Round 3 Wrap Up - "On the 0's"

The motivation for this analysis project is rooted in my search for answers to the question: "what makes a good song good?"

While "good song" invariably means different things to different people, I am drawing source material from the Billboard Hot 100, the industry standard that tracks the best selling songs.  While sales don't always indicate quality, they do indicate people's desire to listen to a song, which insinuates that if people are spending money and time to hear it, it probably has some inherent value, to someone.

In this round of analyses, I looked at songs "on the 0's": 1960, 1970, 1980, 1990, 2000, 2010 and 2020.  After analyzing 11 songs in total, I compiled a list of common musical elements.  While the presence of certain musical elements does not guarantee a song to get to no.1, many no.1 songs do share certain characteristics.   It's fascinating to find musical devices used in no.1 songs across a wide range of time.  

Working off of the list of "common threads" compiled for "songs on the 0's," here are the findings:

Repeated melodic motifs - 11/11 - Patterns of melody end up being repeated either within a section or in multiple sections.  It makes sense that repetition is a unifying element for pop songs in any decade.     

Strong harmonic motion from V to I  -3/11 - In Western music, the V chord pulls naturally to the I chord.  Many pop songs capitalize on this phenomena.  Note, the 3 songs that use V - I motion happened in 1960, 1980 and 1990....

Background singers contribute to melodic/harmonic texture - 8/11 - Background vocals are common in many songs, but to qualify here, they have to be integral to the song, contributing to the harmonic and/or melodic texture and not just a decoration for the lead vocal.  They must be an important part to the overall composition and presentation.

Modulation -  4/11 - Does a song remain in the same harmonic space/key for its entirety, or does it modulate to another tonality?

New material presented at the end - 6/11 - When the song is nearing its end, just when you think you've heard it all, a new melody or chord sequence appears, leaving you longing for more, or wondering if you missed something earlier.

Hook that uses the title of the song - 10/11 - The hook is the melodic chunk that gets stuck in your ear, and it often contains the title of the song.  

Contains a lyrical refrain  - 5/11 - Repeated use of the same lyric, in like or different sections, qualifies as a lyrical refrain.  

Evolution of musical elements - 7/11 - When a section of a song is repeated, does it sound exactly like it did the first time, or is something different?  This may occur in the vocal performance or some added production element that makes one repeat sound different from another.  

Looking at the above chart, some trends stick out.  The use of chord progressions with V - I and the use of modulation is prevalent up to 2000 and then completely falls off the map.  This could be in part to shorter chord progressions, though Sisqó's 2000 contribution would disagree with that.

  

The two most enduring musical elements seem to be repeated melodic motifs and the use of the song title in the hook.  

Musical evolution/development of a song is a little less penetrating that I would have thought.  Its absence in 1960 and 1980 is not quite as surprising as its absence in 2010 and 2020, especially considering the advancement in recording techniques in later years.  It seems as though simple and straightforward is a returning trend over the course of the last decade.  

In the round 2 wrap up, I consolidated song data to show vocal gender, tempo/meter, key signature, length, chord progressions used and sections present.  The chart below shows data for the songs "on the 0's":

Adding these 11 songs into the mix yields the following notable statistics:

• 9/25 (36%) in a minor key 
• 6/25 (24%) have a tonal center of Ab (G#)
• 12/25 (48%) utilize one primary chord progression for the entire tune
• 17/25 (68%) contain more than 2 sections
• 6/25 (24%) have verse and chorus only
• 13/25 (52%) contain at least one bridge section
• 10/25 (40%) utilize the bVII chord
• 18/25 (72%) utilize the IV(iv) and I(i) chords*
• 23/25 (92%) are in duple (2/2 or 4/4) meter
• 14/25 (56%) feature a male lead singer
• 23/25 (92%) use the title of the song in the hook
• Average length - 3:49

After adding in these new data points, percentages more or less stayed the same.  A few categories dropped lower (Primary chord progression - 57% from rounds 1 and 2 down to 48% with round 3 songs added in).  A few went slightly higher (bridge section - 50% to 52%).  With no drastic drops, I am confident that these elements represent qualities of no.1 hit songs across the decades.  

I hope this data can prove valuable to song writers and at least give some insight into proven musical elements for pop songs.  

The Decade Hit Analysis Project is continually evolving and I am learning much from analyzing and transcribing no.1 hit songs through the decades.  I will now move forward on two fronts:

• I like the idea of periodically returning to no.1 hit songs from 2020.  Data points from every no.1 hit in 2020 would be very valuable in representing this year's music.  I plan to tackle them all, in between other analyses
• I am gearing up for Round 4, songs on the "1's!"  I will look at no.1 songs in the first week of August, starting in 2011, and work backward to 1961, which means....

