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Pop Top 10 Deconstructed: Q3-2013
The Songs The #1 Hit Club Songwriters New Arrivals & De-Charted Hits Song Structure & Compositional Characteristics Song Attributes
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THE SONGS & SONGWRITERS
During Q3-2013, there were a total of 23 songs that landed in the Billboard Pop Songs top 10. Macklemore led the pack with 2 top 10 hits (Can’t Hold Us & Same Love), but it was without a doubt Robin Thicke’s Blurred Lines that stole the show during the quarter.
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The #1 Hit Club of Q3-2013
Only 5 of the 23 songs (22%) that landed in Billboard Pop songs top 10 either hit #1 for the first time or peaked at #1 during the preceding quarter.
The 4 carryovers from Q2 included the balladesque Mirrors & Just Give Me A Reason, the Hip Hop/Rap natured Same Love, and the massively successful R&B, Dance, Hip Hop/Rap influenced Blurred Lines.
The only new #1 addition during Q3 was Katy Perry’s Power Pop, Pop/Rock natured Roar.
Q3 #1 Play By Play
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Can’t Hold Us kicked the quarter off at #1, holding on to the top spot for just 2 weeks before being dethroned by the hit of the summer (and the year for that matter), Blurred Lines. The song remained at #1 for an astounding 10 consecutive weeks until Katy Perry’s “Roaring” comeback brought it all to an end during final week of the quarter.
Who They Held Off
These are the #2 songs that the #1?s prevented from reaching the top spot during Q3-2013:
Can’t Hold Us
Held off Come & Get It for 2 weeks.
Blurred Lines
Held off Come & Get It for 1 week
Held off Get Lucky for 2 weeks
Held off Radioactive for 3 weeks
Held off Love Somebody for 2 weeks
Held off Clarity for 2 weeks
Roar
Jumps from #5 to #1 during the final week of the quarter
#1 Hit Primary Sub-Genre Influence Comparison: Q2-2013 vs. Q3-2013
Dance/Club
Q2-2013: None
Q3-2013: None
Hip Hop/Rap
Q2-2013: Can’t Hold Us, Thrift Shop
Q3-2013: Can’t Hold Us
R&B/Soul
Q2-2013: None
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Q3-2013: Blurred Lines
Rock
Q2-2013: None
Q3-2013: None
Pop Fusion & “Other”
Q2-2013: 5 #1 hits
Daylight (Straight-Up Pop/Rock, Ballad)
I Knew You Were Trouble (Straight-Up Pop, Dubstep)
Just Give Me A Reason (Straight Up Pop, Ballad)
Mirrors (Straight-Up Pop, R&B, Ballad)
When I Was Your Man (Straight-Up Pop, R&B/Soul, Ballad)
Q3-2013: 3 #1 hits
Just Give Me A Reason (Straight Up Pop, Ballad)
Mirrors (Straight-Up Pop, R&B, Ballad)
Roar (Straight-Up Pop, Pop/Rock, Power Pop)
The Songwriters
During Q3, 93 credited songwriters were involved in crafting the 23 songs that landed in the Billboard Pop Songs top 10, averaging around 4 writers per song.
Of those songwriters, 6 were involved in co-writing 2 top 10 hits. One of them however surpassed them all to become Q3?s “undisputed champion of hit songwriting.” That champion is Timothy Mosley (aka Timbaland), who saw 3 of his co-writes land in the Pop songs top 10 during the quarter.
The Top Songwriters Of Q3-2013
These songwriters had 2 or more of their co-writes place in the Pop Songs top 10 during Q3-2013.
Note: The position denotes the peak position of the song to-date by the end of the quarter.
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*Indicates the “Hit Songwriting Champion” of the quarter.
NEW ARRIVALS VS. DECHARTED HITS
This section compares the songs that entered into the Pop Songs top 10 for the first time during Q3 against those that didn’t make it back in from Q2, giving you a look at what’s in, what’s out, and where things are headed.
Song Count – New Arrivals vs. Decharted Hits
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As you can see in the graph above, there was a slightly higher concentration of Pop Fusion and Hip Hop/Rap songs within the Pop songs top 10 during Q3-2013 and lesser amount of Dance, R&B/Soul and Rock songs compared to the preceding quarter.
New Top 10 Arrivals In Q3 (12 Songs)
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As was the case in Q2, the vast majority of songs that entered into the Pop songs top 10 for the first time during Q3 possess a Fusion of influences or are different in nature than the typical Dance, Rock, Hip Hop/Rap and R&B/Soul songs that show up from quarter to quarter.
Song that are predominantly Dance and Hip Hop/Rap followed far behind, accounting for 25% and 17% of songs, respectively. Notice that the Hip Hop/Rap category showed the greatest increase relative to the preceding quarter.
On the other end of the spectrum, new R&B/Soul and Rock songs were no-shows during Q3.
New Dance Songs
Clarity
I Need Your Love
Summertime Sadness (Cedric Gervais remix)
New Hip Hop/Rap Songs
Holy Grail
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Same Love
New Pop Fusion & “Other” Songs
Cups (Country/Folk)
Love Somebody (Straight-Up Pop, Dance)
Roar (Straight-Up Pop, Pop/Rock, Power Pop)
Safe & Sound (Electro Alt Pop/Dance, Retro 80?s New Wave)
Treasure (Retro Funk, Disco, R&B)
Wake Me Up (Country/Folk, EDM)
We Can’t Stop (Straight-Up Pop, R&B, Dance)
Key Points
Form & Sectional
Of the 12 songs within the category, only 3 utilized a straight-up A-B-A-B-C-B form, all of which stemmed from the Pop Fusion/Other category (Love Somebody, Roar and Treasure). All of the other songs possess forms of differing nature.
Only 2 out of 12 songs kicked off with the chorus as opposed to the verse – I Need Your Love and We Can’t Stop.
Average song length for the new arrival category was 3:52, up 0:06 from the preceding quarter. The Hip Hop/Rap category averaged the longest by far at 5:29, while the Pop Fusion/Other category clocked in at the shortest, averaging at 3:22.
All songs except for 2 (Holy Grail and We Can’t Stop) utilized an intro within their framework. The average length landed at just 0:12, 0:04 shorter than the preceding quarter.
58% of all new arrivals contain a pre-chorus, virtually the same amount as the preceding quarter. Note that at least 1 song from each sub-genre category utilized one within their framework.
Only 58% of all songs featured a bridge within their framework, down from 80% in Q2. Note that neither of the songs within the Hip Hop/Rap category utilized one within their structure.
58% of all new arrivals featured an outro within their framework, up from 33% during the preceding quarter. This was the case with at least 1 song from each sub-genre category.
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58% of all songs featured an instrumental break within their framework, also up from 33% during the preceding quarter. At least 1 song from each sub-genre category utilized one, and was the case with all Dance songs which should come as no surprise.
On average, first choruses occurred 0:38 / 16% of the way into a song, which was 0:04/3% earlier than the preceding quarter. They hit earliest within the Dance category, averaging just 0:28/12% of the way in, followed close behind by Pop/Fusion songs at 0:32/17%. The Hip Hop/Rap category averaged by far the longest, with first choruses hitting around 1:10/22% of the way in.
Tempo
The average tempo for all new arrivals was 110 BPM, just 4 BPM slower than the preceding quarter. Note however that the preceding quarter was also 4 BPM slower than the quarter that preceded that.
The Dance category as you would expect possessed the highest average BPM, landing at 126. This was followed by Pop Fusion at 111. The Hip Hop/Rap category possessed the slowest average BPM at 79.
The Pop Fusion/Other Category
As usual, the Pop/Fusion category contained a wide range of sub-genre influences that helped to shape the sound of songs within the category, this time around including Country/Folk, Dance, Power Pop, Retro Funk/Disco, R&B, EDM and Retro 80?s New Wave.
Instrumentation
58% of songs featured primarily electric based instrumentation within the mix, down from 73% during the preceding quarter. 3 featured a combination of electric & acoustic instrumentation, while only 2 are primarily acoustic in nature.
The vast majority (92%) featured a synth to some degree within the mix (no surprise there), while half featured a guitar as well. As for piano, it was an element within 42% of all songs.
Lyrical Themes
The majority (50%) of all songs featured a straight-up love/relationship lyrical theme, while 83% featured the theme utilized in conjunction with another theme including hooking up, empowerment and introspection. Note that these “lyrical fusion” songs accounted for 42% of all songs.
