Wrecking Ball Deconstructed - Hit Songs Deconstructed

24/10/2016 WreckingBallDeconstructedHitSongsDeconstructed
Miley Cyrus
Wrecking Ball
Deconstructed
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Audio/Video
Overview
SongStructure
Momentum/Tension/Intensity(MTI)
Music/Instrumentation/VocalDelivery
VocalMelody
Lyrics
Benchmarking
A&RHitFactors
Recap,Takwaways&FinalThought
Audio/Video BacktoTop
https://reports.hitsongsdeconstructed.com/2013/12/03/mileycyruswreckingballdeconstructed/ 1/103
At a Glance BacktoTop
Artist:MileyCyrus
Song/Album:WreckingBall/Bangerz
Songwriters:Gottwald,McDonald,Moccio,Skarbek,Walter
Genre:Pop
SubGenres:PowerBallad
Length:3:40
Structure(Form):ABABCB
Tempo:60bpm
FirstChorus:0:42/19%intothesong
IntroLength:0:08
OutroLength:n/a
Electricvs.Acoustic:Combo
PrimaryInstrumentation:Synth,ElectricGuitar,Piano,Strings,Drums
LyricalTheme:Love/Relationships
TitleOccurrences:WreckingBalloccurs5timeswithinthesong
PrimaryLyricalP.O.V:1st&2nd
Overview BacktoTop
TosaythatMileyCyrusisattheforefrontofPopculturerightnowwouldbeanunderstatement.Herrecentoutlandish,controversialbehaviorwhich
includestwerkingattheVMAs,statingpublicallytoRollingStonethatweedisthebestdrugonearth,andswingingnudefroma
wreckingballallhavetakenherexposure(nopunintended)toastronomicalheights.
Butbehindallthehypeandcontroversyliesatalentedartistwhowasabletotakeasongthatwasprovidedtoherbysomeoftodayshottesthitmakers,
makeitherown,anddeliveritinaninfectious,engaging,memorablemannerthatwasabletoconnectandresonatewiththemassesonaglobalscale.
Asyoullseewithinthereport,thereisalotthatcanbelearnedfromWreckingBall.Youjustneedtolookbeyondthehypeandappreciatethe
songforwhatitreallyisaclever,expertlywellcraftedPowerBallad.
Todate,WreckingBallhaslandedinthetop10on30chartsthroughouttheworld,andhit#1on11.
Song Structure BacktoTop
TIMELINE(Showswheneachsectionhitswithinthetimelineofthesong)
GENERALFORM
WreckingBallutilizesbyfarthemostpopular,andarguablythemosteffectiveform(structure)inPopmusic:ABABCB(VerseChorusVerse
ChorusBridgeChorus).
FULLFORM
Whenyoutakeintoaccountallofthesectionswithinthesong,WreckingBallsfullformlookslikethis:IntroVersePreChorusChorus
VersePreChorusChorusBridgePreChorusChorus.
Wellbegettingintospecificsregardingthesesectionsfurtherintothereport.
SECTIONLENGTH&COUNT
(Lengthofeachindividualsectionwithinthesong)
I=Intro,V=Verse,PC=PreChorus,CHR=Chorus,BRG=Bridge,TRANSTransition,RING=RingOut
SECTIONCOUNT
WreckingBallcontains10primarysectionswithinitsframework,whichincludesthefollowing:
1intro
2verses
2fullprechoruses
1halfprechorus
3choruses
1bridge
RegardingtheTRANSsegmentsthataredetailedinthegraphabove,notethatthesearethetransitionalpointsbetweentheprechorusandchorus
sectionswithinthesongaswellasbetweenthesecondchorusandthebridge.Moreontheimportanceofthesetransitionalpointssoon
SECTIONLENGTH
Inregardtothelengthofindividualsectionswithinthesong,asyoullseebelowtheyrangefromtheveryshorttoquitelong.Notsurprisingly,
excludingthebrieftransitionalsegments,theintroclocksastheshortestwhilethechorussections,(i.e.payoffs),areamongstthelongestin
additiontothebridge:
VeryShort(0:05andUnder)
Allofthetransitionalsegments(rangingfrom0:02to0:04).
Short(0:060:10)
0:07PreChorus3(halfsection)
0:08Intro
0:10Ring
Short/Moderate(0:110:15)
0:14PreChoruses1&2
Moderate(0:160:20)
0:16Verses1&2
0:20Chorus1
Moderate/Long(0:210:25)
None
Long(0:25+)
0:34Chorus2
0:38Chorus3
SECTIONALSEGMENTING
EngagingthelistenerandKEEPINGthemengagedthroughouteachsectionofthesongisofparamountimportancetoitssuccess.Ifthereisanypointthat
causesthelistenersattentiontostarttowander,itsallover.
Therearemanyelementsthatacttoheightentheengagementvalueforthelistenerincludinganinfectiousmelodyandrhythm,stronglyrics,MTIlevel
fluctuations,etcButonefactorthatisofutmostimportanceistoprovidethemwithnewelementsenteringthemixfrequentlytohelpkeep
thingsfreshandengaging.Ifthesonglingersonfortoolongwithinoneparticularsectionwithoutprovidingdiversity,thelistenerwilleventuallystartto
loseinterest.
Whatfollowsisarundownofhowcertainsectionsweresegmentedintoshorter,morefrequentsegments:
Intro(0:08)
Veryshortonitsown.
Verse1(0:16):Splitinto2stanzas
0:08FirstStanza
0:08SecondStanza
PreChorus1(0:14):Splitinto2stanzas
0:07FirstStanza
0:07SecondStanza
Chorus1(0:20):Singlestanza+repeat
0:16FirstStanza
0:02Wreckmerepeat/0:02transintoverse2
Verse2(0:16):Splitinto2stanzas
0:08FirstStanza
0:08SecondStanza
PreChorus2(0:14):Splitinto2stanzas
0:07FirstStanza
0:07SecondStanza
Chorus2(0:34):Splitinto2Stanzas+repeat
0:16FirstStanza
0:16SecondStanza
0:02Wreckmerepeat
Bridge(0:32):Splitinto2stanzas
0:16FirstStanza
0:16SecondStanza
Chorus3(0:38):Splitinto2stanzas+doublerepeat
0:16FirstStanza
0:16SecondStanza
0:06DoubleWreckmerepeat
Asyoucansee,whenyoubreakeachfullsectiondownintoshorterindividualsegments(i.e.stanzas),youwindupwithanewpassageenteringthe
mixquitefrequentlywhichalongwithotherfactorsasyoullseewithinthereportholdsthelistenersattentionfromstarttofinish.
TOTALSECTIONBREAKDOWN
(Thetotaltimeconsumedbyeachsectionanditspercentageofthetotalsong)
Asyouknow,typicallyincharttoppingPopsongsitsthechorus(i.e.thepayoff)thatreceivesthegreatestamountoftimeallocationrelativeto
theothersections,andforgoodreason.
Lookingatthegraphabove,youcaneasilyseethatthiswasthecasewithWreckingBall.42%ofitstotalcompositionwasallocatedtothose
superinfectious,powerfulchoruses.Followingfarbehindwehavetheprechorus,verseandbridgesections,allofwhichwereallocatedvirtuallythe
sameamountoftotaltimeat16%,15%and15%,respectively.
Thelesseramountoftimeallocationtothoseaforementionedsectionsdoesntmeanthattheywereanylessinfectious,engagingandmemorable,
however.Onthecontrary,theyrejustasstrongandpertinenttothesongsoveralleffectivenessandsuccessasthechorus.
MTI (Momentum/Tension/Intensity) BacktoTop
(Evaluationoftheintensityofeachsectionwithinthesongtimelineonascaleof110,10beingthemostintense)
WhenwetalkaboutasongsMTIlevel,werereferringtohowfluctuationsinmomentum,tensionandintensitylevelsareutilizedwithineach
sectionofthesong.
Asyoucanseeinthegraphabove,WreckingBallmakesverygooduseofMTIlevelshiftsthroughoutthesong,makingforaveryengaginglistening
experience.
MTILEVELPLAYBYPLAY
***THEBUILDBEGINS***
WreckingBallkicksoffwithalow/midintensitylevelviathesolosynthsthatdefinetheintro.Noticethateventhoughthesectionisntintensefromamomentumor
sonicstandpoint(i.e.likethechorus),thesynthsprovideaheighteneddegreeoftensionandheavinessviatheiroverallnatureandDmFCGmprogression.
TheMTIlevelthenfurtherincreasesduringthefirstverseviatheadditionofCyrussvocalintothemix,thoughnotbymuch.Thisisduetothefactthatthenatureof
thebackingmusicthatdefinedtheintroremainsprettymuchthesameinthefirstverse.
Onceweenterintotheprechorus,theoverallMTIlevelincreasesyetagain(albeitslightly)overtheprecedingverse.Thistimeitsbroughtaboutviatheadditional
synthcountermelodythathasbeenaddedtothemixcoupledwiththeshiftinthenatureofCyrussvocalmelody.Allinall,itsfurtherheighteningthetension,
suspense&anticipationasthesongmovesclosertothepayoffwithinthechorus.
***SETTINGUPTHEBIGCHORUS***
Atthetailendoftheprechorus,noticethatthesynthbrieflyfadesfromthemixandthatwereleftwithalmosttotalsilence,bringingtheMTIlevelallthewaydown
tonearnil.Itsthissilencethatwillprovidethepowerfulchorusthatfollowswithinevengreaterperceivedimpactwhenithits.
***MTILEVELPEAK#1***
AssoonastheMTIleveldropstonearzero,itabruptlyskyrocketsbackupwithCyrusssolovocalproclamationIcameinlikea,whichisthenfollowedbythefull
chorusslamminginonthelyricwrecking,takingthesongsMTIleveltoitsfirstgrandpeakviathewreckingballnatureddrums,electricguitars,synth,pianoand
Cyrussintense,soaringvocaldelivery.ThehighMTIlevelofthefirstchorusremainsprettymuchconstantthroughoutthesectionuntilbeingbroughtdownanotchat
thetailendwherethedrumsarepulledfromthemix.
***RESET&REBUILD***
Followingtheintensenatureoftheprecedingchorus,theMTIlevelisbroughtbackdowninthesecondverseduetoashiftinthenatureofCyrussvocaldeliveryand
instrumentationbeingutilized,especiallythefactthatthewreckingballdrumshavebeenremovedfromthemix.Note,however,thattheadditionofthestringsand
especiallythebassduringthesecondhalfprovidesthesectionwithamoreintensenaturethanitsverse1counterpart.
IntheprechorusthatfollowstheMTIlevelincreasesonceagainprimarilyduetotheheightenedtensionthatselicitedviathevocalandbackingmusicin
anticipationofthepayoffthatfollows.
***CATCHINGTHELISTENEROFFGUARD&MTIPEAK#2***
IncontrasttothemannerinwhichthefirstchoruswassetupviathetransitionallullattheendoftheprechorusthattooktheMTIlevelallthewaydownbeforeslamming
inwiththeIcameinlikeavocal,hereattheonsetofthesecondchorusthereisnotransitionallulltobehad.Instead,Cyrushitswiththatfirstlineimmediately
followingtheprechoruswhichprovidesitwithanincreasedsenseofurgency,ultimatelyjoltingthelistenerrightbackintotheintensechorusespeciallyifthey
wereexpectingthatlulltoprecedeit.
ThefirsthalfofthefullchorusthatfollowstakestheMTIlevelbackuptoitspeak,thistimeslightlyhigherthanthefirsttimearoundspecificallyduetothesections
overallhigherlevels.ThesecondhalfthenincreasestheMTIlevelevenfurtherprimarilyduetotheadditionalinstrumentationthathavebeenaddedintothemix.
***BRINGITBACKDOWN***
Followingtheintensenatureoftheprecedingchorus,theMTIlevelisthenbroughtallthewaybackdownduringtheensuingbridge.Thisisduetothefactthatthe
bombastofinstrumentationthatdefinedthechorushasbeenswitchedoutforamoreserene,melancholymixofstrings,pianoandbasscoupledwithCyrussmore
downtrodden,passionateandevocativevocaldelivery.
AtthetailendofthebridgenoticethattheresabrieftransitionallullthatbringstheMTIlevelallthewaydowntonearnil.Itsbroughtbackupagain,albeitnot
bymuch,duringthebreakdownpartialprechorusthatfollows,whichisdefinedbythesolovocalandpiano,whichisbarelyaudiblewithinthemix.Followingthepre
chorus,wefindyetanothertransitionallullthatbringstheMTIleveldowntobasicallyzero.
***GOINGOUTWITHABANG***
Followingthetransitionallullattheendoftheprechorus,CyrusonceagainslamsinwithasoloIcameinlikeavocalwhichisthenfollowedbythethirdfullchorus
slamminginonthelyricwrecking.ThistimearoundtheMTIlevelisanotchabovethatofitscorrespondingsectionwithinthesecondchorusduetotheslightly
increasedlevelsbutmorenoticeablytheadditionalvocalswithinthemix.TheMTIlevelthenreachesitsgrandpeakwithinthesongduringthesecondhalfduetothe
additionalvocalsandinstrumentation.
TheMTIlevelremainsprettymuchconstantupuntilthetailendofthesectionwhereitsbroughtbackdownduringthefinalYeahyou,youwreeeckmeline.This
isprimarilyduetothefactthatthedrumsandbasshavebeenpulledfromthemix.
Thesongthenconcludesbyafadingringoutoftheremnantinstrumentationfromthechoruscoupledwiththevinylcrackle.ThistakestheMTIlevelonagradualpath
downtozero.
Waveform
Lookingatthewaveformgraphicabove,youcaneasilyseehowsoniclevelsandtheuseofcompressionvarythroughoutthesong.
Asyoucansee,thereare3primarylevelswithinWreckingBalllow,moderateandpushedtothemax.Noticehowtheycorrespondverycloselytothe
MTIlevelsthatwejustsawwithintheprecedingsectionofthereport,reachinganintenseclimaxduringthethirdandfinalchorusofthesong.
LowestLevels
Theintro
Theringoutattheendofthesong
Thetransitions
ModerateLevels
Bothversesections
Bothprechoruses(anotchabovethatoftheversesections)
Thebridge
Prechorus3
HighestLevels
Chorus1(thirdhighestlevel
Chorus2(secondhighestlevel)
Chorus3(highestlevelwithinthesong)
Music/Instrumentation/Vocal Delivery BacktoTop
KEYELEMENTS
Whatfollowsarethekeyelementsthatyoushouldbeonalookoutforthroughoutthesonginadditiontothevocalmelodyandlyricswhichare
discussedwithintheirownindependentsections.TheseelementsworkedinperfecttandemwithoneanotherinmakingWreckingBallsuchaninfectious,
engagingandmemorablesong.
TheLeadVocalMimic
Keepanearoutforthemannerinwhichboththesynthandpianomimictheleadvocalmelodywithintheprechorusandchorus,respectively.Not
onlydoesthisaddtotheinfectiouscoloringofeachsectionasawhole,butitalsoaccentuatesthememorabilityfactoroftheleadvocalmelodyaswell.
MagicMoments
Thereare2keymagicmomentsthatoccurwithinWreckingBallschoruswhichputsthesongoverthetopthewreckingballnaturedset
up/slamintothesectionplusthecleverbreaeaeakme/wreeeckmevocalsthatconcludethesection.
WreckingBallElements
Inadditiontothewreckingballnaturedmagicmomentthatoccursattheonsetofthechorus,takenoteofhowthesonicandrhythmicnatureofthe
kickandsnarekeepthewreckingballvibeinplaythroughoutthesection.
PowerBalladElements
TakenoteoftheinstrumentationbeingutilizedthroughoutthesongwhichisdirectlyinlinewithwhatyouwouldexpecttofindwithinaPower
Ballad.Thesynth,piano,stringsandridecymbaldefinetheballad,whiletheelectricguitar,powerfuldrumsandcrashbringthepower.
EvocativeVocals
OneofthecorestrengthsofthesongisthemannerinwhichCyrussingsitlikeshemeansitthroughoutwhichenablesthelistenertoconnectwith
thelyrics,andthesongingeneral,onadeeperlevel.
EvocativeInstrumentation
Inadditiontoevocativevocals,takenoteoftheprogressionsandsonicqualitiesoftheinstrumentationbeingutilizedwithineachsectionthat
bothaccentuatesthenatureofthelyricsaswellasprovidetheperfectbackdropforCyrussvocalstoshine.
TheMarriageoftheVocal,Instrumentation,Music&Lyrics
PerhapsTHEcorestrengthoftheentiresongliesinthefactthatthenatureofthevocals,instrumentation,backingmusicandlyricsallworkinperfect
tandemwithoneanotherincreatinganultrainfectious,engagingandmemorablePOWERBallad.Payattentiontothebigpicturewhilelistening
toeachsectionwithinthesong.
REPETITION&DIVERSIFYINGFACTORS
Hereweregoingtotakealookatthecoresimilaritiesanddifferencesbetweenlikesectionswithinthesong(i.e.bothverses,prechoruses,all3
choruses)toseehowrepetitionwasutilizedinordertogetthesongengrainedwithinthelistenersheadwhilethediversitypreventedthesongasawhole
frombecomingoverlymonotonous,keepingthingsfreshandengagingforthelistenerthroughout.
Verse1vs.Verse2
Repetition
Thevocalmelody
Thenatureofthesynththatwasintroducedinverse1
Diversification
Bothcontaindifferentlyrics(asyouwouldexpect)
Verse2addsstrings,additionalsynths,electricguitarandbassintothemixwhichwerentpresentduringthefirstverseoccurrencewithinthesong.
PreChorus1vs.PreChorus2
Repetition
Thevocalmelody
Thenatureofthesynththatwasintroducedinprechorus1
Thelyrics(1ststanzainprechorus3)
Diversification
Prechorus2alsoaddsstrings,additionalsynths,electricguitarandbassintothemixwhichwerentpresentduringthefirstprechorusoccurrencewithinthesong.
