prolonged via a dotted quarter value

Line 1 (Segment 2): if you feel

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: The last lyric is prolonged via a dotted quarter value

Line 1 (Segment 3): like a room with-out a roof

Word/Syllable Count: 6 words / 7 syllables

Segmentation Method: Half + eighth rest

Line 2 (Full): Clap a-long / if you feel / like hap-pi-ness is the truth

Word/Syllable Count: 10 words / 13 syllables

Line 2 (Segment 1): Clap a-long

Word/Syllable Count: 2 words / 3 syllables

Segmentation Method: The last syllable is prolonged via a dotted quarter value

Line 2 (Segment 2): if you feel

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: The last lyric is prolonged via a dotted quarter value

Line 2 (Segment 3): like hap-pi-ness is the truth

Word/Syllable Count: 5 words / 7 syllables

Segmentation Method: Half + eighth rest

Line 3 (Full): Clap a-long / if you know / what hap-pi-ness is to you

Word/Syllable Count: 10 words / 13 syllables

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Line 3 (Segment 1): Clap a-long

Word/Syllable Count: 2 words / 3 syllables

Segmentation Method: The last syllable is prolonged via a dotted quarter value

Line 3 (Segment 2): if you know

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: The last lyric is prolonged via a dotted quarter value

Line 3 (Segment 3): what hap-pi-ness is to you

Word/Syllable Count: 5 words / 7 syllables

Segmentation Method: Half + eighth rest

Line 4 (Full): Clap a-long / if you feel / like that’s what you wan-na do

Word/Syllable Count: 11 words / 13 syllables

Line 4 (Segment 1): Clap a-long

Word/Syllable Count: 2 words / 3 syllables

Segmentation Method: The last syllable is prolonged via a dotted quarter value

Line 4 (Segment 2): if you feel

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: The last lyric is prolonged via a dotted quarter value

Line 4 (Segment 3): like that’s what you wan-na do

Word/Syllable Count: 6 words / 7 syllables

Backing Vocal

Lines 1 – 4: Be-cause I’m hap-py

Word/Syllable Count: 3 words / 5 syllables

Segmentation Method: An eighth rest segments each occurrence from one another

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PROGRESSION & RHYTHM

The overall nature of Happy’s vocal melody within the chorus is defined by the following:

For the most part it resides on the simplistic, yet highly infectious side.

The majority of the vocal range is quite limited, residing primarily between E-flat and F. This makes it easy for the listener to sing along to.

It incorporates a strong balance of repetition and diversity, which does a fantastic job of keeping the listener engaged throughout while at the same time making it easy for them to remember.

Here we’re going to take a the 3 individual segments that define each line in order to spotlight the repetition and diversity utilized throughout which makes the section as a whole so exceptionally infectious and memorable. And considering that 62% of the entire song is spent within the chorus, it better be!

Segment/Phrase 1 (Line Beginning): “Clap a-long”

Lines 1, 2 & 4

Melodic Progression: F – E-flat – F

Rhythm: Eighth – Eighth – Dotted Quarter

Line 3

Melodic Progression: C – B-flat – B-flat – A-flat – F

Rhythm: Eighth – Eighth - Eighth – Eighth – Eighth

As you can see, lines 1, 2 & 4 all begin in the same exact manner, utilizing the same melodic progression, rhythm, and lyrics as well.

In order to prevent the section from becoming overly monotonous, notice the changeup that occurs on line 3. The lyrics remain the same, but Pharrell starts out on a higher register and then embarks on a vocal run that stretches the lyric “along” across 4 notes (B-flat – B-flat – A- flat – F).

Not only does this provide much needed differentiation from the other “like” segments within the section, but it also adds a splash of infectious coloring via its more “artsy” nature as well as enabling Pharrell to communicate those lyrics with a higher degree of elation, which jibes with the song’s “happy” theme.

Segment/Phrase 2 (Line Middle): “if you feel” / “if you know”

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Line 1: “if you feel”

Melodic Progression: F – F – F

Rhythm: Quarter – Quarter – Dotted Quarter

Line 2: “if you feel”

Melodic Progression: G – E-flat – E-flat – C

Rhythm: Quarter – Quarter – Dotted Quarter

Line 3: “if you know”

Melodic Progression: A-flat – F – F

Rhythm: Quarter – Quarter – Dotted Quarter

Line 4: “if you feel”

Melodic Progression: G – E-flat – E-flat – C

Rhythm: Quarter – Quarter – Dotted Quarter

Repetition (Gets it engrained within the listener’s head)

Lines 1, 2 & 4 possess the same lyrics

ALL of the lines utilize the same rhythm

Lines 2 and 4 follow the same melodic progression

Lines 1 & 3 have the last lyric (“feel” and “know“) consisting of a single syllable. Lines 2 & 4, on the other hand, have their final lyric, “feel,” “stretched” past its normal syllable count via E-flat – C.

Diversity (Heightens engagement and prevents the section from becoming overly monotonous)

Line 3 features the lyric “know,” while the other 3 lines feature the lyric “feel.”

Lines 1 and 3 follow slightly different melodic progressions. That being said, notice that the difference is only 1 note – the A-flat which begins segment 2 on the fourth line. The notes that follow are both F’s, as is the case with the entire segment on line 1.

Lines 1 & 3 conclude on an F, while lines 2 & 4 drop down further to conclude on a C.

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Segment/Phrase 3 (Line Ending): Varies as detailed below

Line 1: “like a room with-out a roof”

Melodic Progression: F – E-flat – F – F – F – F – F

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

Line 2: “like hap-pi-ness is the truth “

Melodic Progression: C – F – E-flat – F – F – E-flat – F

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

Line 3: “what hap-pi-ness is to you “

Melodic Progression: E-flat – F – E-flat – F – F – E-flat – F

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

Line 4: “like that’s what you wan-na do “

Melodic Progression: C – F – F – E-flat – F – E-flat – F

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

Repetition & Diversity

As you can see, for the most part all of these segments are quite similar in nature to one another with just some minor differences:

ALL of the lines conclude in the same manner via the nature of the progression and rhythm which defines the last 3 syllables EXCEPT for line 1, which possesses a subtle variation in its melodic progression (i.e. the lyric “a” remains as an F instead of dropping down to E-flat as on the other lines.