Additionally, only 1 song was primarily inspirational in nature, and there were no straight-up partying/clubbing or hooking up themed songs to be found entering into the Pop top 10 during the quarter.
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Lead Vocal Gender
42% of all new arrivals featured a male lead vocal, down from 60% during the preceding quarter. Songs featuring a female lead increased significantly, however, jumping from just 27% in Q2 to the majority 50% in Q3. Note that there was only 1 new duet to land in the Pop top 10 during the quarter – Same Love.
DECHARTED TOP 10 HITS FROM Q2-2013 (14 Songs)
In regard to the songs that charted in the Pop songs top 10 during Q2 but didn’t make it back in during Q3 (either because they were successful and had run their course or they just had a short shelf-life in the top 10), the majority were Pop/Fusion songs, followed by Dance songs.
Additionally, notice that there was also 1 Hip Hop/Rap, R&B/Soul and Rock song that didn’t make it back in as well.
Dance Songs
Alive (Peaked at #9)
Don’t You Worry Child (Peaked at #2)
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Feel This Moment (Peaked at #4)
Scream & Shout (Peaked at #3)
Sweet Nothing (Peaked at #6)
Rock Songs
It’s Time (Peaked At #10)
R&B/Soul Songs
Suit & Tie (Peaked at #8)
Hip Hop/Rap Songs
Thrift Shop (Peaked at #1)
Pop Fusion & Other
Daylight (Straight-Up Pop/Rock , Ballad) – Peaked at #4
Heart Attack (Straight-Up Electro Pop) – Peaked at #4
I Knew You Were Trouble (Straight-Up Pop, Dubstep) – Peaked at #1
Stay (Straight Up Pop, Ballad) – Peaked at #9
Troublemaker (Straight-Up Pop, Rock, Funk, Dance) – Peaked at #10
When I Was Your Man (Straight-Up Pop, R&B/Soul, Ballad) – Peaked at #7
Key Points
Form & Sectional
A little over one-third of all songs followed a straight-up A-B-A-B-C-B form. Despite this low number, the form still accounted for the majority of songs. All of the other forms within the category differed in nature from one another.
The average song length for decharted hits was 3:55. The 1 song within the R&B/Soul category averaged the longest (Suit & Tie – 5:28), while Dance, Hip Hop/Rap and Rock all hovered right around the 4:00 mark. Pop Fusion songs averaged the shortest at just 3:31.
All of the songs except for 1, (Daylight), utilized an intro within their framework, with the average landing at 0:14.
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Only 4 out 14 songs kicked off with the chorus as opposed to the verse. They included Feel This Moment (Dance), Thrift Shop (Hip Hop/Rap), Suit & Tie (R&B/Soul) and Heart Attack (Straight-Up Electro Pop).
58% of all songs featured a pre-chorus within their framework. They include all but 1 Pop Fusion song (Troublemaker), 2 Dance songs and the 1 Rock song. Note that neither of the Hip Hop/Rap or R&B/Soul songs contained one.
All but 3 songs featured a bridge within their framework. Those that didn’t all stemmed from the Dance category.
43% of all songs utilized an outro within their framework. Each sub-genre category had at least 1 song that featured an outro, though it was only the case with 1 out of the 6 Pop/Fusion songs (Stay).
50% of songs contain a prominent instrumental break. Note that this was the case with all of the Dance songs as well as the 1 Hip Hop/Rap and Rock song. Note that none of the Pop Fusion songs featured one within their framework.
On average, first choruses occurred 0:40 (18%) of the way into the song. It hit farthest into the 1 Rock song (0:55/23% of the way in) and shortest within the 1 R&B/Soul Song (0:04/1%). Hip Hop/Rap, Dance & Pop Fusion averaged at 0:33, 0:42 and 0:44, respectively.
Tempo
The average tempo for all new arrivals was 115 BPM. Dance songs averaged the fastest at 130 BPM, while the 1 Hip Hop/Rap song was the slowest at 95 BPM. Rock, Pop Fusion and R&B/Soul averaged at 112, 109 and 102 BPM, respectively.
The Pop Fusion/Other Category
Amongst the sub-genres that mixed and matched with one another to shape the sound of these songs include Pop/Rock, Ballads, Dubstep, Funk, R&B/Soul and Dance.
Instrumentation
The vast majority (64%) of songs featured primarily electric based instrumentation within the mix. They were followed by 21% which possess an equal or close to equal combination of electric and acoustic instrumentation, while only 14% of songs were primarily acoustic in nature.
93% of all songs feature a synth to some degree within the mix, with 4 of them featuring it pretty much as the sole primary instrument (all of which stemmed from the Dance category – no surprise there). Additionally, 36% of songs featured a guitar within the mix, and was also the case for piano as well.
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Lyrical Themes
The vast majority of songs (57%) featured a straight-up love/relationship lyrical theme, while 71% featured the theme utilized in conjunction with additional themes which included inspiration and partying/clubbing.
Additionally, there was 1 inspirational themed song (It’s Time), 1 partying/clubbing song (Scream & Shout), and 1 song that possesses a non-typical combination of themes (Suit & Tie – Stylin, Partying/Clubbing, Love/Relationships).
Lead Vocal Gender
The majority of songs (50%) featured a male lead vocal, while only 29% featured a female lead. 3 songs featured a duet, including Feel This Moment (Dance), Scream & Shout (Dance), and Stay (Pop Ballad).
COMPOSITIONAL COMPARISON – NEW ARRIVALS VS. DECHARTED HITS
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As you can see in the chart above, songs that landed in the Pop songs top 10 for the first time during Q3 for the most part have very similar compositional characteristics to those that didn’t make it back in from Q2.
What follows are the biggest differences between the 2 categories, but as you’ll see it’s not by any great degree:
Increased in Q3 compared to Q2
2 additional songs that feature a fusion of multiple lyrical themes (3 left, 5 came in)
2 additional songs that feature a female lead vocal (4 left, 6 came in)
1 additional Hip Hop/Rap song (1 left, 2 came in)
1 additional Pop Fusion song (6 left, 7 came in)
1 additional song that contains an outro within its framework (6 left, 7 came in)
1 additional song that features guitar within the mix (5 left, 6 came in)
Decreased in Q3 compared to Q2
4 less songs that contain a bridge within their framework (11 left, 7 arrived)
3 less songs containing an intro within their framework (13 left, 10 arrived)
2 less Dance songs (5 left, 3 arrived)
2 less songs that feature a synth within the mix (13 left, 11 arrived)
2 less songs within the top 10 (14 left, 12 arrived)
2 less songs that feature primarily electric based instrumentation (9 left, 2 arrived)
2 less songs that feature a love/relationship lyrical theme (8 left, 6 arrived)
2 less songs that feature a male lead vocal (7 left, 5 arrived)
2 less songs that feature a duet (3 left, 1 arrived)
1 less song featuring a straight-up A-B-A-B-C-B form (5 left, 4 arrived)
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1 less song that contains a pre-chorus within its framework (8 left, 7 arrived)
1 less Rock song (1 left, none arrived)
1 less song that features a partying/clubbing lyrical theme (1 left, none arrived)
1 less song that features an “other” (non typical) lyrical theme (1 left, none arrived)
Remained Constant
The following compositional characteristics remained virtually the same between the 2 categories. This just goes to show that THERE ARE core craft best practices being utilized when it comes to the songs that top the charts.
Examples include
Song length: Decreased by just 0:03.
Average Intro length: Decreased by just 0:02
The average percentage that the intro comprises of a total song: Remained constant at 6%
The average percentage that the pre-chorus comprises of a total song: Increased by just 1%
Average outro length: Decreased by just 0:02
The average point where the first chorus occurs within the song: Decreased by just 0:02 / 2%.
The average percentage that the chorus comprises of a total song: Remained constant at 41%
SONG STRUCTURE & SECTIONAL CHARACTERISTICS: Q3-2013 This section provides a detailed, comprehensive look at all of the 23 Top 10 Pop Hits from Q3-2013
FORM
Key: A=Verse, B=Chorus, C=Bridge, IB=Instrumental Break, VB=Vocal Break
A-B-A-B-C-B
As usual, the most widely used form was A-B-A-B-C-B (verse-chorus-verse-chorus-bridge-
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The form was utilized by only 1 out of 6 Dance songs (The Other Side), none of the Hip Hop/Rap or R&B/Soul songs, both Rock songs, and 6 out of 13 Pop Fusion songs.