Additionally,prechorus2incorporatesavocalharmonyintothemixthatwasntpresentthefirsttimearound.
Prechorus3consistsofonly1stanza,whereprechoruses1and2contain2stanzas.
Chorus1vs.Chorus2
Repetition
Thevocalmelody
Thelyricsinthefirststanza(chorus1onlycontains1stanza)
Lines1,4and5acrossbothstanzasinbothsections
Thegeneralnatureofthebackingmusic
Diversification
Chorus2incorporatesasecondstanzaintothemix,changingupthelyricsonlines2and3.
Stringsandacousticguitarhavebeenaddedtothemixwithinthesecondstanzaofthesecondchorus.
Theoveralllevelsarerunningabithotterwithinthesecondchorus.
Chorus2vs.Chorus3
Repetition
Thegeneralframeworkofbothfullchorusesremainsconstant(lyrics,instrumentation,backingmusic,vocalmelody,etc).
Diversification
Stringsareaddedtothemixwithinthefirststanzainthethirdchorusandcarryrightthroughtheendofthesecondstanza.
Additionalvocalsandvocalharmonyareaddedtothemixinchorus3thatwerentpresentinchorus2.
Theoveralllevelsinchorus3arerunningabithotterthantheywereinchorus2.
SECTIONBYSECTION
Note:Panisrepresentedonascalefrom9:00to3:00(i.e.lefttoright,with12:00beingrightupthemiddle).Keepinmindthatinmostcasesan
instrumentwillbleedthroughouttheentiremix,butthepandepictedhererepresentsitsprimaryplacementinthemix(i.e.wherethelevelismost
pronounced).
Intro(0:000:08)
Vocals&PrimaryInstrumentationFeaturedInTheMix
SynthGroup1(Treblywithatouchofdistortionsolowithinthesectionlevelsebbandflowthroughout)Primaryaround10:00/2:00butspanstheentiremix
Short,straightforwardandconsistingsolelyofsynths,WreckingBallsintroiseffectiveonthefollowinglevels:
Itinstantlyestablishesthevibeofthesong
ThesonicnatureofthesynthscoupledwiththeirassociatedsixteenthnoteDmFCGmprogressioninstantlyestablishesthemelancholy,serious,heavyvibe
thatpervadestheentiresong.Rightoffthebatyouknowthatyourenotinforalight,happygoluckylisteningexperience.Additionally,youalsorealizeatthispointthat
thetitleWreckingBallwillmostlikelyrelatetosomethingthathasgonewrongifyouhaventalreadyguessedthatfromthetitlesimpliedmeaning!
Itimmediatelyhooksthelistenerintothesongandholdstheirattention
Thevibedescribedaboveinstantlycapturesthelistenersattentionandhooksthemintothesong.Beforetheirattentionevenhasachancetostartwandering,the
versehasalreadytakenoverandengagedthematadeeperlevelviaCyrussvocalthathasenteredthemix.Anddontforgettheintroisonly0:08long.
Additionally,noticehowtheebbandflowofthesynthsacttosubtlyaccentuatetheengagementfactorforthelistenerviatheirhypnoticnature.Assubtleasitis,it
doeswondersforthesectionasopposedtoiftheyremainedataconstantlevelthroughout.
Ittransitionsseamlesslyintothefirstverse
Thenatureofthesynthsthatdefinetheintroremainprettymuchunchangedinthefirstverse,withtheonlyadditiontothemixbeingCyrussvocal.Theresultisthat
theviberemainsintact,whiletherepetitionoftheprogressionaccentuatestheoverallmemorabilityfactorofthesong.
Itactsasauniqueidentifierforthesong
Thesecondyouheartheintro,youinstantlyknowwhatsongitis.Thisenablesittostandoutamongstalloftheothersongsthatarecurrentlytoppingthecharts,
instantlygrabbingthelistenersattentionespeciallyinanairplayenvironment.
TransitionPointIntrointoVerse1:Seamlesstransition.
Verse1(0:080:24)
SynthGroup1(Treblywithatouchofdistortionmidlevelwithinthemixunderthevocallevelsebbandflowthroughout)Primaryaround10:00/2:00butspans
theentiremix
*Effect(Vinylcracklelowlevelwithinthemix)Primaryaround12:00butspanstheentiremix
*LeadVocal(Cyrusmoderatereverb+lowleveldelaynatural,upcloseandpersonalinnatureupfrontwithinthemix)Primaryat12:00butthereverb/delay
traversestheentiremix
*Indicatesanewelementthathasbeenaddedtothemixrelativetotheprecedingsection.
Vibe
Playful,young,anguished,reminiscent,melancholy
Music
ThenatureofthesynthsthatdefinedtheprecedingverseremainconstantduringthefirstversealbeitatalowerlevelinordertoletCyrussvocalshine
frontandcenter.Noticehowtheykeeptheunderlyingmelancholynatureofthesongineffect.
Additionally,alowlevelvinylcrackleeffectentersthemixattheonsetofthesectionandlastsfortheduration,providingsubtlecoloringandtexture
totheoverallsoniclandscape.
Vocal
TheonenewadditiontothemixfromtheprecedingintroisCyrussleadvocal.Notethefollowing:
Thenatureofhervocalcomesacrossinahighlyevocative,naturalmanner,withthelistenerbeingabletoheareverynuanceofhervoiceupcloseandpersonalfrom
thebreathyinhalestothealmostBettyBoopmannerinwhichshesingsthelyricyour.TheresultisthatitenvelopesthelisteneronadeeplevelbecauseTHEYFEEL
whatSHESFEELINGviathemannerinwhichshecommunicatesthelyrics.
Cyrusalsodoesafantasticjobofshiftingemotionthroughoutthesectioninordertocommunicateallfacetsofthestory.ThealternatingADADprogression
thatencompassesthefirsthalfofeachlineelicitsayoung,sexy,playfulqualitywhichhammershomethepointthatthese2peoplewereinlove,whilethemannerin
whichsheconcludeseachline(i.e.thetailendwhineofwhyanddeny)communicatestheunderlyinganguishthatshesfeeling.Referencethevocalmelodysection
ofthereportforspecifics.
Music&VocalCombined
Together,thenatureofthevocalandbackingmusiccommunicatestheentirepremiseofthestorywithouttheneedforlyrics.Justlistening
youknowthatthereisanunderlyingconstantsadnessbroughtaboutviathenatureofthesynths,whilehervocalcommunicatesthattherewasoncea
playfullovebetweenthese2,butsomethingwentterriblywrong.
TransitionPointVerse1intoPreChorus1:Seamlesstransition.
PreChorus1(0:240:38)
PrimaryInstrumentationFeaturedInTheMix
SynthGroup1(Treblywithatouchofdistortionlow/midlevelwithinthemix)Primaryaround10:00/2:00butspanstheentiremix
*SynthGroup2(Samequalitiesofsynthgroup1exceptthatitsatahigherlevelwithinthemix)Primaryaround12:00
*LeadVocal(Cyrusmoderatereverb+lowleveldelaymutitrackedwithlowlevelupperregisterharmonyupfrontwithinthemix)Primaryat12:00butthe
reverb/delaytraversestheentiremix
Vibe
Serious,heightenedtension,sadness,younginnocence,loving,hurt
Music
Thefirstthingtotakenoteofregardingthemusicwithintheprechorusisthattheunderlyingsynthprogressionhasbeenchangedupinrelation
totheverseandintrothatprecededit.Here,insteadoffollowingtheDmFCGmprogressionitfollowsBflatDmFBflat.
Thesecondmostobviousthingaboutthebackingmusicwithintheprechorusisthatanadditionalsynthhasenteredintothemix.Noticethatit
possessesessentiallythesamequalitiesasthesynthsthatwerebeingutilizedwithintheverseandintro,butatanoverallhigherlevelwithinthemix.
WhatsreallyinterestingaboutthissynthisthatitbasicallymimicsCyrussvocalmelodyandachievesthefollowing:
Itaidsingettingthatmelodyfurtherengrainedwithinthelistenershead.
Eventhoughitfollowsbasicallythesamemelodyasthevocal,itsbrighternaturecountersthemoreserioustoneinCyrussdeliverybyelicitingayoung,innocent
typeofvibe,almostinthemannerofachildsmusicbox.
Vocal
HereintheprechoruswefindCyrustakingonanoverallmoreserioustonewithhervocalwhichperfectlyjibeswiththenatureofthelyrics.Notice
howeverthatonceagaintheresashiftthatoccursatthetailendaswesawwiththehurtwhineintheverse.Inthiscase,themannerinwhichshesings
wantyoutakesonasubtlymorequite,lovingtonethoughstillbeingenvelopedwithamelancholyovertone.
Music&VocalCombined
Together,thenatureofthemusicandvocalelicitanumberofemotionalqualitiesthatnotonlyjibewiththenatureofthelyricsathand,butthe
overallstorylineaswell.Youheartheseriousnessinhervoicewhichisfurtheraccentuatedviathenatureofthevocalmelody(referencethatsectionof
thereportforspecifics),youfeelthehurtlovethatshehasforthisguyatthetailendviathemannerinwhichshesingswantyou,andyousensethe
playfulinnocenceelicitedviathesynththatsmimickinghervocalthroughoutthesection.
Additionally,noticetheheighteneddegreeoftensionandanticipationintheairthatwasbroughtaboutviathenatureofthevocalandbacking
music.Yougetafeelingthroughoutthesectionthatabigchorus/payoff/hookloomsonthehorizon,andasaresultsucksyourattentionevendeeperinto
thesong.
TransitionPointPrechorus1intoChorus1:Atthetailendoftheprechorusallthatremainsisasolo16thnoteBflatsynthprogressionthat
graduallyfadesfromthemixrightthroughthepowerfulsolointrolinetothechorusatfollows.Theentiretransitiontakesjust0:04butseemslikea
eternitywithallthetensionandsuspenseintheairinanticipationofthehugepayoffthatloomsrightaroundthecorner.
Chorus1(0:421:02)
*Drums(Ultracompressed,powerfulandupfrontwithinthemix.Thekickpossessesabooming/dullcompressedthudessence,whilethesnareprovidescontrastviaits
brightcrackofawhipnaturethatlingerswitheachhituntilthekickreentersagain.TheuseoftheridecymbalroundsoutthesoniclandscapeandaccentuatesthePower
Balladessenceofthesong,whilethecrashaccentuatesthewreckingballslamattheonsetofthesection.)Primaryaround10:00/2:00butspanstheentiremix
*ElectricGuitar1(Possessesaheavybrightdistortionnaturethatisatitspeaklevelwithinthemixattheonsetofthesection.Itsatalowtomidlevelfortheduration.)
Primarybetween11:001:00
*ElectricGuitar2(Brightdistortionmidlevelwithinthemix)Primaryaround2:00
*Piano(Acousticinnaturelow/midlevelwithinthemix)Primarybetween9:0011:00
*Synth(Brightlowtomidlevelwithinthemix)Primarybetween10:002:00
*Bass(Low,dullandcompressedmidlevelwithinthemix)Primaryat12:00
LeadVocal(Cyrusmoderatereverb+delaymutitrackedupfrontwithinthemix)Primaryat12:00butthereverb/delaytraversestheentiremix
Vibe
Powerful,passionate,soaring,pleading,solemn
Iftherewaseverasectionwithinasongwherethenatureofthemusicperfectlyjibedwithandaccentuatedthenatureofthelyrics,thisisit.
KeyPointsToNote
TheSetUp,Impact&MagicMoment#1
LetsfirsttakealookathowWreckingBallschorusbegins.Noticethatthereareessentially3stagesthattranspirefromsetuptoimpactas
follows:
Stage1
Thetrailoffofthesynthatthetailendoftheprechorusheightensthetension,suspenseandanticipationaspreviouslymentioned.Noticehowthe
quietalsoprovidesthechoruswithgreaterperceivedimpactwhenithits.
Stage2
Asthesynthistrailingoff,CyrusslamsinwiththeintensesolomultitrackedIcameinlikeavocal.
Noticehowthenatureofhermonotonesixteenthnoterapidfiredeliveryperfectlyjibeswiththenatureofthelyricsandaccentuatesthe
imageryofthesection.Thinkaboutitthiswaythemannerinwhichshesingsthatlineislikeawreckingballonatrajectorytomakeimpactintotheside
ofabuilding,(i.e.itscominginforimpact).
Stage3
Andhere,finally,isthemagicmomentpayoffthatoccursonthetitlelyricswreckingballwhichthesonghadbeenbuildingtowardfromtheintro
throughtheleadinlineonstage2above.Whydoesitclassifyasamagicmomentinadditiontojustbeingareallystrongpayoff?Becauseofthe
following:
Itstheculminationoftheimagerythatstartedinstage2asdetailedabove.Hereiswherethewreckingballfinallymakesimpactintothesideofthebuilding,andis
broughtaboutinthemusicviavirtuallyalloftheinstrumentationthatsbeingutilizedwithinthemixconvergingonthat1pointofimpact.Noticehoweverthatitsthe
natureofthekick,crashanddistortedelectricguitarwhichprovidesthehighestdegreeofimpactfulpower.
IncontrasttoCyrussrapidfire16thnotemonotonenaturedleadindeliveryonthelyricsIcameinlikeainstage2,shepassionatelysoarsinthemannerinwhich
shesingsthepayofflyricswreckingballviatheBflatAAGprogression.Referencethevocalmelodysectionofthereportforspecifics.
Combined,themannerinwhichthenatureofthemusicandvocalworkintandemwithoneanotherinaccentuatingthemeaningofthe
titlelyriciswhytheonsetofthechorusisnotjustapayoff,butasongdefiningmagicmomentaswell.
TheSectionalWreckingBallElement
Followingtheimpactthatoccurredinstage3above,noticehowthenatureofthedrumskeepthewreckingballvibeineffectforthedurationofthe
section.Notethefollowing:
Takenoteofthesectionsstraightaheadrhythm.Thekickcomesinon1&3whilethesnarehitson2&4.Theresultisthatitgivestheimpressionofawreckingball
constantlyslammingintothesideofabuilding.
Thesonicqualitiesofboththekickandsnaredoafantasticjobofaccentuatingthewreckingballelementwithinthesectionaswell.Thekickislikeabooming,deep,
ultracompressedthud,whileincontrastthesnareislikeabrightcrackofawhip.That,combinedwiththefactthattheyrewayupinthemixprovidesthesectionwithits
continuouswreckingballnature.
Thecharacteristicsdetailedaboveperfectlyjibewithandaccentuatethenatureofthetitlelyrics,wreckingball,ultimatelyhelpingtoput
thesectionsalreadyultrainfectious,memorablenatureoverthetop.
ThePiano
Anewinstrumentthathasbeenaddedtothechoruswhichwasntinthemixduringtheintro,verseorprechorusisthepiano.Noticetheclever,infectious
mannerinwhichitsbeingutilized.Essentiallyitsmimickingtheleadvocalmelodyinthesamewayinwhichtheadditionalsynthdidwithinthepre
chorus.Itsdifferingsonicqualitiesfromthevocalenablesittostandoutandresonate,ultimatelygettingthemelodyfurtherengrainedwithinthe
listenersheadinadditiontoaddingincreasedcoloringtotheoverallsoniclandscapeofthesectionaswell.
SectionalContrast
Incontrasttothesparse,morequietnatureoftheintro,verseandprechorusthatprecededit,thechorusiswherethePOWERinPOWERBALLAD
comesintofulleffect.Thedifferingsonicqualitiesbetweenthesesectionsisoneofthecorefactorsthatmakesthesongsoinfectious,engagingand
powerful.
TheLeadVocal&MagicMoment#2
OnethingthatisalwaysbroughtupintheseHitSongsDeconstructedreportsistheimportanceofsingingitlikeyoumeanit.Whenanartistreally
connectswiththelyricsandbringsthemtolifeviathenatureoftheirdelivery,itsoneofthemostimportantfactorsinturningasongfrombeingreally
goodintoamassivehit.
ThisisexactlywhatCyrusbringstothetablehereinthechorus,andtheothersectionsaswellforthatmatter.Hersoaringdeliveryisultraevocativeand
perfectlyjibeswithandaccentuatesthepowerandhurtthatsbeingconveyedwithinthelyrics.
Theicingonthecake,however,istheclevermannerinwhichshesingsthemagicmomentfinallyricsonthelast2linesofeachstanza,breaea
eakmeandwreeeckme.Notonlydotheytaketheinfectiousnatureofthesectiontothenextlevel,buttheuniquemannerinwhichshesings
themgetscompletelyengrainedwithinthelistenersheadandasaresultresonateslongafterthesonghasended.
AsAWhole
WreckingBallschorus,pureandsimple,hasitall.Alloftheelementsarefiringonallcylinders,perfectlyjibingwithoneanotherincreatingan
exceptionallyinfectious,engagingandmemorablepayoffforthelistener.Themagicmoments,however,aretheicingonthecakewhichputsboth
thesectionandsongasawholeoverthetop.
