"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/

"Rockstar" - DaBaby featuring Roddy Ricch, 2020

So I called an audible on my audible.  I am currently working on a new song to share, as a side note to this project's influence on my songwriting, and I need a little space from it to work out the kinks.  In the interim, I got curious and decided to check out the number 1 song this week...which at the time of this entry, could be the no.1 song come the first full week of August, 2020.

June 13-20 and July 4 - August 1st, 2020: "Rockstar" by DaBaby, featuring Roddy Ricch, is holds the no.1 position for a total of 7 weeks.  Like many songs analyzed "on the 0's," I am completely unaware of not only the music, but the artists involved as well.   So I listened, transcribed, and will now attempt to analyze.....this one is way outside of my wheel house, but I am hoping the guiding premise of the project, uncovering core qualities of a good song, will prove valid and common ground between songs, regardless of decade, can be revealed.

In terms of form, it doesn't get more simple than this one.  Three statements of the chorus are interrupted by two verses.  Each verse houses a very different rap from DaBaby and Roddy Ricch, both of which are HEAVY.  As simple as the form is, the song doesn't need anything else.  It clocks in at just over three minutes, so it certainly doesn't wear out its welcome.

Throughout the song, there are numerous texture changes with plenty of musical ideas sprinkled in to keep things interesting.  Note the tempo as well, which will be more relevant after looking at the transcribed raps.  The range of the vocals is fairly sprawling, covering varying timbres between the two raps and the chorus.

In writing this opening, I feel like I am "covering" for the tune.  I can't decide if I like it or not.  On its face, I am not a fan, mostly because of the lyrics and the lack of any real development throughout the tune.  But it is catchy and the rap verses are something to behold.  Hopefully by the end, I can make up my mind.

Chord Progressions 

"Rockstar" is built on a singular chord progression running throughout.  It is set up in the intro with syncopated guitar chords:

Guitar - Intro m.1-4

 This popular progression, in G# minor, has been seen before:

G#min   B   /  F#       E
i           III  /   bVII   bVI

Consider "Love the Way You Lie" by Eminem and Rihanna (2010), which uses the same chords, only mixed around (i - bVI - III - bVII).  Other songs in minor keys love to incorporate bVI and bVII ("Genie In A Bottle" (1999), "In the Year 2525" (1969), "Hello, I Love You" (1968), which creates pleasant harmony within the tonality.

Another reason this progression sounds "correct" could be its major key equivalent:

G#min   B   /  F#       E
vi            I   /  V         IV    

These chords are also very familiar.  "Old Town Road" (2019) is the exact same progression, in the same key, only replacing G#min with G# major, which ends up sounding minor in that song anyway....In other words, the chords make sense and sound familiar!

The progression goes through a few different treatments, including this 16th note arpeggiated version:

Guitar - intro m.5 - 8

The syncopation set up in the opening bars is maintained, yet propelled forward, by the moving guitar line.  As the chorus enters in measure 9, the bass and drums enter, dancing in and around the established harmonic rhythm:

bass/kick drum rhythm

The changes line up on beat one, but are slightly offset in the bass and drums by the second change.  The fourth measure features further syncopation.  These kicks are accompanied by (not notated) 16th notes (+triplets) on the cymbals and claps/snare on beats 2 and 4, typical for the genre.

There is a third variation, which occurs at the beginning of each verse.  The acoustic guitar drops out and we get a lower string like synth (this could even be a guitar), dancing around the harmonic rhythm yet again:

harmonic variations - beginning of verses

 This part has elements of the original guitar loop as well as the bass and drums.  It provides a nice break and lets the ear wander directly to the rap verses that follow.

Melody

The intro provides us with foreshadowing of melodic fragments to come.  Most notably, we hear the "ooh's" in the back ground, which appear in several sections of the song.

Intro Vocals

The two variations establish the minor key, both outlining chord tones.  The first descends from B to G#, passing through A#, or 3-2-1 in G# minor.  The second set descends D# to B, passing through C#, or 5-4-3, also in G#minor.  Both of these phrases not only provide relevant tonal guide posts, but add in color to compliment the percussive lead vocal.

Immediately out of the intro, we hear the chorus.  This section is repeated three times by the end with little variation between statements.

Chorus

The melody of the chorus is comprised largely of rhythmic figures on F#, the minor 7 of G#.  The F# is resolved downward to D# and C#, 4th and 5th of the key,  6th and 5th of the passing chord change (F#).