Up next time: July 16 - August 20, 2011: "Party Rock Anthem" by LMFAO featuring Lauren Bennett and GoonRock goes 6 weeks at no.1.  I am only vaguely familiar with this song and hope to find the quintessential "song of the summer" in this 2011 entry. Let round 4 begin!

"Savage" - Megan Thee Stallion Featuring Beyoncé, 2020

 I am hoping this entry will unlock some of the mysteries that have me perplexed regarding how a song becomes no.1 on the Billboard Hot 100 chart.  "Savage" is first released by Megan Thee Stallion in March, 2020.  The song becomes popular, largely spurred by a Tik Tok dance and accompanying video by Stallion herself, but doesn't chart very high on the hot 100.  

Somewhere along the lines, Beyoncé hears the track and decides to do a remix.  She takes the base track and gives the tune a major overhaul, essentially turning out a completely different song.  The end result is a record setting no.1 hit for both ladies. [1] 

Herein lies the mystery.  In my opinion, "Savage" is the epitome of bad pop music, banking on a simple backing track, limited melodies and cringe-worthy lyrics that play exclusively to pop culture's lack of sophistication and dignity.  It is, however, damn catchy.  Even after hearing the original Megan Thee Stallion version, and being very unimpressed, I came away with the hook stuck in my head.....a hook that is devoid of melody.  What is going on in this song then?  Why is it so popular?  Hopefully this analysis can shed some light on that mystery.

May 30th, 2020: "Savage" by Megan Thee Stallion, featuring Beyoncé, hits no.1 for one week!

After analyzing several songs from 2020, a clear trend in simple forms is seen.  This one goes verse-chorus, verse-chorus, bridge, verse-chorus.  There is a nice wrinkle in Beyoncé's verses, 12 measures versus Megan Thee Stallion's 8 measures.  

The 4.5 measure intro looks strange, but the .5 accounts for a 2 beat pickup that leads to Beyoncé's opening lines.  

The bridge feels like a verse, featuring vocalizations from both singers that are similar to their previous contributions.  The structure sets it apart.  It begins with 4 measure of MTS rapping, which leads into melodic singing from Beyoncé.  After 4 measures, MTS takes the reigns again before we get a final verse from Queen B.  

There is a natural evolution embedded in the form.  MTS primarily handles the first verse and chorus.  Beyoncé takes verse two and contributes a little more on the second chorus.  The bridge is double booked and Bey gets the third verse.  The final chorus is also a double feature.  This form is a good example of evolution of a song, or hearing the same thing without hearing the same thing.

Chord Progressions

The entire song is based on two alternating chords:

Base Chord Progression

These two chord are played on a keyboard sounding synth in very close voicing.  The ninth on top with the minor 7th in the mix makes them very dense.  Because of this, they key, and even tonal center, is hard to pin down with certainty.  

Sometimes, the song feels like it's in the key of Ebmin, in which case this progression is: i bii

From a melodic standpoint, it aligns closer with Bb minor, moving the progression to: iv bv

The relative major of Eb minor is Gb major, moving the progression to: vi bvii

The relative major of Bb minor is Db major, moving this progression to: ii biii

No matter how you slice it, it's two alternating chords.  We never get any more harmonic clues to cement us firmly in any camp.  I am reminded of Drake's "In My Feelings" (2018) where there were two alternating half steps, but the melody was clearly rooted in a key.  As we will see, the melody of "Savage" strongly indicates Db major and Bb minor triads, with pentatonic lines, hence the key choice of Bb minor.  

Melody

"Savage's" melodic content ranges from spoken rap segments to full on singing and several moments somewhere in between.  Beyoncé's opening 4 measures foreshadows elements we will here for the remainder of the tune:

She begins with a melodic motif that moves between F and Eb, sitting very low in her range, almost spoken, but undeniably on a pitch.  F against Ebmin9 serves as the 9th and the Eb against the Emin9 is a major 7th, which further adds to the dense dissonance of that chord.  She introduces the bulk of the rhythmic content in the song, strings of 16th note syncopation.   We also get a preview of the background/production elements.  There are some high harmonies appearing intermittently as well as the echoing "okay" and "yeah."  The 4th harmonies here will also carry through most of the tune.

Megan Thee Stallion follows up Bey's intro with the rap laden first verse:

Verse 1 - MTS

Megan's verse contains elements foreshadowed in the intro.  We see many 16th note combinations.  Throughout the verse we get vocal responses reminiscent of the into, as well as some harmonic enhancements to words in the rap.  