There were also a handful of songs that utilized its general framework, albeit in a non-straight- up manner. They included 3 songs that first kicked off with the chorus and then followed with a straight-up A-B-A-B-C-B form (Come & Get It, Cruise and We Can’t Stop), as well as Can’t Hold Us which substituted an instrumental/vocal break in place of a more “traditional” bridge.
Other Forms
Examples of some of the other forms that were utilized in the chart-topping Pop hits of Q3-2013 include:
Blurred Lines: A-B-A-B-A-B-C-A-B
Notice that this song has 4 verse sections and 4 chorus sections, with the first 3 verse/choruses occurring back to back within the song. The bridge provides diversity after the third chorus, and is followed by another verse/chorus combo to conclude the song.
Holy Grail: A-B-A-B-A-B-A-B
This song is centered around the verse/chorus tradeoff between Justin Timberlake and Jay Z.
I Love It: A-B-A-B-C-B-A-B-C-B
Notice that the song starts off with a “typical” A-B-A-B-C-B form, but after the last chorus tacks on 4 additional sections (verse – chorus – bridge – chorus). Also keep in mind that this song is just 2:36 long!
I Need Your Love: B-IB-A-B-IB-A-B-IB-C-B-IB
Notice the rampant use of instrumental breaks throughout the song, all of which follow the chorus. When you take them out of the equation, you wind up with a variation of the most popular song structure at its core: B-A-B-A-B-C-B.
Safe & Sound: A-B-A-B-A-BRK-B-A-A-B
This song is primarily centered around a verse/chorus exchange except for the instrumental break/title repetition that occurs after the third verse and the additional verse section that precedes the final chorus.
SONG LENGTH
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The average length of a top 10 hit Pop song in Q3 was 3:49, just 0:01 shorter than the preceding quarter.
The vast majority (43%) landed in the 4:00+ range, followed by the 2 “middle of the road” ranges (3:30 – 3:59 and 3:00 – 3:29), which accounted for 26% and 17% of songs, respectively.
Additionally, only 13% of songs landed under 3:00 in length.
Long Songs
The longest songs of the quarter (those that landed at or over 4:00) traversed each sub-genre category including:
1 out of the 4 Dance songs: Clarity (4:31)
All 3 Hip Hop/Rap Songs: Can’t Hold Us (4:19), *Holy Grail (5:39), Same Love (5:19)
The 1 R&B/Soul Song: Blurred Lines (4:23)
4 out of the 13 Pop Fusion songs: Get Lucky (4:04), Just Give Me A Reason (4:03), Mirrors (4:37), Wake Me Up (4:10).
Notice that neither of the 2 Rock songs (My Songs Know What You Did In The Dark & Radioactive) landed at or over 4:00.
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*Indicates the longest song of the quarter
Short Songs
The shortest songs of the quarter stemmed exclusively from the Pop Fusion category, which included *Cups (2:07), I Love It (2:36), and Treasure (2:59).
**Indicates the shortest song of the quarter
Average Length By Sub-Genre
In regard to the average song length for each sub-genre category, all landed between 3:06 and 5:05 with the breakdown as follows:
Rock (2 songs): 3:06 (down from 3:24 in Q2)
Pop Fusion/Other (13 songs): 3:33 (down from 3:39 in Q2)
Dance (4 songs): 3:56 (down from 4:00 in Q2)
Hip Hop/Rap (3 songs): 5:05 (up from 4:07 in Q2)
R&B/Soul (1 song): 4:23 (down from 4:55 in Q2)
Notice that both the Pop Fusion and Dance categories were in the same ballpark as the preceding quarter, while the other categories saw a greater fluctuation. This was most evident in the Hip Hop/Rap category, where the average length increased by around 1 minute!
INTRO
During the third quarter of the year, the vast majority (87%) of songs featured an intro within their framework, which was down slightly from 92% during the preceding quarter. The 3 exceptions were Cruise, We Can’t Stop and Holy Grail. Cruise and We Can’t Stop immediately kicked off with the chorus, while Holy Grail begins with the verse.
All intros were directly followed by a verse except in I Need Your Love and Come & Get It, both of which have their intro followed by a chorus.
Most intros leaned toward the shorter end of the spectrum as you would expect, with the majority (45%) landing between 0:01 and 0:09 and followed close behind by the 0:10 – 0:19 range, which accounted for 40% of all songs.
Longer length intros barely made an impact, which was no surprise. Only 2 songs had their intro landing between 0:20 and 0:29 (Can’t Hold Us and Radioactive), and only 1 landed over 0:30 in length (Same Love at a VERY long 0:42).
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The biggest shift from Q2 to Q3 occurred in the 0:01 – 0:09 range. Accounting for just 26% of songs in Q2, it nearly doubled in Q3.
The average length of a top 10 Pop song intro during Q3-2013 was 0:13, which was down just 0:01 from the preceding quarter.
Intro Length Range Breakdown : Q3-2013
Compositional Characteristics
During the third quarter of the year, top 10 hit Pop songs primarily utilized 1 of 4 types of intros to immediately hook the listener into the song and hold their attention until the next section took over (i.e. verse or chorus). These include:
Intros that utilize the backing music of the section that directly follows or that follows later within the song.
Intros that possess a breakdown or sparse nature.
Intros that utilize narration, vocal effects or artist plugs.
Intros that are unique to all other sections within the song or are “multifaceted” in nature.
*Denotes a “new arrival” to the top 10 in Q3
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Backing Music
The majority of top 10 Pop intros featured either the backing music of the section that directly follows which provided for a seamless transition between sections, or the backing music of a section that occurs later within the song, providing the listener with a taste of things to come. Examples include:
Backing music of the section that directly follows (seamless transition)
Blurred Lines
Utilizes the same general backing music as the following verse.
Get Lucky (Radio Edit)
Features virtually the same Retro Funk/Disco backing music in the first verse that was present in the intro that preceded it. Notice that the verse cuts back just a bit to enable the lead vocal to shine front and center within the mix.
*Love Somebody
Features a fade in solo synth arpeggio that transitions from the bass to the treble end of the spectrum as the section progresses coupled with drums entering into the mix at the tail end which essentially defines the backing music of the first verse.
The Other Side
The solo electric guitar leads directly into the verse that follows.
*Wake Me Up
Kicks off with solo acoustic guitar which then transitions to the bass end of the spectrum and drops to a lower level during the first verse that directly follows.
Backing music of a section that occurs later within the song (giving a taste of things to come)
Just Give Me A Reason
The intro utilizes the piano melody that defines the pre-chorus, NOT the verse that directly follows.
Mirrors
The intro utilizes the general nature of the backing music that defines the chorus. The verse that directly follows the intro is completely different in nature.
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*Safe & Sound
The intro kicks off with a 0:01 retro 80?s natured electronic tom fill which is then followed by the full band kicking in with 80?s electropop/dance for the balance of the section. Notice that the second half also includes some very low level electric guitar that provides some differentiation, preventing the section from becoming overly monotonous. Also note that the backing music defines what’s going on within the second verse of the song, NOT the first. A synth swell then enters into the mix at the tail end which is then followed by a split second full stop which enables the first verse to slam in with increased impact.
Breakdown/Sparse Intros
These intros feature solo or sparse instrumentation without a “full band” backing (usually comprised of instrumentation and melody from the section that directly follows). A couple of examples include:
Acoustic Guitar
*Wake Me Up
Solo Piano
Just Give Me A Reason
Narration, Vocal Effects & Artist Plugs
Blurred Lines
Following the quick bass run at the onset of the song, the vocal “everybody get up” kicks the song into full swing. Note that the “whooo!” and “hey hey hey” vocals not only occur within the intro, but throughout the song as well, which helps to accentuate the song’s overall memorability factor.
Can’t Hold Us
Features laughs, “let’s go,” “all rights” and “oks’s” which aid in accentuating the “excitement level” of the section along with the nature of the backing music.
*Treasure
Kicks off with the very original solo vocal ” Baby squirrel, you’s a sexy motherf*cker.” Don’t think I ever heard that one before!
Unique & “Multifaceted” Intros
These intros are either unique in relation to every other section within the song or feature
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*Clarity
Kicks off with 0:02 of solo strings and is followed by a synth arpeggio that that lasts for the duration of the section. An additional synth enters the mix toward the tail end which provides for a more “lush” soundscape, which is then followed by an airy synth swell and 2 taps on a ride that signals the beginning of the verse.