In the 3rd, 6th and 7th measures, we get a secondary theme, F# descending through D# and C#, landing on B.  Extending the first descending line an additional note, to the minor third of the key, adds yet another color to the balance out the percussive attack of the 16th notes involved in each phrase.

Notice the added in "oohs" (notated stems up in measures 5 - 8) taken directly from the intro.  These, as well as lower instances in the intro, will appear during the first verse as well.  Speaking of the first verse.....

The construction of the rhythmic themes through the verses is truly admirable.  I realize that when most listen to rap music, they listen for the lyrics and overall vocal presentation, then gauge that based on their perception of the performer.  In the case of many artists, this is where videos and Tik Tok exposure come in... [1]    When I listen to rap music, I account for the rhythmic composition first and consider lyrics second....

Both rap verses in "Rockstar" are 16 measures long and follow a similar trajectory of blisteringly fast, personal assaults that fizzle out into slower passages.   DaBaby kicks things off in the first verse ("chop" is the last word of the chorus):

Verse 1

On a purely musical level, I can get behind anything that pulls off that many 16th note triplets with such ease!  While the rhythmic attack is reminiscent of Eminem in "Love the Way You Lie" (2010), there is a relaxed, behind the beat quality in this verse, much like Snoop Dogg in "California Gurls" (2010).  DaBaby channels both rappers in his quasi singing delivery, which is ultimately more sang than spoken.

The first 4 measures use a two note repeated 16th note motive (B and G#) which begins to incorporate a 3rd note and the triplet feel by measure 5.  The melody then shifts to C#, D# and B with the triplet feel again, which feels like duplets because of the alternating 2 note feel.  Very cool effect.

The entire verse devolves towards the end with spoken lines and lots of space.  After all those 16th notes, a half note rest feels like an eternity.  How does one follow such an ambitious verse?  Roddy Ricch has that unenviable task as he takes the reins for verse two.

verse 2

Roddy's style is much different from DaBaby's, using an auto-tuned affectation in a higher range.  He does pick up where DaBaby left off, utilizing C#, B and D# as a melodic motive before venturing higher to E, the minor 7 of F# or 4th of B, when it occurs.

He introduces an interesting dotted 16th/32nd note syncopation in measure 2 which he returns to in measures 5 and 6.He also incorporates more of the G#minor (B) pentatonic scale, venturing all the way down to low B.  He ends measures 5-14 with a long-short syncopation.  The final notes descend D# to F# through the minor pentatonic scale, slowing the rhythm down, just like verse 1.

These two verses compliment each other well, repeating rhythmic and melodic motives often and even borrowing from one another.  The flow and timbre are different, so they never get stale.  Less is more.  By the middle of Eminem's third verse in "Love The Way You Lie," the rap felt tiresome, until he added an extra measure about burning the house down with the girl still in it.  "Rockstar" does a nice job of getting in and out without becoming redundant. 

Musical Sticking Points

"Rockstar" does a nice job of keeping the same chord progression interesting.  The same 4 chords are given several treatments that keep the momentum moving forward. We get arpeggios, syncopation, drums, no drums and rhythmic variations to boot. These are great examples of how to get the most mileage out of the same 4 chords.

The rap verses are ridiculously good.  I listened at 75% and 50% to find the actual rhythms being sang.  If you count the eighth note, the 32nd note syncopation sticks out and it is a feat to behold. In fact, when listening at slower speeds it felt fast.  Some of DaBaby's parts are fast, yet seem almost behind the beat at times.  I thought Eminem's rap was a challenge to transcribe....it's only logical that ten years down the road someone would up the anti.

The production on this track is excellent as well.  The verse and chorus are filled with "yeahs," "oohs" and echos that provide just enough distraction to make you forget how impressive what you're hearing truly is. The raps themselves are also edited together to flow quickly and smooth, often overlapping entrances.

The entire song is, in part, an exercise in minimalism.  Small amounts of information, whether it be the chord progression, rhythmic flow, or melodic choice are manipulated to the nth degree to create 3 minutes of excitement, all based around minimal core information.

Lyrics

This is where I jump off the band wagon for how cool this song is.  I am, admittedly, "not a lyric guy."  I appreciate a clever lyric but put much more stock into instrumental elements.  That being said, I actively dislike these lyrics.

A song's opening lyrics often provides the premise for the subject matter.  Think of "Close To You" (1970) and the opening line "why do birds suddenly appear every time you are near?"  It sets up the motivation for the rest of the song.  Consider Drake's "In My Feelings" (2018):  "Kiki, do you love me, are your riding, say you'll never ever leave from beside me."  These lines set the stage for what is, lyrically, to come.