The chorus is certainly the focal point of the song and home to the catchy hook "I'm a savage...."  Each time the chorus happens, it is presented differently.  The first time features MTS following up on her rapped verse.  The second and third times feature additional background vocals/noises and responses from Beyoncé.  The third time even features a very low vocal mixed over the spoken rap, reinforcing the natural high/low flow of the spoken part.  The following is a representation of most of the combined elements across the three statements of the chorus:

Chorus - combined elements

 The chorus has much more melodic space than the verses.  The harmonic elements generally occur on "I'm a savage," strengthening the title hook.  We also see the vocal responses grow in frequency and complexity as the chorus moves along.  Noteworthy too, is the overall structure, a repeated 4 bar segment based off a repeated 2 bar phrase.  The chorus is very repetitive and predictable, possibly accounting for mass appeal.  

*Check out the third chorus, which features a building "ooh" from Beyoncé.  She builds a chord with Eb, F and Ab, creating this Ebmin11 (or Fmin / Ebmin) sound that is very compelling.  

After the first chorus, Beyoncé gets the 2nd verse and truly begins to transform the song.  All of the elements foreshadowed in the intro, first verse and chorus are enhanced even further with this 12 measure verse.

Verse 2 - Beyoncé - meas.1-4

The first 4 measures are spoken and develop 16th note rhythmic themes with varying entrances (beat 2 and beat (1)+), eventually getting faster with 32nd note syncopation.  We continue to see harmonized and response background vocals, usually incorporating the parallel 4th sound.  The vocalizations in the opening bars outline a Bb minor/Db major arpeggio.   

The next four measures expand the rhythmic adventure, throwing in 16th/32nd note syncopation.  We also see a return to a theme from the intro, the repeated F and Eb pitches.  In the 4 measures below, the bottom staff represents a new synth element that toggles between Eb and Bb.  There is also a rhythmic vocal in this line, occurring on all the upbeats, that reminds me of something out of the "Lion King" or "Moana."  

Verse 2 - Beyoncé - meas.5-8

The final 4 measures return to mostly straight 16th notes and give a clear key indication in the last two measures.  There, we see a Bb minor pentatonic line, complete with parallel 4th harmonies.  

Verse 2 - Beyoncé - meas. 9-12

Beyoncé's 3rd verse is along the same lines as this verse and uses many of the same conventions: 16th note rhythmic passages with harmonized words and sang responses.  

The bridge, which is an honorary verse, begins and ends with Megan Thee Stallion.  She comes in rapping hard about her impending credibility, courtesy of Bey.  She also ends the bridge by rapping 4 measures that were included in the original version of "Savage."  Aside from the chorus, this is the only part from the original that makes it into the remix, for better or worse.

In between MTS's bridge work, Beyonce interjects what may be the most interesting part of the song.  It is different enough to warrant calling this section a bridge, and is even labeled as such in the YouTube Video lyric description. 

Bridge - Beyoncé - meas.5-8

Notably, the entire section is sung on a pitch, separating it from the rapped verses.  The opening melismas are centered around Bb minor pentatonic, getting us closer to a tonal center.  We also hear plenty of harmonized 4ths throughout this short section, so though different, it ties in close to previous material.  

Musical Sticking Points

The musical element that sticks out to me most is the evolution of the track from beginning to end.  It starts sparse with just the piano.  The drums trickle in and eventually add the bass tones.  This eventually falls apart, giving way to another synth or vocal element before returning later on.  The textural landscape of the song is ever changing, despite the static harmonic elements.  

There is some nice complimentary syncopation happening between the primary piano line and the drums and bass.  

developed drums/ base harmonic progression

The drum programming is very deep and there are even claves hiding in there.  At various times, accents stick out in the drum programming, mostly revolving in the higher frequencies and cymbals.  The above accents can be heard in the first chorus on the high hat.  Perhaps it's these slight nuances that keep your attention throughout the song, though I would imagine this is subconscious.  

The melodic content in the song is, generally speaking, not very strong.  Rhythmically, it is very complex, but melodically is touch and go.  I am reminded of "Love the Way You Lie" by Eminem and Rihanna (2010).  In that tune, the choruses had a strong melody while the verses housed the rhythmic rapping.  There was a little something for everyone.  This tune has that, but it's mixed in a little here and there. 

 Consider this analogy: If music was like a Thanksgiving dinner, Rihanna provides the melodic meat and potatoes while Eminem throws in all the favorite side dishes, on a separate plate.  Beyoncé is the meat and potatoes, but they are mixed up with some of the side dishes, and then Megan Thee Stallion throws her side dish right onto the same plate, then they start to mix it all together.  Obviously this is a tasty concoction, but sometimes I just want to enjoy the elements individually, or at least with less confusion.

