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24/10/2016 HelloDeconstructed

Adele

Hello
Deconstructed

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HellomarksAdelesreturntothechartsfollowingamultiyearhiatus.Andwhatareturnitis.Todate,Hellospentnumerousweeksat#1ontheHot100
andhastoppedthechartsinover30countriesthroughouttheworld.

Thereasonforthesongsmassivesuccessistwofold:thesatiationofthepublicslongingforanythingAdeleinyears,andthestrengthofthesongitself.In
HelloDeconstructedweexploreallofthecompositionalfactorsthatcontributedtothesongssuccess,includingitsstructure,genreandvibemix,lyrics,
cleverelementsandWOWfactors,andofcourseAdelesstellar,evocativevocals.

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Overview,Highlights&Takeaways>> WordSyllableandCount>>

SongStructure>> Vocals>>

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Timeline>> VocalAssignments>>

Form>> VocalMelody>>

SectionLength&Count>>
Lyrics&Title>>
TotalSectionBreakdown>>
LyricTypes>>
Momentum/Tension/Intensity RhymingSchemes>>
(MTI)/Energy/Waveform>>
SongTitle>>

Genres,SubGenres,&Vibe>> WordCloud>>

StoryFlow&Meaning>>
PrimaryInstrumentation>>
Benchmark>>
Music&Instrumentation:SectionBySection>>

Adele - Hello

At a Glance
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Artist:Adele
Song:Hello
Songwriters:AdeleAdkins,GregKurstin
Producer:GregKurstin
Genre:Pop
SubGenres/Influencers:Ballad/PowerBallad,R&B/Soul
Length:4:45
Structure(Form):ABABVBB
Tempo:81BPM
FirstChorus:1:06/23%ofthewayintothesong
IntroLength:0:06
Electricvs.Acoustic:Electric/AcousticCombo
PrimaryInstrumentation:AcousticPiano,synth,drums/perc,strings,electricguitar,bass
PrimaryLyricalTheme(s):Love/Relationships
TitleAppearances:Helloappears9timesinthesong
LyricalP.O.V:1st&2nd

Overview, Highlights & Takeaways

Hooks, Payoffs, Clever Elements & WOW Factors

Hooks & Payoffs

Hellocontainsafewstrongandmemorablehooksandpayoffsthattakeitsimpacttothenextlevel.Theyinclude:

Instrumental:Thepianoanditsassociatedprogressions.

Vocal:Thehellolinesatthebeginningofeachstanzaintheverseandchorussections:

Verse1,PartX:Hello,itsme
Verse1,PartY:Hello,canyahearme
Verse2:Hello,howareyou?
Chorus1,PartX:Hellofromtheotherside

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Chorus1,PartY:Hellofromtheoutside

Sectional:ThelistenerisprovidedwithtwosectionalpayoffsthepowerfulandsoaringPowerBalladchorus,andtheinstrumentalbreaksection,
whereAdelegetsthechancetoREALLYflexhervocalmuscles.

Prosody

OneoftherealstrongsuitsofHelloisthemannerinwhichAdelesvocal,thelyrics,instrumentation,andbackingmusicallworkinperfecttandemwithone
another.Asaresult,theimpactofthesongismaximizedtoitshighestpossiblelevel.

Clever Opening Line

Thefirstlineinasongisamongthemostimportant.Why?Becauseitneedstoinstantlygrabthelistenersattentionandpiquetheircuriosityforwhat
comesnext.

Notonlydoeshello,itsmeachievethis,butitalsocleverlyproclaimsthereturnofAdelefollowingamultiyearabsence.

Vocal WOW Factors

AdelesvocaldeliverythroughoutHelloisexceptionallystrongandevocative.However,therearecertainpointswheresheprolongsacertainlyricorleaps
toapinnaclepitch,whichtakestheimpactofthesection,andthesong,tothenextlevel.ExamplesofthesevocalWOWfactorscanbefoundwhereitcounts
themostinthechorusandvocalbreaksections.

WOW Factor #1: Chorus lines 1 & 2 Stretched Lyrics

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WOW Factor #2: Chorus line 3 Leap/Pinnacle Pitch

WOW Factor #3: Chorus line 4 Leap/Pinnacle Pitch

WOW Factor #4: Vocal Break line 2 Leap/Pinnacle Pitch

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Structure: Overview

Form/StructuralFlow:Atitscore,HellofollowsanABABVBBform(versechorusversechorusvocalbreakchorus).Itkicksoffwiththe
introandisfollowedbya2xrepeatofaverseprechoruschorussectionalprogression.Theseprogressionsarebrokenupbythebriefturnaroundthat
followsthefirstchorus.Notethatthefirstverseconsistsoftwoparts/stanzas(denotedaspartsXandY),andthesecondversecontainsonlyone.Eachfull
chorussectionalsoconsistsoftwoparts/stanzas,whicharedenotedaspartsXandYaswell.Followingthesecondchorus,thesongheadsintothevocal
breaksection,whichprovidesapronounceddepartureinlieuofabridge.Itsfollowedbythethirdchorusandbriefoutro,whichbringsthesongtoits
conclusion.

SectionLength:FullsectionsinHellorangefrom6seconds/2barsto48seconds/16bars.Theintro,outro,andturnaroundsectionsaretheshortest
sectionsinthesong,followedbytheprechorus.Thesecondverseandvocalbreakfallinthemiddleoftheroad,andthefirstverseandchorussectionsare
thelongest.

SectionalTimeAllocation:Thechorusisallocatedbyfarthegreatestamountoftimeinthesongrelativetoalloftheothersections,comprising52%of
itstotalcomposition.Theversefollowsat25%,andthevocalbreakandprechorussectionscomprise8%,each.Theleastamountoftimeisallocatedtothe
intro,asyouwouldexpect,aswellasthebriefturnaroundandoutrosections.Thesesectionscomprisejust2%ofthesongstotalcomposition,each.

FirstChorusAppearance:Hellosfirstchorushitsat1:06/23%ofthewayintothesong,whichisquitelatecomparedtomostotherTop10charting
hits.Forinstance,duringthethirdquarterof2015,onlytwooutoftwentythreesongshadtheirfirstchorushittingoveroneminuteintothesong
EarnedItandPhotograph.Despitethelateoccurrence,thelistenersattentionisheldupuntilthispointthankstothebriefintro,twopartfirstverse,and
briefprechorus.

MTI/Energy: Overview

HelloprogressesthroughtwoMTI/Energylevelwavesasfollows:

Wave1:Progressesfromanenergylevellullintheintrotoapeakinthefirstchorus.

Wave2:Progressesfromanenergylevellullintheturnaroundtoapeakinthethirdchorus,followedbyabriefdownshiftintheoutro.

TheenergylevelfluctuationsthroughoutHelloareexactlywhatonewouldexpecttofindinaBallad/PowerBalladlowerenergyBalladesqueverses,and
higherenergyPowerBalladesquechoruses.Together,theyprovidethelistenerwithaveryengagingandimpactfullisteningexperience.