"Rockstar's" opening line, which I consider the melodic and lyrical hook, is as follows:

"brand new Lamborghini fuck a cop car

with the pistol on my hip like I'm a cop"

Is he saying he'd rather have a Lamborghini than a cop car?  Or perhaps he will flip the cops off while driving by them in the Lamborghini?  Or maybe the Lamborghini would win a race against a cop car?  Or maybe he just poo poo's police while driving in his brand new Lamborghini?  Two things are certain: he owns a Lamborghini (apparently proven in an Instagram video [2]) and he totes a gun. We find out soon enough that the gun is his "rockstar" version of guitar, used for protection.

The verse, while impressive in performance, depict some harrowing imagery.  A few lines stand out to me:

My daughter a G, she saw me kill a nigga in front of her before the age of two

(based on real life events [2])

Keep a Glocky when I ride in the Suburban

'Cause the codeine had a young nigga swervin'

Both of these instances, presumably based on true events, leave a sour taste in my mouth, not for their genuine sincerity, but for the glorification of such practices that are reaching a widespread audience.

Bingo....I think I found the inherent problem I have with this song.  In a time when tensions are high and differences are put under a microscope in order to examine to death, I am baffled as to why a song that boasts negative perceptions is loved by listeners across the United States.  I have trouble buying into what could be perceived as a cautionary tale, but is presented in a way that seems to celebrate the very actions rooted in division.  (check out the BLM Remix.)

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.  Here is that list with "Rockstar" in mind.

• Repeated melodic motifs - This one delivers big here.  Lots of rhythmic and melodic motives are used throughout each rap section, and repeated within the chorus.   
• Strong harmonic motion from V to I   
• Background singers contribute to melodic/harmonic texture   
• Modulation -  
• New material presented at the end 
• Hook that uses the title of the song - the "hook" is debatable.  I tend to think of "brand new Lamborghini fuck a cop car" as more of a go to than "have you ever met a real N-word rockstar?"  That being said, they use the same rhythm and melody and are basically interchangeable.  
• Contains a lyrical refrain  

2/7 elements are shared between 2020's "Rockstar" and the other songs "on the 0's."  I hope to compare some of the round 3 songs with common threads found in rounds 1 and 2.  I feel there will be significant overlap, especially with repeated chord progressions found throughout round 1.

Final Takeaways 

So I'm still not sure where I stand on "Rockstar."  I think the performance is exceptional.  I am a fan of the rhythmic and melodic construction of the verses and like the way the song uses minimal information to weave a compelling and exciting track.

I am still not a fan of the lyrics.  How a song can include the "N-word" in the hook (14 times total) in these times is a little perplexing and disappointing.  I actually mentioned this song to my neighbors today.  I asked them if they knew it.  They both nodded in agreement and then made desperate efforts to change the subject.  Keep in mind, the song is no.1 in the USA at the time of this conversation and the time of this writing. ...

In any case, I'm glad I stuck with the transcription which, at times, was very difficult.  Kudos to both DaBaby and Roddy Ricch for crafting such exemplary rap verses!

What do you think of "Rockstar?"  Am I alone in my discomfort with the lyrics?  Is the music alone reason enough for the song to sustain no.1 status?  Leave me a comment!

Where to next????  I will finish my original song, informed by songwriting lessons learned from no.1 hits through the decades, in time for the next entry.  Stay tuned for that!

I also plan to analyze whatever the next no.1 hit song in 2020.  I enjoyed checking out something modern and would like to sprinkle in hits from 2020 as I continue with these analyses.  I have decided that, after a round 3 wrap up, I will probably tackle "on the 1's," heading back to 2011, 2001, 1991, 1981, 1971 and 1961, most likely focusing on the first week of August, once again.

After taking a few days off to write my own music, I have missed this process and look forward to continuing for the foreseeable future, hoping to uncover "what makes a good song good."


[1]https://kulturehub.com/who-is-dababy-charlotte-rapper/
[2]https://genius.com/20164897

"California Gurls" - Katy Perry featuring Snoop Dogg, 2010

In this round of analyses, "on the 0's," I have analyzed no.1 hit songs during the first week of August 1960, 1970, 1980, 1990, 2000 and 2010.  I was hoping to look at the no.1 song in the first week of August, 2020, but I am ahead of schedule!  So, a little deviation is in order to fill the time and, more importantly, analyze additional hit songs.

Today, I will be analyzing the song that was dethroned by "Love The Way You Lie," which made an impressive 7 week run at no.1 from late July through September, 2010.  What did it beat out to make no.1?  "California Gurls" by Katy Perry, featuring Snoop Dogg.