  

Lyrics

Here's where I really lose it with this song.  I generally get turned off from songs that are braggadocious for the sake of being braggadocious.  The remix lyrics, while offensive in many respects, are actually a step up from the original, which is not intended to be a compliment.  Both versions feature lyrics that hype up the singers to the nth degree of hype.  

When reading these lyrics, I had many questions....what does bougie mean?  What does ratchet mean?  Why is she so proud to be a savage?  Here's what I found

Bougie: Aspiring to be a higher class than one is. Derived from bourgeois

Ratchet: a slang term in hip hop that, in its original sense, referred to an uncouth woman, and may be a Louisianan regiolect version of the word "wretched" or a variation of the word "ratshit."

I think the consensus is that while she is classy and aspires to reach beyond her current means, she is, at the core, streetwise.  This article sheds a little light on the situation. [2]  Megan actually says it best in her verse:

Hood, but I'm classy, rich, but I'm ratchet 

Beyoncé's verse are laced with advertisements.  She references Tik Tok, "demon time" and "Fans Only" in her verse, as well as her own clothing line, Ivy Park.  she also references her famous hips and gives a shout out to her mother, Tina Knowles (sadly not Tina Turner, who I assume is admired by current pop singers for her contributions?)[3]

While I am not a fan of the lyrical content, they are crafted very well.  Internal rhymes are all over the place and perhaps best seen in the chorus:

I'm a savage, classy, bougie, ratchet

Sassy, moody, nasty 

 Common Threads

This round "on the 0's" has more data points than any round to date!  I have analyzed one song from 1960, 1970, 1980, 1990 and 2000; two songs from 2010 and this marks the third song from 2020.  For each of these 10 analyses, I have kept a list of common elements present.  Here is how "Savage" fits into this puzzle.  

• Repeated melodic motifs 
• Strong harmonic motion from V to I  -This song could be the least harmonically sensible song analyzed in this project....
• Background singers contribute to melodic/harmonic texture - the background vocals set the remix far apart from the original.  They are integral to the texture of the song.  
• Modulation -  
• New material presented at the end 
• Hook that uses the title of the song   
• Contains a lyrical refrain  - "I'm a savage" could be considered a lyrical refrain as it appears in the hook, at the very end of the song and gets callbacks in the verses. 
• Evolution of musical elements -  This common thread has been eluding this list and has been an important element present in multiple songs.  

5/8 elements is a good showing for this song, in a musical sense.  In the wrap up (potentially the next entry), these elements will be analyzed and flushed out a little further, trying to uncover musical elements present in no.1 hit songs, regardless of the decade.

Final Takeaways     

This is a tough one.  Part of me really likes this song.  It has attitude, which earns it a point when scoring with my anti-authority side.  The rhythmic hook is easy to reproduce, especially considering you can speak the words and not be bound to any sense of pitch.  The background vocals and harmonies are cool and the 4th sound is very appealing to me, especially against the minor half stepping progression.  

Another part of me can't stand that this song is so popular.  The lyrics are not good and generally offensive, at least when it comes to playing it for my kids.  The music, while appealing to me, is kind of boring after a while.  I generally gravitate towards good changes and this one just doesn't deliver.  

Then there's Tik Tok.  I do not use Tik Tok but have a general knowledge of how it works.  In viewing YouTube videos, I get instantly hot when I see comments that say "only like if you didn't come from Tik Tok."  First off, who cares?  It's music.  Tik Tok is only 15 seconds long, which is not remotely enough time to really make a true assessment of any song.  Secondly, why does it matter if you are familiar from Tik Tok or not?  I don't like to stand on a soapbox about frivolous social fads, but this one leaves me scratching my head.   

What do you think of "Savage?"  Is it possible to like the song for the song, or do you need to do the dance?  How does the original compare to the remix?  Leave me a comment!

Up next time:  If "Rockstar" remains at no.1 for the week of August 8th, 2020, I will compile the data into a round 3 wrap up.  If there is a new song at no.1, I will analyze that and then complete the round 3 wrap up.  Whew, what a round!

   

[1]https://www.wmagazine.com/story/beyonce-megan-thee-stallion-savage-number-one/

[2]https://www.songmeaningsandfacts.com/savage-by-megan-thee-stallion/

Song Writing Experiment #1

I am a composer.  I write music in many genres and styles from progressive jazz fusion to children's songs.  I love the act of creating music and exploring ideas.  I have been writing since I picked up the bass guitar at the age of 14, probably even before that.  In my initial overview of this project, I stated my hopes to gain insight into my own songwriting:  

What else?