Afewkeypointstonote:

GradualIntensityIncrease:Despitethepronouncedshiftsintothehighenergychoruses,Hellograduallyincreasesinintensityasitprogresses,up
untiltheoutro.
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ProlongedPower:Typicallyinamainstreamhit(andnonmainstream,forthatmatter),followingaprolongedperiodofheightenedintensity,an
intensityrespiteisinstitutedinordertoprovidethelistenerwithabreakbeforeheadingbackintoapowerfulsection.Thisisusuallyinstitutedinthearea
whereonewouldexpecttofindabridge.However,thisrespiteinnotprovidedinHello,whichisquiterare.Instead,thepowerlevelremainsatahigh(and
actuallygraduallyincreases)foralmosttwostraightminutes/40bars,or43%ofthesongstotalcomposition.Thisspansthesecondchorus,vocalbreak,
andthirdchorus.

EnergyLevelRespite:Followingthepowerfulfirstchorus,thebriefturnaroundbringstheenergylevelofthesongallthewaybackdownviaareversion
backtothecharacteristicsoftheintro.Thisessentiallyfunctionsasthestartingpointforthelistenerssecondjourneybackuptheintensityramp,which
willlastallthewaythroughthethirdchorus.

ChorusImpactAccentuators:Arollercoastertypelull/swelleffectisinstitutedattheendofeachprechorus.Thisridesthelistenerintotheensuing
chorusandaccentuatesitsimpactintheprocess.

Genre, Sub-Genres & Vibe: Overview

HelloisaPopsongthatiscomprisedofthreesubgenres.Eachisputintoeffectviacharacteristicsofthevocal,instrumentation/backingmusic,ora
combinationofthetwo.

Ballad(subgenre)Intro,verse,prechorusandoutrosections.
PowerBallad(subgenre)Chorusandvocalbreaksections.
R&B/Soul(subgenre)Allvocalsections.

Hellofeaturesafewdistinctvibeshiftsaswell,whicharealsoputintoeffectviathecharacteristicsofthevocal,backingmusic,orboth:

Vibe1:Melancholy,subdued(intro,verse1,prechorus1,outro)
Vibe2:Melancholy,brooding,slowburninggroove(verse2,prechorus2)
Vibe3:Longing,hurt,soaring,powerful(allthreechoruses,vocalbreak)

Themannerinwhichthesedisparateinfluencesinteractwithoneanotherthroughoutthesongtakesitsoverallimpacttothenextlevel.

Lyrics: Overview

Helloisalove/relationshipthemedsongaboutaprotagonistwhoislookingtoreconnectandreconcilewithsomeonewhotheywrongedinthepast.
However,despitenumerousattemptstoconnectoverthephone,theprotagonistisunabletomakecontact.Theprotagonisttakessolace,however,in

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knowingthattheydideverythingintheirpowertotryandmakethereconciliationhappen.

DespitetheparticularmeaningthatHellohasforAdele,themostlyuniversalmannerinwhichthenarrativeiscommunicatedenablesittobeapplicabletoa
multitudeofscenariosandconnectwithawideaudienceasaresult.

Helloiscommunicatedprimarilyinthepresenttense,butfeaturesafewinstancesofpasttenseaswell.ItscomprisedofafirstandsecondpersonP.O.V.,
withtheprotagonistcommunicatingdirectlytotheantagonistthroughout(albeittotheirphonenottothempersonally).Itfeaturesanengagingflowof
greeting,questioning,descriptive,andintrospectivetypelyrics,whichtakesthesongsimpacttothenextlevel.

Vocals: Overview

ThecenterpieceoftheentiresongisundoubtedlyAdelesvocal.

VocalMelody:Thevocalmelodyfeaturesanengagingcombinationofrepetitionandcontrast,longandshortphrases,straightforwardandinfectiously
syncopatedrhythms,acombinationofmonotoneesqueandmelismabasedruns,andWOWfactorvocalmomentsthattaketheimpactofthechorusand
vocalbreaksectionstothenextlevel.

VocalType:Inregardtovocaltype,HelloprimarilyfeaturesasolofemaleleadvocalfromAdele.Inordertoprovidethesongwithaheighteneddegreeof
color,textureandengagementvalue,fourdifferentvocaltypesareinstitutedthroughout.Theyincludesolofemalelead,solofemaleharmony,background
harmony,andbackgroundindependent.Together,theytaketheoverallimpactofthesongtothenextlevel.

ThefirstfoursectionsfeatureAdelessolofemalelead(verse1,prechorus1,chorus1,andverse2).Thesecondprechorusmarksthefirstmajorvocal
shift,whenAdelespronouncedharmonyvocalisinstitutedonthesecondhalfoftheline.Eachsubsequentsectionfeaturesanengagingblendofsolo
femalelead,backgroundharmony,andbackgroundindependentvocalcharacteristics.

Rhyme Schemes: Overview

Hellofeaturesastrongcombinationofcrosslineandcrosspart(stanza)rhymeschemes.Thistakesitsinfectiousandmemorablenaturetothenextlevel.

Verse1/PreChorus1:AAAA/AAAA/A
Verse2/PreChorus2:AAAX/X
Chorus:AABB/AACC

Instrumentation: Overview

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Hellofeaturessixprimaryinstrumenttypesinthemix:

Bass
Drums/Percussion
Guitar
Piano
Strings
Synthesizers

Acousticpianoistheonlyinstrumentthatremainsinplaythroughouttheentiresong.ItsfeaturedmostprominentlyinthesparseBalladsectionsofthe
song,whereitelicitsadark,melancholytypevibe.ThisperfectlyjibeswithandaccentuatesAdelesvocalsandthelyrics.Itsalsofeaturedprominentlyin
thechorusandvocalbreaksections,albeitinconjunctionwithotherinstrumentation.

Song Structure

Timeline

Form

Atitscore,HellofollowsanABABVBBform(versechorusversechorusvocalbreakchorus).Itcontainsanintro,outro,andprechorus
sectionsinitsframeworkaswell.WhatitDOESNTcontainisabridge.

FullForm:I/APCB/T/APCB/VBBO
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Structural Flow/Grouping

Hellokicksoffwiththeintroandisfollowedbya2xrepeatofaverseprechoruschorussectionalprogression.Theseprogressionsarebrokenupbythe
briefturnaroundthatfollowsthefirstchorus.Notethatfirstverseconsistsoftwoparts/stanzas(denotedaspartsXandY),andthesecondversecontains
onlyone.Eachfullchorussectionalsoconsistsoftwoparts/stanzas,whicharedenotedaspartsXandYaswell.Followingthesecondchorus,thesong
headsintothevocalbreaksection,whichprovidesapronounceddepartureinlieuofabridge.Itsfollowedbythethirdchorusandbriefoutro,which
bringsthesongtoitsconclusion.

Section Length & Count

Section Count

Hellocontains10fullprimarysectionsinitsframework,andonesecondarysection.