Come & Get It
Even though it reoccurs throughout the song at a lower level and in varied form, the upfront Indian chant coupled with the tabla instantly establishes the ethnic vibe of the song and is unique in relation to all of the other songs currently topping the Pop charts.
*Cups
Kicks off with 0:08 of solo “cups” followed by the full band kicking in for the duration. Notice how the solo cups perfectly jibes with the song title and also acts as a very unique identifier for the song.
*I Need Your Love
Kicks off abruptly with distorted electric guitar which rings out over the “light” natured synth progression and bells that define the balance of the section. Notice that the nature of the electric guitar not only acts as a unique identifier for the song during the intro, but also functions as a reoccurring hook throughout, specifically at the transition point between the verse and pre- chorus.
My Songs Know What You Did In The Dark (0:19): Consists of 3 segments
Notice that each of these segments builds upon one other, and that the intro utilizes key infectious elements from 2 other sections within the song.
Segment 1: 0:01 – 0:06: Consists of the vocals and perc that define the bridge.
Segment 2: 0:06 – 0:13: Adds additional drums into the mix coupled with the “oh oh oh…” vocal that is present within the chorus.
Segment 3: 0:13 – 0:19: During the final segment, the “frantic” high-pitched bass is added into the mix on top of the elements that defined the preceding 2 segments.
Radioactive
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The “oh…oh…oh” vocal coupled with the nature of the guitars, (especially the acoustic guitar), is unique in relation to all of the other sections within the song.
*Same Love
Clocking in at 0:42, Same Love’s intro is by far the longest amongst all of the top 10 Pop hits of the quarter. As you’ll see below, however, new elements enter into the mix around once every ~0:10, which does a great job of keeping the listener engaged throughout. Breakdown as follows:
0:01 – 0:08: Solo synth/organ drone.
0:08 – 0:18: Piano is added to the mix – new melody.
0:18 – 0:31: Chimes and strings are added to the mix – changed up melody.
0:31 – 0:42: Solo piano – changed up melody which defines the first verse that follows.
*Treasure
The solo “baby squirrel, you’s a sexy motherf*cker” vocal acts as a unique identifier for the song, and is then followed by a 0:02 Retro Funk/R&B/Soul guitar, bass, snare segment, which ushers in the verse that follows. Notice how it instantly establishes the Retro Funk/R&B/Soul vibe of the entire song in just 0:02.
VERSE
As you would expect, all of the songs that landed in the Pop top 10 contain at least 2 verse sections within their framework. The vast majority have the first verse occurring at the beginning of the song following an intro, and the second following the first chorus occurrence.
There were a handful of songs, however, that contain more than 2 verses. They include:
I Love It (Synth Pop/Punk): 3 verse sections( A-B-A-B-C-B-A-B-C-B)
Same Love (Hip Hop/Rap): 3 verse sections (A-B-A-B-A-B)
Blurred Lines (R&B/Soul): 4 verse sections (A-B-A-B-A-B-C-A-B)
Holy Grail (Hip Hop/Rap): 4 verse sections (A-B-A-B-A-B-A-B)
Safe & Sound (Electro Alt/Pop, Dance, Retro 80?s New Wave): 5 verse sections (A-B-A-B-A-BRK-B-A-A-B)
Verse Length Uniformity
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The vast majority of songs have their verse sections possessing equal length within all occurrences of the song. There were a handful of exceptions, however:
The Other Side (Dance): 0:30 / 0:15
Can’t Hold Us (Hip Hop/Rap): 1:05 / 0:39
Holy Grail (Hip Hop/Rap): 0:52 / 0:40 / 0:40 / 0:54
Same Love (Hip Hop/Rap): 0:46 / 0:57 / 0:34
Roar (Power Pop, Pop/Rock): 0:20 / 0:10
Notice that in the case of The Other Side and Roar that the second verse is exactly half the length of the first. In the case of the 3 Hip Hop/Rap songs, however, notice that with the exception of the second and third verse within Holy Grail that the 3 songs have varying verse lengths throughout the song, and NOT being equally divisible as we saw within the non-Hip Hop/Rap songs as previously mentioned.
Verse Length
The majority (43%) of songs contain verses that are relatively short in length, hovering right around the 0:15 mark. They were followed by songs that have their verses landing in the low to mid 0:20 range, which accounted for 26% of all songs. Note that only 4 songs contain verses landing around 0:30, and 3 songs contain verse sections that landed at 0:30 and up (all of which happen to be Hip Hop/Rap songs – no surprise there).
Repetition vs. Diversity
As you would expect, most songs have their verse sections possessing either a carbon copy or a very similar vocal melody within each occurrence in order to hammer home the memorability factor for the listener. The diversity is provided via the nature of the backing music and of course the lyrics, which further the story along.
A good example to take note of in regard to verse occurrence differentiation is Safe & Sound, which contains 5 verse sections within its framework:
VERSE-1
The first verse is defined by a fuzz synth featuring a progression that’s completely different in nature than that of the intro. It still has the 80?s vibe going on, but also leans on modernistic side as well.
VERSE-2
The second verse kicks off with a quick tom fill and then reverts back to the music that defined
25 / 58 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com the intro – NOT the first verse of the song. Overall it’s a lot more 80?s in nature. Notice that it possesses the same vocal melody as the first verse except for different lyrics.
VERSE-3
The third verse completely changes up the vibe from the other sections within the song. This is where the guitar enters the mix and the rhythm is defined by just kick and claps. It’s a lot more mellow and seductive in nature which jibes with the “I can show you love” lyrics. There’s also a synth pad which continues to grow in prominence as the section progresses, as does the electronic snare. The electronic tom then transitions into the break that follows.
VERSE-4
The fourth verse then changes up the backing music from the other verses by initially going into “breakdown” mode, consisting of just electro kick and deep synth. As the section progresses notice that the synth starts to increase in level and the kick speeds up. A synth swell then enters the mix at the tail end which brings the section to a crescendo, but is then pulled along with the kick as the deep fuzz bass disappears at the tail end dissipates over the title phrase. This allows for the fifth and final verse that follows to slam in hard.
VERSE-5
The fifth verse repeats the same lyrics from verse 4 that preceded it, but now reverts to the backing music that possesses the same general nature as that of verse 2 but at a heightened level. This then transitions seamlessly into the chorus that follows.
PRE-CHORUS
60% of all songs utilized this “optional” section within their framework, which is virtually the same as the preceding quarter.
It was featured in both of the Rock songs, 75% of Dance songs, 62% of Pop Fusion songs, 33% of Hip Hop/Rap songs (Holy Grail was the only one) and the 1 R&B/Soul song, Blurred Lines, did not utilize one within its framework.
Despite the compositional differences that all of these pre-choruses have, they all have one thing in common – they’re just as infectious and memorable (and in some cases even more so) than all of the other sections within the song.
Pre-Chorus Characteristics
MTI Levels (Momentum/Tension/Intensity)
MTI Level Build
The majority of pre-choruses provided a lift from that of the preceding verse (some subtle and
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By adding additional instrumentation into the mix that heightened the MTI level
By providing a change-up in the vocal melody that provided the lift.
Examples that you should listen to that provide varying degrees of the build include:
Dance: Summertime Sadness and The Other Side
Pop Fusion: Get Lucky, Just Give Me A Reason, We Can’t Stop, Roar and Treasure
MTI Level Remains Constant
There were only a few songs that had their MTI level remaining pretty much on par with that of the preceding verse, primarily from a momentum and intensity standpoint. These include I Need Your Love, Just Give Me A Reason and Mirrors. Note, however, that all provided some increased tension which heightened the anticipation factor as the songs moved closer to their payoff within the chorus.
MTI Level Decrease
As was the case last quarter, there were only 2 songs that had an MTI level decrease within the first pre-chorus in relation to the preceding verse:
My Songs Know What You Did In The Dark
The drums were pulled from the mix which decreased the overall momentum level of the section. Note, however, that the vocal was still intense and tension laden.
Come & Get It
Instrumentation was pulled from the mix which decreased the overall intensity of the section in relation to the preceding verse. There was a heightened level of tension, however.