TransitionPointChorus1intoVerse2:Seamlesstransition
Verse2(1:021:18)
SynthGroup1(Similarinnaturetoverse1lowtomidlevelwithinthemix)Primarybetween11:00and12:00
*Strings(Kicksoffwithcelloattheonsetwithadditionalstringsenteringthemixtowardtheendofthesectionlowtomidlevelwithinthemix)Primaryaround12:00
*Synth(Airyinnature,fluctuatesbetweenlowtomid/upwithinthemix)Alternateslefttorightwithinthemix
*ElectricGuitar(Primarilycleanwithmoderatereverbentersduringthesecondhalfofthesectionverylowleveltowardthebackofthemix)Primarybetween
10:00and11:00
*Bass(Low,dullandcompressedmid/upwithinthemix)Primaryaround12:00
*ColorAdder(Singlenotesynthhitswithamplereverblowtomidlevelwithinthemix)Primaryaround10:00
LeadVocal(Cyrusreverb+lowleveldelaysolovocalupuntilthetailendonthelyricswereashesonthegroundwheretheharmonyvocalisemployedupfront
withinthemix)Leadaround12:00,harmonyspansthemix
Theprimarydifferencebetweenverse1andverse2(besidesthelyrics)istheadditionalinstrumentationthathasbeenaddedintothemix.The
natureofCyrussvocalandcorrespondingvocalmelodyremainedvirtuallythesame,whichasyouknowheightensthememorabilityfactorforthe
listener.Notethefollowing:
IncreasedEngagement
Notonlydoesthenatureoftheshiftinthesecondverserelativetotheprecedingchorusmaintainandheightenthelistenersengagementwithin
thesong,butthefactthatthesoniclandscapediffersinnaturefromthefirstverseviatheintroductionofthestrings,synth,bassandelectricguitarinto
themixtakestheengagementvaluetothenextlevelviatheincreaseddegreeofcoloring.
ThePowerAccentuator
Asyouvebynownoticed,thedrumswerepulledfromthemixatthetailendofthechorusandremainabsentduringtheentiresecondversethatfollows.
Inordertoprovidediversityandincreasedpowerrelativetothenatureofthefirstversewithinthesong,anmidtoupfrontbasscomesinto
effectduringthesecondhalfofthesection.
TransitionPointVerse2intoPreChorus2:Seamlesstransition
Aswasthecasebetweenverse1andprechorus1,verse2andprechorus2sharethesamebasicinstrumentationbeingfeaturedwithinthemix,
whichaidsintheseamlesstransitionbetweensections.
Additionally,prechoruses1and2bothpossessthesamevocalmelodyanddeliveryexceptfortheadditionalharmonyonthelyricslivealieand
formylife(whichfurtheraccentuatestheengagementandcoloringofthesection),aswellaswellasutilizingthesamelyricswhichincreasesthesongs
overallmemorabilityfactor.
Thecoredifferencebetweenthe2occurrencesstemsfromtheinstrumentationbeingutilizedwithinthemix.This,aswasthecasebetweenboth
versesections,accentuatestheengagementvalueforthelistenerviatheincreasedcoloring.
TransitionPointPrechorus2intoChorus2:Forgoingthetransitionalpausethatoccurredbetweenprechorus1andchorus1,CyrusssoloI
cameinlikeavocaldirectlyfollowstheendoftheprechorus2,instantlyjoltingthelistenerbackintothesongspayoff.
Chorus2(1:342:08)
Essentiallytheoverallnatureofthesecondchoruswithinthesongisverysimilartothatofthefirst.The2primarydifferencesincludethefact
thattheoveralllevelsarerunningabithotterwhichprovidesasubtlyincreaseintensityrelativetothefirsttimearound,aswellasthefactthat
thereare2stanzasasopposedto1.Notethefollowing:
Lines1,4and5remainthesamebetweenbothstanzaswhilelines2and3differ(refertothelyricsectionfordetails).
Noticethatastrummingacousticguitarhasbeenaddedtothemixwithinthesecondstanzawhichbothprovidesincreasedcoloringtothesectionaswellasproviding
forsubtlyincreasedmomentum.
Mostnoticeably,stringshavebeenaddedtothemixwhichtakesthesectionsoverallsoaring,evocativenaturetothenextlevel.
Allinall,thesecondstanzaistheapexofwhatyouwouldexpecttohearinacharttoppingPOWERBALLAD!
TransitionPointChorus2intotheBridge:Seamlesstransition.
Bridge(2:102:42)
Strings(Midtoupperlevelwithinthemix)Spanstheentiremix
Piano(Midtoupperlevelwithinthemix)Spanstheentiremix
Bass(Low,dullandcompressedmid/upwithinthemix)Primarybetween10:00and12:00
Effect(Vinylcracklelowlevelwithinthemix)Primaryaround12:00butspanstheentiremix
LeadVocal(Cyrusmoderatereverb+lowleveldelaynatural,upcloseandpersonalinnatureupfrontwithinthemix)Primaryat12:00butthereverb/delay
traversestheentiremix
Vibe
Sorrow,hurt,realization,fragile/delicatebeauty,exhaustion
Music&Vocal
HereinthebridgeiswhereCyruscomestotherealizationthatmaybeitwasherforceful,wreckingballtacticsthatcausedthedemiseoftherelationship,
culminatinginherlosingtheloveofherlife.
Inordertoaccentuatethenatureofthelyricsthatconveythis,theoverallnatureofthemusicandCyrussvocaldeliveryshiftgeartomakeit
happenasfollows:
Themusicisnowbeingdominatedbyhighlyevocativestringsandpianowiththeupfrontbassanchoringthesectiontogether.Noticehowthenatureofthepiano
providesafragile,delicatebeautytothesection,whilethestringsprovidethelumpinyourthroatelement,accentuatingthehurtrealizationbeingconveyedvia
thelyricsandCyrussvocaldelivery.
Andspeakingofthevocal,hereCyrusdoesafantasticjobofperfectlyconveyingalloftheemotiondepictedwithinthevibesectionabove.Again,shessingingitlikes
shemeansit,andasaresultconnectswiththelisteneronadeeplevelbecausetheycanfeelwhatshesfeeling.
Combined
Aswithalloftheothersectionsofthesong,hereweonceagainfindtheperfectmarriagebetweenlyrics,vocalandmusicincreatinganultra
evocativelandscapethatconnectswiththelisteneronadeeplevel.
TransitionPointBridgeintoChorus3:Seamlesstransition
SomethingthatyounormallydontseewithincharttoppingPophitsistheuseofathirdprechorus,especiallyfollowingthebridge.Usuallyafterthe
bridgetheygodirectlybackintothechorus.
InthecaseofWreckingBall,breakingfromthenormcertainlyworkedinthesongsfavor.Followingtheultraevocative,piano/string/bassnatured
bridge,everythingispulledfromthemixexceptforCyrussvocal,lowlevelpianoandvinylcrackle.
Theresultisthatthelistenerisprovidedwithabare,intimaterecitation(NOTtalkingaboutthevideohere)ofthefirststanzaofthepre
chorus,dontyoueversay,Ijustwalkedaway.Iwillalwayswantyou.This,plusthebriefsilencethatoccursatthetransitionpointdoesafantastic
jobofsettingupthefinalchorusthatfollows,providingitwithamuchheighteneddegreeofperceivedpowerwhenithits.
TransitionPointBridgeintoChorus3:Sametransitionaswasthecasebetweenprechorus1andchorus1
Chorus3(2:523:30)
Hereinthethirdandfinalchoruswefindthesectionsevocativeintensityreachingaitshighestlevelrelativetotheotheroccurrenceswithinthesong.
Notethefollowingkeydifferencescomparedtothesecondchorusoccurrencethatmadethishappen:
Theoveralllevelsarerunningattheirhottestlevelwithinthesong.
Thestringsarefeaturedprominentlywithinthemixrightoutofthegateinthefirststanza(rememberthattheyenteredwithinthesecondstanzaduringthesecond
chorusoccurrencewithinthesong).
Thereareadditionalvocalsandvocalharmonybeingfeaturedprominentlywithinthemix,whichbothaidsinprovidingdifferentiationfromtheotherchorus
occurrencesaswellasincreasingtheengagementvalueforthelistener.
Combined,theelementsdetailedabovebringthePOWERofthisPOWERBalladtoarousingcrescendo,leavingthelisteneronanemotional,soaring
highattheconclusionofthesong.
Ending
Atthetailendofthechorus,noticethatalloftheinstrumentationispulledfromthemixexceptfortheguitar,pianoandride.Thisachieves2keythings:
Itprovidesanabruptdownshiftinintensity,helpingtoputthelistenermoregentlybackonthegroundthanifthesongendedabruptlyontheintensenatureofthe
fullchorus.Allinall,itshelpingtofosterresolution.
Italsoenablesthefinalphraseofthesong,youwreeeckme,(whichasyouknowalsohappenstobeapartialtitlelyric),tofurtherjumpoutandresonate,leavingthe
listenerwithonelastultrainfectiouselementtoresonatewithintheirheads.
Vocal Melody BacktoTop
Inadditiontostrong,effectivelyricsandevocativebackingmusic,whatreallyhooksthelistenerintoasongisaninfectious,engagingand
memorablevocalmelodydeliveredinacompellingmanner.
SomeofthecharacteristicsandattributesthatyoullfindwithinWreckingBallsvocalmelodythatmakesitsoinfectious,engagingandmemorable
include:
ShortPhrases/Segmenting(i.e.thephonenumbermethod)
Enablesthemelodytoeasilyconnectandgetengrainedwithinthelistenershead.
Simplicity(K.I.S.S.)
Easytofollowmelodicprogressionscoupledwitheffective,engagingrhythm.
Repetition
Variousmethodsofrepetitionwereutilizedwithinthevocalmelodythroughoutthesongtohelpgetitengrainedwithinthelistenersheadincluding:
InLineRepetition:Phrases/segmentswithinaparticularlinethatrepeatinthesameorclosetothesamemanner.
InStanzaRepetition:Linesorpartsoflineswithinastanzathatrepeatinthesameorclosetothesamemanner.
CrossStanzaRepetition:Lineswithin2differentstanzasthatpossessthesamegeneralcharacteristics.
SectionalRepetition:Linesorstanzasfrom1particularsectionthatrepeatinthesameorclosetothesamemannerduringadditionaloccurrenceswithinthesong(i.e
prechorus1vs.prechorus2).
Diversifiers&ColorAdders
Specificphrases,lyricsorevensyllablesthatworktoincreasetheinfectiousnatureofasectionaswellasbreakupthemonotonyoftherepetition.
Section/SongDefiningMagicMoments
Theultrainfectious,clevermannerinwhichspecificphrasesorlyricsaresungthathelpputthesongoverthetop.
GRAPHICALKEY
BlueLine:LeadVocalMelody
RedDiamond:Rest
BlackDiamond:Half&DottedHalf
BlueDiamond:Quarter&DottedQuarter
GreenDiamond:Eighth&DottedEighth
YellowDiamond:SixteenthNote
VERSE1
1stStanzaLines1&2
2ndStanzaLines3&4
VERSE2
1stStanzaLines1&2
2ndStanzaLines3&4
LineReference
VERSE1
FirstStanza
Line1:Weclawedwechainedourheartsinvain
Line2:Wejumpedneveraskingwhy
SecondStanza
Line3:WekissedIfellunderyourspell
Line4:Alovenoonecoulddeny
VERSE2
FirstStanza
Line1:Iputyouhighupinthesky
Line2:Andnowyourenotcomingdown
SecondStanza
Line3:Itslowlyturnedyouletmeburn
Line4:Andnowwereashesontheground
VocalRange
High:A
Low:G
LINELENGTH&SEGMENTATION
(Arethelines&phrasesamouthfultosingoraretheybrokenintoshort,memorablesegments?)
BothstanzasinWreckingBallsversesectionsconsistofonelongsegmentthatstretchesover2linesfollowedbyashorter,memorabilityaccentuator
segmenttoconclude.
Typicallyyouwouldexpecttofindapause(rest)implementedtosegmentonelinefromthenextwithinastanza.ThisisNOTthecasewithWrecking
Ballsversesections,however.Instead,thelastlyriconthefirstlineofeachstanzapossessesaneighthnotevalueandcontinueswithoutapause
rightintoline2thatfollows.Thesegmentationoccursafterthesecondlyriconline2ineachstanza:
Key
BlueFont:Line1
RedFont:Line2
FirstVerseFirstStanza
Weclawedwechainedourheartsinvainwejumped/neveraskingwhy
FirstVerseSecondStanza
WekissedIfellunderyourspellalove/noonecoulddeny
SecondVerseFirstStanza
Iputyouhighupintheskyandnow/yourenotcomingdown
SecondVerseSecondStanza
Itslowlyturnedyouletmeburnandnow/wereashesontheground
Notonlydoyouhavearestthatputsthesegmentationintoeffect,butasyoullseewithintherhythmsectionthatfollowsthelyricthatprecedestherest
ineachstanzaalsopossessesaslightlyprolongeddurationinrelationtotheotherlyrics(i.e.adottedeighth)whichfurtheraccentuatesthe
pronouncementofthesegmentation.
Additionally,noticethatthesecondsegmentwithineachstanzaistherhyming(memorabilityaccentuator)segment.Havingtheseparticular
phrasessegmentedfromtherestaccentuatestheirrhymingnatureandenablesthesectionasawholetogetfurthergetengrainedwithinthelisteners
head:
FirstVerse:neveraskingwhy/noonecoulddeny
SecondVerse:yourenotcomingdown/wereashesontheground
FirstVerse
1stStanza
Word/SyllableCount:8words/8syllables
SegmentationMethod:Nonelastlyricisaneighthnote
Line2(Full):Wejumped/neveraskingwhy
Line2(Phrase/Segment1):Wejumped
SegmentationMethod:EighthRest
Line2(Phrase/Segment2):neveraskingwhy
2ndStanza
SegmentationMethod:Nonelastlyricisaneighthnote
Line4(Full):Alove/noonecoulddeny
Line4(Phrase/Segment1):Alove
Line4:(Phrase/Segment2):noonecoulddeny
SegmentationMethod:QuarterRest
SecondVerse
FirstStanza
Line2(Full):Andnow/yourenotcomingdown
Line2(Phrase/Segment1):Andnow
Line2(Phrase/Segment2):yourenotcomingdown
SecondStanza
Line4(Full):Andnow/wereashesontheground
Line4(Phrase/Segment1):Andnow
SegmentationMethod:SixteenthRest
Line4(Phrase/Segment2):yourenotcomingdown
PROGRESSION&RHYTHM
(Isthenatureoftheprogressionandrhythmsimplisticorcomplex?Whatstheflow?)
AsisthecasewiththevastmajorityofcharttoppingPophits,thenameofthegamewhenitcomestothevocalmelodyisINFECTIOUSSIMPLICITY.
Thelistenerneedstobeabletogetengagedwithouthavingtoworkatitcoupledwithamemorablenaturethatmakesitimpossibleforthemtoshakeout
oftheirheads.
ThisisthecasewithWreckingBallsversesections.
GeneralFlow
Asyoullseebelow,bothstanzaswithinbothversesectionsarealmostidenticalinnaturefrombothaprogressionandrhythmicstandpoint,which
doesafantasticjobofgettingthemelodycompletelyengrainedwithinthelistenershead.
Essentially,eachstanzaisbrokeninto3individualsegmentsasfollows:
Segment1:Lines1&3inbothversesections
Weclawedwechainedourheartsinvain
WekissedIfellunderyourspell
Iputyouhighupinthesky
Itslowlyturnedyouletmeburn
Segment2:Thefirst2lyricsonlines2&4
Wejumped
alove
andnow
andnow
Segment3:Thelastphraseonlines2&4
neveraskingwhy
noonecoulddeny
yourenotcomingdown
wereashesontheground
LINES1&3BOTHVERSESECTIONS
Heresaperfectexampleofareallyinfectious,engagingandmemorablevocalmelody.TheAD/ACprogressioncoupledwiththealleighth
noterhythmcreatesauniquemelodythatcompletelystandsoutandeasilygetsengrainedwithinthelistenersheadduetoitssimplisticandrepetitive
nature.
Progression
Thefollowingprogressionrepeatsinthesameexactmanneronlines1&3inbothversesections:
ADADACAC
Line1/Verse1:Weclawedwechainedourheartsinvain
Line3/Verse1:WekissedIfellunderyourspell
Line1/Verse2:Iputyouhighupinthesky
Line3/Verse2:Itslowlyturnedyouletmeburn
NoticethatthefirsthalfofeachlinealternatesviaAD,whilethesecondhalfdifferentiatesjustabitbydroppingdowntoCwhilekeepingthehighAin
place.Thissubtlevariationiswhatkeepsthelineasawholefrombecomingoverlymonotonous.
Rhythm
Thealleighthnoterhythmaccentuatestheengagingandmemorablenatureoftheprogressiondetailedaboveviaitsstraightforwardrepetitive
nature.Itdoesntgetmuchmoresimplisticthanthis.
LINES2&4BOTHVERSESECTIONS
Hereonlines2and4wefindadeparturefromthenaturethatdefinedlines1and3thatprecededthem.Asyoullsee,thereare2individual
segmentsthatcompriseeachline.
Thefirstactstoprovideadramaticelementtothesectionviathemannerinwhichitinstantlybringstheflowthatdefinedlines1&3toaconclusion
whileatthesametimesettingupthememorabilityaccentuatorsecondphrasethatfollowsviaitscliffhangernature.
Progression
Segment1
Line2/Verse1:Wejumped
Line4/Verse1:alove
Line2/Verse2:andnow
Line4/Verse2:andnow
Thefirstthingtonoticeaboutthesesegmentsisthefactthattheyreveryshort,consistingofjust2lyricsand3syllables.
Second,noticethatallofthesesegmentsfollowthesameprogressionviaCED.
Andthird,noticethatthesecondlyricineachsegmentisstretchedpasseditsnormalsyllablecountviaanEDprogression.This,alongwith
theirprolongeddurationrelativetotheotherlyricswithinthesectionprovidestheselyricswithincreasedcoloringandemphasisaswellasactsinthe
mannerofacliffhangerforthememorabilityaccentuatorphrase/segmentthatfollows.
Segment2
Line2/Verse1:neveraskingwhy
Line4/Verse1:noonecoulddeny
Line2/Verse2:yourenotcomingdown
Line4/Verse2:wereashesontheground
Aswasthecasewithsegment1,allofthesegment2occurrencesfollowthesameprogressionviaEDEFD.Theonlyminorvariation
occursattheonsetofthesegmentonline4,verse2wherethereisanadditionallyric,werethatdropsdowntoaG.
KeepinmindthatsimplicityisinfulleffecthereaswellconsideringthatexceptforthefinalFDdescentattheendofthesegmenttheprogression
consistssolelyofwholeandhalfsteps.