I write a lot of music in many different genres.  Through my song analysis, I hope to get some insights into my own song writing and push myself past my normal writing limits, conventions and tastes.

 Writing "pop songs" is not always in my bag, but given all of these analyses, I am eager to infuse my own voice into the genre.  So, I sat down at a keyboard and attempted to come up with something interesting.  I will now analyze my own song and attempt to find out if I used elements of no.1 hit songs, consciously or not!

"Devil's Luck" by Steve Johnson Jr.

 The form is straight forward, cycling through verse, prechorus and chorus twice.  In lieu of a bridge, the drum groove, from the intro, sets up the outro.  There is a slight wrinkle in verse two, cut to four measures, from eight.  In the middle, there's an extra measure crammed in to create a psychedelic effect and paint the words "life in the bubble moving on the slow."

I used an old version of Garage Band and found the electric piano sound to set up the groove.  I performed the programmed drums, using the "Tight Studio Kit."  I also performed the guitar and bass parts. I included a few synth elements to get those swells and string pads as well.

Chord Progressions 

The verse and chorus are driven by a 4 measure progression, set up by the keyboard:

Verse/Chorus Progression

The key to the song is up for debate.  Having been enamored by songs like "Close To You," "Incomplete," "Magic" and others, I decided to have the key sound like one thing, but technically be something else.  To me, the tonal center sits in G minor:

i  iv / bvii iv  

The Fmin7 doesn't quite fit into that equation (usually major).  C minor may be more applicable and results in this:

v i / iv i

This is a little closer to "correct," but the minor v chord isn't quite "right" now (usually major).  In truth, I tapped into Eb major to draw out these chords, the true home for the Gmin7, Fmin7 and Cmin7:

iii  vi / ii vi  

The prechorus offers a little more insight with this progression:

Prechorus Progression

In the key of Eb, this part plays out to:

V  / I / V /IV / V / bIII / V / IV

in C minor, it works out to be:

bVII / III / bVII / bVI / bVII / bV / bVII / bVI

Calling it Cminor has a strong appeal:  Gb, the bV chord, or the "tritone," AKA "The Devil's Interval."  (Yes, I am reaching)

The outro contains a slight variation on the primary progression:

Outro Progression

v  III / III i in C minor - iii I / I vi  in Eb

So even though  I wrote it, I'm not technically sure how to label it.  G minor is certainly the tonal center, but the chords come from Eb major, the relative major of C minor.  

Melody

The chorus kicks things off, establishing melodic themes that will carry through in the verse and outro.

Chorus

The melody primarily uses G, F and Bb, occasionally making it up to C and D.  Most passages outline Gmin7, leaving out the 5th.  The syncopation on "devil's luck" and ""wind it up" will occur in various sections, as will the 16th note figures introduced here.

The verse occupies the same melodic space as the chorus, leaning a bit heavier on the Bb, as opposed to the G.

Verse 1

After analyzing Lady Gaga and Ariana Grande, I may have written this part differently.  The verse and chorus are too close in their melodic choices.  Rhythmically, the verse has less space and introduces some new 16th note syncopation.  I purposely included the "devil's play" line to be a callback to the chorus.  Retrospectively though, it seems too much of the same.  

The prechorus breaks away from the sameness with only major chords, juxtaposing the minor chords in the verse and chorus:

Prechorus

  

Starting on F, the melody descends to C, utilizing syncopation from previous sections, with more space.  The Gb6, the only non-diatonic chord, is highlighted with a slight shift to the Gb in the melody.  In the repeat of the prechorus, the entire melody includes lower harmony. 

The final section in the song is a big jam, repeating this line:

Outro

  

Again, call backs to previous melodies dominate the section, with a few new additions every 8 bars.  This entire part is accompanied by a noodling guitar solo and synth elements.  

Lyrics

I wrote the lyrics in response to the general state of the world - the pandemic, social unrest and the biblical nature of present day society as it may or may not relate to the end of days.  

Generally, my lyrics saunter to the impenetrable side and I tend to write with very vague and obscure hints as to what I really mean to say.  Partly, I like the possibility of multiple interpretations, even ones I did not necessarily intend....who likes being told what to think?  I prefer lyrics that let you interpret them based on your own perceptions. 

My lyrical spark was the phrase "luck of the Devil," which seemed appropriate when looking at our general situation.  After some consideration and tweaking, here's what I came up with:

"yo yo yo, dropping in from below, this piece is about to get lit up!"