Lead Vocal Melody
As you would expect, the majority of pre-choruses featured a change-up in the vocal melody from that which was defining the preceding verse. A few of the most infectious, engaging and memorable pre-chorus vocal melodies that you should reference occur within Get Lucky, Roar and Summertime Sadness.
The one exception take note of once again is Radioactive. The nature of its pre-chorus vocal melody is generally the same as that of the verse. The differentiation stems from the nature of the backing music (see below).
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Backing Music
The vast majority of songs contain pre-choruses that feature the same or close to the same backing music that defined the verse that preceded them.
For those that did provide a change-up, it was primarily brought about by adding or subtracting instrumentation from the mix in relation to the preceding verse while the general nature of the progression remained intact. A few examples include:
Radioactive
Considering that the nature of the vocal melody is essentially the same as that of the verse, during the first pre-chorus guitar is added on top of the “Dubstep” synth pattern to provide differentiation. During the second pre-chorus, however, the verse utilizes the guitar, so the pre- chorus further differentiates by adding a flute natured synth into the mix.
*Summertime Sadness
Notice that the nature of the backing music within the pre-chorus remains virtually the same as the verse except for the brighter nature of the piano utilized within the pre-chorus.
*Love Somebody
The general nature of the backing music from the verse remains intact plus some additional synth and electric guitar that have been added into the mix.
Pre-Choruses To Take Note Of
These are some of the pre-choruses that stood out from the pack in Q3:
Come & Get It
The key thing to take note of is that this is the section where the Indian chants that defined the intro are reintroduced. This both accentuates the overall memorability factor of the song as well as accentuates its World nature in relation to the more straight-up Electropop natured verse.
*Holy Grail
This is an interesting one. You can either look at the sections that precede choruses 2 and 3 as additional short 0:13 verses, or as pre-choruses. Regardless, they both not only provide a complete shift from the verse that preceded them, but are also completely different from one another as well (i.e. there are no repetitive factors between both occurrences which is usually indicative of pre-choruses).
The first pre-chorus provides an exceptionally infectious hook by launching into Nirvana’s Smells Like Teen Spirit vocal melody, while the second pre-chorus is a low down and
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Just Give Me A Reason
During the first pre-chorus, notice that the nature of the piano melody reverts back to that which defined the intro coupled with a change-up in P!nk’s vocal melody in relation to the preceding verse.
During the second pre-chorus, notice that it starts out with Nate singing, but finishes up as a duet. Additionally, notice that both pre-chorus occurrences utilize the same instrumentation that was defining the preceding verse, so that there’s not much of a shift in the overall MTI level.
My Songs Know What You Did In The Dark (Light ‘Em Up)
Notice at the end of the first verse the drums are pulled from the mix and what we’re left with is the “my songs know what you did in the dark” TITLE vocal coupled with the “chugging” guitar plus the guitar swell that enters into the mix at the tail end of the section. Combined they bring the momentum down while at the same time increasing the tension to enable the “light ‘em up” payoff within the chorus that follows to hit with maximum impact.
What’s really interesting to note though is how the full song title My Songs Know What You Did In The Dark (Light ‘Em Up) is split between2 different sections – the pre-chorus and chorus. It’s quite effective to say the least.
*Roar
What’s great about Roar’s pre-chorus is the fact that not only is the vocal melody exceptionally infectious, but the manner in which it perfectly bridges the downtrodden lyrical nature of the verse and the full empowerment nature of the chorus is exceptionally effective. Also take note of the karate natured “key-ay’s” within the mix, which helps to take the empowerment vibe of the song to the next level.
*Treasure
Notice that the overall nature of the backing music that defined the preceding verse remains intact with the exception of the bells that enter the mix at the onset of both stanzas. What really makes the section special, however, is the ultra-infectious “Oh-whoa-o-oah” vocal that kicks each stanza off coupled with the “fine so fine” call and response that occurs at the tail end. It’s these 2 elements which help to put the section, and the song for that matter, over the top.
Pre-Chorus Count
All songs contain 2 pre-chorus occurrences within their framework except once again for The Other Side and Get Lucky, each of which contain 3.
Pre-Chorus Length
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The average length of a pre-chorus was 0:15, with most landing in the mid-teens. Note that this is exactly the same as the preceding quarter. The majority were either the same length as the preceding verse or half the length.
Additionally, all songs feature pre-choruses of equal or very close to equal length throughout the song, with the one exception being Come & Get It, where the second pre- chorus is about half the length of the first.
CHORUS
Compositional Characteristics
Methods For Transitioning Into The Chorus
There were 4 primary methods utilized to transition into the first chorus of a top 10 hit Pop song in Q3:
A brief transitional pause or decrease in the MTI level
A swell (synth or cymbal)
A vocal lead in
Those that transitioned seamlessly and turned on a dime.
Of them all, the 2 most popular methods were the swell and vocal lead in.
Examples
Transitional Pause / MTI Level Decrease
This method enables the chorus to hit with greater perceived impact due to the lull that precedes it. As you can gather, it is most often utilized within songs that feature a powerful chorus. Examples include:
Come & Get It
The backing music is pulled at the tail end of the pre-chorus followed by Gomez’s prolonged “ready” vocal coupled with the Indian “eh eh eh” chant.
Cruise
The backing music is pulled out from under the vocal at the tail end of the verse.
The Other Side
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The drums are pulled at the tail end of the pre-chorus.
*Roar
The prominent synth bass and drums are pulled from the mix at the tail end of the pre-chorus.
*Treasure
Following the build at the tail end of the pre-chorus, a split second pause is instituted after the final snare hit which is then directly followed by the full chorus slamming in. Note that the trail of the snare hit remains in effect, however (i.e. there isn’t total silence).
Vocal Intro
This is where part of the first line of the chorus precedes the full chorus slamming in, starting either toward the end of the verse or pre-chorus. Examples include:
*Cups
The first 2 lyrics of the first line of the chorus “when I’m” precede the full chorus slamming in on the lyric “gone.”
*Roar
The lyrics “I got the eye of the” enter the mix at the end of the pre-chorus with the full chorus slamming in on the lyric “tiger.”
Wake Me Up
The lyrics “so wake me” enter at the end of the verse with the full chorus hitting on the lyric “up.”
Transitional Swell
This is where a synth or cymbal swell enters the mix toward the tail end of the verse or pre- chorus, increases in level, peaks at the onset of the chorus and then dissipates early on. Examples include:
*Clarity (plus the sped up drums which are indicative of Dance/Club hits)
*I Need Your Love
The Other Side
My Songs Know What You Did In The Dark (Guitar swell)
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*Love Somebody
*Summertime Sadness
MTI Levels
The vast majority of songs possess a first chorus MTI level that is greater than that of the preceding section. In some cases it’s much more intense and in other cases it’s less pronounced. Conversely, some choruses possess an MTI level that is lower in relation to the preceding section. And in some cases, first choruses that start out with a low MTI level become more intense as the section progresses. Examples that you should listen to include the following:
MTI Level Increase
*Come & Get It
*Cruise
*Cups
Get Lucky
*Love Somebody
The Other Side
My Songs Know What You Did In The Dark
Radioactive
*Roar
*Wake Me Up
MTI Level Decrease
*Can’t Hold Us (The onset of the section consists of kick, piano and vocal)
*I Need Your Love (drums are pulled from the mix, consists primarily of synth and vocal)
*We Can’st Stop (The onset of the section provides a downshift from the intense electro nature of the pre-chorus that preceded it).
MTI Level Decrease Followed By An Increase
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Listen to how these choruses start out as a breakdown or partial breakdown and then explode into the full chorus for the duration.
Can’t Hold Us (Following the solo piano/vocal at the onset, the balance of the section goes full on for the duration via the inclusion of the drums, additional synth and bass)
*Clarity (Builds in intensity throughout the section and then explodes into the IB/VB, which is then followed by a reversion back to the chorus at full strength)
*I Need Your Love (explodes into an instrumental break)
*Love Somebody (The full dance nature of the section hits during the second half)
*Same Love (Drums and bass enter the mix following the solo vocal/piano start)
*Summertime Sadness (The second half of the section is more intense than the first, and following the instrumental break the conclusion of the chorus is at full EDM strength).
*Wake Me Up (The second half of the section is more intense than the first primarily due to the nature of the vocal melody and additional synth).
*We Can’t Stop (Following a synth/piano/vocal first half, up-front drums and additional synth bring the intensity level back up for the duration of the section).