ALL of the lines primarily reside in E-flat & F, with the most pronounced E-flat – F fluctuation occurring on lines 2, 3 & 4. Line 1 follows a primarily monotone F delivery except for the second lyric in.

Lines 2 & 3 as a whole feature the same exact rhythm

Lines 2 & 3 follow the same melodic progression EXCEPT at the onset (C vs. E-flat).

Lines 2 & 4 both start out on C followed by leaping up to F on the lyric that follows.

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CHORUS LEAD IN & BACKGROUND VOCALS

The key characteristic that puts Happy’s chorus over the top resides in the nature of the background vocals. Note the following:

The Chorus Lead In

Coming out of the verse, the lyrics “be-cause I’m” are sung via C – C – E-flat with Eighth – Quarter – Quarter timing. This provides the lead in to the chorus which commences on the title/payoff lyric “hap-py,” which is sung with a G/B-flat – A-flat/C vocal harmony across both syllables.

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Sectional Coloration & Vibe Accentuator

Following the lead in, notice that the “y” in “Happy” is kept in effect throughout each line within the section via a vocal harmony which not only provides the section within infectious coloring, but also acts to accentuate the “carefree,” “happy vibe” brought about via the nature of the lead vocal and lyrics.

Note that the “happy” harmony is repeated in the same exact manner within each line of their respective chorus sections.

Sectional Differentiator

Considering the vast amount of time within the song that is spent within the chorus, some degree of differentiation had to be implemented at certain points in order to prevent things from becoming overly monotonous. Contrary to the rule, there CAN be too much of a good thing!

This was achieved in both the lead and background vocals as follows:

The background vocal “happy’s” possess the same degree of harmony in choruses 1 and 2. In the double choruses 3 and 4, however, notice that additional voices have been added into the mix, which provides the harmony with a fuller, lusher quality.

The manner in which Pharrell sings the lyrics “clap along” at the onset of the second half of double chorus 3 is at a higher register than elsewhere within the song. As subtle as the differentiation is, it achieves what it was meant to do – breaking up monotony.

BRIDGE

Lead Vocal

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Line Reference

LEAD VOCAL

Bridge Parts A & B

Line 1: Bring me down Line 2: Can’t nothin’ bring me down Line 3: Your love is too high

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Line 4: Bring me down Line 5: Can’t nothin’ bring me down Line 6 (Bridge 1): I said let me tell you now Line 6 (Bridge 2): I said

*Note that line 6 only occurs within part A

Vocal Range

High: A-flat Low: C-flat

BACKGROUND VOCAL

Bridge Part A

Happy (single – precedes each “bring” lyric)

Bridge Part B

3 lines of 4 “happy’s” and 1 line of 2 “happy’s” in occurring in conjunction with the lead vocal. Details below.

Vocal Range

High: C Low: F

LINE LENGTH & SEGMENTATION

As you’ll see below, each line and segment within the section is quite short in nature, ranging from just 3 to 7 syllables. This, coupled with the stringent segmentation consisting of eighth, quarter and half note rests provides ample time for each segment to connect and resonate within the listener’s head.

Line 1: Bring me down

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: Quarter rest

Line 2 (Full): Can’t noth-in’ / bring me down

Word/Syllable Count: 5 words / 6 syllables

Line 2 (Segment 1): Can’t noth-in’

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Word/Syllable Count: 2 words / 3 syllables

Segmentation Method: Half rest

Line 2 (Segment 2): bring me down

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: Eighth rest

Line 3: Your love is too high

Word/Syllable Count: 5 words / 5 syllables

Segmentation Method: Quarter rest

Line 4: (*to) bring me down

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: Quarter rest

*Note that the lyric “to” precedes “bring me down,” but is barely audible within the mix. It functions to tie the lyrical content of line 3 and 4 together (i.e. “your love is too high to bring me down”).

Line 5 (Full): Can’t noth-in’ / bring me down

Word/Syllable Count: 5 words / 6 syllables

Line 5 (Segment 1): Can’t noth-in’

Word/Syllable Count: 2 words / 3 syllables

Segmentation Method: Half rest

Line 5 (Segment 2): bring me down

Word/Syllable Count: 3 words / 3 syllables

Segmentation Method: None – flows continuously into line 6 below

Line 6 (Bridge 1): I said (*let me tell you now)

Word/Syllable Count: 7 words / 7 syllables

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*Note that the lyrics “let me tell you know” are conveyed via a background vocal.

Line 6 (Bridge 2): I said

Word/Syllable Count: 2 words / 2 syllables

Background Vocal (Part B)

Line 1 – 3: Hap-py, hap-py, hap-py, hap-py

Word/Syllable Count: 4 words / 8 syllables

Segmentation Method: Quarter rest at the end of each line

Line 4: Hap-py, hap-py

Word/Syllable Count: 2 words / 4 syllables

Segmentation Method: Dotted quarter rest

LEAD VOCAL MELODY

The nature of the lead vocal melody within the bridge possesses the following primary characteristics:

It possesses more of a repetitive nature than any other section within the song.

The overall flow of the section is exceptionally infectious.

It possesses a vocal range which is quite limited in nature (primarily residing in E-flat & F), which makes it easy to sing along to.

It contains a couple of very clever elements and a “WOW” factor which helps to put the section over the top.

The manner in which segmentation is utilized in conjunction with the lyrical content provides the section with an interesting and engaging flow.

The manner in which the lead vocal interacts with the background vocals is exceptionally engaging.

Here we’re going take a look at the 4 primary segments that occur throughout the bridge within parts A and B:

Segment 1: “Bring me down”

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Segment 2: “Can’t nothin”

Segment 3: “Your love is too high”

Segment 4: “I said”

Segment 1: “Bring me do-wn”

Segment 1 follows a very simplistic and straight forward E-flat – F – F progression on the first 3 out of 4 syllables with an Eighth – Quarter – Eighth rhythm.

***CLEVER ELEMENT***

Notice what happens on the fourth syllable within the segment, the “wn” in “do-wn”:

First, notice that the lyric “down” was cleverly stretched past its normal syllable count via “do-wn.”

Second, and most importantly, the “wn” in “do-wn” drops down to a C with a Quarter note value following the E that defined the first syllable. Not only is the manner in which this sounds infectious, but it also perfectly jibes with and accentuates the meaning of the lyric “down.”