There is a lot to unpack with "California Gurls."  It sold a massive amount of copies and could be regarded a quintessential "summer song." [1]  Katy's production team, though, takes a little heat for the ultra high gloss finish you would expect from a pop tune, which is not always a compliment.  Glenn Gamboa of Newsday comment, "a fizzy-pop concoction of empty calories, but it sure does stick with you," is not so flattering.  [2]   

There was even a little controversy around a Beach Boys copyright infringement.  The song shares a title, spelled differently, and one lyrical line.  In the end, there was no lawsuit and Brian Wilson himself called the tune "infectious." [3]  Why all the hate on "California Gurls?"  Katy just wants to represent California much in the same manner that Jay-Z represents New York in "Empire State of Mind." 

June 19th - July 24th, 2010 - Katy Perry's "California Gurls," featuring Snoop Dogg, goes on a 6 week summer time fun run at no.1.

"California Gurls" uses classic song construction.  Verse, prechorus and chorus repeated, followed by a bridge, a return to the chorus and an ending - pretty standard fare.  The first verse is double the length of the second verse, which keeps the song moving forward, despite the static chord progression.  Despite this simplicity and predictability, it works well.

The 20 measure bridge seems slightly out of place,but that works too.  Snoop Dogg makes the section flow laying down 10 two bar phrases.  This is followed by one more chorus and an outro,  which contains new material, a familiar device used to end songs in this round (4 out of the previous 6 songs analyzed contain new material at the very end).  Again, we see an unexpected number of measures here, with the 9th measure being an instrumental statement of the newly introduces melodic theme.

Chord Progressions

There is one driving chord progression that dominates the entire tune:

F/A   Bb  /  C Dmin
I       IV  /   V   vi

The keyboard begins the tune with dyads (two note chords).  As first verse progresses, the bass enters with a funky popping/slapping line:

keyboard and bass

The initial F/A chord feels like A minor and doesn't get any help from the vocal melody in determining its identity.  It isn't until the chorus, when the guitar joins, that we truly get the F major tonality.  The guitar provides syncopated octaves, on F, enhancing the funky feeling:

guitar - choruses

This progression runs throughout the verse, chorus, bridge and outro sections.  The only deviation comes in the prechoruses, where the same chords are reorganized to this:

C  / Dmin /  Bb  /  Bb
V / vi        / IV   / IV

This section not only slows down the harmonic pace, it also eliminates the fancy syncopation.  This part is another pleasant break from the potentially tiring repeated progression.

"California Gurls" evolves continually.  Though sections are repeated, they are never exactly the same.  This is done with added background vocals, synth elements and evolving drum feel.  The drums begin minimally, just bass and snare, and by the end, are firing on all cylinders.

Drum Evolution

Again, this device keeps the momentum of the song pushing forward and helps to keep repeated material from feeling stale.  For all of its standard conventions, the song is a shining example of pop songwriting mastery.

Melody

The verse is essentially made up of a repeated 4 note phrases.  Starting on the 3rd (A), it descends through G to the root, which aligns with the 5th and minor 3rd of the changes.  It then works back up to the A, only to go back to the F, this time ending with G and D, the 6th and 3rd of Bb.  The third and 4th phrase vary the rhythm and add in the responses of "undone" and "at us" where there was space the first time.

Verse 1

This simple melody is a good contrast to the syncopation in the keyboard and bass.  The rhythm of the lyrics is consistent from phrase to phrase, which combined with the narrow note choices and intervalic structure, make it highly singable.

The prechorus has a different feel and utilizes a higher melodic range.  The melody gets the syncopated treatment while the rhythm section sticks to eighth notes or less.  The very end of this section also foreshadows a major component of the chorus (oh oh oh oh oh's).

Prechorus 1

The melody is another illustration of how this song evolves.  In verse 2, Katy varies her delivery at the beginning of the phrases even further.  The second prechorus also adds in background vocals that float between harmony and response:

Prechorus 2

The calls evolve from the calls heard in the verse, utilizing E and F: 3rd of C and minor 3rd of Dmin (from verse harmony).  So far, the verse and prechorus borrow each other's melodic content, presented in a different way.  Very crafty.

The chorus marks the return to the syncopated keyboard line, which means the vocals should keep things straight.  They do just that, hanging out on the root to deliver the hook, "California girls."

Chorus

Here we really get the F major feel, furthered by the "oh's" which use the other notes in the F triad.  The chorus is also filled with little melodic figures, some of which we will see in the bridge.