AlsonoticethatthesesegmentsinitiallycarryonwiththesameEDprogressionthatdefinedsegment1thatprecededthem,butdifferentiate
towardtheendviatheclimbuptoFonthesecondtolastsyllable/lyricofthephrase.Thisclimbactstosetupandaccentuatetheimpactofthefinal
lyricofeachphraseviaadropdowntoD,whichalsohappenstobetherhymeroneachline.
TheresultitaccentuatesthenatureoftherhymeviatheFDprogressionandthat,coupledthemannerinwhichallofthoselinesconcludeinthe
samemannergetsitcompletelyengrainedwithinthelistenershead.
Rhythm
Segment1
Incontrasttolines1and3whereallofthelyricsareeighthnotes,thefirstlyriconlines2and4possessasixteenthnotevaluewhichisthenfollowed
bythestretchedlyricsasmentionedearlierwhichpossessalongerdottedeighthvalue.
Again,alongwiththenatureoftheprogression,thesixteenth/dottedeighthcomboactstoheightenthedramaticvibeofthestanzaviathe
initialurgencyelicitedviathesixteenthnotefollowedbytheprolongednatureofthelyricthatfollows.
Segment2
Incontrasttosegment1,thefirst4syllablesineachsegment2occurrenceconsistofarapidfiresixteenthnotedelivery.Thelastsyllable,
however,possessesthelongestnotedurationofthesectionviaaquarternotevalue.Noticehowthis,alongwiththesetupviathenatureofthe
progressionasmentionedearlieractstofurtheraccentuatethenatureandimpactoftherhyme.
REPETITION
(Howisrepetitionutilizedtogetthemelodyengrainedwithinthelistenershead?)
Asyouvebynownoticed,thereisasignificantamountofrepetitionbeingutilizedwithinWreckingBallsversesections.Theresultisthatnotonly
doestherepetitiongeteachindividualsectionengrainedwithinthelistenershead,butthefactthatbothsectionsrepeatinnearlyanidenticalmanner
helpstogetthesongasawholestuckinthelistenersheadaswellbyprovidinganalmostidenticalsectionalrevisit.
InlineRepetition
Lines1and3withinbothversesectionsconsistentirelyofeighthnotes.
Lines1and3withinbothversesectionsfollowvirtuallythesamealternatingprogressionthroughouttheentirelinewithjustaminordifference(i.e.ADAD
ACAC).
CrossLineRepetition
Lines1&3utilizethesameexactprogressionandrhythm.
Lines2&4utilizethesameexactprogressionandrhythmwithjust1minordifferenceinline4,verse2.
CrossStanzaRepetition
Stanzas1&2withinbothversesectionsrepeatinthesameexactmannerwithjustthat1minordifferenceonline4,verse2.
CrossSectionalRepetition
Verses1&2repeatinthesameexactmannerexceptfortheonedifferenceasmentionedabove.
DIVERSIFYINGFACTORS
(Whatdiversitywithinthemelodyisutilizedtopreventtherepetitionfrommakingthingstoomonotonous?)
Consideringthateachstanzarepeatsinanidenticalmannerthroughoutthesongexceptforoneoccurrence(whichwellgettoinaminute),weneedtolook
atthediversitythattakesplacewithineachindividualstanzatoseehowthingsarekeptfreshandengagingforthelistenerwhileavoidingmonotony.
Lines1&3
Consideringthattheselinesdonotcontainanysegmentationandutilizethesameeighthnoterhythmthroughout,theonlydifferentiationliesinthe
natureoftheprogression.Aspreviouslymentioned,thefirsthalfofthelinealternatesAD,whilethesecondhalfdifferentiatesjustabitviaA
C.Assubtleasitis,itsenoughtokeepthingsfrombecomingoverlymonotonous.
Lines2&4
Asyouknowbothoftheselinesarebrokeninto2individualsegments,bothofwhichdifferinnaturefromoneanotherasdescribedearlier.
Line4,Verse2,Segment2
Aspreviouslymentioned,thereisanadditionallyric,were,thatkicksthesegmentoffanddoesnotoccuranywhereelseineitherofthesections.Itis
alsotheonlytimewheretheprogressiondipsdownbrieflytoaGbeforecontinuingoninthesamefashionasalloftheotherlikesegments.
COLORADDERS&EMPHASIZERS
(Arecertainlyricssunginacertainmannertoprovideincreasedemphasisandcoloring?)
Thereare3primarycoloradder/emphasizersthatdoafantasticjobofaccentuatingthenatureofthevocalmelodywithintheversesectionsof
WreckingBall:
Line1&3Alternation
ThemannerinwhicheachlyricalternatesviaADandAConthelinecomesacrossinaunique,exceptionallyinfectiousmanner.
Lines2&4Segment1
Thenatureoftheseshortsegmentsactstobringtheprecedinglinetoanend,heightentheoveralldramaofthestanza,andactinthemannerofa
cliffhangerforthesegment/phrasethatfollows
Lines2&4Segment2FDprogression
ByclimbinguptoanFonthesecondtolastlyricoftheline,itbothsetsupandprovidestherhyminglyricthatfollowswithincreasedemphasis.
PRECHORUS
1stStanza
2ndStanza
*Correctionthelast2lyricsinbothstanzaspossesseighthanddottedeighthtiming,respectively.
LineReference
Line1:DontyoueversayIjustwalkedaway
Line2:Iwillalwayswantyou
Line3:Icantlivealierunningformylife
VocalRange
High:D
Low:F
Hereintheprechoruswefindbothstanzasconsistingof3segments(phrases)thatarerelativelyshortinnature,withthefirst2oneachline
consistingofjust5syllablesandthelastconsistingof6.
FirstStanza:Dontyoueversay/Ijustwalkedaway/Iwillalwayswantyou
SecondStanza:Icantlivealie/runningformylife/Iwillalwayswantyou
Notethatthesegmentationthatoccursaftereachofthefirst2phrasesineachstanzaisNOTbroughtaboutbyarestasyouwouldtypicallyexpect.
Instead,thelastsyllableineachphrasepossessesaneighthnotevalue,whichprovidesaprolongedfeelinginrelationtothe2sixteenthnotes
thatprecedeit.Essentiallywhatitdoesisactinthemannerofacommaafterthefirstphraseinbothstanzasaswellasaquickperiodafterthesecond:
Key
BlueFont:SixteenthNote
RedFont:EighthNote
FirstStanza
Segment1:eversay
Segment2:walkedaway
SecondStanza
Segment1:livealie
Segment2:formylife
1stStanza
Line1(Full):Dontyoueversay/Ijustwalkedaway
Line1(Phrase/Segment1):Dontyoueversay
SegmentationMethod:Eighthnoterelativetoprecedingsixteenthnotes
Line1(Phrase/Segment2):Ijustwalkedaway
Line3(Full):Icantlivealie/runningformylife
Line3(Phrase/Segment1):Icantlivealie
Line3(Phrase/Segment2):runningformylife
SegmentationMethod:QuarterNote
PROGRESSION&RHYTHM
Aswasthecasewiththeversesections,hereintheprechorusweonceagainhaveasectionthatsdefinedbyINFECTIOUSSIMPLICITY,evenmoreso
thantheverses.
GeneralFlow
FollowingtheprogressionthatdefinedtheversewhichconcludedonaD(whichwasthesecondlowestnotevalueinthesection),theprechoruspicksup
whereitleftoffonaDandthenprogressesfurtherdownwardfollowingakickoffmonotonedeliveryasyoullseebelow.
Additionally,alltypesofrepetitionarebeingutilizedthroughoutthesection,whichalongwiththesimplicitygetsthemelodycompletely
engrainedwithinthelistenersheadwithnoeffortrequired.
Progression
Segments1&2
Firstweregoingtolookatthefirst2segmentswithinbothstanzasconsideringthattheypossessthesameexactprogressionandrhythm
(whichwellgettosoon)
FirstStanza:Dontyoueversay,Ijustwalkedaway
SecondStanza:Icantlivealie,runningformylife
Noticethatthefirst2lyrics/syllableswithineachphrasearesungwithamonotoneDdelivery:
FirstStanza,Segment1:Dontyou
FirstStanza,Segment2:Ijust
SecondStanza,Segment1:Icant
SecondStanza,Segment2:running
ThebalanceofeachphrasecontinuesonwithaDonthefollowingsyllablewhichisthenfollowedbyadescendingCAprogressiontoconclude:
FirstStanza,Segment1:eversay
FirstStanza,Segment2:walkedaway
SecondStanza,Segment1:livealie
SecondStanza,Segment2:formylife
Combined,the2progressionsabovecreateanexceptionallyinfectious,memorable,andverysimplisticvocalmelodyforthelistenertosink
theirteethinto.
Segment3
Theprogressionthatdefinesthethirdandfinalsegmentofbothstanzaspossessesthesamegeneralframeworkastheprecedingsegmentswith2
primarydifferences:
Dvs.C
InsteadofstartingoutonDaswasthecasewiththefirst2segmentswithinthestanza,thethirdsegmentstartsoffonaCandthenprogressesdownwardviaBflatand
A.
DescenttoF
Tobringthestanzatoaconclusion,thethirdsegmentthenfurtherprogressesdownwardrelativetothe2precedingsegmentstoconcludeonF.Rememberthe
precedingsegmentsconcludedonanA.
Tosumupheresasidebysidecomparisonofthe2progressionsthatdefinetheprechorus:
Segments1&2:DDDCA
Segment3:CCCBflatAF
Additionally,noticetheoverallsimplicityoftheprogressions.AsidefromtheCAandAFdescent,everythingelseiseithermonotone,whole
orhalfstepinnature.
Rhythm
Aswasthecasewiththenatureoftheprogression,thenatureoftherhythmacrossall3segmentsisalsoquitesimplistic,infectiousandmemorable
aswell.
Segments1&2
Letsagainstartwiththefirst2segmentswithineachstanzaconsideringthattheyareidenticalinnature.Bothfollowanexceptionallyinfectious
EighthEighthSixteenthSixteenthEighthrhythm.Noticehowitsbrokenuptojibewiththenatureoftheprogression:
EighthEighth(MonotoneDDelivery)
FirstStanza,Segment1:Dontyou
FirstStanza,Segment2:Ijust
SecondStanza,Segment1:Icant
SecondStanza,Segment2:running
SixteenthSixteenthEighth(DCA)
FirstStanza,Segment1:eversay
FirstStanza,Segment2:walkedaway
SecondStanza,Segment1:livealie
SecondStanza,Segment2:formylife
Segment3
Initiallythethirdandlastsegmentofeachstanzastartsoffwiththesamerhythmaswasthecasewiththefirst2segments:
EighthEighth(MonotoneCDelivery)
FirstStanza:Iwill
SecondStanza:Iwill
Thebalanceofthesegmentiswherethingsgetchangedupfromthepreceding2.Insteadofutilizingasixteenthsixteentheighthrhythm
onthedownwardprogression,itinsteadpossessesasixteentheightheighthdottedeighthrhythm.Assubtleasthechangeis,itactstoslow
thingsdowntobringthestanzatotheconclusionandprovideadditionaldifferentiationfromthe2segmentsthatprecededit.
REPETITION
Aswasthecasewiththeversesectionsofthesong,herewithintheprechoruswealsohaveavastamountofrepetitionbeingutilizedinordertoget
thesectioncompletelyengrainedwithinthelistenershead.Notethefollowing:
InlineRepetition
Segments1and2onlines1and3possessthesameexactprogressionandrhythm.
CrossLineRepetition
Lines1and3repeatinthesameexactmanner.
Lines2and4possessaverysimilarprogressionstyledframeworkaslines1and3.
Lines2and4alsokickoffwiththesamerhythmaslines1and3.
Bothstanzasrepeatinthesameexactmanner,bothfromarhythmicandprogressionstandpoint.
Prechoruses1and2areidenticalinnaturewhileprechorus3isahalfprechorus.Notehoweverthatthenatureofthemelodyorrhythmdoesnotchange.
DIVERSIFYINGFACTORS
Consideringthatsegments1and2withinbothstanzasrepeatinthesameexactmanner,itssegment3thatprovidesthediversityfrombotha
progressionandrhythmicstandpoint.Butaspreviouslymentioned,despitethedifferences,thegeneralframeworkremainssimilartotheother2
inordertokeepthefamiliarity/memorabilityfactorintact.
Thereare2primarycoloradder/emphasizersthataccentuatethenatureofthevocalmelodywithintheprechorussections:
Segment1&2Progression&Rhythm
Theentirenatureoftheserepetitivesegmentsareexceptionallycolorful,infectious,engagingandmemorable.
Segment3
Itsalsothecasewiththethirdsegmentaswell,butnoticehowthesloweddownnatureoftherhythm,droptolowernotevaluescoupledwiththemannerinwhichCyrus
singsitaccentuatesthesolemnyetlovingIwillalwayswantyoumeaningofthelyrics.
CHORUS
1stStanzaChoruses1,2&3
2ndStanzaChoruses2&3
LineReference
1stStanza
Line1:Icameinlikeawreckingball
Line2:Ineverhitsohardinlove
Line3:AllIwantedwastobreakyourwalls
Line4:Allyoueverdidwasbreaeaeakme
Line5:Yeahyou,youwreeeckme
SecondStanza:Choruses2&3
Line2:YeahIjustclosedmyeyesandswung
Line3:Leftmecrouchinginablazingfall
VocalRange
High:Bflat
Low:F
Hereinthechorus(payoff)ofthesongthefirstthingthatyoullnoticeisthatthefirst3linesofthesectionprovidecontrastagainstthesegments
thatdefinedtheprechorusduetotheirlongernature(i.e.8to9syllablesinthechorusvs.5to6intheprechorus).
Lines4and5thatfollow,however,providecontrastagainstthefirst3viatheirsegmentationintoshorterphrasesasfollows:
Line4:Allyoueverdidwas/breaeaeakme
Line5:Yeahyou/youwreeeckme
Thissegmentationachievesthefollowing:
Itprovidesdifferentiationfromthefirst3linesthatprecededthem,makingforamoreengaginglisteningexperience.
Itaccentuatesthememorabilityfactorviatheshorternatureofthephrases(i.e.shorteriseasiertoremember).
Itaddstothetension/dramafactorwithinthesectionviathecliffhangereffectthatoccursatthetailendofeachofthefirstsegments.
Additionally,noticethatthesyllablecountandsegmentationmethodsremainconstantthroughoutbothstanzas.
1stStanza(AllChoruses)
SegmentationMethod:DottedEighthRest
Line4(Full):Allyoueverdidwas/breaeaeakme
Line4(Phrase/Segment1):Allyoueverdidwas
SegmentationMethod:LastlyricisprolongedviaQuarter+Sixteenthtiming
Line4(Phrase/Segment2):breaeaeakme
Line5(Full):Yeahyou/youwreeeckme
Line5(Phrase/Segment1):Yeahyou
Line5(Phrase/Segment2):youwreeeckme
2ndStanza(Choruses2&3)
SegmentationMethod:EighthReset
Line4(Full):Allyoueverdidwas/breaeaeakme
Line4(Phrase/Segment1):Allyoueverdidwas
SegmentationMethod:LastlyricisprolongedviaQuarter+Sixteenthtiming
Line4(Phrase/Segment2):breaeaeakme
Line5(Full):Yeahyou/youwreeeckme
Line5(Phrase/Segment1):Yeahyou
Line5(Phrase/Segment2):youwreeeckme
***Inthesectionsthatfollowweregoingtolookexclusivelyatthefirststanzaofthechorusconsideringthatthesecondstanzapossesses
virtuallythesamecharacteristicsasthefirst***
PROGRESSION&RHYTHM
GeneralFlow
FollowingtheprogressionthatdefinedtheprechoruswhichconcludedonanF(whichwasthelowestnotevalueofthesection),thevocalmelodywithin
thechorusinitiallykicksuptoBflatfromwhichitthenprogressesthrough3primarygroupingsasyoullseebelow.Notethatthesegroupsall
possesscharacteristicsthatdifferinnaturefromoneanotheryetalsopossesssimilaritiesaswellwhichactstoaccentuatetheengagementand
memorabilityfactorsofthesectionasawhole.
Progression
Hereweregoingtotakealookatthe3groupingsofprogressionsthatpertaintobothstanzaswithinthechorus:
Group1:Line1(Theleadinlineofthesection)
Group2:Lines2&3(Theselinesrepeatinvirtuallythesamemanner)
Group3:Lines4&5(Theselinesutilizesegmentationandpossesssimilarcharacteristicstooneanotheraswell)
Group1:Line1
TheMonotoneLeadIn:Icameinlikea
Followingthemoreserious/sombertoneoftheprechorusthatconcludedbydescendingdowntoanF,thechoruskicksoffbyleapinguptoBflatviaa
monotonenaturedsolovocaldeliveryonthelyricsIcameinlikea.Noticethatthisdeliveryachievesthefollowing:
Itprovidesstrongcontrasttothenatureoftheprogressionthatdefinedtheprechorusthatprecededit.
ItprovidestheperfectplatformforCyrussmoreaggressivevocaldeliverytoshinewhichjibeswiththenatureofthelyrics.
Itperfectlysetsupthepayofflyricsthatfollowandenablesthemtostandoutandresonateviathechangeupinthenatureofitsprogression.
Allinall,thesolomonotonenatureofthevocaldeliverycoupledwiththeaggressivemannerinwhichCyrussingsitshocksthelistenerintothe
sectionandfullycommandstheirattention.
ThePayoffLyrics:WreckingBall
Followingthemonotonesetup,thetitle(payoff)lyricsofthesectionfollowinachangedupmannerwhichenablesthemtostandoutandresonatedue
tothecontrasttothenatureofthedeliverythatprecededthem.Notethefollowing:
BothlyricsfollowadescendingprogressionviaBflatAAG,whichcontraststhemonotoneBflatdeliverythatprecededit.