Primary Sections

Oneintro
Twoversesections(thefirstconsistingofpartsXandY)
Twoprechorussections
Threechorussections(eachconsistingofpartsXandY)
Onevocalbreak
Oneoutro

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Secondary Section

Oneturnaround

Section Length

Shortest Sections

Intro:0:06/2bars
Outro:0:06/2bars
Turnaround:0:06/2bars
PreChorus1:0:12/4bars
PreChorus2:0:12/4bars

Middle Of The Road Sections

Verse2:0:24/8bars
VocalBreak:0:24/8bars

Longest Sections

Verse1(PartsYandZ):0:48/16bars
Chorus1(PartsYandZ):0:48/16bars
Chorus2(PartsYandZ):0:48/16bars
Chorus3(PartsYandZ):0:48/16bars

Accentuating Engagement Through Contrast & Segmentation

Oneofthemosteffectivewaystoensurethatthelistenerisalwayskeptengagedinasongistobreaklongerlengthfullsectionsintoshorterindividual
segments(i.e.parts/stanzas).InHello,thisisputintoeffectinallthreechorussections,aswellasthefirstverse.Eachrespectivepartpossessesboth
similarandcontrastingcharacteristicsrelativetooneanother.Thisensuresthatthememorabilityfactorofthefullsectioniskeptatahigh,whilekeeping
thingsfreshandengagingthroughout.

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Verse 1

Part X (0:24/8 Bars)

Line1:Hello,itsme
Line2:Iwaswonderingifafteralltheseyearsyoudliketomeet
Line3:Togoovereverything
Line4:Theysaythattimessupposedtohealya,butIaintdonemuchhealing

Part Y (0:24/8 Bars)

Line5:Hello,canyahearme
Line6:IminCaliforniadreamingaboutwhoweusedtobe
Line7:Whenwewereyoungerandfree
Line8:Iveforgottenhowitfeltbeforetheworldfellatourfeet

Choruses

Part X (0:24/8 Bars)

Line1:Hellofromtheotherside
Line2:Imustvecalledathousandtimes
Line3:TotellyouImsorryforevrythingthatIvedone
Line4:ButwhenIcallyouneverseemtobehome

Part Y (0:24/8 Bars)

Line5:Hellofromtheoutside
Line6:AtleastIcansaythatIvetried
Line7:TotellyouImsorryforbreakingyourheart
Line8:Butitdontmatter,itclearlydoesnttearyouapartanymore

Total Section Breakdown

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Notsurprisingly,thepowerful,infectiouschorusisallocatedthemostamountoftimerelativetotheothersections,comprising52%ofHellostotal
composition.Theversefollowsat26%,andthevocalbreakandprechorussectionscomprise8%,each.Theleastamountoftimeisallocatedtotheintro,
asyouwouldexpect,aswellasthebriefturnaroundandoutrosections.

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MTI (Momentum/Tension/Intensity)/Energy

ThissectionofthereportfocusesontheMTI/Energy(momentum,tension,intensity)andsoniclevelsineachsectionofthesong.

TheenergylevelfluctuationsthroughoutHelloareexactlywhatonewouldexpecttofindinaBallad/PowerBalladlowerenergyBalladesqueverses,and
higherenergyPowerBalladesquechoruses.Together,theyprovidethelistenerwithaveryengagingandimpactfullisteningexperience.

HelloprogressesthroughtwoMTI/Energylevelwavesasfollows:

Wave1:Progressesfromanenergylevellullintheintrotoapeakinthefirstchorus.
Wave2:Progressesfromanenergylevellullintheturnaroundtoapeakinthethirdchorus,followedbyadownshiftintheoutro.

Afewkeypointstonote:

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Gradual Intensity Increase

Despitethepronouncedshiftsintothehighenergychorusesasdepictedinthegraphsabove,Hellograduallyincreasesinintensityasitprogresses,up
untiltheoutro:

Thesecondverseandprechorusfeaturehigherenergylevelsthantheirverse1andprechorus1counterparts.Thisisprimarilyduetothechangeup
intheaccompaniment,aswellastheadditionofvocalharmonyinthesecondprechorus.
Eachsubsequentchorusismoreintensethantheonethatprecedesitduetochangeupsinthevocalandaccompanimentcharacteristics.
Thevocalbreak,whichissandwichedbetweenthepowerfulchoruses2and3,keepstheenergylevelatasustainedhigh,andisfollowedbyanother
increaseinthethirdandfinalchorus.

Prolonged Power

Typicallyinamainstreamhit(andnonmainstream,forthatmatter),followingaprolongedperiodofheightenedintensity,anintensityrespiteisinstituted
inordertoprovidethelistenerwithabreakbeforeheadingbackintoapowerfulsection.Thiscanbeimplementedinamultitudeofways,butmost
popularlyviaalowerenergylevelbridge,oralowerenergy(breakdown)firsthalfofafinalchorus.

However,thisrespiteinnotprovidedinHello,whichisquiterare.Instead,thepowerlevelremainsatahigh(andactuallygraduallyincreases)foralmost
twostraightminutes/40bars,or43%ofthesongstotalcomposition.Thisspansthesecondchorus,vocalbreak,andthirdchorus.Therespiteisfinally
providedatthetailendofthesongintheoutro,graduallyputtinglistenerbackdownonthegroundviathereversionbacktothesoloacousticpianothat
definestheintroandturnaround.

Energy Reset

Whilethereisntanintensityrespiteprovidedintheaforementionedsections,thereisasectionalMTI/Energylevelrespite/resetthatoccursBETWEEN
twoprimarysectionalprogressions:

Sectionalprogression1:IntroVerse1PreChorus1Chorus1
Sectionalprogression2:Verse2PreChorus2Chorus2VocalBreakChorus3Outro

Therespiteisthebriefturnaround,whichbringstheMTI/Energylevelallthewaybackdownviaareversionbacktothesoloacousticpianocharacteristics
oftheintro.Essentially,thisfunctionstoresetthesongfollowingtheintensefirstchorus,andactsasthestartingpointinthelistenerssecondjourneyup
theintensityramp.

Chorus Impact Accentuators

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Inordertoensurethatthepowerful,soaringchoruseshitwiththegreatestamountofimpact,achorusimpactaccentuatortechniqueisimplementedatthe
endofbothprechoruses.

Essentially,thelastlyricandpianochordaresustainedwithoutanyadditionalaccompaniment.Thiscreatesabrieftransitionallullthatbringstheenergy
leveldowncoupledwithananticipationladenwaitforitmoment,whichisthenfollowedbyanimmediaterampupintheswelleffectthatfollows.
TogethertheyprovidearollercoastertypeeffectthatridesthelistenerintotheensuingPowerBalladinfluencedchoruswithaheighteneddegreeof
impact.

Wave 1: Intro (I) Chorus 1, Part Y (B-1 Pt. Y)

Intro

Hellobeginswithalowenergylevelintheintroviaitssparsenature,consistingsolelyofthemelancholyacousticpianoaccompaniment.

Sonic Level

Thesoniclevelintheintroisamongthelowestinthesongalongwiththeturnaroundandoutro.

Verse 1 Parts X and Y

TheMTI/EnergyleveliskickedupanotchinthefirstverseduetotheadditionofAdelesvocalsontopofthepianoaccompanimentfromtheintro.Her
evocativedeliverypossessesaheavy,sombervibe,whichprovidesthesectionwithanunderlyingmelancholicintensity.Theoveralllevelremainsrelatively
constantthroughouttheentiresection.

Sonic Level

Thesoniclevelinthefirstverseisanotchabovethatoftheintro,butthesecondlowestinthescopeoftheoverallsong.