The bridge features the credible presence of Snoop Dogg, whom up to this point in the song, has only contributed to the intro ("Greetings loved ones, let's take a journey") and with a few spoken "west coasts."  When we finally get the full Snoop treatment, he throws down this 20 bar rap:

A few things stick out to me.  First, Snoop's style is very interesting, especially when comparing it the Eminem rap I transcribed last time.  He is often just behind the beat, relaxed in his delivery.  Like Eminem, he has this quasi singing quality, though it's hard to pin down exactly what note he "singing."

Every two bars of this rap is its own little thing.  Bars 1 and 2 share rhythmic entrances and syncopation with bars 3 and 4.  After that, every 2 measure sequence shares either rhythmic entrances, syncopation or both.  Snoop strings together small sequences to construct the larger rap.

During the rap, you hear some exposed vocal harmonies that also pop up in the chorus.  The last measure, leading to the chorus, features Katy powerfully interjecting her own background and sustaining a C as the chorus continues.

The outro features new melodic content with the catchy and title affirming "California, California girls."

outro

  We get some familiar harmony and syncopation all wrapped into one tidy package to end the song.  The keyboard doubles this melody and ends the song with a final instrumental statement. 

The entire melody, at times, had me wondering if the tonal center was F major or D minor.  The entire chorus is comprised of D minor triad, but often feels like F major, as a D minor triad is an F major plus an added D.  The outro teases this line, walking down the scale from D to A, which feels like D minor, but then descends D all the way to F.  This little confirmation of F major reminds me of a similar feeling from way back in the intro.

Musical Sticking Points

Part of me wants to despise this song (more on the in lyrics), but part of me has deep respect for the composition.  "California Gurls" feels like many other pop songs I have analyzed in the way it is arranged and composed.

This chord progression is sneaky.  Is it D minor or F major?  There are times when either feels more like the tonal center.  D becomes the resting point after the chord syncopation, so rhythmically, it settles there at times.  Though the C is V of F, it's also bVII of D minor, a common progression.  In the bridge, we venture to Bb, which at the point could be IV of F or bVI of Dminor.  I love chord progressions that leave your ear searching for a true sense of tonal center.

The song is a prime example of how music can evolve, allowing you to hear the same thing without hearing the same thing.  Each section is slightly different from its repeated predecessors.  There is always something new to listen for.  In "Love The Way You Lie," I was disappointed to hear the same exact melody in each of Rihanna's choruses.  Katy Perry does not fall into that trap and keeps things interesting with background vocals and little nuances in her delivery.

The bridge does it's job and bridges the beginning of the song to the end effectively.  There are several texture changes throughout the section and Snoop's aura enhances the final product.  We also see a return of several vocal elements, from the ooh's to call and response from Katy.

The new content at the end is also something I have grown to enjoy.  It always prompts me to question what I heard earlier, which results in additional listening.  Musically, this song is clear, concise, inventive and exciting. 

Lyrics

Lyrically, I am not even close to where I am musically in my fondness for the tune.  While there are some clever references - "where the grass is really greener" (Paradise City?) and "Sippin' Gin and juice,"  The rest falls way flat.  There's a whole lot of sexual innuendo and glorification of the party lifestyle delivered bluntly and in an uninspiring way.
   
The verse uses a rhyme scheme of ABCB, with a few questionable near rhymes ("greener" and "water").  The chorus rhyme scheme is fairly disjunct, starting with ABAC and then ABDC.  This looks a whole lot tighter on paper then when you actually hear it.

The rap lyrics, I am sorry to say, are not good.  I would imagine Snoop wrote them and tried to stay within the poppy confines of the song, but oh man.  Some low-lights include:

The girl's a freak, she drives a jeep and lives on the beach

Bikinis, zucchinis, martinis, no weenies, just a king and a queenie

Only the S. N. double O P. D. O. double G. can get away with rhyming zucchinis and weenies. 

Coupled with the video, this song enters into the  "inappropriate zone," based on the "would I show this to my children" scale.  That being said, John Q. Public obviously loved it, though the target audience, I imagine, embraces the party lifestyle and all that goes with it?