Chorus:

Devil's luck, 

We be burning down an evil pablum

A bigger problem

Wind it up

A wall of wins and words, it won't stop em

No, won't stop em

Verse 1:

Sit back reach for the sky,

High is where the good ones always lie

Dig in deep with no regrets

Such a long time coming outta hedge the bets

It's all your call, so push away

A center stage seat at the end of the day

For the devil's play, no escape

It's bound to come soon, keep your mind awake

PreChorus 1:

Love, in a time and place

Goes to the empty space just below you

Love in yourself displaced

Long for a sweet embrace to take control

Chorus

Verse 2:

1,2; 9 months to go

Living in a bubble moving on the slow

All messed up, don't relate

The speed of life just pumped the brakes on

Prechorus 2:

Love, in a time and place

Goes to the empty space just below you

Love in yourself displaced

Long for the normal pace to take control

Chorus

Outro:

If we're gonna make it, we're gonna need the Devil's luck

There is a little variation from chorus to chorus, but those are the basic lyrics.  There are a few hidden Easter eggs I will crack open:

The opening spoken line, contributed by Lucifer himself, contains a very random reference...."light this piece up"...with "piece" referencing a wig....which would equate to a "flaming toupee," or perhaps more appropriately, "hell toupee"???

There are a few moments where you could interpret the lyrics to be a call to action or a call to be not sober...

"1,2; 9 months to go," - 1,2 starting a count and "9 month to go" referring to potentially how much more time we can expect in social distance society, is my birthday!  1-29. 

Themes and Lessons Learned

As mentioned, the chord progression is intentionally misleading.  I set out to string together chords that make you think and feel one thing that are technically something different.  I would say I accomplished that, for the most part, even if I'm not completely sure about it.  I did try to work in a more deliberate tritone sequence, but they all sounded too forced.  I'm glad the one I didn't force (Gb6) theoretically lines up!

A common thread of many songs analyzed was repeated melodic motifs.  As noted, I used small chunks from the chorus in just about every section.  I may have overdone this one.....  As a note to self, I did not write out this melody before I performed it.  In the future, I will probably write it out first and perform after.  I am adept at recognizing patterns visually.  When dealing with my own music, it's easier to see it instead of only hearing it.  My ears have a bias to my own creations...

A few easy elements I aimed for included having new material present at the end of the song, a hook that uses the song's title and the element of background singers.  I can check the box on all three of those!  Keeping step with common threads, the entire outro could be considered a lyrical refrain, as "devil's luck" happens quite frequently throughout the song.

In the future, I think I will compose when an actual idea inspires me.  I sat down to write this one with NOTHING, expect for a few compositional bullet points.  Because I have the luxury of no deadlines or quotas, waiting for a genuine idea, instead of forcing one out, would make the song feel more natural.  When I hear this song, it sounds forced.  I know I am trying to write music in a way I don't naturally migrate to.  

I did have some fun incorporating synth elements.  There are a few keyboard parts and drum patterns I added after the song was "finished."  I certainly have lots to learn and analyzing songs that rely so heavily on production is a great way to get there.  

I am, primarily, a performing musician that excels in a space where improvisation is encouraged and necessary.  If I ever perform this song live, I would be curious to see where it goes with other musicians playing.  The ending section is perfect for extended improvisation and I think the right group could have some fun with this one.  

I fully intend to go through this exercise again, firmly believing that at the very least, it's a great songwriting exercise.  If you feel inclined to leave me a comment, please do, I would love to hear from you.   Thanks for listening! 

"Rain On Me" - Lady Gaga & Ariana Grande, 2020

I am increasingly curious about the music of 2020.  As we are only just halfway through the year, I think it would be prudent to get an entire year of no.1 hits analyzed.  Last time, I checked out "Rockstar" by DaBaby, featuring Roddy Ricch.  What did that song beat out to slide into the no.1 position?

June 6th, 2020 - "Rain On Me" by Lady Gaga &Ariana Grande DEBUTS at no.1 on the Hot 100.  In addition to that impressive stat, Lady Gaga and Ariana G both have slews of other chart topping accolades that are worth looking into. [1]  Unfortunately for Gaga and Grande, they only last one week, a trend throughout the spring of 2020.

The song came into existence after the singers bonded over persevering through loss and heartbreak.  The song is certainly reflective of two strong women proclaiming their power despite negative forces against them. [2]  Impressively, the two share writing credits on the track, along with the several others.   

This one has a logical form:  Verse (A) followed by a pre-chorus (B), then the chorus (C) then a post-chorus (D).  This 1-2-3-4 punch keeps the song feeling varied, despite the (essentially) same chord progression throughout.  

The bridge comes in at the most opportune time, truly bridging the first ABCD statements with the ending, a final statement of the chorus and an outro section, which is an inventive variation on the chorus (hence B').  The song ends as it begins, with Gaga providing the melody.