Pre-Chorus 1

TheMTI/Energyleveliskickedupanadditionalnotchintheshortfourbar/onelineprechorusduetothefollowingkeyfactors:

Adeleshighervocalpitchandsoaringtypedeliveryonthelyricsbetweenus.
Theadditionofthesynthpadaccompaniment.
Thechangeupintheacousticpianochordprogression.
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Togethertheyprovidethesectionwithasubtlymoreintensenature.However,itsthemannerinwhichthesectionconcludesthatreallytakesthe
tension/anticipationfactortothenextlevel.

Chorus Impact Accentuator #1: Wait For It Moment/Swell

Attheendoftheprechorus,thelastpianochordandAdelesmileslyricvocalaresustainedforafewsectionswithoutanyadditionalaccompaniment.
Theyrefollowedbyaswelleffectenteringthemix,whichincreasesinvolumeandintensityasitprogresses.

Together,thistransitionallullandensuingswellcreateatension/anticipationladenwaitforitmoment,whichridesthelistenerintothechoruswitha
higherdegreeofimpact.

Sonic Level

Thesoniclevelthroughoutthemajorityoftheprechorusisanotchabovethatoftheprecedingverse.Ittakesadip,however,duringtheaforementioned
waitforitmoment,followedbyasmoothincreaseintheswellthatfollows.

Chorus 1 Parts X and Y

Followingthewaitforitmoment/swellattheendoftheprechorus,theMTI/Energylevelisdramaticallythrustupinchorus1asthesongtransitions
fromBalladtoPowerBallad.ThisisbroughtaboutviaAdelesshifttoahigherpitch,powerful,andsoaringvocaldelivery,andtheadditionofbass,guitar,
drums/percussionandstringsintothemix.Together,theytaketheintensitylevelofthesongtoitsfirstapex.Theoveralllevelremainsrelativelyconstant
throughoutbothhalvesofthesectionpartsXandY.

Sonic Level

Hellosongreachesitsfirstsoniclevelapexinthefirstchorus.

Wave 2: Turnaround (TURN) End

Turnaround

Followingtheintense,PowerBalladinfluencedchorus,theMTI/Energylevelstringentlydropsoffintheensuingturnaroundasthesongbrieflyreturnsto
sparse,somberBalladmode.Notethatthelevelisonparwiththatoftheintro,consideringthattheybothsolelyconsistofsoloacousticpiano.

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Sonic Level

Thesoniclevelintheturnaroundisamongthelowestinthesongalongwiththeintroandoutro(afterthesynthpadfromthechorusfadesfromthemix).

Verse 2

FollowingthelowMTI/Energyleveloftheaforementionedturnaround,theintensityandmomentumlevelsarekickedupintheensuingsecondverse
primarilyduetotheshiftinthecharacteristicsoftheaccompaniment.Thisincludestheadditionofdrums/percussion,synthandstringsontopofthe
acousticpiano,whichcarriesoverfromtheturnaround.Together,theyprovidethesectionwithaslowburninggroove,possessinganevendarker,more
melancholicunderlyingintensitythanthatofthefirstverse.

Sonic Level

Thesoniclevelinthesecondverseisthesecondhighestinthesong,behindthechorussections.

Pre-Chorus 2

TheMTI/Energylevelinthesecondprechorusinitiallystartsoutatthesamelevelasthatoftheprecedingverseduetotheaccompanimentcommonality.
However,asthesectionprogresses,theaccompanimentelementssavefortheacousticpianofadefromthemix,whichwouldgenerallyresultinalower
MTI/Energylevel.ThisiscounteredbyAdeleshigherpitchandmoreintensedeliveryonthelyricsbothofus,whichkeepstheoverallMTI/Energylevel
relativelystable.

Chorus Impact Accentuator #2: Wait For It Moment/Swell

Attheendofthesection,anotherwaitforitmomenttransitionallullisfollowedbyaswellthatushersinthesecondchorusinasimilarmannertoChorus
ImpactAccentuator#1.However,notethatthedifferentiatedswellentersearlier,whichrampsuptheMTI/Energylevelfasterthanitdidthefirsttime
around.

Sonic Level

Thesoniclevelinthesecondprechorusinitiallystartsoutasthesameastheprecedingverse.However,oncetheaccompanimentsaveforthepiano
beginstofadefromthemix,thesonicleveldropsoff,followedbysteadilyincreasingonceagainoncetheswelleffectenters.

Chorus 2

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Part X

Followingtheswellleadinattheendofthesecondprechorus,theMTI/Energylevelisthrustbackuptoitssecondapexinthefirsthalfofthesecond
chorus.ThisisonceagainduetothesongtransitioningintofullPowerBalladmode.NotethattheMTI/Energylevelishigherthanitschorus1counterpart
primarilyduetotheadditionalbackgroundvocalsthathavebeenaddedintothemixcoupledwiththedrumcharacteristicsfromtheprecedingverse
remainingineffect,whichprovidesthesectionwithahigherdegreeofmomentumandpower.

Part Y

TheMTI/Energylevelisfurtherincreasedinthesecondhalfofthesectionduetotheadditionofasynthpad,percussivehits,andelectronicpercussion
intothemix.Together,inconjunctionwithAdelessoaringvocal,theyprovidethesectionwithaheighteneddegreeofmomentumandintensityrelativeto
partX.

Sonic Level

Thesoniclevelinthesecondchorusisthesecondhighestlevelintheentiresong.

Vocal Break

TheMTI/EnergylevelinthevocalbreaksectionisessentiallyonparwiththatofchorusPartYthatprecedesit.Thisisdueinparttothesimilaritiesinthe
accompaniment,andtheequallypowerful,albeitdifferentiated,vocalcharacteristics.

Sonic Level

Thesoniclevelinthevocalbreakisamongthehighestinthesong,andremainsatanapexthroughout.

Chorus 3

Part X

Followingtwostraightsectionsofsustainedintensity(chorus2andthevocalbreak),onewouldtypicallyexpecttofindanMTI/Energylevelrespitein
ordertobringthingsdownandenabletheensuingfinalchorustohitwithincreasedperceivedimpact.However,thatsnotwhathappens.

Instead,theMTI/Energylevelincreasesevenmore,broughtaboutviatheadditionofbackgroundvocals,additionalpercussivehitsandeffects,and
especiallytheshiftfrommalletstosticks,whichincreasethesectionspowerandmomentum.

Part Y

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TheMTI/EnergylevelofthesongreachesitsgrandapexinpartY.ThisisprimarilyduetothehigheroveralllevelsrelativetopartX.However,itdropsoff
atthetailendduringtheanymorevocaloncethedrumsandbackgroundvocalsarepulledfromthemix.

Sonic Level

Thethirdchorusfeaturesthehighestsoniclevelintheentiresongalongwiththevocalbreaksectionthatprecedesit.

Outro

FollowingthegrandMTI/Energylevelpeakinthethirdchorus,theleveltakesanabruptdiveintheoutroasthesongrevertsbacktothesparsesolo
acousticpianooftheintroandturnaround.Thisresultsinthelistenerbeinggentlyputbackdownonthegroundfollowingthreeconsecutivesectionsof
sustainedintensity.