Kicking Off With The Chorus
During Q3, only 17% of songs kicked off with the chorus as opposed to the verse. Note that this not only was the lowest percentage in over a year, but the second lowest in over 3 years.
The songs that kicked off with the chorus in Q3 were:
Come & Get It (Electropop, World)
Cruise (Country, Straight-Up Pop, Hip Hop/Rap)
I Need Your Love (Dance)
We Can’t Stop (Straight-Up Pop, R&B, Dance)
Chorus Count
Every song except for 1 contains at least 3 chorus sections within their framework. The sole exception in Q3 was Wake Me Up, which contains only 2 (remember, the EDM natured instrumental breaks were deemed just as important within that song).
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Additionally, there were 9 songs that contain 4 chorus sections within their framework, including 75% of all Dance songs (The Other Side was the sole exception), 1 of the 3 Hip Hop/Rap songs (Holy Grail), and 46% of the Pop Fusion songs.
There was also one song, I Love It, which contains 5 chorus occurrences within the song.
Aside from the songs that have their additional chorus occurring at the very beginning of the song (Come & Get It, Cruise, I Need Your Love and We Can’t Stop), examples of the others include:
Clarity (A-B-IB-B-A-B-C-IB/B-B)
Notice that the first 2 choruses within the song sandwich an instrumental break, the 3rd follows second verse, and the last 2 occur back to back.
Holy Grail (A-B-A-B-A-B-A-B)
This song has a chorus following each of the 4 verses.
I Love It (A-B-A-B-C-B-A-B-C-B)
Contains 5 choruses, 3 of which occur after a verse and 2 occurring after a bridge (yes, there are 2 bridges within this song).
Summertime Sadness - Cedric Gervais Dance Remix (A-B-IB-B-A-B-IB-B)
Similar to Clarity, Summertime Sadness has 2 choruses sandwiching an instrumental break early on within the song, another following the second verse, and the last following an instrumental break.
Chorus Length Uniformity
Songs that contain uniform or close to uniform chorus lengths throughout the song: (10 songs)
Blurred Lines
Can’t Hold Us
Come & Get It
Holy Grail
I Need Your Love
Mirrors
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The Other Side
Radioactive
Treasure
Wake Me Up
Abbreviated – Full – Full (2 songs)
Love Somebody
Roar
Abbreviated – Full – Full – Abbreviated (1 song)
We Can’t Stop
Full – Half – Full – Half (1 song)
Clarity
Full – Full – Half (1 song)
Cups
Full – Full – Double (1 song)
Just Give Me A Reason
Full – Full – Full – Double (1 song)
Summertime Sadness
Full – Full – Extended (1 song)
My Songs Know What You Did In The Dark
Full – Full – Full – Extended (1 song)
Get Lucky
Full – Full - Double – Double – Extended (1 song)
I Love It
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Half – Full – Full – Double (1 song)
Safe & Sound
As you can see, the vast majority of songs (48%) possess choruses of equal length throughout the song. This helps to accentuate both the “familiarity” and “memorablilty” factors for the listener.
First Chorus (Time Into Song)
As you would expect, the vast majority of songs had their first chorus occurring relatively early within the song (averaging 0:40 / 18% of the way in), with all but 2 occurring under 1:00 of the way in (both of which happen to be Macklemore songs. It certainly didn’t hamper their success potential!) :
Can’t Hold Us (1:25): Pushed back due to a moderately long intro (0:20) coupled with a very long first verse (1:05).
Same Love (1:08): Pushed back due to the massively long 0:42 intro coupled with the lengthy 0:46 first verse.
As you can see in the graph below, the most popular range for first chorus to occur by far was the 0:40 – 0:59 range, accounting for 43% of all songs.
*Note: The 0:01 – 0:19 range consists solely of the songs that kicked off with the chorus as opposed to the verse.
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First Chorus Occurrence (Percent Into Song)
As you can see in the graph below, both the 10% – 19% and 20% – 29% ranges were tied for the majority, accounting for 35% of songs each. Not surprisingly, only 8% of songs have their first chorus occurring at or over 30% of the way in (Can’t Hold Us and Radioactive were the 2 exceptions at 33% and 30% of the way in, respectively).
Note that the 1% – 9% range consists solely of the songs that kicked off with the chorus as opposed to the verse.
BRIDGE
During Q3-2013, the vast majority (74%) of all songs utilized a bridge within their framework. Note, however, that this was down from 84% during the preceding quarter.
Those that didn’t utilize a bridge include:
2 of the 3 Hip Hop/Rap songs which feature a verse-chorus alternation throughout the song (Holy Grail & Same Love).
The other Hip Hop/Rap song, Can’t Hold Us, which features an IB/VB in the area where you would typically find the bridge (A-B-A-B-IB-VB-B).
The Cedric Gervais Dance remix of Summertime Sadness which features prominent instrumental breaks utilized in conjunction with the chorus throughout the song.
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Cups, which features a very simplistic A-B-A-B-B form (remember, this was originally written in the 1930?s).
Safe & Sound, which features an instrumental break with a title repeat following the third verse.
Bridge Placement
In regard to where the bridge occurs within top 10 charting Pop songs, the vast majority have it following the second or third chorus and are followed by a chorus as well. The exceptions during Q3 were:
Blurred Lines: Followed by a verse.
Clarity: Followed by an instrumental break.
I Need Your Love: Preceded by an instrumental break.
Wake Me Up: Followed by an instrumental break.
Notice that 3 out of the 4 songs are primarily Dance in nature or have a strong Dance element within the mix.
Additionally, note that 1 song, I Love It, is rare in the sense that it contains 2 bridge sections within its framework, both times sandwiched in-between 2 choruses.
Bridge MTI Levels
In addition to providing a musical and lyrical departure from every other section, bridges within top 10 hit Pop songs were also utilized to provide a shift in the MTI level (momentum, tension , intensity) in relation to other sections of the song in order to provide increased dynamic diversity.
Examples along with their characteristics include:
Lower MTI Level Bridges
The vast majority of bridges brought the MTI level of the song down following a more intense chorus or instrumental break. In most cases they were partial to full breakdowns (i.e. sparse in nature). Examples include:
Come & Get It
Following the intense chorus, the music is relegated to the back of the mix via an EQ sweep toward the bass end of the spectrum, resulting in the overall MTI level of the section being brought down and enabling Gomez’s evocative vocals to shine front and center. As the section
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My Songs Know What You Did In The Dark
Following the intense chorus that preceded it, the MTI level is brought way down via the reversion back to the intro theme minus the drums. The primary difference between this section and the intro is that the pre-chorus “my songs know what you did in the dark” vocal is layered on top, creating a unique section. Essentially what the bridge is doing is taking some of the most infectious elements of the intro, pre-chorus and chorus and wrapping them up into 1 section. The backing music is then pulled out from under the “so light ‘em” vocal at the onset of the chorus, providing the balance of the chorus with much more impact when it slams in on the lyric “up.”
*Roar
Directly following the intense chorus 2 B section, the overall MTI level is initially brought way down during the first-third of the bridge due to its sparse nature, featuring just synth and guitar plus an ongoing drum roll that is WAY back in the mix.
The MTI level then starts to build during the second-third of the section when the kick is added to the mix, albeit at a low level. Note that Perry’s “ro-ar” vocal enters into the mix at this point as well, which further increases the MTI level.
During the final-third of the section, the MTI level continues to increase as the drums become louder and Perry’s vocal become more intense until reaching a climax at the tail end.
*We Can’t Stop
Following the full chorus, the MTI level within the bridge is instantly brought down during the first half of the section due primarily to the drums being pulled from the mix, featuring just synth and vocal. The second half of the section continues on in the same fashion, with the exception being that the lead vocal takes on a more intense quality, which increases the overall MTI level to a moderate degree.
Higher MTI Level Bridges
There was only one case where a “full” (non-breakdown) chorus was followed by an even more intense bridge. Note that this song was the sole representative along with When I Was Your Man in Q2.
Just Give Me A Reason
The evocative, intense nature of the song reaches a climax within the bridge, due both to the more intense nature of P!nk and Nate’s vocal deliveries coupled with the additional instrumentation that has been added to the mix. This is then followed by the listener getting a
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“sonic break” within the breakdown chorus that follows, which is defined solely by vocals and electronic drums. The second half of the section then reverts back to “full” chorus mode.