***LINE “TIE”***

If you listen very closely, you can hear Pharrell sing the lyric “to” preceding “bring me down” following the “your love is too high” segment. Even though its barely audible in the mix, it serves to tie both of these segments together to form 1 complete line.

Segment 2: “Can’t noth-in’”

The second segment, which directly follows segment 1, follows the same progression as segment 1 EXCEPT for the fact that it doesn’t drop down to C at the end. By concluding on F, it keeps the listener “hanging” as they wait for resolution within segment 1 that directly follows (“can’t nothin’”). Essentially, despite the quarter rest that segments segment 2 from segment 1, both segments function as 1 complete line.

Additionally, notice that besides not dropping down to C as was the case with segment 1, segment 2 possesses a differing rhythm as well, via Quarter – Eighth – Eighth timing as opposed to Eighth – Quarter – Eighth – Quarter. As subtle as the differentiation is, it prevents 2 segments that almost contain virtually same melodic progression from becoming overly monotonous.

Segment 3: “Your love is too high”

The first thing to note about the third segment within the section is that it possess a completely

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Interestingly, notice that it’s actually very similar to some of the line endings that we saw in the first verse of the song. Note the comparison below:

Bridge: (“Your love is too high”)

Melodic Progression: C – E-flat – E-flat – F – A-flat

Rhythm: Eighth – Eighth – Eighth – Quarter – Quarter

Verse 1: (e.g. “what I’m ’bout to say”)

Melodic Progression: C – C – E-flat – E-flat – F

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

***CLEVER ELEMENT / “WOW” FACTOR***

With a similar, yet more pronounced effect as we saw with the lyric “do-wn” in segment 1, notice how the full segment, and one lyric in particular, creates a “WOW” factor which puts the section as a whole over the top:

The lyrical meaning of the entire line possesses an upward motion (i.e. “your love is too high“).

To accentuate the meaning of the line, notice that the progression as a whole progresses UPWARD.

The “WOW” factor comes into effect at the tail end. After reaching the F on the lyric “too,” which was also the highest register within the entire section up until that point, notice that the final lyric of the section, “high,” punches through the boundary by leaping up to A-flat to conclude. Not only does this jibe with and accentuate the specific meaning of the lyric “high,” but it takes the emotional context of the section to an apex as well.

Segment 4: “I said”

The final segment within the section, “I said,” is conveyed with a monotone C delivery via an Eighth – Quarter note rhythm. This achieves the following:

It serves as the lead in to bridge part B in conjunction with the “let me tell you know” background vocal (i.e. “happy, happy, happy, happy…”).

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It serves as the lead in to the chorus within both bridge occurrences.

Infectious & Engaging Sectional Flow

Despite the repetition of segments 1 and 2 as detailed above, notice that the section as a whole never becomes monotonous which would result in the listener’s attention starting to wander. This is due to the nature of the engaging segment flow as detailed below, from start to end.

In other words, it provides the perfect balance of repetition and diversity:

Segment 1 – Segment 2 – Segment 1 - Segment 3 -Segment 1 – Segment 2 – Segment 1 – Segment 4

Beyond The Segmentation

When you take the segmentation methods (i.e. the rests) out of the mix, we get a clearer picture as to how the section should technically read:

Line 1: Bring me down

Line 2: Your love is too high to bring me down

Line 3: Can’t nothin bring me down

BACKGROUND VOCALS

As was the case within the second verse as well as the chorus, here in the bridge it’s the background vocals which act to accentuate the Retro Soul/Gospel nature of the song as well as in putting its overall infectious nature over the top.

Notice that even though the nature of the lead vocal as detailed above remains constant between bridge part A and part B, the nature of the “happy” background vocal shifts between the two sections, which ultimately accentuates the engagement value for the listener.

Bridge Part A

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Bridge part A consists of quick, infectious “happy” Eighth note monotone C flourishes which directly precede each lead vocal line. As simplistic as they are, they add a great deal of coloring to the section. Take them out of the mix and the section loses its impact.

Bridge Part B

Bridge part B takes the “happy” from bridge part A and then repeats it twice per measure with 2 measures acting as a full “happy” group, totaling 4 “happy’s.” Note the following:

Hap-py #1: C – C / Eighth – Dotted Quarter

Hap-py #2: B-flat – B-flat / Eighth – Dotted Quarter

Hap-py #3: A-flat – A-flat / Eighth – Dotted Quarter

Hap-py #4: G – F / Eighth – Eighth

So as you can see, each full “group” of “happy’s” descends via C – B-flat – A-flat – G – F, creating an infectious counter melody to Pharrell’s lead vocal.

Considering that this “happy” progression occurs 3 times in a row followed by a partial the fourth time around which precedes the chorus reentering, notice that varying degrees of vocal harmony are employed throughout in order to keep the section exceptionally infectious, as well as in preventing the repetitive “happy’s” from starting to get on the listener’s nerves.

Additionally, notice that the frequent “happy’s” also serve to take the intense Gospel natured elation of the section to the next level. If the listener isn’t standing up and clapping along at this point, they’ll never be!

Lyrics Back to Top

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LYRIC TYPES This section highlights the types of lyrics and phrases that appear within 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)

Verse 1

Sunshine she’s here you can take a break

I’m a hot air balloon that could go to space

Verse 2

Here come bad news talking this and that

Chorus

Clap along if you feel like a room without a roof

Bridge

None

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

Verse 1

Sunshine she’s here, you can take a break

I’m a hot air balloon that could go to space

Verse 2

None

Chorus

Clap along if you feel like a room without a roof

Bridge

No offense to you don’t waste your time

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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)

Virtually every line within the song relates to the emotion of being happy, carefree, or imperviousness to negativity either in a direct or indirect manner. Reference the story flow and meaning section of the report for a line to line breakdown. A couple of examples from each section of the song follow below:

Verse 1

It might seem crazy what I’m ’bout to say

With the air like I don’t care baby by the way

Verse 2

Here come bad news talking this and that

Well I should probably warn you I’ll be just fine

Chorus

Because I’m happy

Clap along if you feel like a room without a roof

Bridge

Can’t nothin’ bring me down

Your love is too high

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

Verse 1

It might seem crazy what I’m ’bout to say

Sunshine she’s here, you can take a break

I’m a hot air balloon that could go to space

Verse 2

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Here come bad news talking this and that

Well give me all you got and don’t hold back

Chorus

Clap along

Bridge

None

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

Verse 1

The first verse is primarily communicated in the first person, plus single occurrences of the second and third person as well (i.e. “you” and “she”). Also notice that there are 2 specific references as well (“sunshine” and “baby”).