Atthetailendofthesection,thelastpianochord/synthoverlayringsandfadesforafewsecondsfollowedbythesongcomingtoitsconclusion.

Genres, Sub-Genres,
& Vibes
Manyoftodayshitsfeatureafusionofdifferentgenres,subgenresandinfluencesthathelpstoachievethefollowing:

Providethesongwithauniquenaturethatenablesittostandoutfromitsmainstreamcontemporariesviainterestingandattimesunconventional
pairings(e.g.MeghanTrainorAllAboutThatBass:early1960sgirlgroupretro,DooWop,HipHop/Rap,Reggae,Rock&Roll,SoulandStraight
UpPop).
Increasethefanbaseandsalespotentialoftheartistandsongbytraversingmultiplegenres.

HelloisaPopBallad/PowerBalladwithastrongR&B/Soulinfluence.Whileitscertainlynotasadventurousassomeoftheothersongsthatchartinthe
Top10,itslimitedinfluencesservethesongperfectly.TogethertheyfunctiontobothbringAdelesheartfeltlyricstolife,andprovidethelistenerwitha
veryengaging,impactfullisteningexperience.

Sub-Genres

Ballad (Sub-Genre)
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Theintro,firstverse,prechorus,andoutrosectionsfeaturethemostovertlyBalladesquequalities.Thisisdueinparttothetempo(81bpm),the
characteristicsofthesoloacousticpianoaccompaniment,andAdelessubdued,melancholyvocalsinthefirstverseandprechorus.Thesecondverseand
prechorusalsopossessesaBalladesquequalityduetotheaforementionedcharacteristics.However,theadditionstotheaccompanimentprovidethe
sectionwithmoreofaslowburninggroovetypevibe.

Power Ballad (Sub-Genre)

ThevocalbreakandchorussectionsfeatureaPowerBalladtypequality.Thisisdueinparttothemorepowerful,soaringcharacteristicsofAdelesvocal,
andthefuller,morepowerfulnatureoftheaccompaniment.

R&B/Soul (Sub-Genre)

Adelesvocalstylethroughouttheentiresongpossessesanevocative,R&B/Soultypequality.ItscharacteristicsaremoreinlinewithR&B/Soulartistssuch
asSamSmithandJohnLegendthanPopartistssuchasKatyPerryandTaylorSwift.

Vibes

Hellofeaturesthreeprimaryvibesthroughoutthesong:

Vibe1:Melancholy,subdued(intro,verse1,prechorus1,outro)
Vibe2:Melancholy,brooding,slowburninggroove(verse2,prechorus2)
Vibe3:Longing,hurt,soaring,powerful(allthreechoruses,vocalbreak)

Thecommonalitythatvibes1and2shareistheiroverallmelancholytypecharacteristic.Theprimarydifferenceisthatvibe1ismoresubduedduetoits
sparsenature,andvibe2featuresmoreofaslowburninggroove,butremainsdarkanddowntrodden.Vibe3providesthemoststringentshiftinthesong
bylaunchingintoanultraevocative,tearjerking,soaring,andpowerfulcharacteristicbothintheaccompanimentandespeciallyAdelesvocal.

Genres, Sub-Genres & Vibes: At-A-Glance

Whatfollowsisanataglancelookatthedifferentinfluencesfoundthroughoutthesongandthesectionsinwhichtheyplayarole.Notethatthechart
reflectsdominantinfluencesinthemix.

Key
I=Instrumental/backingmusicinfluence

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V=Vocalinfluence

Primary Instrumentation
Hellofeaturessixprimaryinstrumenttypesinthemixthatshapeitssoundandvibepiano,synthesizers,drums/percussion,strings,guitar,andbass.

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*Clickimagetoenlarge

Piano

PianoplaysamajorroleinHello.Itstheonlyinstrumentthatsineffectthroughouttheentiresong,invaryinglevelsofprominence.Itssoundisoneofan
acousticgrandpianowithaprominentmidrange.Itpossessesanatural,warmtone,withaslightamountofreverb.

ItsfeaturedmostprominentlyinthesparseBalladsectionsofthesong,whereitelicitsadark,melancholytypevibe.Thisperfectlyjibeswithand
accentuatesAdelesvocalsandthelyrics.Itsalsofeaturedprominentlyinthechorusandvocalbreaksections,albeitinconjunctionwithother

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instrumentation.

Instrumentalsections(vibeestablishment)

Intro
Turnaround
Outro

Vocalsections(JibeswithandaccentuatesAdelesvocalandthelyrics)

Verse1
*PreChorus1
*Chorus1
*Verse2
*PreChorus2
*Chorus2
*VocalBreak
*Chorus3

*Thepianoisfeaturedinconjunctionwithotherprominentinstrumentation,butthevibeeffectisthesame.

Rhythmically,thepianoremainsthesamethroughoutthemajorityofthesong,consistingofadottedquartereighthtiedtohalfrhythm.Themost
notabledepartureoccursintheprechorus,wheretherhythmchangesuptojibewithAdelesvocaldelivery.Overall,thepianoservesasaconsistent
rhythmicbackbonethroughoutthesong,allowingAdeletohavegreaterfreedomtopushtheboundarieswithhervocals.

Harmonically,therearethreevariationsthatoccurthroughoutthesong:

Variation1:Intro&verse
Variation2:PreChorus
Variation3:Chorus,vocalbreak

Piano: Intro/Verse

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Piano: Pre-Chorus

Piano: Chorus/Vocal Break

Synthesizers

SynthsinHellofunctioninmoreofasupportingroleasopposedtolead.Therearetwosynthpadvariationsfoundthroughoutthesongonethatfeatures
astringtypequality,andonethatpossessesmoreofanoouvocalvowelsound.Bothareexceptionallyimportantinaccentuatingthesongsvibeand
providingadditionalcolorandtextureintheirrespectivesections.

Synth1:SynthPad1

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SynthPad1possessesasynthstringstypequalitywithasmoothtopendandamplereverb.Itsfeaturedmostprominentlyinthechorussections,andmore
subtlyinthefirstprechorus.

Synth2:SynthPad2

Incontrasttosynthpad1,synthpad2featuresashorterdecay,possessesanoohvoweltypesoundasopposedtostrings,andisprocessedwithheavy
reverb.Itsmostaudibleintheturnaround,verse2,chorus2partY,vocalbreak,andatthetransitionpointbetweenchorus3partYandtheoutro.

Drums/Percussion

Hellofeaturesthefollowingdrum/percussionvariationsthroughoutthesong:

DrumSetwithmallets
DrumSetwithsticks
Electronicdrums/percussion(shakertypeandpercussivehits)
Bellsoundeffect

Drum Set (Mallets)

Malletplayedacousticdrumsarefeaturedinthesecondverseandfirstandsecondchorussections.Thekick,toms,andsnareallpossessasoft,muffled
typetonethataccentuatesthesongsdarkandmelancholicvibe.Thischaracteristicisputintoeffectwiththesnareviathebottomsnarewiresbeing
disengagedinadditiontotheuseofmallets,whichremovesthebrightsnap.