Bothlyricsaresungwith2differentnotevalueswhichprovidesthemwithenhancedcoloring.ThelyricwreckingspansBflatandG,whileballisextended
pastitsnormalsyllablecountviaAGtoconclude.
Group2:Lines2&3
Hereweregoingtotakeanindividuallookatthe2independentfacetsthatcomprisebothlines.
Facet1:FBflatAGF
Line2:Ineverhitso
Line3:AllIwantedwasto
Theselyricsrepresentthefirsthalfofbothlinesandareidenticalinnatureexceptfor1minordifference.Notethefollowing:
Line2kicksoffwithaninfectiousFBflatleap.Thisisalsothecasewithline3aswellexceptforthefactthattheresadoubleFattheonsetviathelyricsallI.
ThebalancethenfollowsasimplisticdescendingprogressionviaBflatAGFtoconclude.
Facet2:BflatAA(G)
Line2:hardinlove
Line3:breakyourwalls
Theselyricsrepresentthesecondhalfofbothlinesandarealmostidenticalinnatureaswell.Notethefollowing:
FollowingthefirsthalfthatconcludedbydescendingdowntoF,thefirstlyricthatfollowsoneachline(hardandbreak)leapsbackuptoBflatattheonset.
The2lyricsthatfollowoneachline(inloveandyourwalls)followbydescendingtoadoubleAdelivery.Notehoweverthatthelyricwallsonline3isextended
pastitsnormalsyllablecounttofurtherdescenddowntoGtoconclude.Thisisalsothecasewiththelyricsswungandfallinthesecondstanzaaswell.Notice
howthisAGprogressionisinlinewiththeAGdescentthatoccurredattheendofline1onthelyricball,whichhelpstoaccentuatethememorabilityfactorofthe
section.
Group3:Lines4&5
Aswesawinthelinelengthandsegmentationsectionabove,lines4and5arebrokeninto2individualsegmentsasfollows:
Line4Segment1:Allyoueverdidwas
Noticethatline4initiallystartsoffinvirtuallythesamemannerasthefirstfacetwithinlines2and3thatprecededitviaanFFBflatAGFprogression.
Line4Segment2:breaeaeakme
Themannerinwhichline4concludes,however,iswhereitdiffersfromthelinesthatprecededit.InsteadofendingviaaBflatAA(G)progression,itinstead
descendsviaBflatAGandthenprogressesbackuptoBflattoconclude.
InregardtotheBflatAGprogression,noticethatthisdefines1ofthe2mostcolorfullyricswithinthesectiontheextendedbreaeaeak.Alsonoticehowit
setsupthefinallyricoftheline,me.
Asforthelyricme,thefactthatitleapsbackuptoBflatfromtheGthatprecededittoconcludethelineisoutoftheordinaryandasaresultdoesafantasticjobof
puttingauniquespinonthesectionandtakingitsinfectiousnaturetothenextlevel.Thereasonisduetothefactthatweresousedtohearingasection,lineor
individualsegmentconcludebyprogressingDOWNWARD(i.e.toanF,forexample)toprovidearesolve.Instead,theleapuptoBflatactstoheightentheevocative
natureofbothlyricswithinthesegmentbreakme.
Line5Segment1:Yeahyou
DirectlyfollowingtheBflatleapthatprecededit,weonceagainseeadropdowntoFonthe2lyricsthatfollow,yeahyou.Noticethatthisisyetanothersetupand
precursortothefinalcolorfullyricsofthesectionthatfollows.
Line5Segment2:youwreeeckme
Herewehaveavirtualrepeatoftheprogressionthatdefinedtheothersuperinfectiouslyricsbreaeaeakmeonthepreviousline.Theonlydifferenceisthatthereis
anadditionalFattheonsetviathelyricyou.
ThatfinalleapuptoBflatonthelyricmethenactstoconcludethesectiononaheightenedemotionallevelwithoutthetypicalresolvethatwereusetohearing.As
previouslymentioned,thisputsauniquespinonthesectionandalsoactstoaccentuatetheinfectiousnatureofthesongasawhole.
Rhythm
Group1:Line1
TheRapidFireSixteenthNoteLeadIn:Icameinlikea
TheleadinlineofthechoruspossessesarepetitivesixteenthnotedeliverythatalongwiththemonotonenatureofCyrussdeliveryactstoaccentuatetheintensenature
ofhervocalandgrabthelistenersattentionviathecontrastthatitprovidestotheprechorus,whichconsistsprimarilyofeighthnotes.
Italsoactstosetupandprovidecontrasttothedifferingnatureofthewreckingballpayofflyricsthatfollowasyoullseebelow.
TheProlongedPayoffLyrics:WreckingBall
Followingtherapidfiresixteenthnotesetup,thepayofflyricswreckingballtakeonamoresoaringnaturebroughtaboutbythefollowing:
Wreckingconsistsofdottedeighthsixteenthnotetiming.
Ballisstretchedandprolongedviadottedeighthsixteenthtimingaswell.
Noticethatconsideringthefactthatinginwreckingisasixteenthnotethatitimmediatelyleadsintoballthatfollows.Theresultitbasicallyties
bothlyricstogetherandaccentuatestheoverallsoaringnatureofthetitlelyricsasawhole.
Group2:Lines2&3
Hereweregoingtoonceagaintakeanindividuallookatthe2independentfacetsthatcomprisebothlines.
Facet1:RapidFireSixteenthNotes
Line2:Ineverhitso
Line3:AllIwantedwasto
Noticehowthisrhythmisidenticaltothatoftheleadintothesectionaspreviouslydescribed.
Facet2:ProlongedNature(DottedEighthSixteenthDottedEighthSixteenth)
Line2:hardinlove
Line3:breakyourwalls
Herewehavevirtuallythesamerhythmthatwesawoccurringonthetitlelyricsonline1.Theprimarydifferenceisthatsincethelyricloveisnt
stretchedoutlikeballorwalls,itconsistsofaquarternoteasopposedtoadottedeighthsixteenthcombo.
Group3:Lines4&5
Onceagainlines4and5arebrokeninto2individualsegmentsasfollows:
Line4Segment1:Allyoueverdidwas
Thislinekicksoffwitharapidfiresixteenthnotedeliveryliketheothers,butdiffersontheverylastlyric,was.Insteadofpossessinga
sixteenthnotevalue,itinsteadconsistsofaquarter+asixteenth.Thisprolongednatureactsinthemannerofacommaandalsoactstosetupas
wellasheightenthetensionandanticipationleadingintothelyricthatfollows,breaeaeakme(i.e.allyoueverdidwas<DIDWHAT???>wait
foritbreaeaeakme.).
Line4Segment2:breaeaeakme
Aswesawwithintheprogressionsection,themannerinwhichthelyricbreakisgivenauniquetwistviabreaeaeakactstotaketheinfectious
natureofthesection,andthesongtothenextlevel.Alongwiththenatureoftheprogression,thiswasfurtheraccentuatedviatherepetitiveeighth
eightheighthrhythmonbreaeaeakandresonatesatthetailendbylingeringonaquarternoteonthelyricme.
Line5Segment1:Yeahyou
Incontrasttotheeighthandquarternotesthatprecededthem,these2lyricsconsistofrapidfiresixteenthnotesandarefollowedbyadotted
eighthrest.Aswasthecasewiththelyricwasonline4,thepauseafteryouonline5actstosetupandheightenthetensionandanticipation
leadingintothefinallyricsofthesection.
Line5Segment2:youwreeeckme
Asidefromtherapidsixteenthnoteleadinonthelyricyou,wehavethesamerhythmtranspiringontheotherultrainfectious/uniquelyricsofthe
section,wreeeckmeaswehadonbreaeaeakmethatprecededit.
REPETITION
Aswasthecasewiththeverseandprechorussections,wehaveaplethoraofrepetitionbeingutilizedwithinthechorussectionsaswellwhichhelpsto
getthatultrainfectiousmelodyengrainedwithinthelistenershead.
InLineRepetition
Lines24allhave2occurrenceswherethereisaleapfromFuptoBflatfollowedbyadownwardprogression.Notethatallofthedownward
progressionsarenearlyidenticalinnatureexceptforthedoubleAvs.thesingleA(i.e.BflatAAGFvs.BflatAGF).
CrossLineRepetition
Lines14allstartoffwitharapidfiresixteenthnotedelivery
Icameinlikea
Ineverhitso
AllIwantedwasto
Allyoueverdid
Lines24allstartoffwithvirtuallythesameprogression
Ineverhitso(FBflatAGF)
AllIwantedwasto(FFBflatAGF)
Allyoueverdid(FBflatAGF)
Lines13allendinvirtuallythesamemanner
wreckingball(BflatAAG/DottedEighthSixteenthDottedEighthSixteenth)
hardinlove(BflatAA/DottedEighthSixteenthQuarter)
breakyourwalls(BflatAAG/DottedEighthSixteenthDottedEighthSixteenth)
Lines4&5concludeinthesameexactmanner
breaeaeakme(BflatAGBflat/EighthEighthQuarter)
wreeeckme(BflatAGBflat/EighthEighthQuarter)
Bothstanzasrepeatinvirtuallythesameexactmannerwithjustsomeveryminordifferences.
Thefirststanzawithineachofthe3chorusoccurrencesrepeatsinthesameexactmanner.
Thesecondstanzainchoruses2and3repeatsinthesameexactmanner.Notethatchorus1doesnotcontainasecondstanza.
DIVERSIFYINGFACTORS
The3Groups
Asweveseen,eachstanzaofthechorusconsistsof3groupsthatdifferinnaturefromoneanother.Torecap,thesegroupsare:
Group1:Line1
Group2:Lines2&3
Group3:Lines4&5
Additionaldifferentiation(assubtleassomemightbe)utilizedthroughoutthesectionincludes:
Line2inthefirststanzaconcludesviaaBflatAAprogression.Thisdiffersslightlyfromthemannerinwhichlines1and3endinbothstanzasaswellasits
correspondingline2inthesecondstanza,allofwhichdropdowntoGattheveryend(BflatAAG).
Line2inbothstanzaskicksoffwithasinglelyricthatisanFnoteandconsistsofasixteenthnotevalue.Lines3and4,however,bothstartwith2lyricsthatareF
notesandpossesssixteenthnotetiming.
Asawhole,thenatureofthevocalmelodywithinthechorusisexceptionallycolorfulandinfectious.Therewereafewkeyelements,however,
thathelpedtoreallyputitoverthetop:
BreaeaeakMe/WreeeckMe
Firstandforemost,themannerinwhichtheselyricsaresungaspreviouslymentionedconcludeseachstanzaandthesectionasawholeinan
exceptionallyunique,infectiousandmemorablemanner.Thefactthattheyrepeatbacktobackonlines4and5inbothstanzasreinforcesit
withinthelistenersheadandmakesitimpossibleforthemtoshakeoff.
TheSection/StanzaLeadIn
Thesolo,rapidfiresixteenthnotemonotonedeliveryofIcameinlikeakicksthesectionoffinanintensemanneralongwiththenatureof
Cyrussvocaldelivery.Italsoperfectlysetsupthetitle(payoff)lyricsthatfollowasmentionedearlier.
TheLeap/DescentProgressions
ThemannerinwhichlinesleapfromFtoBflatandthenprogressdownwardisalsoexceptionallyinfectious,engagingandmemorable.
TheRapidFire/ProlongedCombo
Thecontrastbetweenhowcertainlineskickoffwithasixteenthnoterapidfireleadinfollowedbyamoresoaring/prolongedprogressionto
concludeprovidesthesectionasawholewithanexceptionallyinfectiousandengagingnature.
TheCliffhangers
Theprolongednatureofthelyricwasonline4aswellastherestthatfollowsyouonline5acttoheightenthetensionandanticipationleading
intotheultrainfectiousbreaeaeakmeandwreeeckmelyricsthatfollow.
LineEndingStretchedLyrics
Noticehowmostofthelyricsthatconcludelineswithinthesectionaresinglesyllablelyricsthatarestretchedpasttheirnormalsyllablecount
over2notestoprovidesubtlyenhancedcoloringtothesection,whichultimatelyisanadditionalfactorinaccentuatingthesectionsoverallinfectious
nature:
Line1,firststanza(ball):AG/dottedeighthsixteenth
Line3,firststanza(walls):AG/dottedeighthsixteenth
Line1,secondstanza(ball):AG/dottedeighthsixteenth
Line2,secondstanza(swung):AG/dottedeighthsixteenth
Line3,secondstanza(fall):AG/dottedeighthsixteenth
BRIDGE
1stStanza
2ndStanza
LineReference
1stStanza
Line1:Inevermeanttostartawar
Line2:Ijustwantedyoutoletmein
Line3:Andinsteadofusingforce
Line4:IguessIshouldveletyouin
2ndStanza
VocalRange
High:Bflat
Low:C
Hereinthebridgethefirstthingtotakenoteofisthatthegenerallengthofthelineswithinthesectionareverysimilartothatofthechorus.
Alsonoticethatthereisntanyinlinesegmentationbeingutilizedasweveseenelsewherewithinthesong.Eachlinerunstheentirewaythrough
andconcludesonarest.
Additionally,theprimarydifferencebetweenbothstanzaswithinthebridgeisthatline3hasbeenomittedfromthesecondstanza.
1stStanza
SegmentationMethod:DottedQuarterRest
SegmentationMethod:Quarter+SixteenthRest
2ndStanza
SegmentationMethod:Eighth+DottedHalfRest
PROGRESSION&RHYTHM
Whatsreallyinterestingaboutthebridgeisthateachlinepossessesanexceptionallysimilarprogressionandrhythmicnatureasthefirstline
withinthechorus.Heresasidebysidecomparisonforreference:
BridgeLine1
ChorusLine1(BothStanzas)
Keysimilarities:
Bothstartoffwitharapidfiresixteenthnotedeliveryoverthefirsthalfofeachlineandareprimarilymonotoneinnatureaswell.
ThesecondhalfofeachlineisidenticalfromaprogressionstandpointandALMOSTfromarhythmicstandpointaswell.
KeyDifferences:
Firstandforemost,thefirsthalfofthechoruskicksoffwithamonotoneBflatdeliveryandthenprogressesdownwardviaBflatAAG.Incontrast,thefirst
halfofeachlinewithinthebridgeisnotcompletelymonotoneinnature(thoughmostly)andresidesprimarilyinFbeforeleapinguptoBflattostartthe
downwardprogression.
Thefirstandthirdlyricswithinthesecondhalfofeachlinewithinthebridgeare1sixteenthnoteshorterthanthesamenoteswithinthechorus.
Combined,thesimilaritieshammerthememorabilityfactorofthesonghomewhilethedifferentiationpreventsthesongasawholefrombecomingoverly
monotonous.AlsorememberthatthemannerinwhichCyrussingsbothofthesesectionsiscompletelydifferentaswell(referencethe
Instrumentation/Music/Vocalsectionforspecifics).
Wanttotrythetruelitmustesttoseehowsimilartheyare?Trysingingthelyricsofthechorusviathemelodyandrhythmwithinthe
bridgeandseehowtheyjibe!
Progression
Asyoucanseeinthegraphsandnotationabove,eachlinewithinbothstanzasofthebridgearealmostidenticalinnaturefromaprogression
standpoint.
Essentially,eachlineisdividedinto2distinctsegments:
Therapidfire/monotonesquefirsthalf
Theprolongedsecondhalfwithavariedprogression
FirstHalf
ThefirsthalfofeachlinewithinthebridgeconsistsofamonotoneoralmostmonotoneFdeliveryasfollows:
FirstStanza
Line1(EFFFF):Inevermeantto
Line2(CEFFFF):Ijustwantedyouto
Line3(FFFF):Andinsteadof
Line4(CFFFF):IguessIshouldv
SecondStanza
Line1(FFFFF):Inevermeantto
Line2(CEFFFF):Ijustwantedyouto
Line3(CFFFF):IguessIshouldve
Asyoullseebelow,themostlymonotonenatureofthesesegmentsperfectlysetsupthesecondhalfofthelinethatfollows.
SecondHalf
FirstStanza
Line1(BflatAAG):startawar
Line2(BflatAAG):letmein
Line3(BflatAAG):usinforce
Line4(BflatAAG):youin
SecondStanza
Line1(BflatAAG):startawar
Line2(BflatAAG):letmein
Line3(BflatAAG):youin
PuttingThemTogether
Whenyouputbothofthesesegmentstogether,youcanseehowthecontrastbetweenthe2reallyaccentuatesthenatureofthelineinasimilarmanner
thatwasindicativeofthechorus.HereitsbroughtaboutviatheleapfromFinthefirsthalfuptoBflatinthesecondandthenbackdown
again.
Bygoingupinregisteritenablestheanswersegmentofeachlinetoreallyjumpoutatthelistenerandasaresultgreatlyaccentuatetheengagement
andinfectiousnatureofthesectionasawhole.Forexample:
Inevermeantto(EFFFF)
younevermeanttowhat???
STARTAWAR(BflatAAG)
Heresanotherone:
Ijustwantedyouto(CEFFFF)
youjustwantedmetowhat???
LETMEIN(BflatAAG)
Yougetthepicture
Rhythm
Aspreviouslymentioned,thenatureoftherhythmontheotherhandisalmostIDENTICALtothatofthefirstlineofthechorus:
Thefirsthalfofeachlinekicksoffwitharapidfiresixteenthnotedelivery
Insteadoffollowingadottedeighthsixteenthdottedeighthsixteenthrhythmonthesecondhalfaswasindicativeofthefirstlinewithinthechorus,itinstead
followsaVERYCLOSEeighthsixteentheighthsixteenthrhythm.
REPETITION
Asyoucansee,eachlinewithinbothstanzasofthebridgeareexceptionallysimilartooneanotherasfollows:
CrossLineRepetition
Thefirsthalfofeachlineconsistsofarapidfiresixteenthnotedelivery.