Verse 2

The second verse is almost equally split between the first and second person plus a specific reference as well (“bad news”).

Chorus

The chorus is equally split between the first and second person. Notice that each “because I’m happy” is communicated in the first, and the line that directly follows is communicated in the second.

Bridge

The bridge is communicated primarily in the first person, with 2 second person references as well (i.e. “your” and “you”).

Breakdown

Verse 1

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It might seem crazy what I’m ’bout to say Sunshine she’s here, you can take a break I’m a hot air balloon that could go to space With the air like I don’t care baby by the way

Chorus

Because I’m happy Clap along if you feel like a room without a roof Because I’m happy Clap along if you feel like happiness is the truth Because I’m happy Clap along if you know what happiness is to you Because I’m happy Clap along if you feel like that’s what you wanna do

Verse 2

Here come bad news talking this and that Well give me all you got and don’t hold back Well I should probably warn you I’ll be just fine No offense to you don’t waste your time Here’s why

Bridge

Happy

Bring me down Can’t nothin’

Happy

Bring me down Your love is too high

Happy

Bring me down Can’t nothin’

Happy

Bring me down I said let me tell you now

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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 BlueFont: Cross-group rhyming Green Font: Repetitive lyrics

Verse 1

Line 1: It might seem crazy what I’m ’bout to say Line 2: Sunshine she’s here, you can take a break Line 3: I’m a hot air balloon that could go to space Line 4: With the air like I don’t care baby by the way

Notice that the last lyric on each line rhymes with one another, with the “rhymers” as follows:

Line 1: “ay“ in “say“ Line 2: “ea“ in “break” Line 3: “a“ in “space” Line 4: “ay“ in “way“

Additionally, notice that the rhymes aren’t broken up into rhyming groups as we see with many songs (i.e. lines 1 & 3 / 2 & 4 function as a group, or lines 1 & 2 / 3 & 4). Here, each line within the section rhymes with one another.

Verse 2

Rhyming Group 1

Line 1: Here come bad news talking this and that (yeah) Line 2: Well give me all you got and don’t hold back (yeah)

Rhyming Group 2

Line 3: Well I should probably warn you I’ll be just fine yeah Line 4: No offense to you don’t waste your time, here’s why

Here in the second verse we find the following:

“Group” rhymes

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Repetitive lyrics

Group Rhymes

Notice that lines 1 & 2 function as one rhyming group, as do lines 3 and 4:

Lines 1 & 2

The rhyme occurs on the last lyric of each line:

Line 1: “at“ in “that“ Line 2: “ack“ in “back“

Notice that the primary rhymer is the “a” in both lyrics, but the “t” and “ck” also possess similarities as well which accentuates the nature of the rhyme.

Lines 3 & 4

The rhyme also occurs on the last lyric of each line:

Line 3: “ine“ in “fine“ Line 4: “ime“ in “time“

Notice that the primary rhymer is the “i” in both lyrics, but the “ne” and “me” also possess similarities which accentuate the nature of the rhyme as well.

Additionally, notice that the “y“ in “why“ also rhymes with “i“ in “fine” and “time” as well.

Repetitive Lyrics

Notice that background vocal “yeah’s” occur in between lines 1 & 2, 2 & 3 and 3 & 4 in the same exact manner.

Chorus

Rhyming Group 1

Because I’m happy Line 1: Clap along if you feel like a room without a roof Because I’m happy Line 2: Clap along if you feel like happiness is the truth

Rhyming Group 2

Because I’m happy Line 3: Clap along if you know what happiness is to you

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Because I’m happy Line 4: Clap along if you feel like that’s what you wanna do

Here in the chorus we find the following:

“Group” rhymes

“Cross-Group” rhymes

Repetitive lyrics

Group Rhymes

As was the case within the second verse, notice that lines 1 & 2 function as one rhyming group, as do lines 3 and 4:

Lines 1 & 2

The rhyme occurs on the last lyric of each line:

Line 1: “oof“ in “roof“ Line 2: “uth“ in “truth“

Notice that the primary rhymer is the “oo” / “u,” while the “f“ and “th“ also possess similarities which accentuate the nature of the rhyme.

Lines 3 & 4

The rhyme also occurs on the last lyric of each line:

Line 3: “ou” in “you“ Line 4: “o” in “do“

Cross-Group Rhymes

Notice that the last lyric on each of the 4 lines rhymes with one another as follows:

Line 1: “oo“ in “roof” Line 2: “u“ in “truth” Line 3: “ou“ in “you“ Line 4: “o“ in “do“

Repetitive Lyrics

“Because I’m happy” precedes each lead vocal line.

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Each lead line begins with “clap along if you…”

Lines 1, 2 & 4 add the lyric “feel” at the end of “clap along if you…” Note that line 3 provides differentiation by swapping out the lyric “feel” for “know,” but adds repetition via “happiness is.“

Bridge

*Note: The color coding withinthis section is independent of the the sections above in order to highlight all of the lyrical repetition.

Part A happy Line 1: Bring me down, can’t nothin’ happy Line 2: Bring me down, your love is too high happy Line 3: To bring me down, can’t nothin’ happy Line 4: Bring me down, I said let me tell you now

Part B

Line 1: Bring me down, can’t nothin’ Line 2: Bring me down, your love is too high Line 3: Bring me down, can’t nothin’ Line 4: Bring me down, I said

Background Vocal happy happy happy happy happy happy happy happy happy happy happy happy happy happy

As you can see, the entire bridge revolves around the repetition of specific lyrics and phrases.

Part A

The background singer “happy” lyric precedes each lead vocal line.

Each line starts off with “bring me down” (plus the lyric “to” on line 3). Note that this is due to the manner in which the vocal melody is structured (i.e. it’s not the way that the line is technically supposed to read).

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Lines 1 and 3 repeat in the same exact manner, minus the lyric “to.”