Chorus 1 Pattern

Verse 2 Pattern

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Chorus 2 Pattern

Vocal Break Pattern

Drum Set (With Sticks - Snares On)

Inthethirdandfinalchorus,thedrumsareplayedwithsticksasopposedtomallets.Notethatthisistheonlysectionintheentiresongwherethishappens.
Asaresult,thedrumspossessastrongerandmoredefinedattack,whichprovidesthesectionwithanincreasedsenseofpower.Additionally,thesnarewire
isengaged,whichprovidesitwithitsbright,snappyattackasopposedtothemuffled,tomtypesoundintheaforementionedsections.
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Chorus 3 Pattern

Electronic Drums & Percussion

Electronic Percussion Loop

Thisisametallic,electrohat/shaker/snaresoundingloopthatfeaturesa16thnoterhythm,similarineffecttoashaker.Itfirstappearsinthesecondverse
atalow/midlevelinthemix,anddecrescendostobarelyaudibleoverthecourseoffourbars.Theflowthenrepeatsasecondtimeoverthenextfourbars.
ItreturnsatamoreprominentlevelinpartYofthesecondchorus,andremainsineffectthroughthethirdchorus,untilbeingpulledonceagaininthe
outro.

Percussive Hit

Thisisaneffectedelectronicpercussionsound,similarintimbretoarimshotand/orclap.Itpossessesareverbdrenchedqualityandaccentuatesthe
backbeatinthesectionsinwhichitsfeaturedchorus2and3partY,andthevocalbreak.

Bell Effect

Adeep,lowpitchedtubularbelltypeeffectisemployedonthedownbeatofeveryfourbarsinthevocalbreakandchorus3sections.

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Strings

Bowed Strings

Bowedstringsareemployedinthemidlowregisterofthecellorange,encompassingtheoctavebelowmiddleC.Thestringsplayonenoteatatime(no
harmony)andonthebassnoteofeachchord,changingchordswiththepiano.Theirmixplacementandfunctioninthesongarebothbackground,butvery
importantinaccentuatingthemelancholyballadvibeofthesong.Furthermore,theyworkwithinconjunctionwiththebassandlowendofthepianotofill
outthelowregister.

Thestringsarepresentinallchorusesandthevocalbreak,butarefeaturedmostprominentlyinthemixinverse2.

String Parts

Bass

Bassisfeaturedinthechorussectionsaswellasthevocalbreak.Itfollowsthebassnotesofthepiano,andisquiteburiedinthemix.However,itplaysan
importantroleinfillingoutthebottomend,providingincreasedpower,andprovidingastrongfoundationfortheotherinstrumentsandharmonies.

Guitar

Electricguitarisfeaturedinthechorussections,vocalbreak,andatthetransitionpointintothesecondchorus(seethetransitionssectionbelow).
However,itslevelofprominenceismostlyminimal,playingaminorroleintheoverallscopeofthesong.

Chorus

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TheguitarstrikesahighFnoteonthedownbeatofeveryotherbar,beginningonthefirstbarofeachchorus,andalsoplaystherootofeachchordchange
inahighregister.Itspositionedverylowinthemix,andeffectedwithreverb.

Vocal Break

Electricguitarwithheavyreverbprocessingisfeaturedthroughoutthesectionplayingthechordsofeachchordchange.

Transitional Elements

Thefollowingthreeelementsareutilizedtotransitionfromtheprechorusintothechorus:

Pre-Chorus/Chorus 1: Piano/Synth Swell

Thisswelleffect,whichconsistsbothofacousticpianoandsynthpad1,functionstotransitionthefirstprechorusintothefirstchorus.

Pre-Chorus/Chorus 2: Guitar/Piano/Cymbal Swell

Atthetransitionpointbetweenthesecondprechorusandchorus,afastpicked,shrill,heavilyreverbprocessed,tremoloAbnoteguitarentersthemix,
whichtransitionsintothechorusalongwithapianoandcymbalswell.

Music & Instrumentation: Section By Section

Intro (0:00 0:06)

Primary Instrumentation Featured In The Mix

Piano(Acousticintro/verseprogressionLevel:Mid)Primaryplacementinthemix:12:00.

Chord Progression: Fm Ab/Eb Eb Db (i III/VII VII - VI)

Characteristics

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Hellosintroclocksinatjustsixseconds/2bars,whichisinlinewiththesecondmostpopularintrolengthrangeofQ3sTop10chartinghits(0:010:09).
Itpossessesasparsenature,consistingofjustoneinstrumentacousticpianoandfourchordsasdetailedabove.

Itsshort,minimalnatureactsasastrongandeffectiveintroductiontothesongforthefollowingkeyreasons:

Vibe Establishment

Itscharacteristicsinstantlysetthescenebyestablishingthedark,melancholicvibethatpervadestheentiresong.

Partial Genre/Sub-Genre Establishment

ThesongsPopBalladinfluenceismadeapparentrightoffthebat.Asaresult,thelistenerhasaprettygoodsenseofwhatthesongholdsinstore.Thisis
furtherreinforcedbythefactthatthisisanAdelesong,whosknownforpowerfulBalladssuchasSetFireToTheRain.However,thepronounced
R&B/SoulandPowerBalladinfluenceshaveyettomakethemselvesknown.

Unique Identifier/Attention Grabber

WhilethereisntanythingovertlyuniqueaboutaBalladthatbeginsinasomber,darkmannerwithanacousticpianoservingasthesoleinstrumentinthe
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mix,itscharacteristicsstandoutinthecurrentmainstreammusicscene.AtthetimeitenteredtheHot100at#1(Billboardweekof11/14),itwastheonly
songintheTop10thatbeganinthatmanner.TheclosestthingtoitwasLockedAway(R.CityfeaturingAdamLevine),butthatsongkicksoffwiththe
chorus,consistingofacousticpianoandLevinesleadvocal.

Fastforwardonemonthlater,anditsstilltheonlysongintheTop10thatbeginsinthatmanner.Asaresult,iteasilycutsthroughairwaveclutter,
instantlygrabsthelistenersattention,andisinstantlyrecognizableasHello.

TransitionPoint(IntrointoVerse1):Inthelastbaroftheintro,thefirstsyllableinhelloissung(briefpickup),followedbytheversecommencing
onthesecondsyllable.Instrumentally,thepianofromtheintrocarriesrightoverintotheversewithoutanytypeoftransitionaleffect(i.e.swellor
otherwise).

Verse 1 (0:06 0:54)

Primary Instrumentation Featured In The Mix:

Piano(Acousticintro/verseprogressionLevel:Mid)Primaryplacementinthemix:12:00.

Chord Progression: Fm Ab/Eb Eb Db (i III/VII VII - VI)

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Characteristics

Thesoloacousticpianofromtheintroremainsineffectandunchangedthroughouttheentirefirstverse(partsXandY).Itsmelancholic,darkqualities
providetheperfectbackdropforAdelesevocative,melancholicvocalandlyricstoshineandresonatewiththelisteneronaprofoundlevel.

TransitionPoint(Verse1intoPreChorus1):Theprechoruslyricstheressuchaarefeaturedasapickupinthelastbaroftheverse.Thepre
choruscommencesonthelyricdifference.