Linear MTI Level Bridges
Only 3 songs have the MTI level of their bridge being pretty much on par with that of the preceding chorus, resulting in little dynamic variation and a more seamless transition between sections:
Clarity
Get Lucky
Mirrors
OUTRO
During Q3, 52% of all songs featured an outro within their framework, which was up moderately from 44% during the preceding quarter. They included 3 of the 4 Dance songs, 2 of the 3 Hip Hop/Rap songs, the 1 R&B/Soul song, and 6 out of the 13 Pop Fusion songs. Note that neither of the Rock songs incorporated one into their framework.
As you can see in the graph below, the 2 “moderate” length ranges were once again in the majority, both comprising 33% of all songs. Long and short length outros followed far behind at 18% of songs each.
Just Give Me A Reason and Same Love possess the longest outro lengths (landing at 0:38 and 0:37, respectively), while I Need Your Love and Love Somebody were the shortest, landing at 0:03 and 0:04, respectively.
The average length of an outro in Q3 was 0:18, down just 0:02 from the preceding quarter.
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For the most part outros did one of 3 things. They either:
Reverted back to the intro theme of the song,
Utilized the general backing music of the section that preceded it (usually the chorus),
Were unique in nature compared to all other sections of the song.
Outro Examples
Blurred Lines
Reverts back to the intro theme and fades out.
Get Lucky
The first 0:16 of the section reverts back to the instrumental theme that defined the second half of the intro. The balance of the section introduces that vintage funky synth line into the mix which then repeats 4 times in a row in the same manner until ultimately fading out and coming to a conclusion at 6:06.
*Holy Grail
Abruptly shifts to an “ouuu, ahhh” a cappella harmony coupled with vocal effects that traverse the section. Concludes on the vocal “don’t know why.”
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Just Give Me A Reason
Reverts back to the solo piano melody that defined the intro and changes up toward the end to provide the listener with a nice resolve.
*Love Somebody
Reverts briefly to the intro theme coupled with an overlaying “way, yeah” vocal and electric guitar.
*Same Love
At the end of the final full chorus, the song becomes more sparse in nature featuring a repetitive “she keeps me warm” lead vocal coupled with background vocals and drums. The outro that follows brings it down even further, featuring droning strings and synth coupled with the repetitive “love is patient, love is kind” vocal. Notice that an additional repetitive vocal then enters the mix (“not cryin’ on Sundays”) which along with the additional synth provides increased diversity to the section, preventing it from becoming overly monotonous.
*Treasure
Following the final chorus, the outro consists of the general instrumental chorus theme featuring guitar, bass and drums.
SONG ENDINGS
As we’ve been seeing quarter, after quarter, after quarter, the vast majority of chart-topping Pop hits tend to end quite abruptly, with most employing a “false ending” for the listener. Since there isn’t a smooth resolve, the listener is basically left “hanging,” resulting in a psychological response that leaves them wanting to listen to the song again.
Other types of endings found within the songs of Q3 include:
Vocal Play at the Tail End
The Other Side (Jason Derulo saying his own name at the tail end – it’s like he’s “signing” his song).
Fade Out
Something that you normally don’t see in the Pop mainstream are songs that fade out instead of employing a button ending. During Q3, there were actually 3 – Blurred Lines, Get Lucky and Treasure. Notice that all 3 possess a retro R&B/Soul nature coupled Disco and Funk.
The Resolve
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Not every song possessed a false, abrupt ending. Just Give Me A Reason, for example, provides the listener with a nice resolve that was followed by a 0:07 acoustic piano ring out. This was also the case with Roar, though the lingering guitar at the tail end “scratches off” in an abrupt manner.
Swell Effect
Cups utilized a reverse piano swell to end the song in an abrupt manner coupled with one final “cup hit” which acted in the manner of a period.
SONG ATTRIBUTES: Q3-2013
PRIMARY SUB-GENRE INFLUENCES
The vast majority (56%) of songs that landed in the Pop songs top 10 during Q3 possessed a fusion of sub-genre influences that helped to shape their sound. This has been a characteristic of the Pop top 10 for well over a year now, with the diversity becoming more pronounced as time goes on.
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Aside from Pop Fusion, Hip Hop/Rap was the only other category that showed some growth from Q2 to Q3, while Dance, Rock and R&B/Soul all declined in number.
And speaking of the Dance category, songs that are predominantly Dance in nature have been declining in number since their peak back in Q4-2011 where they accounted for the vast majority 57% of all songs. As of the end of Q3-2013, they accounted for just 17%.
The Pop Fusion/Other Category (These songs contain a fusion of primary sub-genre influences that helped to shape their sound plus those that didn’t fall into any of the more “typical” categories)
Come & Get It: Electropop, World (Indian)
Cruise: Country, Straight-Up Pop, Hip Hop/Rap
*Cups: Country/Folk
Get Lucky: Retro Funk, Dance (Disco), R&B/Soul
I Love It: Synth Pop, Punk
Just Give Me A Reason: Straight Up Pop, Ballad
*Love Somebody: Straight-Up Pop, Dance
Mirrors: Straight-Up Pop, R&B, Ballad
*Roar: Straight-Up Pop, Pop/Rock, Power Pop
*Safe & Sound: Electro Alt Pop, Dance, Retro 80?s New Wave
*Treasure: Retro Funk, Disco, R&B
*Wake Me Up: Country/Folk, EDM
*We Can’t Stop: Straight-Up Pop, R&B, Dance
*Denotes a “new arrival” to the Pop songs top 10 during Q3-2013. The other songs were top 10 carryovers from Q2.
Pop Fusion Category Breakdown
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Notice that Straight-Up Pop/Electropop, Dance and R&B/Soul are the most popular elements found within songs in the Pop Fusion category. For a more in-depth look at sub- genres of the quarter, please reference our Q3 Hit Pop Sub-Genre Influence Report.
TEMPO
As you can see in the graph above, the average tempo for songs within each sub-genre category ranged from 101 BPM to 144 BPM.
The 2 Rock songs of the quarter averaged the fastest tempo at 133 BPM, with Radioactive and My Songs Know What You Did In The Dark landing at 136 BPM and 152 BPM, respectively.
Dance songs as you would expect hovered right around the “standard” 128 BPM mark, ranging from 125 BPM (I Need Your Love) to 128 BPM (Clarity & The Other Side).
Hip Hop/Rap tempos were a mixed bag, with Holy Grail and Same Love landing at 73 BPM and
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85 BPM respectively, while Can’t Hold Us landed at a significantly faster, more frantic 146 BPM.
As for R&B/Soul, Blurred Lines clocked in at 120 BPM.
In regard to the Pop Fusion category, these songs spanned the gamete when it came to tempo, ranging from 75 BPM all the way up to 130 BPM, with the average landing at 104 BPM.
Under 100 BPM
Come & Get It (80 BPM) – Electropop, World (Indian)
Cruise (75 BPM) – Straight-Up Pop, Hip Hop/Rap
Just Give Me A Reason (95 BPM) – Straight-Up Pop, Ballad
Mirrors (77 BPM) – Straight-Up Pop, R&B, Ballad
Roar (92 BPM) – Straight-Up Pop, Pop/Rock, Power Pop
We Can’t Stop (80 BPM) – Straight-Up Pop, R&B, Dance
100 bpm – 119 bpm
Get Lucky (116 BPM) – Retro Funk, Disco, R&B/Soul
Safe & Sound (118 BPM) – Electro Alt Pop, Dance, Retro 80?s New Wave
Treasure (116 BPM) – Retro Funk, Disco, R&B
120 BPM +
Cups (130 BPM) – Country/Folk
I Love It (126 BPM) – Electropop, Punk
Love Somebody (120 BPM) – Straight-Up Pop, Dance
Wake Me Up (124 BPM) – Country/Folk, EDM
LYRICAL THEMES
As you would expect, straight-up Love/Relationships was once again the most dominant lyrical theme due to its widespread universal appeal, accounting for 52% of all songs. It was followed by songs that possess a “fusion” of themes (2 or more), accounting for 35% of all songs. Inspirational themed songs rounded out the bunch at just 13%.
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Notice that there weren’t any straight-up hooking up or partying/clubbing songs to be found in the Pop songs top 10 during Q3.
Now, when you take into account each individual theme either as a stand-alone or utilized in conjunction with another primary theme (i.e. Lyrical Fusion), the breakdown looks like this:
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As you can see, the love/relationship theme is now even more prevalent when you take into account how it was used in conjunction with other themes, accounting for the vast majority 83% of all songs (up from 72% during the preceding quarter).