Part B

The lead vocal in part B repeats in virtually the same manner as part A, with the primary difference occurring at the tail end (i.e. “I said let me tell you know” vs. “I said.” Notice the lyrics “I said” are the commonality between the 2.

Additionally, the lyric “happy” repeats throughout the entire section over the lead vocal.

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?

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).

Happy actually falls into both categories. While it is certainly generic in nature, there is just something about a song that is simply titled “Happy” which provides it with a powerful essence.

Think about it this way: If Happy were utilized in conjunction with other words to form a title such as “I’m Happy With You” or “You Make Me Happy,” then its impact would be significantly diluted. But just calling a song “Happy” enables it to stand out and resonate.

As a side note, note that NONE of the 60+ songs that landed in the Pop songs top 10 during 2013 had “Happy” as part of their title.

Does it pique your interest to take a listen?

Yes, because it’s not utilized in conjunction with any other words as mentioned above. Again, if the title were “You Make Me Happy,” the prospective listener could easily surmise what the song was all about and as a result their curiosity would not be piqued to check it out based on the title alone.

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But by simply calling a song “Happy,” the prospective listener would have no idea what “Happy” specifically relates to, and as a result would be curious to find out.

Is it memorable?

There are 4 factors which make Happy a very memorable title:

It’s just 1 word

It’s a familiar word

It communicates emotion which enhances its ability to resonate

Most of all, it occurs 56 times within the song!

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

The entire story revolves around being “happy” – pure and simple.

Title Occurrences

Happy occurs an astounding 56 times within the song via the background vocals as follows:

4 times within each of the 6 full chorus sections as the last lyric on each of the “because I’m happy” lines.

4 times within bridge part A as a solo background “happy” which precedes the lead vocal line that follows.

14 times within bridge part B in consecutive groups of 4 (except for the final 2) which occur at the same time as the lead vocal.

Chorus

(Because I’m happy) Clap along if you feel like a room without a roof (Because I’m happy) Clap along if you feel like happiness is the truth (Because I’m happy) Clap along if you know what happiness is to you (Because I’m happy) Clap along if you feel like that’s what you wanna do

Bridge (Part A)

(happy)

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Bring me down can’t nothin’ (happy) bring me down your love is too high (happy) Bring me down can’t nothing (happy) bring me down I said let me tell you now

Bridge (Part B)

Note that the “happy’s” occur at the same time as the lead vocal below. happy happy happy happy happy happy happy happy happy happy happy happy happy happy

Bring me down Can’t nothin’ bring me down Your love is too high To bring me down Can’t nothin’ bring me down

WORD CLOUD

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STORY FLOW & MEANING

The 2 dominant lyrical themes that define Happy are inspiration and love/relationships.

The listener is inspired by the song’s “Happy” and imperviousness to negativity themes, which is a direct result of the protagonist feeling elated because the love of his life just showed up (i.e. “sunshine SHE’S here…”).

As simple and straight forward as the lyrical content is, you’ll see that the story is conveyed in a clever manner via the ample use of detail, imagery, action and emotion which ultimately enables the lyrics to connect with the listener on a profound level.

In regard to if the lyrics are subject to interpretation by the listener, I think it’s safe to say that the description mentioned above pretty much suits the overall nature of the song.

That being said, I’m sure that there are some people who might think that the lyric “she” refers to drugs, and him being a “hot air balloon” relates to him getting high so that he has an “air like he just doesn’t care,” but I think that’s a stretch!

Verse 1

Line 1: It might seem crazy what I’m ’bout to say Line 2: Sunshine she’s here, you can take a break Line 3: I’m a hot air balloon that could go to space

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Line 4: With the air like I don’t care baby by the way

Here in the first verse of the song we learn the following:

WHY He’s Happy

He’s happy because the girl that he loves (we assume) is with him as communicated on line 2.

HOW HAPPY He Is

He’s not just “Happy,” he’s EXCEPTIONALLY ELATED. This is communicated on lines 2 and 3.

Nothing Can Phase Him

His elation has provided him with a carefree attitude that will render him impervious to all negativity. This is communicated on line 4.

Line 1

The first line of the song provides a very strong and engaging lead in. By stating, ” it might seem crazy what I’m ’bout to say,” it instantly piques the listener’s attention and interest into finding out just WHAT will seem so crazy about what he has to say! We find out on line 2.

Line 2

This line is quite clever and powerful. As you know, “sunshine” makes people feel happy (at least most of us, I assume!) By Pharrell singing “sunshine she’s here, you can take a break,” he’s letting the listener know right off the bat within the song that this woman brings him just as much if not more happiness than the sun ever could.

Bottom line, he’s REALLY into her! This sets the tone for the balance of the story that follows.

Line 3

Here we find great use of imagery and action which further communicates just how happy this woman makes him feel. By stating, ” I’m a hot air balloon that could go to space,” the listener can visually “see” the degree of pure elation that he feels, which enables it to resonate on a more profound level.

Line 4

The last line of the section, “with the air like I don’t care baby by the way,” provides the listener with an additional look into how she makes him feel. Bottom line, she makes him feel “carefree” and impervious to any negativity that may come his way, such as “bad news”

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Additionally, the fact that he concludes with the lyrics “by the way” does a great job of cleverly making the line seem like an afterthought, albeit a very powerful one!

***IMPORTANT***

Notice that lines 2, 3 and 4 above all convey the fact that he’s “Happy” without actually coming out and saying it, which is the mark of exceptionally strong and effective songwriting.

Chorus

(Because I’m happy) Line 1: Clap along if you feel like a room without a roof (Because I’m happy) Line 2: Clap along if you feel like happiness is the truth (Because I’m happy) Line 3: Clap along if you know what happiness is to you (Because I’m happy) Line 4: Clap along if you feel like that’s what you wanna do

Here in the chorus we find out what we already knew in the verse, the fact that he’s HAPPY.

Notice the clever manner in which it all came together. The verse painted the picture of certain scenarios which communicate happiness, while the chorus provides the “payoff” by stating the reason for everything in the verse – the fact that he is pure and simple, HAPPY.

Additionally, notice that the real the core strength of the section (and the song for that matter) resides in the Gospel natured call & response theme. Not only does it serve to communicate the fact that HE is happy (via the “because I’m happy” lines that precede each lead vocal), be he also engages the audience via the “clap along if YOU KNOW/FEEL…,” lines which takes the engagement and emotional factors to the next level.