Thesecondhalfofeachlineconsistsofaneighthsixteentheighthsixteenthrhythm.
ThefirsthalfofeachlinefollowsaprimarilymonotonenaturedFdelivery.
ThesecondhalfofeachlinefollowsaBflatAAGprogression.
Line2inbothstanzasrepeatsinthesameexactmanner.
Thelastlineinbothstanzasrepeatsinthesameexactmanneraswell.
Ingeneral,allofthelineswithinbothstanzaspossessvirtuallythesamenature.
DIVERSIFYINGFACTORS
Theprimarydiversifyingfactorsoccurattheonsetofthefirsthalfofeachline.Assubtleasthedifferentiationis,itdoeshelptopreventthe
sectionfrombecomingovertlymonotonous.
FirstStanza
Line1:StartsonEbeforeprogressinguptoF.
Line2:StartsoffviaCEbeforeprogressinguptoF.
Line3:MonotoneF.
Line4:StartsonCbeforeprogressinguptoF.
SecondStanza
Line1:MonotoneF.
Line2:StartsoffviaCEbeforeprogressinguptoF.
Line3:StartsonCbeforeprogressinguptoF.
Astonotbeoverlyredundant,referencetheprecedingchorussectionconsideringthesimilarnaturebetweenbothofthesesections.
Theonecoloradderthatthechorusdoesnotpossessthatisfoundwithinthebridge,however,istheleapfromFtoBflatatthe
transitionpointbetweenbothhalvesofeachline.Notonlydoesitincreasetheoverallengagementfactorandinfectiousnatureofthesection,
butitalsoaccentuatestheevocativenatureofCyrussvocaldeliveryaswell.
Lyrics BacktoTop
Lyrics/HarmonicProgression/Word&SyllableCount
Key
(*):Indicatesachordthatoccursbeforethebeginningoftheline
(**):Indicatesachordthatoccursontherestprecedingthehighlightedlyric
BlueFontOnLyric:Indicateswherethechordchangetakesplace
(Parethesis):Indicatesachordthatcarriesoverfromthepreviousline
VERSE1
DmF(8words/8syllables)
CGm(5words/6syllables)
Wejumpedneveraskingwhy
Alovenoonecoulddeny
PRECHORUS
BflatDm(8words/10syllables)
DontyoueversayIjustwalkedaway
FBflat(5words/6syllables)
Iwillalwayswantyou
(Bflat)Dm(9words/10syllables)
Icantlivealierunningformylife
FBflat(5words/6syllables)
Iwillalwayswantyou
CHORUS
1stStanzaAllChoruses
F(7words/8syllables)
Icameinlikeawreckingball
*CDm(7words/8syllables)
Ineverhitsohardinlove
*BflatF(8words/9syllables)
AllIwantedwastobreakyourwalls
*CDmBflat(7words/*10syllables)
Allyoueverdidwasbreaeaeakme
*BflatDmBflat(5words/*7syllables)
Yeahyou,youwreeeckme
2ndStanzaChoruses2&3
F(7words/8syllables)
*CDm(8words/8syllables)
YeahIjustclosedmyeyesandswung
*Bflat(7words/9syllables)
Leftmecrouchinginablazingfall
*CDmBflat(7words/*10syllables)
*BflatDmBflat(10words/*10syllables)
VERSE2
Andnowyourenotcomingdown
Andnowwereashesontheground
BRIDGE
*BflatDm(7words/8syllables)
Inevermeanttostartawar
(Dm)F(8words/9syllables)
Ijustwantedyoutoletmein
(F)Am7(5words/6syllables)
Andinsteadofusingforce
(Am7)Bflat(7words/8syllables)
IguessIshouldveletyouin
(Bflat)Dm(7words/8syllables)
(Dm)F(8words/9syllables)
(F)Asus4(7words/8syllables)
Note:
*Indicatesadditionalsyllablesviathestretchedlyricsbreaeaeakandwreeeckwithininthechorus.
LYRICTYPES
Thissectionhighlightsthetypesoflyricsandphrasesusedthroughouteachsectionofthesong.Noticethatsomeofthelyricsandphrasesappearinmore
thanonecategory.
Detail/ImageryLyrics&Phrases
(Theselyricspaintapictureinyourmindandprovidedetailastowhatshappeningwithinthestory,literally,metaphorically,orboth)
Examplesoflinesthatcontaindetailandimageryinclude:
Verse1
Verse2
PreChorus
Chorus
Allyoueverdidwasbreakme
Bridge
Place&TimeLyrics&Phrases
(Theselyricsreflectplacesandthetimelinewithinthestory)
Verse1
None
Verse2
Iputyouhighupinthesky(Place)
Andnowwereashesontheground(Place)
PreChorus
DontyoueversayIjustwalkedaway(Time)
Iwillalwayswantyou(Time)
Chorus
None
Bridge
Inevermeanttostartawar(Time)
Ijustwantedyoutoletmein(Placemetaphoricallyspeaking)
Emotional/StateOfMindBasedLyricsandPhrases
(Theselyricsandphrasesshedlightonthecharactersstateofmindandconveyemotioneitherdirectlyorindirectlyenablingyoutoconnectwith
whatthecharactersarefeelingorgoingthroughonanemotionallevelwithinthestory)
PrettymucheverylinewithinWreckingBallishighlyemotionalandevocativeinnature.ReferencetheStoryFlow&Meaningsectionofthereportfor
specificdetails.
ActionBasedLyrics&Phrases
(Theselyricsgetyouintowhatthecharacterswithinthestoryhavedone,aredoingorwilldo)
Verse1
Verse2
Iputyouhighupinthesky(Notliterally)
Itslowlyturnedyouletmeburn(Thenatureoftherelationship)
PreChorus
Chorus
Bridge
Character/PersonBasedLyrics&Phrases(IncludingPronouns)
(Theselyricsshowhowallofthecharacterswithinthestoryaredefined)
RedFont:1stPerson
BlueFont:2ndPerson
GreenFont:3rdPerson
BoldBlack:Specificpersonorgroup
VERSE1
Alovenoonecoulddeny
PRECHORUS1
Iwillalwayswantyou
Iwillalwayswantyou
CHORUS1
1stStanza
VERSE2
Andnowyourenotcomingdown
BRIDGE
1stStanza
2ndStanza
RHYMING&REPETITIVELYRICS
Thehighlightedlyricindicatestherhymer.Insomecasesitsafulllyric,andinothercasesitmaybejustoneletterorsyllableorthemannerinwhich
alyricissung.
Asyoullseebelow,WreckingBallmakesgreatuseofacombinationofinline,crossline,crossstanzarhymingaswellaslyricalpatternandsectional
rhymingschemerepetitionthataidsincreatinganexceptionallyengagingandmemorablelisteningexperience.
Key:
GreenFont:RepetitiveLyrics
RedFont:InLineRhyming
BlueFont:CrossLineRhyming
Verse1
Line2:Wejumped,neveraskingwhy
Line4:Alove,noonecoulddeny
Hereinthefirstversewehaveacombinationofinlinerhyming,crosslinerhymingandinline/crosslinelyricalrepetition:
InLineRhymers
Noticethattheinlinerhymingoccurssolelyonlines1and3:
Line1:chained/vain
Line3:fell/spell
Eventhoughtherearentaspectsaboutlines1and3thatrhymewithoneanother,thenatureoftheRHYMINGSCHEMEfostersrepetitionbetweenthe2
whichhelpstogetthesectionasawholeengrainedwithinthelistenershead.
CrossLineRhymers
Now,letslookatlines2and4.Noticethatthereisntanyinlinerhymingbutthelastlyriconeachlinerhymeswithoneanotherasfollows:
Line2:why
Line4:deny
RepetitiveLyricalPatterns
Andfinally,noticethelyricalrepetitiongoingonwithinthesection,specificallyviathelyricwe:
Wekicksofflines1,2and3.
Wealsooccurstwiceonline1.
Verse2
Hereinthesecondversewealsohaveacombinationofinlinerhyming,crosslinerhymingandincrosslinelyricalrepetition:
InLineRhymers
Noticethattheinlinerhymingonceagainoccurssolelyonlines1and3:
Line1:high/sky
Line3:turned/burn
Additionally,noticethatwehavethesamerhymingschemeaswedidwithinthefirstverse.
CrossLineRhymers
Aswasthecasewithinthefirstverse,weonceagainhavetherhymeoccurringonthelastlyricoflines2and4:
Line2:down
Line4:ground
Incontrasttothefirstverse,hereinthesecondversethereisntanyinlinelyricalrepetitiontobefound.However,thereiscrosslinerepetition.Both
lines2and4kickoffwiththelyricsandnow.
PreChorus
Line1:Dontyoueversay,Ijustwalkedaway
Line3:Icantlivealie,runningformylife
Hereintheprechoruswealsohaveinlinerhymingaswellaslyricalrepetitionasfollows:
InLineRhymers
Aswasthecaseintheversesections,theinlinerhymingoccursonlines1and3:
Line1:say/away
Line3:lie/life
Incontrasttotheversesections,hereintheprechoruslines2and4repeatinthesameexactmannerviaIwillalwayswantyou.
Chorus
FirstStanza
Line4:Allyoueverdidwas,breaeaeakme
Thefirstthingthatyoullnoticeaboutthechorusisthatthereisntanyinlinerhyminggoingon.Whatwehavethoughisacombinationofcrossline
rhyming,crossstanzarhymingandlyricalrepetitionasfollows:
CrossLineRhyming
Firststanza,lines1&3:ball/walls
Secondstanza,lines1&3:ball/fall
CrossStanzaRhyming
Ballandwallsonlines1&3inthefirststanzarhymewithballandfallonlines1&3withinthesecondstanza
Ikicksofflines1and2inthefirststanza
Allkicksofflines3and4inthefirststanza
meconcludeslines4and5inthefirststanza
mealsoconcludeslines4and5inthesecondstanza
Bridge
FirstStanza
SecondStanza
Hereinthebridgewehaveacombinationofcrosslinerhyming,crossstanzarhymingandlyricalpatternrepetitionaswell:
CrossLineRhyming
Firststanza,lines1&3:war/force
CrossStanzaRhyming
Warandforceonlines1&3inthefirststanzaandwaronline1inthesecondstanza.
Ikicksofflines1,2and4inthefirststanza.
Ikicksofflines1,2and3inthesecondstanza.
Thelyricsletandinoccurinthesameplaceonlines2and4inthefirststanza.
Thelyricsletandinoccurinthesameplaceonlines2and3inthesecondstanza.
Lines2and4inthefirststanzarepeatinthesameexactmanneronlines2and3inthesecondstanza.
Inlinerhymingrecap
Inlinerhymingonlyoccurredonlines1and3inbothversesectionsaswellastheprechorus.Notethatitoccurredinthesamemanner(placementnot
theactualnatureoftherhyme)inbothversesectionswhichaccentuatestheengagementandmemorabilityfactors.
Crosslinerhymingrecap
Crosslinerhyming(withtheexceptionofpurerepetitionwellgettothatinasecond),occurredonlines2and4intheversesectionsandwaschanged
upinthechoruswhereitoccurredonlines1and3inbothstanzasaswellaslines1and3inthefirststanzaofthebridge.
Crossstanzarhymingrecap
Crossstanzarhymingoccurredonelines1and3inbothstanzasofthechorus,aswellasline1inbothstanzasofthebridge(itsactuallyarepeatofthe
line).
LyricalPatternRepetitionRecap
Lyricalpatternrepetitionoccurredineachsectionofthesongasdetailedabove.
SONGTITLE
Whengaugingtheeffectivenessofasongstitle,thereareanumberoffactorsthatyouneedtoconsider:
1. Is it unique/clever/powerful or run-of-the-mill?
2. Does it pique your interest enough to take a listen to the song?
3. Is it memorable?
4. How does it work within the lyrical framework of the song?
Isitunique/clever/powerfulorrunofthemill?
Duringthethirdquarterof2013charttoppingPopsongtitlesfellinto1of2categoriesthosethatareunique,cleverandorpowerful(e.g.HolyGrail,
Roar&MySongsKnowWhatYouDidInTheDark),andthosethataremoreuniversal/genericinnature(e.g.INeedYourLove,LoveSomebody&We
CantStop).
IthinkthatyouwouldhavetoagreethatWreckingBallcertainlyfallsintotheupperechelonofthefirstcategoryofsongtitles.
Bytheverymentionofitsname,wreckingballinstantlyconveyspowerthatgrabstheprospectivelistenersattention.Itsalsouniqueandcleverinthe
mannerinwhichitsutilizedtoconveyalovegonewronglyricaltheme.
Doesitpiqueyourinteresttotakealisten?
Absolutely,andon2keylevels:
First,justthetitleasastandalonepiquesyourinteresttohearwhatthesongisallabout.Whatcouldwreckingballpossiblyrelateto?
Second,whenyoutietheartist,inthiscaseMileyCyrus,intotheequation,itfurtherpiquesthelistenersinteresttotakealistentofindoutwhatthesongisallabout.Just
WHYwouldMileyCyrusbesingingaboutawreckingball???
Isitmemorable?
Thereare5factorsthatmakeWreckingBallaverymemorabletitle:
Itsjust2words.
Itsfamiliar.
Itspowerfulandstandsout.
Itsmeaning/usewithinthesong.
Itsplacementwithinthesong(seebelow).
Howdoesitworkwithinthelyricalframeworkofthesong?
WreckingBallisthecorefocalpointandlyricalpayoffwithinthesong.Itsthereasonwhytheentirerelationshipwentawry.ReferencetheStoryFlow
&Meaningsectionofthereportfordetails.
TitleOccurrences:
WreckingBalloccursjust5timeswithinthesonginthechorussectionsasfollows:
Chorus1FirstStanza:Thelastlyricsonthefirstlineofthesection.
Chorus2SecondStanza:Thelastlyricsonthefirstlineofthesection.
Chorus3SecondStanza:Thelastlyricsonthefirstlineofthesection.
Additionally,thepartialtitlelyricwreckoccurs5timeswithinthesongaswellasthelastlyricsineachstanzaofthechorus.
Chorus1,2&3
Yeah,you,youwreeeckme
Choruses2&3
Yeah,Ijustclosedmyeyesandswung
Leftmecrashinginablazingfall
Yeah,you,youwreeeckme
TitlePointsToNote
PrimaryPlacement
Noticethatitoccursasafulltitlelyricattheendofthefirstlineineachstanzawithinthechorusaswellasapartial(i.e.wrecked)attheconclusionof
eachstanzaaswell.Theresultisthatdespiteitslackoframpantusewithinthesongcomparedtoothercharttoppinghitsthatweveseen,itsplacement
enablesittostandout,resonateandgetengrainedwithinthelistenershead.
ItsExceptionallyClever
Usingwreckingballtoconveyalyricalthemethatrelatestosomeonewhowastryingwaytoohardtowinsomeoneoverandasaresultwreckthe
relationshipintheprocessisexceptionallycleverandunique.Asaresultitstandsoutandresonatesamongstallothermainstreamsongtitles.
TheMannerInWhichItsSung
Asyouveseenwithinthevocalmelodysectionofthereport,WreckingBallissetupbyarapidfire,monotonesoloCyrusIcameinlikeavocal.When
thetitlelyrichits,themusicslamsinandthetitleissungwithasoaring,prolongeddeliveryinrelationtothelyricsthatprecededitwhichenablesitto
standoutandresonateataveryhighlevel.
STORYFLOW&MEANING
Engaginglyricsthatarechockfullofdetail,imagery,actionandemotioncoupledwithacompellingstorylineareparamounttobringingasongtolifeand
engagingthelisteneronadeeplevel.ThisiscertainlyacorestrengthofthelovegonewrongthemedWreckingBall.
Lyricsandphrasessuchaswreckingball,breakyourwalls,crouchinginablazingfall,andashesonthegroundconveytheemotionthattraverses
everysectionofthesongataheightened,intenselevel,whilethestorysuniversallove/relationshipthemednatureenablesittoconnectonawide,global
scale.
Asyouknow,lyricsarecompletelysubjecttointerpretationbythelistener,andwhatfollowsisonepossibleinterpretation.
Verse1
Thefirstlineofasongisexceptionallyimportantasitneedstoinstantlyhookthelistenerinandengagethemwithinthestoryline.Oneofthemost
effectivewaystodothisisbygivingthemasnapshotofthecurrentstateofaffairscoupledwithpiquingtheirinteresttofindoutwhathappensfurther
withinthestory.
Thisisexactlywhatline1achieveswithinWreckingBall
Rightoffthatbatweknowthatthisisastoryabout2peoplethatwereinarelationshipwhichDIDNOTworkout:
chainedourheartssignifiesaromanticrelationship.
invainsignifiesthatdespitethewantingtomakethisrelationshipwork,itwasntmeanttobe.
Akeylyriconthelinethatissubjecttointerpretationbythelisteneristhelyricclawed.Wecanlookatthisin1of2ways:
Clawedasitrelatestothemhavingfunwithoneanother.Thinkofitinthemannerof2catsclawingwitheachotherinaplayfulmanner.Thissignifiesthattheyhada
strongfriendshipinadditiontoaromanticinvolvement.
Conversely,wecanalsoviewclawedasanegative,meaningthattheyhadaknackforfightingwithoneanotherwhichgivestheimpressionthatthismayhavebeena
love/haterelationship.Ifthisisthecase,thenitalsoperfectlyjibeswiththevainlyricthatoccursattheendoftheline.Sinceitwasavolatilerelationship,itwas
probablydoomedfromthestart.
Thelyricjumpedsignifiesthatthiswasntarelationshipthatwascultivatedoveralongperiodoftime.Itwasprobablyloveatfirstsite,andtheyboth
jumpedintotherelationshipwithoutgivingmuchthoughtastoWHYtheyhadtobewithoneanother.Inretrospect,theyprobablyshouldhavegotten
toknoweachotherbetterfirst!
Line3:WekissedIfellunderyourspell.