Common Threads

So far in this round, "on the 0's," I've compiled a list of common musical threads.  The other selection from 2010, Eminem's "Love The Way You Lie," only shared 2.5 out of the following 7 elements.  Let's see where "California Gurls" stacks up:

• Repeated melodic motifs - For sure!  There are many motifs that occur in multiple sections.  Katy is also good at keeping melodic passages uniform within sections.   
• Strong harmonic motion from V to I   
• Background singers contribute to melodic/harmonic texture   
• Modulation -  
• New material presented at the end 
• Hook that uses the title of the song
• Contains a lyrical refrain  

4/7 elements are present.  More than half is a strong showing of musical elements, especially considering the list started with a selection from 1960.  It's extremely enlightening to see that while musical styles significantly change from decade to decade, certain elements endure.

Final Takeaways

I think "California Gurls" is a fine example of pop songwriting.  Though the lyrics are sometimes cringe worthy, and difficult for a middle aged East Coaster to completely identify with, I can fully respect the composition, arrangement and production.

The biggest takeaway has to be the shared elements of different sections.  There are vocal pieces that help glue the entire song together into one cohesive unit.  It's also impressive how the same drum beat can be stripped down and built back up to build drama and enhance the texture.  As a songwriter, there are many good lessons to be learned.

What do you think of "California Gurls?"  Do the words and/or video push it to your "inappropriate zone?"  Is it just me, or is the Snoop Dogg rap not a shining example of his work?  Leave me a comment!

The post date of this analysis is July 21st, 2020.  I am hoping to analyze the no.1 song for the first week in August, which won't be until August 8th.  That means I have a few weeks to wait.....so here is my plan:

I have been learning so many lessons in song writing, I think back to one of my initial intentions of this project:

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.  

So, I think I will try writing a song and apply some of the lessons I have learned.  This will entail choosing a few common threads, sitting down at a keyboard and seeing what comes out.  It should be another entertaining detour!  Stay tuned....

[1]https://www.independent.co.uk/arts-entertainment/music/weekly-us-music-releases-katy-perry-usher-eels-and-fantasia-2059960.html
[2]https://www.newsday.com/entertainment/music/katy-perry-s-hot-and-cold-teenage-dream-1.2227160
[3]https://www.theguardian.com/music/2010/aug/06/beach-boys-katy-perry?cat=music&type=article

"Love The Way You Lie" - Eminem featuring Rihanna, 2010

If I were to list the lyrical themes of songs analyzed throughout the project thus far, it would look something like this: love, respect, perseverance, jealousy, curiosity, joy, the future, cowboys, bikinis and heartbreak.  There's a little bit of everything, ranging from serious to sad to silly.  While all of these provide the listener with some potential insight into their own lives, they are relatively light. 

"Love The Way you Lie" is much heavier.  At it's core, the song is about domestic abuse, shining a light on something far too easy to overlook.  While the message and true intentions can be debated, the end result is the same: a powerful statement delivered by talented performers. [1] 

Eminem's history has been well documented, thanks to the movie "8 Mile," and he has left a controversial and profound mark on pop music, bringing a completely different flavor than that of his peers.  Eminem is a force to be reckoned with rhythmically, lyrically and philosophically.  After stepping away from music for a few years, his comeback was not very encouraging.  A few years later though, add in the Rihanna factor and her close connection to the song's subject matter,  and Eminem is stepping back into the spotlight.

July 31st - September 11th, 2010: "Love The Way You Lie" by Eminem, featuring Rihanna, dominates the charts for 7 weeks!

Musically, this song is cut and dry.  The form, comprised of only 2 sections, alternates between verse and chorus.  There are a few small nuances: The first chorus is 9 measures long, including the hook twice, with the latter choruses tagging on extra measures.  The verse, mostly 16 measures, get a reverse treatment, extending the third verse by 1 measure. 

The instrumentation is stylistically simple as well.  Piano begins the song, leading into the main groove which adds some string like synths, bass drums and an integrally strumming acoustic guitar.  The programmed beat is relatively extensive, but it mostly stays out of the way.  The 4 bar drums groove can be condensed to this,

drum groove

where at the tempo, the syncopated 16th notes create a nice foundation to support the rap verses.

For all its musical simplicity, "Love The Way You Lie" more than makes up for it in vibe and raw emotion.  Both performers have back stories that tie into the meaning of the song.  The public, no doubt aware of this, likely weighted this in their reception.  There was also an emotional video (linked above) that helped to hammer the point home further.  While all of these elements are important, and if anything, helped me understand the song on a deeper level, my main goal is to examine the musical merits.  Let's dice into the musical aspects of "Love The Way You Lie."
  
Chord Progressions

The piano starts things off, playing through the base chord progression:

Gmin  /  Ebadd2  / Bb   /  F/A
i        /   bVI        /  III   / bVII

The F/A chord provides pleasant movement back to Gmin, with bVII being a natural resolution (sub for V7 - FAC in place of DF#AC) and the A in the bass resolving down to the root G.  This chord progression leaves no question where the tonal center lies and consistently gets us back there after 4 measures. 