Pre-Chorus 1 (0:54 1:06)

Piano(AcousticprechorusprogressionLevel:Mid)Primaryplacementinthemix:12:00.
**SynthPad1(SynthstringscharacteristicLevel:Low/mid)Primaryplacementinthemix:12:00
**TransitionalElement1(Piano/synthswellentersinlastbarLevel:Crescendoslowtohigh)Primaryplacementinthemix12:00.

*Indicatesaneworsignificantlychangedupinstrument/vocalinthemixcomparedtotheprecedingsection
**Indicatesaninstrumentsfirstappearanceinthesong

Chord Progression: Fm Eb Cm Db - Fm Eb Db (i VII v VI / i VII - VI


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Characteristics / Vibe Continuity & Shift

Theaccompanimentintheprechorusfeaturesbothsimilarandcontrastingcharacteristicsrelativetotheprecedingverse.Whiletheviberemainsoneof
hurtandsadness,theshiftinthepianoprogressionandmostparticularlytheadditionofthesynthpadacttolightenthingsupabitrelativetothemore
morose,melancholicverse.

Instrumental Carryover

Theacousticpianofromtheintroandversecarriesoverintotheoneline/fourbarprechorus.Whileitstimbreremainsthesame,theharmonic
progressionischangedup.Itmorecloselyfollowsthevocalmelodythanitdidintheverse,whichprovidesitwithincreasedweight.

Instrumental Additions

Theprechorusisthefirstsectioninthesongthatfeaturesasynthinthemix.Itpossessesasynthstringpadtypequalitywithamplereverbprocessing.Its
additionprovidesincreasedcolorandtexturerelativetotheprecedingsolopianodrivenverse.This,inadditiontothevocalandpianoshift,resultsin
heightenedengagementforthelistener.

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TransitionPoint(PreChorus1intoChorus1):Atthetailendoftheprechorus,thelaststruckpianochordandsynthbrieflyresonate.Justastheir
prominencebeginstodiminish,theyswellbackinatagreaterdegree,usheringthelistenerintothechorusthatfollows.

Chorus 1 (1:06 1:54)

Primary Instrumentation Featured In The Mix

Part X (1:06 1:30)

Piano(Acousticchorus/vocalbreakprogressionLevel:Mid)Primaryplacementinthemix:12:00.
**Bass(Level:Low)Primaryplacementinthemix:12:00
**DrumSet(Withmalletssparsekick&tomsbasicunisonrhythmthatfollowsthepiano,guitar&basswithslightvariationLevel:Midlow)
Primaryplacementinthemix:12:00
SynthPad1(SynthstringsqualityhighpitchedsustainedchordsLevel:Low)Primaryplacementinthemix:1:00butspreadwideinthestereo
fieldto11:00/3:00
*Guitar(Electricguitar,pluckednotesinconjunctionwithpianochordsLevel:Low)Primaryplacementinthemix:11:00 BacktoTop
**Strings(LowbowedstringsfollowingthepianoandbassLevel:Low)Primaryplacementinthemix:12:00

Part Y (1:30 1:54)

EverythinginPartXwiththefollowingaddition:

**ElectronicDrums/Perc(grooving16thsnotes,metallic,electrohat/shaker/snaresoundingloopenterstowardtheendofPartYLevel:low)
Primaryplacementinthemix:12:00

*Indicatesaneworsignificantlychangedupinstrument/vocalinthemixcomparedtotheprecedingsection
**Indicatesthefirstappearanceofaninstrument/vocalinthemix

First Chorus Occurrence

Hellosfirstchorushitsat1:06/23%ofthewayintothesong,whichisquitelatecomparedtomostotherTop10chartinghits.Forinstance,duringthethird
quarterof2015,onlytwooutoftwentythreesongshadtheirfirstchorushittingoveroneminuteintothesongEarnedItandPhotograph.

Despitethelateoccurrence,thelistenersattentionisheldupuntilthispointthankstothebriefintro,twopartfirstverse,andbriefprechorus.

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Cross-Section Contrast & Vibe Shift

HereinthechorusiswhereHellomakesthepronouncedshiftfromsparseBalladtofullaccompanimentPowerBallad.Thisisputintoeffectbothviathe
shiftinAdelesvocal(referencetheVocalCharacteristicsandVocalMelodysectionsofthereportfordetails),andthenewadditionstotheaccompaniment.

Themalletstruckkickandtomsworkintandemwiththeguitar,bass,andpianoinprovidingthesectionwithdramaticpower.Thehighpitched,sustained
synthstringpadprovidesanairoftensioncoupledwithtexturalcontrastagainstthelowbowedstrings.

NoticethattheaccompanimentservesastheperfectdramaticbackdropforAdelesevocativevocalstoshine,andneverovershadowsher.

Harmonic Shift

Hereinthechorusanewchordprogressionisintroduced.ItbeginsonFm,justastheversedoes,butthenchangesupfromthispointon.Wheretheverse
progressionmovesrightdownthescaleviaFmAb/EbEbDb,thechorusfeaturesanFmDbAbEbprogression.Therootmovementbyfifthsvia
DbAbEbprovidesasenseofpowerandstrengthtotheprogression,andtheoverallvibeofthesection.

In-Section Repetition

TheaccompanimentcharacteristicsofthefirstchorusremainessentiallythesamethroughoutpartsXandY. BacktoTop

In-Section Contrast

TowardtheendofpartY,alowlevel,grooving16thnotemetallic,electrohat/shaker/snaresoundingloopentersthemix.Althoughnotfeaturedina
prominentmanner,itdoesprovideadditionalcolor,textureandcontrastinthescopeofthefullsection.

TransitionPoint(Chorus1intoTurnaround):Seamlesstransition.

Turnaround (1:54 2:01)

Primary Instrumentation Featured In The Mix

Piano(VerseprogressionLevel:Mid)PrimaryPlacementinthemix:12:00.
**SynthPad2(oohsoundingsynth,heavyreverbLevel:Mid)PrimaryPlacementinthemix:12:00butspreadwideacross11:002:00

**Indicatesaninstrumentsfirstappearanceinthesong

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Chord Progression: Fm Ab/Eb Eb Db (i III/VII VII - VI)

Characteristics

FollowingtheintensePowerBalladchorus,thebriefturnaroundfunctionstobringtheenergylevelofthesongbackdownandreestablishitsdark,
subdued,melancholicvibe.

Thisisachievedviathereversionbacktothesoloacousticpianoandassociatedprogressionfromtheintro,coupledwiththeadditionoftheoohsounding
synth.Thissynthprovidestheturnaroundwithanaccentuatedmelancholichauntedtypequalityinadditiontocolorandtextureasitquicklyfadesfrom
themix.

TransitionPoint(TurnaroundintoVerse2):Thefirstsyllablefromtheensuingverse,hel,entersatthetailendoftheturnaround,servingasa
briefpickup.Thesecondsyllable,lo,entersattheonsetofthesecondverse.Allinall,itsaseamlesstransition.