Thislineisprettyclichbutitworks.InanutshelltheykissedandSHEfellheadoverheelsforhim.Noticehowitdoesntnecessarilyestablishthefact
thatthefeelingwasmutual.Otherwise,thelinemighthavereadsomethingmorelikewekissed,WEfellunderAspell.
Thefinallineofthesectionfirmlyestablishesthedeeplovethatshehasforthisguy.
Nowyoumightbethinking,wouldntthisrelatetothelovethattheyhaveforEACHOTHER?Itsdoubtfulconsideringtheprecedingline(line3)switched
toaFIRSTPERSONperspective(i.e.I)fromtheWEsthatprecededit.Itwouldmakesenseforthefourthlinetopertaindirectlytoherinsteadof
switchingbacktothemasacouple.
PreChorus
Hereintheprechorusthestoryprogresses,makingthelistenerawareof3keythings:
Shelefttherelationship
SheNEEDEDtogetoutoftherelationship
Regardlessofneedingtogetoutoftherelationship,herloverunssodeepthatshewillalwaysstillwantthisguy
Aftersuspectingthattherelationshipdidntworkoutorwasatleastdoomedtofailasestablishedviathelyricvainonline1intheverse,wereceive
validationofthisonthefirstlineoftheprechoruswherewelearnthatshewalkedawayfromtherelationshipmeaningthatitcametoanend.
Additionally,thefactthatsheleadsoffbysayingdontyoueversay,indicatesthatsheDIDNTwanttohavetoleavethisrelationship,butsheNEEDED
TO.Thismaybebecauseofthefactthatshewassowreckedconsideringthatshecouldntbreakthroughtohimaswellseelaterwithinthesong,or
possiblyduetohisactionsaswellseeonline3withinthissection.
Thisreiteratesthefactthatshedidntwanttohavetowalkawayfromtherelationshipbecauseshestill,andalwayswill,wantandlovethisguy.
Thisisaverypowerfulline.Letstakealookatthe2individualphrases:
Icantlivealieindicatesthatshecouldntstaywithintherelationshipandpretendthateverythingwasok.Shewouldbelivingalie.
RunningformylifeprovidesuswithourfirstindicationthatsheREALLYneededtogetoutofthisrelationship.Itrelatestothefactthatshewassoemotionally
destroyedbynotbeingabletobreakthroughtohimthatshehadtorunforherlifesothatshedidntcompletelyfallapart.Ifshestayedwithintherelationship,itwould
havewoundupkillingheremotionallyandmaybeevenphysicallyaswell.
Additionally,noticehowthistiesinwithline1(dontyoueversayIjustwalkedaway),meaningthatshedidntleavebecauseshewantedto,shelefthim
becausesheHADTO.
Herewefindherreiteratingthefactthatdespiteallofthenegativeaspectsoftherelationshipthatshewillstillalwayswantandlovehim.Thatshow
deepherloveisforthisguy,whichalsotiesintothenoonecoulddenylinethatconcludedverse1.
Chorus
FirstStanza:Choruses1,2&3
Hereinthepayoffofthesongwereremindedofhowverymuchsheloved/lovesthisguy,howhardshetriedtogetthroughtohimtomakethe
relationshipwork,andultimatelyhowitdestroyedherintheendandcausedhertorunforherlife.
Line1isaperfectexampleofwhateffectiveuseofimagerycandoforastory.Noticethatitconveys2keythings:
Itprovidesthepowerfulimagerythataccentuatesthemeaningofthelinethatfollows,Ineverhitsohardinlove.MeaningshefellHARDforthisguy.Picturinga
wreckingballslammingintoabuildinghammersthispointhomeinaBIGway.
WRECKingballalsoprovidesuswiththeinclinationshemaybeblamingherselffortherelationshipgoingawry(fastforwardtothebridgeifyouwantaspoiler).The
keywordhereiswreck,meaningthatshewreckedtherelationshipviaheractions.
Thislineisstraightforwardandtiesdirectlyintoline1thatprecededitviahittingsoHARDinlove.ThefactthatsheNEVERhitsohardinlove
indicatesthatthiswasthebiggestlovethatsheeverhadinherlifeandreiterateshowmuchshereallydid/doeslovethisguy.
Heresanotherreallypowerfullinethatutilizesimagerytotierightinwiththewreckingballtheme(i.e.awreckingballsmashingthroughawall).
Thefactthatshewantedtobreakhiswallsleadsustobelievethatheeitherwasntasintotherelationshipasshewasorwasjustunwillingtoopenupto
herinthemannerthatshewanted.Solikeawreckingballsheaggressivelytriedtobreakthroughtohim,butintheendheraggressivemannerwound
upwreckingtherelationship.Thehardershetriedtobreakthrough,themorehepulledawayandreinforcedhiswall.
Thisimportantlinesumstheendresultoftherelationship.Despiteherintensiveeffortstobreakthroughhiswallsinordertogethimtoloveherasmuch
assheloveshimandtoopenuptoherasestablishedonline3,itwoundupbackfiringandshewastheonewhogotbrokenintheend.
Additionally,noticethatHE(i.e.you)istheonethatsheblamesforbreaking/wreckingher(atleastfornow).
Line5reiteratestheultrahurtnaturedepictedonline4,butthistimetiesinapartialtitlelyric(i.e.wreck),toconcludethesectioninamemorable,
familiarmanner.
Noticethatlines1,4and5areidenticaltothecorrespondinglinesinthefirststanzathatprecededit.Hereweregoingtotakealookatthe2new
additions,lines2and3:
Thekeylyricstotakenoteofhereareclosedmyeyes.Thisleadsustobelievethatsherefusedtoseehimandtherelationshipforwhattheyreallywere.
Shewashopingagainsthopethatshewouldbeabletobreakthroughhiswallstomakehimloveher,openup,andbecommittedtotherelationshipas
muchasshewas.Butaswefoundoutontheveryfirstlineofthesong,itwasallinvain.
Again,morepotentimagery.Afterreallygivingitheralltobreakthrough,sheultimatelyfailed.Theresultisthatitcompletelydestroyedher,
consideringallofthehighhopesthatshehadforthisrelationshipcoupledwithhowmuchsheloveshim.Thisiswhyshehadtorunforherlife.
Blazingfallprovidestheperfectpictureofhowhardshefellfromallofthelove/highhopesthatshehadintototaldespair.
Crouchingprovidestheperfectpictureoftheimmensetollthatthistookonher.Shecantstandupandbestrong.Instead,shesdownforthecount.
Verse2
Incontrasttothefirstverseofthesongwhichpertainedtothebeginningoftheirrelationship,thesecondversetakesusthroughthemiddle(lines1&2)
throughtheend(lines3and4).
Lines1&2:Iputyouhighupinthesky/Andnowyourenotcomingdown
Thefirstlinerelatestothedegreeofthelovethatshehadforthisguyandhowmuchshethoughtofhim.Thelinethatfollowsindicatesthateventhough
therelationshipisgoingdownhill(aswellseeonline3),herloveforhimisstillatanapex.Thisisabigproblembecauseitsgoingtocausehertobreak
andgetwreckedmuchharderthanifshewasgraduallyfallingoutoflovewithhimastherelationshipstartedtoturn.
Lines3&4:Itslowlyturnedyouletmeburn/Andnowwereashesontheground
Onthefirsthalfofline3wefindoutthattherelationshipdidntjustcrumbleovernight.Instead,itwasagradualprocessasindicatedviathelyricsit
slowlyturned.
Thesecondhalfofthelineisquitepowerful.Whileshewasstilltryingtobreakthroughtohimlikeawreckingballtomaketherelationshipworkeven
thoughitwasgoingdownhill,he,whoobviouslyhadnodesiretomakeitwork,letherkeeptryingfullknowingthatshewouldgetburnedintheend,
whichdescribesthegreatdegreetowhichshegothurt.
Asforline4,thisspellsouttheresultofitallbyutilizingstringentimagerythattiesdirectlyintothelyricburnedontheprecedinglineandnow,were
ashesontheground.TherelationshipisOVER.
Bridge
1stStanza
Hereinthebridgetheprotagonistisrealizingthatbyherpursuingtherelationshiplikeawreckingballthatitultimatelyledtotherelationshipsdemise.
Lines1&2:Inevermeanttostartawar/Ijustwantedyoutoletmein
Hereshesacceptingtherolethatsheplayedinthefailureoftherelationship.Sherealizesthatapproachingitlikewreckingballiswhatcausedallofthe
turmoilinthefirstplace,butitwasneverherintentiontodoso(i.e.startawar).Shewasdoingitbecauseallshesodesperatelywantedwasforthisguy
toletherin.
Lines3&4:Andinsteadofusingforce/IguessIshouldveletyouin
Hereonline3shecomestotherealizationthatapproachingtherelationshiplikeawreckingball(i.e.usingforce)wasthewrongcourseofaction.
Insteadofforcingit,sheshouldhavejustrelaxedabitandletHIMinaswefindoutonline4thatfollows.
Line4establishesthefactthatmaybeHEwastryingtoconnectwithHERatthesametimethatSHEwastryingtoconnectwithHIM,butherforceful
mannerprohibiteditfromhappening.Ifshejusteasedupandlettherelationshipprogressnaturallywithoutforcingit,theymighthaveconnectedwith
EACHOTHERandasaresultmostlikelystillbetogether.
Additionally,takenoteofthelyricsIguessatthebeginningofline4.ThisisHERcomingtotherealizationofwhatsheshouldhavedoneAFTERTHE
FACT(i.e.inthesamemanneraswhensomeonewillsayIguessIshouldhavedonethat!)
2ndStanza
Thesecondstanzaisareiterationofthefirst,minustheneedtorepeatline3,andinsteadofusingforce.Wealreadyknowthatverywellbynow!
SummedUp
Thisisastoryaboutarelationshipbetween2peoplethatseemstohavestartedabruptlywithouteitheroneknowingeachotherparticularlywell.The
protagonistiscompletelyheadoverheelsinlovewiththisguy(i.e.loveatfirstsite)andwantshimTOLETHERintohislife,butunfortunatelyitdoesnt
seemlikeithappeningatall,oratleasttothedegreethatshewants.
Asaresult,shestartstryingtobreakthroughtohimlikeawreckingball,utilizingforcetomakeithappen.Thiswindsupturninghimoffandcausing
himtoputupevenmorewallsandpullawayevenfurther.
Ultimatelyshefailswithhermissiontobreakthrough,andwindsupbeingwreckedandbrokenasaconsequence.Andeventhoughshechoosestorunfor
herlifefromtherelationship,herloveanddesiretobewiththisguyneverwanes.
Intheend,however,sherealizesthatitwasherwreckingballapproachwhichprobablydoomedthisrelationshipfromthegetgo.Ifshejusteasedoffa
bit,andletHIMinthewaythatSHEwantedtobeletin,theymighthavewoundupbeingthehappycoupleafterall.
Benchmarking BacktoTop
TOP10HITPOPSONGCOMPARISON
ThissectionexploreshowWreckingBallcompositionallycomparestothe23songsthatlandedintheBillboardPopSongstop10duringQ3
2013.
TheaimistospotlightthesimilaritieswhichmakeiteasyforthesongtoconnectwithamainstreamPopaudience(i.e.thefamiliarityfactor),
coupledwithitscoredifferenceswhichenablesittostandoutfromthepack.
SECTIONLENGTH
*ConsideringthateachofWreckingBallschorusespossessadifferentlength,thenumberabovereflectstheaverageofthe3.
**ThelengthoftheprechorusreflectstheFULL0:14prechorusoccurrenceswithinthesong,NOTthe0:07halfprechorus3section.
Asyoucanseeinthegraphabove,someofthesectionswithinWreckingBallareclosetobeinginlinewithcharttoppingPopsongaverages,whileothers
arentasmuch.
Intro
WreckingBallsintrois0:05(38%)shorterthanthePopsongsaverage.
Verse
WreckingBallsversesare0:09(36%)shorterthanthePopsongsfullverseaverage.
PreChorus
WreckingBallsprechorusesarejust0:02(13%)shorterthanthePopsongsaverage.
Chorus
WreckingBallsaveragechoruslengthisjust0:03(11%)longerthanthePopsongsaverage.
Bridge
WreckingBallsbridgeis0:13(68%)longerthanthePopsongsaverage.
BottomLine
WreckingBallsintroandversesectionsaremoderatelyshorterthanthePopsongsaveragewhileconverselyitsbridgelengthissignificantlylongerthan
theaverage.Theaverageamountoftimeallocatedtotheprechorusandchoruswereclosetobeinginline.
SECTIONCOUNT
Asyoucanseeinthegraphabove,WreckingBallcontainsthesamenumberofsectionsasthemajorityoftop10PophitsEXCEPTforitsprechorus.It
hasanadditionalhalfoccurrencefollowingthebridge.
TOTALSECTIONBREAKDOWN
Fromapercentagestandpoint,youcanseethatWreckingBallallocatedalmostthesameamountoftimetotheintro,prechorusandchorussections
asthePopsongsaverage.
Whereitreallydeviated,however,wasinthetimeitallocatedtotheverseandbridgesections.Itallocated9%lesstimetotheverseand6%more
timetothebridge.
ADDITIONALCOMPOSITIONALCHARACTERISTICS
WreckingBallbeinginlineorclosetoinlinewiththe23top10PophitsofQ32013
TheABABCBform
Itcontainsanintrowithinitsframework
Itdoesntcontainanoutro
Itsfirstchorusoccursjust0:02/1%fartherintothesongthanthePopsongsaverage
Itfeaturesprimarilyelectricbasedinstrumentationwithinthemix
WreckingBallutilizesacombinationofprimaryinstrumentationwithinthemixincludingsynth,electricguitar,pianoandstrings.
Althoughaslightmajorityoftop10Pophitsfeaturedamaleleadvocal(57%),womenwerentthatfaroffat43%.
WreckingBallcontainsaprechorusandabridgewithinitsframework
WreckingBallDOESNOTcontainasolooraninstrumentalbreak
Itfeaturesalove/relationshiplyricaltheme
NOTInlineorclosetoinlinewiththe23top10PophitsofQ32013
WreckingBallisprimarilyaPowerBallad,wherethevastmajorityofQ3stop10hitPopsongswerenot
Its0:09longerthanthePopSongsaverage(granted,itsnotthatfaroff)
Itsintrois0:05(38%)shorterthanthePopsongsaverage
Itstempois52BPMslowerthantheaverage
BottomLine
Overall,WreckingBallscompositionalqualitiesarequitesimilartotheaverage/majorityoftop10PopsongsfromQ32013.Itsthesequalitiesthat
heightenthefamiliarityfactorforthelistener,ultimatelymakingiteffortlessforthemtoconnectwiththesong.Thisisespeciallyimportantinan
airplayenvironment(i.e.itsnotsomethingthatscompletelyoutofleftfieldthatwouldhindertheirabilitytoconnectrightoffthebatwithouthavingto
workatit).
Thatbeingsaid,thecorequalitythatenablesWreckingBalltostandoutandresonateamongstmostothersinthemainstreamPoppackisthefactthat
itsaPowerBallad.DuringQ3,only2outof23songspossessedaBalladnatureJustGiveMeAReasonandMirrors.
Whenyoucombinethefamiliarityanddifferentialfactorsmentionedabove,youwindupwithasongthatconnectseffortlesslyyetstandsoutandgrabs
thelistenersattentionduetoitsdifferingnaturefrommosteverythingelse.
A&R Hit Factor Assessment BacktoTop
ArtistCareerFactor
Doesthesonghavewhatittakesmaintainorgrowtheartistscloutinthemainstream?
WhenyouemployGottwald,McDonald,Moccio,Skarbek,andWaltertowriteyouahittohelptakeyourcareertothenextlevel,unlessyouREALLY
BLOWITwithyourinterpretationanddelivery,chancesarethatitsgoingtohappen.
MileyCyruscertainlydidntblowit.
Shetookasongwrittenbyacrackteamofwriters,madeitherown,anddelivereditinamannerthatconnectedandresonatedwiththemasses.
Now,whenyouthrowtheracyvideointothemixaswell,the2factorscombinedwounduptakinghermassexposure(nopunintended)tothenextlevel.
Theonlyproblemisthatthenatureofthevideocoupledwithherrecenttwerkinganticsandoutlandishbehaviorhavecastashadowonhowtalentedof
anartistshereallyis,andasaresultcouldpossiblyhaveadetrimentaleffectonhercareerinthesenseofbeingtakenseriouslyasanartist(i.e.people
aregettingtheimpressionthatshesallhypeandnosubstancebecausetheycantseepastit).
WhenandifCyrusfindstherightbalancebetweenthe2,shesgoingtobeoneofthemostformidableartistsintodaysmainstreamPopscene,guaranteed.
OriginalityFactor
Doesthesongpossessauniquenatureorhaveyouhearditallbefore?DoesitstandoutinthePopmainstream?
Asidefromtheclever,uniquewreckingballelementsthatwesawthroughoutthereport,thereisnothingaboutthesongthatissoexceptionallyunique
thatyouhaventheardbefore.WreckingBallisathroughandthroughPopPowerBallad,nothingmore,nothingless(albeitaVERYstrongone).
Thatbeingsaid,itDOEShoweverstandoutinTODAYSmainstreamPopsceneduetothemannerinwhichitcommunicatesalovegonebadlyrical
themeinaunique,engagingmannercoupledwiththefactthatitsaPowerBallad(rememberinQ32013only2outof23top10PopsongswerePower
Ballads).
Social,External&ControversyFactors
Werethereanyexternal,controversyorsocialfactorssurroundingthereleaseofthesongthatcouldhelpincreaseitsvisibility,reachandsuccess
potential?
ItgoeswithoutsayingthatCyrushasdoneafantasticjobofgettingherselfnoticedinrecenttimes.Whetheritwasdeclaringthatpotisthebestdrugon
earth,twerkingattheVMAs,orappearingnudewhileswingingonaWreckingBallinthesongsvideo(350,000,000+viewsandcounting),herantics
havethrusthertotheforefrontofPopculture.