The engagement is heightened via him telling people to clap along, while the emotional context is exemplified be him stating clap along if you KNOW or FEEL, depending on which line you’re looking at.

The 4 “Clap along if you feel/know” Occurrences:

Line 1:“…if you FEEL like a room without a roof”

This translates to feeling free with no boundaries.

Line 2: “… if you FEEL like happiness is the truth”

Here the lyrics are getting a bit more “spiritual” in nature, which perfectly jibes with the call and

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Line 3: “…if you KNOW what happiness is to you”

Here is the only time within the section where instead of feeling “like,” he asks if you “know.” This provides the line with an introspection theme, getting the listener to think, “do I know what really makes me happy?” Again, this takes the engagement factor to the next level.

Line 4: “…if you FEEL like that’s what you want to do”

This is a very clever line which can be looked at in 2 ways:

It covers the people who DON’T feel like the above. For those that DON’T “feel like a room without a roof,” “like happiness is the truth,” or they don’t know “what happiness is to them,” then they should clap along if they WANT to feel that way.

It also covers the people who just want to clap – nothing more, nothing less!

***HOW TO AVOID MONOTONY*** There’s nothing more boring or disengaging within a song than hearing the same exact thing repeated over and over again. In order to prevent this from happening within the chorus, notice that line 3 switches from “FEEL” which defines lines 1, 2 and 4 over to “KNOW.”

Yes, even just 1 occurrence of a lyric can make or break a section!

Verse 2

Line 1: Here come bad news talking this and that Line 2: Well give me all you got and don’t hold back Line 3: Well I should probably warn you I’ll be just fine Line 4: No offense to you don’t waste your time, here’s why

In contrast to the first verse which established how happy is he is and why, the second verse provides clever contrast which takes the engagement factor to the next level.

Instead of talking about how happy he is which defined the 2 preceding sections, here Pharrell provides a clever twist by adding “bad news” into the mix, of which the entire section revolves.

What’s really clever is how the section achieves into the following:

It reiterates the fact that because he’s happy any negativity that comes his way won’t have an effect on him. Notice that this ties directly into the “air like I don’t care” line that concluded the first verse (i.e. he’s carefree and nothing can phase him).

It communicates the fact that he’s happy without the need to directly come out and

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say it as was indicative of the first verse.

It provides the perfect lyrical lead in to the chorus that follows as you’ll see below.

Lines 1 & 2

Notice that these 2 lines work in concert with one another in setting up lines 3 & 4 that follow.

The first line of the section puts the “twist” in the storyline right into effect via the introduction of “bad news.” What’s clever is that “bad news” actually represents a specific type of person as opposed to just “bad news.” It’s anyone who has a negative view on life that can ruin someone’s sunny day.

Additionally, the fact that “bad news” is “talkin’ this and that” further strengthens the point that any and all negativity won’t have any effect on him. “This and that” means that whatever this person is saying doesn’t even resonate or have any significance in his life.

Line 2 then brings on the “dare” of the section, where he states “give me all you got and don’t hold back.” Notice how this perfectly sets up lines 3 and 4 that follow.

Lines 3 & 4

This grouping of lines tie back into the “happy” theme. Because of how HAPPY he feels, negativity isn’t going to have any impact on him, hence the warning to “bad news” that he’ll be “just fine,” so “no offence to you don’t waste your time” line. No matter what “bad news” throws at him, it’s going to have no effect. So why bother?

The 2 lyrics that follow, “here’s why,” then provides the perfect lead into the chorus that follows (i.e. “why?” “because I’m happy…”).

Bridge

Line 1: Bring me down Line 2: Can’t nothin’ bring me down Line 3: Your love is too high to bring me down Line 4: Can’t nothin’ bring me down Line 5: I said (let me tell you now)

The bridge basically serves to recap and tie together elements from verse 1 and verse 2 as follows:

Verse 1

By stating in the bridge, “YOUR love is too high to bring me down,” Pharrell is circling back to the entire premise as to WHY he’s happy as communicated on line 2 of the first verse, “sunshine SHE’S here, you can take a break.” This is the only other time within the entire song

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Verse 1 & 2

By stating in the bridge, “can’t nothin’ bring me down,” this ties into line 4 in the first verse (i.e. “with the air like I don’t care”) which establishes his carefree attitude, as well as the entire second verse where we learn that “bad news” shouldn’t even “waste its time,” because “can’t nothin’ bring him down” as he states within the bridge.

The bridge ties into the entire general happy theme as well as the “bad news” nature of verse 2 via the repetition that nothing is going to bring him down, because the love that this person brings him is too high to have any sort of an impact.

So, does the bridge provide a complete “twist” in the storyline as a lot of bridges do? No. If it did, he’d be stating that he was miserable (maybe that’s a bit of an exaggeration, but you get the point).

The bridge actually serves put the Retro Gospel/Soul theme of the song into full effect, as we saw earlier within the report, which works just fine!

Benchmarking Back to Top

TOP 10 COMPARISON – ALL SONGS

This section explores how Happy 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 lengths above reflect the average of all occurrences

Happy being in-line or close to in-line with top 10 Pop hit averages

Its verse length is identical to the top 10 average

Its average *bridge length is just 0:01 longer than the top 10 average.

*Note that Happy contains 2 bridge sections – 1 that lands at 0:24, and 1 that lands at 0:12.

Happy NOT being in-line or close to in-line with top 10 Pop hit averages

Its average *chorus length is 0:11 longer than the average

Its intro length is 0:11 shorter than the average

*Note that Happy contains 2 full 0:24 choruses and 2 0:48 doubles.

SECTION COUNT

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The 2 areas where Happy differs in relation to the majority of songs that landed in the Pop songs top 10 resides in its chorus and verse count.

Happy contains 4 full chorus sections within its framework (6 if you take into account the 2 doubles) compared to the majority of top 10 hits which only contain 3.

Happy contains 2 bridge occurrences (1 full and 1 half) compared to the top 10 majority which only contain 1. Note that possessing more than 1 bridge occurrence within a song’s framework is a rarity on the Pop songs chart.