There are two places in the song where the 4 bar sequence is extended an extra measure to accommodate vocals, percussion and/or sound effects, as in the opening chorus-first verse transition. 

The verse takes the above progression and alters it slightly, adding an 11(4th) to the F/A chord.  The verse is driven primarily by the guitar, strumming this:

verse guitar

Played with capo 3, the guitar strums open chords (Emin, Cadd2, G, Dadd11/F#) and utilizes shared tones at the top of the voicing to create the suspensions.  This adds a subtle, different color to the verses. 

In other songs analyzed in the late 2000's, and those that follow, static chord progressions have been a recurring theme.  In my analyses for "In My Feelings" (2018) and "Old Town Road" (2019), there has been one 4 bar chord loop repeated throughout the entire song.  The same can be said for "I Gotta Feeling" (2009).  It's interesting that as we venture closer to present day, chord progressions are less complex.

Melody

There are two very contrasting melodic themes for the song: the sang chorus, provided by Rihanna and the percussive verses provided by Eminem. 

Rihanna kicks things off with a no frills, right to the point melody, delivered with precision and somberness. 

chorus 1

Two contrasting phrases are each repeated.  The first features a leap up a 6th and then back down a 5th, landing on the chord root.  She repeats the interval leaps and lands on the F, highlighting the 9 of the Eb.  In the second phrase, she sticks to the root  (Eb), working her way down through D and C, chord tones of the next two changes (3rd and 5th of Bb and F).  This structure is repeated with different words for the next two phrases.  She caps of the chorus with a tag of the hook, altering the last note to Bb, the minor 3rd of G, another chord tone.

The remaining choruses add harmony and an additional tag of the hook.  The first and third phrases are harmonized in octaves with the 2nd and 4th phrases adding a higher third.

choruses 2, 3, 4

Rihanna sings the same melody each time and stays away from any variation.  This is a direct contrast with Eminem's verses.

Eminem's name comes first on the track listing, so it's fitting he takes the limelight in the verse.  There are three 16 measure verses and the longest rhythmic value used is 1 beat.  The rhythmic assault is relentless, a trademark of Eminem's unique style.  His delivery sometimes resembles singing and even when he's clearly speaking, there is pitch distinction, indicated below. 

verse 1 - m.1-8

The first four measures end with two 8th notes, which gives way to a slightly different beat 4 figure in the next four measures.  The last four measures are also bookmarked with entrances on the 2nd sixteenth note of the measure.  This continues with the concluding 8 measures of the verse:

verse 1 m.9 - 16

Of these eighth measures, 7 end with the same rhythmic figure (SSE).  Measures 9 and 12 also borrow the rhythmic entrance established in measures 5 and 8.  All verses end in just enough time to give Rihanna a solo entrance for the chorus. 

This pace continues throughout verses 2 and 3.  Towards the end of the third verse, there is an extra measure before the final chorus.  Notice how the flow is changed, including 16th notes at the end of the measure to keep building momentum towards the final bar. 

Verse 3 - m.13 - 17

The last three notes of this verse are the only time in these 5 measures with more than two 8th notes in a row.  The fast flow of notes leading to a dramatic halt certainly create an exciting moment, heightened by the grim lyrics. 

Musical Sticking Points

"Love The Way You Lie" is musically simple.  A single chord progression runs throughout alternating verse and chorus sections.  That's it. 

The chorus melody is essentially copy and pasted, offering no variation between each iteration.  The verse makes up for this in spades, featuring more rhythmic theme and variation that instruments could ever get away with. 

The production is stellar and there are melodic bits and pieces flying around at various points.  All of these, however, are short lived and not very memorable.  They flow in and out to add color as the sections build, but don't repeat enough to be essential. 

I was happy to transcribe an Eminem rap.  He has such a command of rhythm and flows in and out of sync with the drums and other instruments effortlessly.  His mark in popular music is undeniable.  Check out this article, comparing Eminem to Jimi Hendrix, from Rapanalysis.com [2]. 

Lyrics

The musical simplicity of this track accommodates the depth of the lyrics. 

Rihanna's choruses tell the tale of someone willingly entering a scenario which they will be hurt.  This can be viewed as a cautionary tale or resonate as familiar.  She uses the rhyme scheme AABB, with a tag on the B.