TheresultisthatWreckingBallhassurelybenefitedfromthismassexposure,ultimatelydrivingsalesandherclimbupthecharts.
TheDemographicReach/FanFactor
Isthisasongthatspigeonholedinonespecificgender/age/genrebracketordoesithavemassreach?
Weneedtolookatthefullpackagehereboththesongandtheaccompanyingvideo.
Age
WhatIvefoundreallyinterestingthroughtalkingtopeopleisthatWreckingBallthesongtraversesaverywideagedemographicrangingfrommidto
lateteensallthewaythroughpeopleintheir60s.Thisisduebothtotheuniversalnatureofthelove/relationshipthemedlyricscoupledwiththesongs
evocative,stellarcraft.
Ontheflipside,thedemographicshrinksconsiderablyinregardtothevideo.Itstooracyforayoungeraudience(theirparentshaveprobablyputablock
onit),whileanolderagegroupprobablyseesitmoreasjustalewdgimmick.
Itsthemiddleoftheroadagegroup,however,whereitconnectsandresonatesthemost,withacorecertainlywithinthelateteenstomidtwenties.
Gender
Inregardtothesongitself,itsPowerBalladnaturebeingconveyedfromafemalepointofviewcertainlyrelatesmoretowardthatgenderdemographic
thanamaleaudience.Thatbeingsaid,thiscertainlyisntasappysongbyanymeans,anditspowerful,evocativenaturehasnoproblemconnectingwith
amaleaudienceaswell.
Now,inregardtothevideo,Ithinkitgoeswithoutsayingthatamaleaudiencewouldbejustas,ifnotmoreintothevideothanafemaleaudience.Ifyou
haventseenityet,putitonandyoullunderstandwhy.Enoughsaid!
Genre
Unlikesongsthatincorporatemorethanonedistinctsubgenreintothemixwhichenablesthemtocrosspollinateintogenres/fanbasesoutsidetheir
norm(i.e.LockedOutOfHeaven,WakeMeUp,etc),WreckingBallisprettymuchthroughandthroughaPopPowerBalladaspreviouslystatedandas
aresultprimarilyrelegatedtothePopgenre.
TheHollySh*tYouGottaHearThisNOWFactor
IsthisasongwheresomeonewouldinstantlycalluptheirfriendandsaydropwhatyouredoingyougottalistentothisNOW!!!
Inregardtothesongitself,thereisnothingthatissoovertlyspecialaboutWreckingBallthatwouldcausesomeonetoimmediatelycallupafriendand
sayholysh*t!!!ThisisthemostAMAZINGsongever!!!YouneedtodropwhatyouredoingandputthissongonNOW!!!
ItsaVERYstrongsong,dontgetmewrong.Itsjustnotasongthatcausesyoutostopinyourtracks.
Ontheotherhand,thevideocertainlyqualifiesasoneofthoseholysh*t!!!momentsduetoitsovertlyracynature.Thefirsttimethatyouviewit,you
havetoaskyourself,issheREALLYdoingthis?AsaresultitsnotoutofthequestionthatsomeonewouldimmediatelycallupafriendandsayIcant
believewhatImseeingcheckthisoutNOW!
TheMultipleListenFactor
Isthissongengagingenoughtowarrantrepeatlistens?
WreckingBalliscertainlystrongenoughwhereitwouldwarrantrepeatlistens,specificallyduetoitsinfectious,powerfulnature,universal
love/relationshipthemedlyricsanddiversityutilizedthroughoutwhichkeepsthesongasawholefreshandengagingforthelistener.
Butaswithallsongsthatareoverplayedandmilkedforalltheirworth,thelawofdiminishingreturnseventuallysetsinandyoujustplainstartgettingsick
ofhearingit.ThiswillcertainlyhappenwithWreckingBall,butitwilltakeabitlongertohappenthenalotofothercharttoppingPopsongsthathave
lesstooffer.
TheHardToBeat/NextSingleFactor
Isthissongsogoodthatthesinglethatfollowswillhavetroublelivinguptoitsstandards?Doesthissongaccentuatetheanticipationforthenext
single?
WreckingBallisanexceptionallywellcraftedsongandwillbehardtobeat.However,consideringthecaliberofmainstreamPopwritersthatshesusing
towriteherhits,itsmorethanfeasible!
ThePushingTheEnvelopeFactor
Doesthissongchartnewground,pushgenreboundariesandactasatrendsetterwithinthegenre?
Asidefromitsclevernature,thereisnothingaboutWreckingBallthatchartsnewgroundorpushesgenreboundarieswithintodaysPopmainstream.
AgainitsastraightupPopPowerBalladnothingmore,nothingless.
TheHumanEmotionFactor
Doesthissongexudeavibethatenablesthelistenertoconnectonadeep,emotional,HUMANlevel?
ThisiscertainlyoneofWreckingBallscorestrengths.Everyaspectofthesong,includingthelyrics,natureoftheinstrumentationbeingutilized,
associatedprogressions,vocalmelodyandCyrussdeliveryareallevocativeinnatureandasaresultconnectwiththelisteneronadeeplevel.
MemorabilityFactor
Howeasyisittorememberthesongslyrics&melody?Iseachsectionofthesongequallyasmemorable?
AnothercorequalityofWreckingBallisthefactthatitsanexceptionallymemorablesong,broughtaboutviathefollowingfactors:
TheK.I.S.S.Principal
WreckingBallkeepsitsimpleinallaspectsofthesongincludingthenatureofthebackingmusic,thevocalmelodyandlyrics,whichmakesitveryeasy
forthelistenertoconnect,followalongtoandremember.
Thecomplexitylieswithinthemannerinwhichallofthosesimplisticelementsareexpertlyfusedtogethertocomeacrossasbeingsimple,whichcreates
anexceptionallyinfectious,engagingandmemorablesongthatthelistenercantgetoutoftheirhead.ThatsthebeautywithalotofcharttoppingPop
songsincludingWreckingBall.Whensomeonesaysthat#1songissosimpleIcouldwritesomethinglikeitinmysleep,thenthewritershave
certainlydonetheirjobwell!
Repetition
Thisistheprimaryweaponinfosteringmemorabilitywithinasong.MassiveamountsofrepetitionwereutilizedthroughoutWreckingBalltogetit
completelyengrainedwithinthelistenershead,butthediversityemployedpreventedthesongfrombecomingoverlymonotonous.Examplesof
repetitionutilizedwithinWreckingBallinclude:
Vocalmelodyrepetition(thisincludesmelodicandrhythmicrepetition)
Inlinerepetition
Instanzarepetition
Crossstanzarepetition
Crosssectionalrepetition
Lyricalrepetition
Prechoruses1and2featurethesamelyricalcontent.Prechorus3doesaswell,thoughonly1stanzaworth.
Thefirststanzainall3chorusesfeaturesthesamelyricalcontent.Thesameisthecasewithinthesecondstanzainchoruses2and3.Rememberthatchorus1doesnot
containasecondstanza.
Sectionalrepetition
Bothversesectionsutilizegenerallythesamevocalmelodyandbackingmusic.
Thegeneralnatureofprechoruses1and2isthesamewithsomeminordifferences.
Thegeneralnatureofchoruses1,2and3arethesamewithsomeminordifferences.
Asasidenote,rememberthatthediversityemployedthroughoutlikesectionswithinthesongkeptthingsinfectiousandengagingforthelistenerwhile
notinterferingwiththememorabilitybeingelicited.
LongevityFactorArtist
Willthissongbecomeastapleoftheartistsrepertoireandcatalog?
ConsideringWreckingBallsoverallstrengthandstrongchartperformancethroughouttheworld,Ithinkitgoeswithoutsayingthatthesongwillbe
featuredwithinCyrusslivesetsandconsideredasahighlightwithinhercatalogforalongtimetocome.Butthenagain,shesonly20yearsold.Ifshe
keepsaligningherselfwiththerightsongwritingteams,thereisalwaysthechancethatWreckingBallwillfallbythewaysideincomparison.Onlytimewill
tell!
LongevityFactorGenre
Doesthissonghavewhatittakestostandthetestoftimeandrankamongstthealltimegreats?
Probablynot.Again,WreckingBallisanexceptionallywellcrafted,cleverPowerBallad,butitisntsoovertlyamazingorpossessthatmagicspecial
qualitythatwillenableittorankamongstthealltimegreats.
Thatbeingsaid,itwouldcertainlybeastrongassettoanytimeperiodorPowerBalladcompilation,aswellassomesustainedlongevityinlicensing
initiatives.
Recap, Takeaways & Final Thought BacktoTop
NowthatwehavethoroughlyexploredWreckingBall,letsrecapsomeofthesongscorestrengthsandcharacteristicsthatworkedintandemwith
oneanotherincreatingthisglobalhit.
Fullsectionsaresegmentedintorelativelyshortstanzaswhichprovidesthelistenerwithnewelementsenteringthemixfrequently.Theresultisthatthesongis
alwayskeptfreshandengagingthroughout.
Thevastmajorityoftimewithinthesong(42%)wasallocatedtotheultrainfectious,powerfulchorus,andforgoodreason!
WreckingBallmakesgreatuseofMTIlevelshiftsthroughouttheentiresong,makingforadynamic,engaginglisteningexperience.
The2differentmannersinwhichthefirstlineofthechorusissetupwithinthesongishighlyeffective,includingthetransitionalpausewhichelicitssuspense
betweenprechorus1andchorus1,andthejoltthatoccursbetweenprechorus2andchorus2.
Thedeparture/contrastprovidedwithinthebridgeviathenatureofCyrussvocaldelivery,lyricsandinstrumentationbeingutilizedtakestheinfectious,engaging
natureofthesongtothenextlevel.
ThesparsenatureoftheunconventionalthirdprechorusdoesafantasticjobofsettinguptheMTIlevelpeakthatoccurswithinthefinalchorusofthesong.
Themannerinwhichthesynthandpianomimictheleadvocalmelodywithinincertainsectionsofthesongactstoenhancetheinfectiouscoloringofthose
sections,heightenthemelodysmemorabilityfactor,aswellasprimethesongforuseasaneffectiveinstrumentalaswell.
WreckingBallcontainsnot1but2magicmomentsthathelpedtoputitoverthetop,bothofwhichoccurwithinthechorus(payoff)sectionsofthesong.Theyinclude
thesectionswreckingballnaturedleadinandimpact,aswellastheultrainfectiousandmemorablemannerinwhichCyrussingsbreeaeakmeandwreeeckme
attheend.
Theclevermannerinwhichthekickandsnarewereutilizedwithinthechorusdidafantasticjobofkeepingthewreckingballvibeintactthroughouttheentire
section.
WreckingBallmakesgreatuseoftraditionalPowerBalladelementsincludingthesynth,piano,stringsandridecymbalwhichdefinedtheballad,whiletheelectric
guitars,powerfuldrumsandcrashcymbalbroughtthePOWER.
Alloftheelementswithinthesong(vocal,instrumentation,musicandlyrics)workedinperfecttandemwithoneanotherincreatinganultrainfectious,
engaging,memorableandevocativelisteningexperiencethatconnectswiththelisteneronadeeplevel.
AstrongbalancebetweenrepetitiveanddiversifyingfactorswereutilizedthroughoutthesongwhichenabledWreckingBalltogetfullyengrainedwithinthe
listenersheadwhileremainingfreshandengagingthroughout.
Althoughjust0:08inlengthandsimplisticinnature,theintrodoesagreatjobofinstantlyengagingthelistenerwithinthesong,establishingthesongsvibeandholding
theirattentionuntiltheversetakesover.
Theoverallnatureofthebackingmusicdoessuchafantasticjobofcommunicatingthedifferenttypesofemotionpresentthroughoutthesongthatyoudontevenneed
thelyricstotellyouhowtofeel.
Thesoniccontrastbetweenthepowerful,intensechorusesandthequieterverse,prechorusandbridgesectionsprovidesforanexceptionallyengaginglistening
experience.
WreckingBallemploysstrongrhymingschemes,simplisticmelodiesaswellasinline,crossline,crossstanzaandcrosssectionalrepetitionthatgetsthevocalmelodyand
thesongforthatmattercompletelyengrainedwithinthelistenershead.
TheoverallnatureofthevocalmelodywithinEACHSECTIONofthesongisexceptionallyinfectious,engagingandmemorableandaccentuatedviatheperfectblendof
repetitionanddiversity,theK.I.S.S.principal,anduseofclevercoloraddersandemphasizers.
Thelyricscoveyatypicallove/relationshipgonewrongthemeinauniversal,clever,engagingmanner,broughtaboutviaampleuseofimagery,detail,actionand
emotion.Theresultisthatitconnectswithavastaudienceonadeeplevel.
ThetitleWreckingBallinstantlypiquestheprospectivelistenersinteresttotakealistenandfindoutwhatthesongisallabout.Itsalsoutilizedinanexceptionally
cleveranduniquemannerwithintheoverallstorylineaswell.
Despitethelownumberoftitleoccurrencesrelativetoothersongsthatwefindtoppingthecharts,themannerinwhichitsusedcoupledwithitsplacementenablesit
tojumpoutandresonate.
WreckingBallpossessesmanysimilarcharacteristicsandattributesthatarefoundwithintodayscharttoppingPopsongswhichmakesitveryeasyforthe
listenertoinstantlyconnectwiththesong.Additionally,itsclevernaturecoupledwiththefactthatitsaPowerBalladenablesittostandoutfromthepack.
Andfinally,itwasCyrussoutlandish,controversialbehaviorthatenabledher,andthesong,togainmassexposure.
FinalThought:TheExtraSomething
Itscertainlynoteasythesedays(notthatiteverwas)forartiststobreakintothemusicindustryandattainmassivemainstreamsuccess.Moresothan
ever,possessinganexceptionallywellcraftedsongcoupledwithamarketablegoodlookjustisntenough.
Thefactisthatthereareaplethoraofartistswhohavethevoice,thetalent,thelookandthepresencewhoarealllookingtogetsignedandscorethebig
deal.
Unfortunately,ifyourenotalreadyanestablishedsuperstar(andevenifyouare),youneedthatextrasomethingthatenablesyoutostandoutfrom
thepack,getnoticed,getsignedandresonatewiththemasses.
Whenyouthinkaboutit,manyoftodayshottestartists(andyesterdaysaswell)hadthatextrasomethingthatputthemoverthetop.Herearejusta
handfulofexamples:
Adele:Anultraevocative,bluesyvoicecoupledwithincrediblystrongsongstoboot.Throwhernonmainstreamlookintothemixandyouwindupwithanartistthat
stoodoutfromthepackandachievedmassiveworldwidesuccess.
SusanBoyle:InsanelygoodvoicecoupledwithalookthatscreamedanythingbutPopsuperstar.Thecombinationofthe2providedherauniqueedgeinrelationto
everyoneelse.
Avicii:WakeMeUpcreatedcontroversybygoingagainstthegrainofwhatwasexpectedofhimbyfusingCountry/FolkwithEDM.Theresult,aMASSIVEglobalhitthat
senthiscareerskyrocketing.
DaftPunk:GetLuckysretroDisco/Funk/R&BnaturewentagainstthegrainofEVERYTHINGintodaysmainstream,butstillmanagedtochartat#1allthroughoutthe
world.
Lorde:Royalsuniquesoundrelativetoeverythingelseinthecurrentmainstreamcoupledwithclever,antimainstream/lavishlifestylelyricsandthefactthatshewas
just16whenthesongwasreleasedenabledhertostandoutfromthepackandgetnoticed.
PSY:Weallknowhowthisonewent.Hehadthesong,thevideo,ANDthehorsedance.ThatplushesaKPopartist!
BobDylan:CreatedanenormousamountofcontroversyattheNewportFolkFestivalin1965byabandoninghisacousticFolkrootstogoelectric.Hewasmetwitha
thunderousroundofboos,thoughIthinkhewoundupdoingalrightforhimselfafterward!
Thelistgoesonandon,butIthinkyougetthepicture.Thebottomlineisthatthereneedstobesomethingbeitinyourmusic,yourvideo,yourlook,
youractionsoranythingelsethatcangetyounoticedandcauseanindustryexectosaythatpersonhasIT.Signemup!
Butifyourextrasomethingisrelyingoncontroversial,outlandishbehaviortogarnerattention,goingtoofartotheextremefortoolongcanwindup
beingarecipefordisaster,andthisissomethingthatMileyCyrusneedstopayspecialattentionto.
RightnowshesahouseholdnameprimarilyduetohercalculatedpublicitystuntsthatincludetwerkingattheVMAs,publicallyproclaimingto
RollingStonethatweedisthebestdrugonearth,andofcourseswingingnudefromawreckingball(whichtodatehasscoredover350,000,000views).
Butastheshtickgetsold,peoplearegoingtostarttoloseinterest.Oncethathappens,alloftheAlistmaterialthatshereceivesfromtodayshottest
hitmakerswontbeablebeabletoputherbackontopofthechartsbecausepureandsimplepeoplejustwontcareanymore.
Ifshewantstosecurelongevity,sheseventuallygoingtoneedtoattaintheperfectbalancebetweencontroversialpublicityandrespectedartistry.
Onceshedoesthat,thereisnodoubtthatshewillbeaformidablepresencewithinthePopmainstreamforalongtimetocome.

Wrecking Ball Deconstructed - Hit Songs Deconstructed

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Wrecking Ball Deconstructed - Hit Songs Deconstructed

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24/10/2016 WreckingBallDeconstructedHitSongsDeconstructed

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Song Structure BacktoTop

MTI (Momentum/Tension/Intensity) BacktoTop

Music/Instrumentation/Vocal Delivery BacktoTop

Vocal Melody BacktoTop

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

A&R Hit Factor Assessment BacktoTop

Recap, Takeaways & Final Thought BacktoTop

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