TOTAL SECTION BREAKDOWN

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Happy being in-line or close to in-line with top 10 averages

Just 4% less time was allocated to the verse compared to the average

Happy NOT being in-line or close to in-line with top 10 averages

5% less time was allocated to the intro compared to the average

6% more time was allocated to the bridge compared to the average

22% more time was allocated to the chorus compared to the average

As you can see, the difference between Happy and the Pop songs average in regard to the total amount of time allocated to the bridge wasn’t that stringent due to the fact that the second bridge occurrence was just half the length of the first.

The chorus, however, is a completely different story. A substantially more amount of time was allocated to Happy’s chorus compared to the average. Again, the reason was due to there

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ADDITIONAL COMPOSITIONAL CHARACTERISTICS

Happy being in-line or close to in-line with top 10 Pop averages

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Its overall length is identical to the Pop songs average

Happy contains an intro within its framework

Happy doesn’t contain an outro within its framework

It contains primarily electric based instrumentation within the mix

It features a combination of primary instrumentation within the mix

It doesn’t contain a pre-chorus, solo or instrumental break

It features a bridge within its framework (albeit 2, which is NOT in line as previously mentioned)

Love/relationships is a component of its overall lyrical theme in addition to inspiration

Happy features a fusion of multiple sub-genres that define its sound

Happy NOT being in-line or close to in-line with top 10 Pop averages

Happy features an A-B-A-B-C-B-C-B form as opposed to an A-B-A-B-C-B form which defines the majority of top 10 Pop songs. Note however that up until the second bridge IT DOES follow the A-B-A-B-C-B form.

Its intro is 0:11 longer than the average

Its first chorus hits 0:10/5% earlier into the song compared to the average

Its tempo is 53 BPM faster than the average

Happy features a male lead vocal in contrast to the majority of top 10 hits which feature a female lead

Happy contains 2 dominant lyrical themes (love/relationships & inspiration) in contrast to the majority of top 10 hits which feature a straight-up love/relationship theme

Bottom Line

The compositional differences that Happy possesses in relation to the 23 songs that landed in the Pop songs top 10 during Q4 for the most part are quite minimal. The fact that it tacks on an additional partial bridge and full chorus toward the end of the song, possesses an intro that is exceptionally short compared to the average, and has a first chorus that hits earlier than the Pop songs average all worked in its favor.

The key area where Happy stands apart from most of its top 10 contemporaries resides in

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That being said, Happy was released at the perfect time in order to capitalize on the current R&B, Funk, Soul trend that launched songs such as Get Lucky, Treasure and Blurred Lines to the top of the charts. And don’t forget, Pharrell had his hand in 2 of those 3 songs!

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?

Blurred Lines, Get Lucky, & now Happy. What else needs to be said? To say that Pharrell is currently on fire would be an understatement. If his contributions to Blurred Lines & Get Lucky took his stature within the mainstream to the next level, then Happy (which is a solo effort) shot his career like “a hot air balloon into space!”

The ONLY possible downside to all of the success that Pharrell is currently enjoying is that he may wind up being typecast in a very specific genre combo role, specifically Retro R&B/Soul, Funk, Gospel & Disco (if you haven’t already checked out his latest album, GIRL, do so and you’ll get the picture).

As a result, when this current trend comes to an end, (and it will), he’s going to have a tough decision to make. Change his style (as mainstream artists need to in order to remain at the cutting edge), or stick to his guns and appeal to a smaller, targeted group of diehard fans that love his specific Retro style.

Bruno Mars did it, and there is no doubt that Pharrell has the talent to do so if he wishes.

Luckily for him, he’s in a position where he can “follow the muse,” so it will be very interesting to see where he goes with his future output.

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

There is very little, if anything, about Happy that you haven’t heard before:

Compositionally it possesses a strong “Money” and “What’d I Say” influence.

Vocally, Pharrell emulates Curtis Mayfield within the verse and chorus sections as well as Ray Charles within the bridge.

The nature of the instrumentation (drums, funky bass, congas and especially the Fender Rhodes) as well as the “call & response” structure of certain sections have been utilized

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in a plethora of Soul/Funk songs throughout the ages.

Happy comes on the scene at a time where some of the top performing mainstream songs possess a similar Retro R&B/Soul/Funk/Gospel/Disco vibe. As a result, Happy doesn’t stick out in a unique fashion as much as it could have if this current trend never came to be. That being said, there are only a limited number of these songs, so in relation to artists like Katy Perry, Paramore, Lady Gaga, etc… it certainly DOES stick out!

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

There were a number of high-profile factors which accentuated Happy’s reach and impact, including:

Happy was the world’s first 24 hour music video, appearing on 24hoursofhappy.com. This created an exorbitant amount of hype surrounding the release of the single.

The official (non-24 hour) Happy video has scored 145 million+ views to-date.

The song is featured within the movie Despicable Me 2 and appeared in its On Demand trailer as well.

Happy was used in a Beats by Dr. Dre commercial.

Happy was featured in the 100th episode of Glee, performed by Gwyneth Paltrow.

Fiat licensed the song for use in spots that are aired throughout the world. Happy was performed live at the 2014 Oscars.

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?

While most songs are geared to resonate with a specific age, gender or genre demographic, Happy is one of the few that actually transcends them all. The song’s universally uplifting, irresistible, infectious nature appeals to all races, ages, cultures, and even genres, with the sole exception maybe being Death Metal fans!

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!!!”

I’m actually split on this one.

On one hand, as previously mentioned, Happy is one of the most infectious, uplifting songs to

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On the other hand, there really isn’t anything that’s so overtly unique or groundbreaking about Happy that should technically elicit that type of response from someone. It’s good, REALLY GOOD, but it’s nothing to rush home about.

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

I’ve listened to Happy dozens and dozens of times for this deconstruction, and I must admit that I still enjoy hearing it, which is an EXTREME rarity for me (I will usually leave a store if one of my previous deconstructions comes on the air!).

There’s just something about its overall vibe that never gets old, despite 62% of the song consisting of the chorus!

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?

Oh yeah. But then again who ever thought that Pharrell could repeat the global impact of Blurred Lines and Get Lucky with his next release, which is even more straight-up Retro than its predecessors?

Pharrell is going to have a very hard time besting the success of Happy, but as we’ve seen, he’s more than capable of pulling it off.

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

Yes and no. Yes in the sense that it goes against the grain of most of the other songs within the current mainstream via its overtly Retro Soul/Funk/Gospel nature. As a result, it opens the door for more songs of the like to find mainstream success.