Inspiration/empowerment followed far behind at 35%, and hooking up and partying/clubbing were still barely a factor at just 17% and 4% of songs, respectively.
Lyrical Themes – A Song By Song Breakdown
Straight-Up Love/Relationship Themed Songs
Clarity (Dance)
I Need Your Love (Dance)
Summertime Sadness (Dance)
Holy Grail (Hip Hop/Rap)
My Songs Know What You Did In The Dark (Rock)
Come & Get It (Electro Pop/World)
Cruise (Country, Straight-Up Pop, Hip Hop/Rap)
Cups (Country/Folk)
I Love It (Synth Pop/Punk)
Just Give Me A Reason (Straight-Up Pop, Ballad)
Mirrors (Straight-Up Pop, R&B, Ballad)
Treasure (Retro Funk, Disco, R&B)
Notice that the love/relationship theme accounted for 3 out of 4 Dance songs as well as a little over half of the Pop Fusion songs.
Straight-Up Inspirational/Empowerment Themed Songs
Can’t Hold Us (Hip Hop/Rap)
Same Love (Hip Hop/Rap)
Radioactive (Rock)
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Notice that 2 out of the 3 Hip Hop/Rap songs of the quarter possess an inspirational theme, both of which happen to be Macklemore’s songs.
Lyrical Fusion Songs
The Other Side (Dance) – Love/Relationships, Hooking Up
Blurred Lines (R&B) – Love/Relationships, Hooking Up
Get Lucky (Retro Funk, Disco, R&B/Soul) – Love/Relationships, Hooking Up, Inspirational
Love Somebody (Straight-Up Pop, Dance) – Love/Relationships, Hooking Up
Roar (Power Pop, Pop/Rock) – Love/Relationships, Empowerment
Safe & Sound (Electro Alt/Pop, Dance, Retro 80?s New Wave) – Love/Relationships, Inspirational
Wake Me Up (Country/Folk, EDM) – Love/Relationships, Introspection, Inspirational
We Can’t Stop (Straight-Up Pop, R&B, Dance) – Partying/Clubbing, Inspirational
Aside from the 1 Dance and R&B/Soul songs, notice that the balance all stem from the Pop Fusion category.
SONG TITLES
The vast majority of top 10 hits (83%) possess memorable, attention grabbing titles of varying degrees that did a great job of piquing the prospective listener’s interest to check out the song.
A handful of titles, however, were not as enticing due to their more universal/generic nature. That’s not to say that they’re bad or didn’t work within the framework of the song. It just that they don’t grab your attention or pique your interest like the others. One thing is for sure, though, it definitely didn’t hamper their ability to rise to the top of the charts!
Clever/Memorable/Powerful/Non-Typical/Attention Grabbers (of varying degrees)
Blurred Lines
Can’t Hold Us
Clarity
Come & Get It
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Cruise
Cups
Get Lucky
Holy Grail
Just Give Me A Reason
Mirrors
My Songs Know What You Did In The Dark (Light ‘Em Up)
The Other Side
Radioactive
Roar
Safe & Sound
Same Love
Summertime Sadness
Treasure
Wake Me Up
We Can’t Stop
Less Captivating & “Generic”
I Love It
I Need Your Love
Love Somebody
Song Title Word Count
Less is still more when it comes to chart-topping song titles. During Q3, the majority of songs (30%) contained just 1 word in their title, and were followed close behind by those that contained 2 or 3, accounting for 26% of songs each.
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Songs that contain 4 or 5 were barely a factor, accounting for just 9% and 4% of songs, respectively.
As for the song with the longest song title of the quarter, it once again goes to Fall Out Boy’s My Songs Know What You Did In The Dark (Light ‘Em Up), consisting of very lengthy 12 words.
PRIMARY INSTRUMENTATION
In regard to the primary instrumentation utilized in chart-topping Pop hits, the vast majority (78%) featured a combination of primary instrumentation within the mix, which is up from 64% during the preceding quarter. They were followed far behind by synth dominated songs, which accounted for just 22% of all songs.
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Songs featuring a Combination of Primary Instrumentation
Can’t Hold Us (Synth + Piano + Horns)
Cruise (Synth + Acoustic Guitar + Electric Guitar)
Cups (Banjo, Acoustic Guitar)
Get Lucky (Electric Guitar + Piano)
Holy Grail (Synth + Piano)
Just Give Me A Reason (Synth + Piano)
Love Somebody (Synth, Electric Guitar, Piano)
Mirrors (Synth + Electric Guitar + Strings)
My Songs Know What You Did In The Dark (Synth + Electric Guitar)
The Other Side (Synth + Electric Guitar)
Radioactive (Synth + Electric Guitar + Acoustic Guitar)
Roar (Synth + Electric Guitar)
Safe & Sound (Synth + Electric Guitar + Brass)
Same Love (Piano + Synth + Brass)
Treasure (Electric Guitar + Prominent Bass + Synth)
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Wake Me Up (Synth + Acoustic Guitar)
We Can’t Stop (Synth + Piano)
Notice that the 2 most popular combinations include synth + guitar or synth + piano.
Synth Dominated Songs
Clarity (Dance)
I Need Your Love (Dance)
Summertime Sadness – Cedric Gervais Remix (Dance)
Blurred Lines (R&B)
Come & Get It (Electropop, World)
I Love It (Electropop/Punk)
Notice that 3 out of the 4 Dance songs fall into this category, which should come as no surprise.
All Instrumentation
When you take into account the varying degree of prominence that a certain instrument may play within the mix, we get a broader picture of what’s being used.
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Synth
The synth showed up in 91% of all songs across all sub-genre categories, and was utilized in various degrees of prominence. Note that this number is virtually identical to the preceding quarter.
Guitar
60% of all songs feature a guitar within the mix, which was up slightly from 56% during the preceding quarter. The vast majority (43%) feature an electric guitar, while only 17% of songs feature an acoustic guitar. Note that NONE of the songs feature guitar as the sole primary instrument within the mix.
Piano
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39% of songs feature piano within the mix, up from 32% during Q2. All featured it in conjunction with other instrumentation (i.e. there weren’t any piano driven ballads such as Stay or When I Was Your Man as was the case in Q2).
Notice that piano was present only within the Hip Hop/Rap and Pop Fusion categories.
Brass
As was the case in Q2, During Q3 there were only 3 songs that feature prominent brass within the mix. They include both of Macklemore’s songs (Can’t Hold Us & Same Love), as well as Safe & Sound.
Strings
Only 1 chart-topping Pop song during Q3 featured strings within the mix – Justin Timberlake’s Mirrors.
ELECTRIC VS. ACOUSTIC
As is usually the case, the majority (52%) of top 10 Pop songs featured electric based instrumentation within the mix.
Songs that featured a combination of acoustic and electric instrumentation followed at 39%, and there were only 2 primarily acoustic songs that placed in the top 10 during the quarter - Cups and Same Love.
All of the Dance songs were primarily electric in nature, as were the 2 Rock songs and 1 R&B song. It was also the case with 54% of the Pop Fusion songs as well.
2 of the 3 Hip Hop/Rap songs featured a combination of acoustic and electric based instrumentation (Can’t Hold Us and Holy Grail), and was also the case with 5 of the 13 Pop Fusion songs as well.
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LEAD VOCAL GENDER
As you can see in the graph below, chart-topping Pop songs featuring a male lead vocal dominated in Q3, accounting for the vast majority (57%) of all songs, which was down slightly from 60% during the preceding quarter. Songs featuring a female lead trailed far behind, accounting for just 35% of songs, although this was up moderately from the 24% during Q2.
The 2 duets of the quarter were Same Love and Just Give Me A Reason.
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Sub-genre Breakdown: Lead Vocal Gender
Dance
Q3-2013: 75% female, 25% male
Q2-2013: 33% duet, 33% male, 33% female
Hip Hop/Rap
Q3-2013: 67% male, 33% duet
Q2-2013: 100% male
R&B/Soul
Q3-2013: 100% male
Q2-2013: 100% male
Rock
Q3-2013: 100% male
Q2-2013: 100% male
Pop Fusion
Q3-2013: 54% male, 38% female, 8% duet
Q2-2013: 50% male, 33% female, 17% duet
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