The verses are filled with vivid descriptions of love, hate, dependence and violence.  Eminem is known for over the top lyrics and he delivers here (from verse 2):

Now you're getting fucking sick, of looking at 'em

You swore you've never hit 'em, never do nothing to hurt 'em

Now you're in each other's face

Spewing venom in your words, when you spit 'em
You push, pull each other's hair, scratch, claw, bit 'em
Throw 'em down, pin 'em, so lost in the moments, when you're in 'em

Looking at the above excerpt, you can get a sense of Eminem's complex rhyming ability.  The first line end with the syllable "em," which is used two more times in the next line.  The following line strays before bringing back "em" 5 more times! 

Choose any set of lines in the song and you will find similar craftsmanship....(from verse 3)

Same routine, but your temper's just as bad, as mine is
You're the same as me, when it comes to love, you're just as blinded

When I first absorbed these lyrics, with the help of the video, I got the main gist.  A girl and a guy are in a doomed relationship but keep it going, even when it gets violent.  There are many interpretations of how this can be viewed.  In the end, listeners can make their own conclusions. [3]  Obviously, the ensuing debate worked in Eminem's favor, gaining him more publicity, both positive and negative.

Common Threads

This is the 6th analysis "on the 0's."  For each song, I have compiled a list of common musical elements.  Picking up from the last analysis, Sisqó's "Incomplete" from 2000, let's see how "Love The Way You Lie" fits into the musical puzzle, 10 years later. 

• Repeated melodic motifs - I would say this one qualifies.  Though Eminem's verses are not structured like a traditional melody, he uses rhythmic themes quite effectively within each verse.  The chorus is also built on two repeated phrases.  
• Strong harmonic motion from V to I  - The progression does not include a V chord in the key, though the bVII is a common substitution.  
• Background singers contribute to melodic/harmonic texture - There are background singers, but I'm not sure they contribute a ton to melodic and harmonic structure.  
• Modulation -  
• New material presented at the end 
• Hook that uses the title of the song
• Contains a lyrical refrain - 

 Only 2 1/2 out of 7 musical elements are shared between "Love The Way You Lie" and the other songs "on the 0's."  Looking back at previous round's common threads, two not mentioned here are "repeated chord progressions" and "music evolves throughout."  

"Love The Way You Lie" definitely checks the box on repeated chord progressions, a common element seen in many tunes "on the 8's" ("Poor Little Fool," "Hello, I Love You," "Roll With It," "The Boy Is Mine," "I Kissed A Girl," and "In My Feelings").  

In terms of musical evolution, it's still iffy.  Musical evolution refers to a song's nuanced changes and variations that result in hearing the same thing without hearing exactly the same thing.  As mentioned, there are several production elements that pop up throughout the song resulting in slight evolution.  At the end of the day though, the carbon copy choruses don't quite get there, in my opinion.

Final Takeaways

This is the first analysis I have done where the song's lyrical impact grossly outweighs the musical composition.  "In the Year 2525" (1969) came very close, but that song had a ton of musical stuff going for it, including evolving instrument parts, two modulations and significant texture changes.  Regardless, I like this song.

Eminem's vocal delivery and lyrical flow are truly admirable.  They way he relays a story or a point with the ferocity and pace that he does is dizzying.  As I transcribed parts of this song, I attempted to perform with him, checking for accuracy.  It was not easy.  His ability to flawlessly work through verses is amazing.  I already had respect for Eminem and it has significantly grown after this analysis.  I know his lyrics turn many people off, but I think I understand his hyperbole in an effort to make a point.

What do you think of "Love The Way You Lie?"  Did I miss any musical elements in "common threads?"  Leave me a comment!   

Up next time, I am in line to analyze the no.1 song in the first week of August for 2020, however, it's not August yet!  So let's take a detour and analyze the song that "Love the Way You Lie" beat out for the no.1 spot in July 2010....

June 19th - July 24th, 2010....a 6 week run at no.1, "California Gurls" by Katy Perry, featuring Snoop Dogg.   

This is a very interesting selection indeed.  Another song featuring a prominent male and female personality, one of which has undeniable credibility in the rap world.  I'm wondering if we will see any overlap of common musical threads between "California Gurls" and "Love The Way You Lie."  THis should make for an interesting detour!

[1]https://www.shmoop.com/study-guides/music/love-the-way-you-lie/meaning
[2]https://www.rapanalysis.com/2014/04/why-eminem-is-rap-jimi-hendrix-rap/
[3]https://www.theatlantic.com/culture/archive/2010/08/love-the-way-you-lie-what-s-eminem-trying-to-say/344563/