On the flip side, the answer is no due to the fact that as a whole it’s a very unoriginal song.

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

The answer to this question is a resounding yes. Every element within the song exudes a “happy” vibe, including the nature of the lead and background vocals, claps, choice of

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You can’t come away after hearing this song feeling anything other than “HAPPY!”

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

This goes without saying. The global success that Happy has enjoyed coupled with its irresistible nature will ensure that it remains a featured staple within Pharrell’s body of work and live performances for the duration of his career.

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

The answer to this question for most songs in a resounding no. They’re all good, if not great, but they don’t have that “extra special something/magical quality” which enables them to stand the test of time along with other greats.

That being said, the answer is YES when it comes to Happy, and for 2 primary reasons:

The song is THAT good. It’s exceptionally infectious, engaging and memorable and makes you feel on top of the world every time you hear it.

It’s timeless. This is where Happy’s retro nature really works in its favor. It uses the “formula” of similar songs that have stood the test of time, and the fact that it’s so well crafted easily enables it to be grouped in with the best of Ray Charles, Mayfield and artists of the like who have traversed the ages with their compositions.

Highlights & Takeaways Back to Top

Happy is a perfect example of a song that is firing on all cylinders, with the choice of instrumentation (e.g. Fender Rhodes – the most “happy” of all keyboards) , backing music (e.g. the “happy” infectious groove that pervades the entire song), vocals (e.g. Pharrell’s “happy” Curtis Mayfield falsetto) and lyrics (i.e. the inspirational “happy” message from verse 1 right through the end) all working in perfect tandem with one another in eliciting the song’s powerful “happy” vibe.

Happy is comprised of an infectious blend of Retro Soul, Funk & Gospel under one roof, with the key word being RETRO. This blend of sub-genres enables Happy to capitalize on the current Retro R&B/Soul/Funk/Disco trend within the mainstream as well as enabling it to stand out in relation to most of its mainstream contemporaries.

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The song’s authentic Retro Soul nature was put into effect via the choice in instrumentation (e.g. Fender Rhodes), progressions & patterns, backing vocals and Pharrell’s Curtis Mayfield (verse/chorus) and Ray Charles (bridge) influenced lead delivery.

The Funk influence was primarily brought about via the nature of the bass and drums.

The Gospel influence was elicited via the nature of the inspirational lyrics, the song’s “call & response” structure, claps, and background vocals as well.

Happy utilizes a strong blend of imagery, detail, action and emotion throughout the song which enables its universally “happy” inspirational message to connect with the listener on a profound level.

Despite Happy’s straight forward inspirational/love/relationship lyrical theme, the manner in which the story was constructed was quite clever and engaging, including conveying happiness without ever coming right out and saying it (i.e. the first verse), introducing the character “bad news” in the second verse to provide a twist in the storyline, and the audience participation/Gospel natured “clap along if you feel/know” theme that defines the chorus.

The title, “Happy,” appears 56 times within the song within the chorus and bridge sections. As a result, it gets it firmly engrained within the listener’s head (isn’t that an understatement!)

The background vocals are one of, if not THE most important element which put Happy over the top. Not only are they exceptionally infectious in all of their manifestations, but they’re also the sole delivery of the “Happy” title lyric.

Happy possesses an exceptionally infectious, engaging & memorable lead vocal melody, consisting of short segments & phrases which makes it easy for the listener to process and remember, a limited vocal range that makes it easy to sing along to, and clever elements & “WOW” factors that helped to put the song as a whole over the top (e.g. the manner in which Pharrell goes up in register on the phrase “your love is too high”).

Another one of the key characteristics that put Happy over the top is its “call & response” nature, which is implemented within each section of the song. It was put into effect in the verse via vocal/instrumental interplay, and in the chorus and bridge via the lead and background singer vocals.

Happy was written specifically to serve a scene within the movie Despicable Me 2, which it achieved in grand fashion. It was edited down from 3:51 to 1:17 by taking elements from different sections and splicing them together to maximize the scenes impact.

Happy follows the most popular song structure in Pop music, the A-B-A-B-C-B form, up until the end where instead of concluding on the third chorus it instead launches in to a partial bridge followed by another double chorus and out.

Happy DOES NOT feature a pre-chorus, solo, instrumental break or an outro within its

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framework.

Happy contains 9 sections within its framework, including an intro, 2 verses, 2 full choruses, 2 double choruses, and 2 bridge sections (which is a rarity, but highly effective in this case!)

The majority of sections within the song are moderate in length, landing at 0:24. The shortest section as you would expect is the intro (0:02), and the longest are the double choruses 3 & 4, both of which land at 0:48.

The vast majority of time within Happy was allocated to that super-infectious chorus, consisting of 62% of its total composition. This is more than 95% of all the songs that landed in the Billboard Pop songs top 10 during all of 2013! The verse and bridge followed at 21% and 16%, respectively.

Despite it’s very short 0:02 length, Happy’s intro is very effective in the manner in which it instantly establishes the Retro Soul vibe of the song, acts as a unique identifier, and instantaneously grabs the listener, hooks them in and transitions right into the first verse before they know what hit them.

In order to heighten the engagement factor for the listener within the bridge and conclude with a Gospel natured fervor, it was essentially split into 2 0:12 halves, with the primary difference residing in the nature of the background “happy” vocal delivery.

The only modern twist within the entire song occurs at the tail end via it’s abrupt “false ending.” This type of ending is utilized within the vast majority of current chart-topping mainstream hits and acts as a psychological tool to leave the listener wanting more.

Overall, Happy’s MTI levels are kept at a heightened state throughout the song, which perfectly jibes with and accentuates its happy, elated vibe. Note however that dynamic diversity was implemented throughout the song in order to ensure that the listener is kept engaged. This was achieved via the addition/subtraction of instrumentation and vocals from the mix as well as shifts in the nature of the rhythm, delivery, and overall levels.

Happy institutes an effective blend of repetition and diversity throughout the song which enables it to get completely engrained within the listener’s head without becoming overly monotonous. The diversity was achieved primarily via shifts in the nature of the lead and background vocals within “like” sections of the song, some of which were pronounced, and others which were more subtle in nature.

Most importantly, Happy makes people FEEL GOOD!

alegar

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