Stylistically, this is an upbeat dance tune with disco elements.  There are layers upon layers of synth accompanied by drum programming you would expect for the genre.  The bass pops and slaps some funky lines that help keep one foot in the highly produced dance world and the other in the organic music realm.  

Chord Progressions

The entire song consists of only 4 chords, relying primarily on a 2 chord sequence.  We hear the base progression up front, in the first verse, played by a guitar and synth combo:

Opening - base progression

In the key of C# minor, this plays out to be:

C#min7     Amaj9  / (Amaj9)      /  C#min7   Amaj9  /  (Amaj9)  Badd4

i                  (b)VI  /  (bVI)          /   i             bVI      /   (bVI)       bVII

For the third analysis in a row we see a minor i to bVI progression carrying the song.  Popular progression indeed! 

As the pre-chorus flows out of the verse, we hear additional syncopated synth elements (1st and 3rd measures), as well as a transition chord to get into the chorus: 

Pre-chorus rhythm

The F#min11 chord, or iv, happens quickly, yet offers a different tone color to get back to i.  In examining all the chords, the unifying pitch would be B, as is serves as the minor 7 of C#min, 9th of A and 11th of F#minor.  

The bass comes in on the prechorus, holding down sustained roots.  In the chorus, the bass moves to this syncopated line:

chorus 1 and 2, verse 2 and (last 4 of) bridge bass

When the post-chorus kicks in with all its disco glory, the bass goes full on, adding in octave pops:

post chorus, chorus 3 and outro bass

There are two places with slight variation to this main 4 bar loop.  (1) The ends of the chorus stays on Amaj9 instead of returning to the C#min7 in the second half of the 2nd measure.  (2) The bridge features a harmonic rhythm variation:  two and half measures on C#min7 followed by a measure and a half of Amaj9, which is followed by 4 complete measures of C#min7 before returning to the base 4 bar progression.  (see bridge "Melody").  

Melody

Though the entire song is based on the same chord progression, each section has a unique vocal presentation.  As sections repeat, they feature much melodic variance.  This type of evolution, a hallmark in many no.1 hits, is clearly exemplified throughout "Rain On Me."  You hear the same sections multiple times without ever hearing exactly the same thing.  

Lady Gaga begins the song with the first verse, introducing a melodic motif that starts on repeated B's, beginning on the + of beat 1.  She then descends a 5th to E, followed by a minor 3rd to C#, singing through the C#min7 arpeggio, excluding the 5th.  She ends the phrase by repeating the previous 2 notes and going down one note further to B.  Her second and fourth phrases repeat this, extending the ends to complete the C#min7 arpeggio.  

Verse 1

Compare Gaga's verse to Grande's verse.  Here, we see similar rhythmic entrances, on the + of beat 1.  Ariana chooses different notes, beginning the first and third phrases on G# and working only as low as E, in stepwise motion.  Her second and fourth phrases are more sparse, using only F# with varied endings.     

Verse 2

This evolution of melody also occurs in the pre-choruses.  In the first, Lady Gaga sings solo, laying out in every other measure.  She introduces a new rhythmic theme, answering the synth part established while she rests.  Her melody covers the G#min7 arpeggio and concludes with a definitive return to the C#min7 with the minor 3rd, E.   

PreChorus 1

When this section comes around again, Ariana fills in the previous spaces with similar syncopation.  Her notes cover the C#min7 arpeggio while Gaga sticks with the G#min7 arpeggio, allowing each singer to occupy a slightly different melodic space.  

PreChorus 2

The choruses also follow suit in their melodic evolution.  Lady Gaga sings the first chorus solo, another outline of the C#min7 chord.  Her entrance is higher than her verse, starting on an E before working her way down to B and then back up to E.  Her repeated "rains" constitute the hook.  She ends the choruses with spoken "rain on me."  

Chorus 1

The second and third choruses feature Grande adding close harmony.  Starting off a third lower and getting as close as a 2nd apart, the different timbres keep it consonant and it flows together nicely.  The ending features Ariana interjecting some powerful C#'s (roots) between Gaga's spoken passages.  

Chorus 2

The post chorus creates a lot of space and features repeated "rains," first introduced in the chorus.  This section also includes a funky E major guitar line.  Like the other sections, the post chorus ends up being different the second time around, featuring some diva-esque ad-libing from the ladies. 

Post Chorus 1

The bridge slows things down in the first four measures with affected traded vocals.  We also see the change in harmonic rhythm and pacing.  Then, we get Gaga speaking all her lines with Grande joining in singing, every other bar.  Most of these melodic passages are in the C# minor space, introducing the 9th at the end of the tenth bar.  The section ends with Grande climbing high to the sustained G#.

Bridge

The outro of the song, a new melody, borrows from the chorus.  The first measure, the chorus harmony alone, evolves into a variation on the chorus syncopation.  This part also contains the highest notes in the song, an exuberant "woooooo hoo" provided by Gaga.  Not to be outdone, Grande answers with a melisma on the C# minor pentatonic.  The song ends, fittingly, with Gaga's spoken secondary hook "rain on me."  

Outro

Musical Sticking Points

This entire song is an illustration of musical evolution.  For three minutes, the same four chords are contorted in five different ways.  Not only that, vocal melodies are repeated and varied to get the most out of a small amount of musical information.  

To me, the bridge is the most creative part of the tune.  Here, we see a brand new harmonic rhythm on the same harmony feels completely different.  The first four measures augment the rhythm, stretching things out and delaying the switch to Amaj9.  Then, it stays on C#min7 for four entire measures, the longest stretch on that chord, before switching back to the original progression.  It effectively breaks up the song without adding additional base material.

The production is also second to none.  There are layers of swirling synth parts, percussive elements and sounds that sit way back in the mix to create atmosphere.  The drums are well done, leaving plenty of space and readily changing the texture with their presence (or absence).  

The melodic content is varied just enough.  It changes, but never feels out of place.  The two singers compliment each other well and even flaunt their differences when Gaga speaks in low tones against Grande's lines.  They each have the ability to add nuance and variation in their lines, allowing the same melody to feel different on each repeat.  While neither do anything technically crazy, they play their strengths well.  

Lyrics

As mentioned, this song is about persevering through the heartbreak.  The rain, an analogy for all the bad juju, is taken on bravely.  The pre-chorus says it best:

It's coming down on me

Water like misery

It's coming down on me

I'm ready, rain on me

In Gaga's commentary on the song [2], she offers some insight into the line "I'd rather be dry but at least I'm alive," equating the word dry to being sober and how tough times often result in the use of alcohol to "numb the pain."  I like the multiple layers and room for lyrical interpretation.

Overall, the lyrics are fine.  The verses are competent and the delivery in the other sections makes up for the overall sparse content and minimal approach (55ish repeats of "rain").

Common Threads

In this round, "on the 0's," I have compiled a list of common musical elements present in no.1 hits across decades.  Let's see how many boxes "Rain On Me" checks.

• Repeated melodic motifs - Absolutely!  This song does a great job of borrowing melodic and rhythmic ideas from different sections and reusing them in a new way....just look at the outro!
• Strong harmonic motion from V to I  - No V-I motion, but this is the third song in a row to bank on i - bVI - bVII as part of the primary progression.  In the wrap up, this point will have to be flushed out.     
• Background singers contribute to melodic/harmonic texture - These two women are not singing backup for one another, but they certainly contribute to the texture throughout, especially in the combined spoken/melodic parts.  
• Modulation -  
• New material presented at the end 
• Hook that uses the title of the song   
• Contains a lyrical refrain  - Potentially, "rain" could be considered a refrain, as it appears in each post-chorus section.  

5/7 common elements are present in "Rain On Me."  It's not surprising.  This song is a stereotypical pop song, for better or worse.  It has that "no.1 song" sound, and after analyzing the music, it's clear as to what that might mean.  

Final Takeaways

This song is fine.  I like it.  I don't love it and will probably not go out of my way to listen to it, unsolicited.  That being said, it's very well done.  The vocal performances are excellent and the composition of the song is worthy of study (the bridge is compelling).

I don't really know much about Ariana Grande and this is her only song I could name.  I am a fan of Lady Gaga and like many of her other songs better than this one.  When I mentioned this song to my wife, she even commented that this is not "prime Gaga material."

What do you think of "Rain On Me?"  How do the artists' other songs stack up to this one?  Leave me a comment!

Next time.....couple of things in the hopper.  First, I have finished my song inspired by lessons learned in this project.  I plan to present that in the next entry.  

I am still officially awaiting the charts for August 8th to cement my "first week in August" plan for this round "on the 0's."  While waiting for that, I checked into all the no.1 hits, so far, in 2020.  I think I will slowly make my way through them, which will be an interesting set of data points on their own.  So much music to cover and I am looking forward to it!

[1]https://www.billboard.com/articles/business/chart-beat/9394719/rain-on-me-debuts-atop-hot-100-lady-gaga-ariana-grande

[2]https://www.elle.com/culture/music/a32632038/ariana-grande-lady-gaga-rain-on-me-lyrics-meaning/