Verse 2 (2:01 2:25)

Primary Instrumentation Featured In The Mix


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Piano(VerseprogressionLevel:Mid)PrimaryPlacementinthemix:12:00.
*DrumSet(Withmallets,lightkickandsnare(snaresoff)withtomfillsLevel:Mid)Primaryplacementinthemix:12:00
SynthPad2(Oohsoundingsynth,heavyreverbLevel:Mid)PrimaryPlacementinthemix:12:00butspreadwideacross11:002:00
*Strings(Lowbowedstrings,followingpianoandbassLevel:Low/Mid)Primaryplacementinthemix:12:00
*Elec.Drums/Perc(Grooving16thsnotes,metallic,electrohat/shaker/snaresoundingloopLevel:Decrescendosmedloweveryfourbars)
Primaryplacementinthemix:12:00

*Indicatesaneworsignificantlychangedupinstrument/vocalinthemixcomparedtotheprecedingsection

Chord Progression: Fm Ab/Eb Eb Db (i III/VII VII - VI)

Characteristics / Vibe Continuity & Shift

Incontrasttothesparsecharacteristicsofthefirstverse,thesecondversefeaturesamorerobustaccompaniment.Whilethedark,melancholicvibe
remainsineffect,itnowpossessesaslowburninggroove,whichtakestheinfectiousengagementfactorofthesongtothenextlevel.

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Cross & Like Section Repetition & Contrast

Chorus 1/Verse 2

Thepiano,drumset,andstringscarryoverfromtheprecedingchorusintothesecondverse.Theiroverallcharacteristicsremainessentiallythesame,
exceptforthedrumsetpattern.Here,itsslightlymorecomplex,featuringabackbeat(beats2and4)onthesnareinadditiontothekickpatternfromthe
chorus.

The16thnotedrivenelectroshaker/hat/snareperceffectthatappearsinasubtlemannerattheendofthefirstchorusreturnsinthesecondverseona
morepronouncedlevel.Itprovidesthesectionwithaheighteneddegreeofmomentuminadditiontoaccentuatedcolorandtexture.

Synthpad2,whichappearsbrieflyattheendofthefirstchorus/beginningoftheturnaround,makesareturnappearanceinthesecondverse.Itsineffect
atthebeginningofthesection,fourbarslater,andonceagainaftertwobarsinaquietermanner.Itfeaturesasustainedchordthathasasoftattackand
decaysoverthecourseof12bars.

Verse 1/Verse 2

Theonlyaccompanimentcommonalitybetweenverse1andverse2istheacousticpiano.
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TransitionPoint(Verse2intoPreChorus2):Theprechoruslyricsitsnoarefeaturedasapickupinthelastbaroftheverse.Theprechorus
commencesonthelyricsecret.

Pre-Chorus 2 (2:25 2:37)

Primary Instrumentation Featured In The Mix

Piano(PrechorusprogressionLevel:Mid)Primaryplacementinthemix:12:00
DrumSet(Withmallets,eighthnotesnaredrumhits,fadesoutovertwobarsLevel:Mid/low)Primaryplacementinthemix:12:00
*Guitar(TremolopickonAb,crescendo,effectedLevel:Lowmid)Primaryplacementinthemix:11:00,butspreadwide10:003:00
**CymbalSwell(Cymbalcrescendowithmallets,occursatendofsectionLevel:Lowtohigh)Primaryplacementinthemix:2:00
*Synth1(Synthpad1,sustainedchordsLevel:Verylow)Primaryplacementinthemix:1:00butspreadwideinthestereofieldto11:003:00

*Indicatesaneworsignificantlychangedupinstrument/vocalinthemixcomparedtotheprecedingsection
**Indicatesthefirstappearanceofaninstrument/vocalinthemix

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Chord Progression: Fm Eb Cm Db / Fm Eb Db (i VII v VI / i VII - VI

Characteristics

TheprechorusprominentlyfeaturesPiano.Thedrumsetfadesoutoverthecourseofthefirsttwobars.Then,thethirdbarismainlypianoandthefourth
bariswherethetransitiontochorus2occurs.

Cross & Like Section Repetition & Contrast

Verse 2/Pre-Chorus 2

Thedrumsetfromtheprecedingversecarriesoverintotheprechorus,butfadesfromthemixduringthefirsthalfofthesection.Thepianocarriesoveras
well,buttheprogressionischangedupjustasitwasbetweenthefirstverseandfirstprechorus.

Pre-Chorus 1/Pre-Chorus 2

Thesecondprechorusfeaturesthesamepianopartasthefirstprechorus.Otherthanthat,everythingelseisdifferent.Theguitarandsynthpadofpre
chorus1donotrecurinprechorus2.Instead,thedrumsetfadesout,avocalharmonyenters,andthenelectricguitartremolopicking,pianoswell,and
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cymbalswellpropelthesecondprechorusintothesecondchorus.

TransitionPoint(PreChorus2intoChorus2):Attheendoftheprechorus,atremolopickedelectricguitarentersthemixfollowedbya
piano/cymbalswellandcrashwhichmarksthetransitionintothesecondchorus.

Chorus 2 (2:37 3:25)

Primary Instrumentation Featured In The Mix

Part X (2:37 3:01)

Piano(ChorusprogressionLevel:Mid)PrimaryPlacementinthemix:12:00
*Bass(FollowingpianoLevel:Low)Primaryplacementinthemix:12:00
*DrumSet(Withmallets,rockstylebackbeatrhythmLevel:Mid)Primaryplacementinthemix:12:00
Synth1(Synthpad1,sustainedchordsLevel:Low)Primaryplacementinthemix:1:00butspreadwideinthestereofieldto11:00/3:00

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*Guitar(Electricguitar,pluckednotesfollowingpianochordsLevel:Low)Primaryplacementinthemix:11:00
*Strings(Lowbowedstrings,followingpianoandbassLevel:Verylow)Primaryplacementinthemix:12:00
CymbalSwell(Cymbalcrescendowithmallets,occurseveryfourbarsLevel:Lowtohigh)Primaryplacementinthemix:2:00

Part Y (3:01 3:25)

EverythinginPartXwiththefollowingadditions:

*SynthPad2(Oohsoundingsynthchords,heavyreverbLevel:Mid)PrimaryPlacementinthemix:12:00butspreadwideacross11:002:00
*Elec.Drums/Perc(Grooving16thsnotes,metallic,entersattheendofpartXbutisfeaturedmostprominentlyinpartYLevel:Decrescendos
medloweveryfourbars)PrimaryPlacementinthemix:12:00butspreadwidefrom10:003:00
**ElectronicPerc.Hit(Heavyreverbwithlongdecay,appearsonthefourthbeatofeveryotherbarLevel:Low)PrimaryPlacementinthemix:
12:00withawidereverbdecay.

*Indicatesaneworsignificantlychangedupinstrument/vocalinthemixcomparedtotheprecedingsection
**Indicatesthefirstappearanceofaninstrument/vocalinthemix

Chord Progression: Fm Db Ab Eb (i VI III VII) BacktoTop

Characteristics

ThesecondchorusshiftsthesongbackintoPowerBalladmode,justasthefirstchorusdidpreviously.Itfeaturesthesamegeneralaccompaniment
characteristicsasthatofthefirstchorus,plussomenew/modifiedcharacteristicsaswell.

Chorus 1/Chorus 2 Contrast

Theprimarydifferencebetweenthefirstandsecondchorusisthatthecymbalswell,synthpad2,andelectronicpercussivehitshavebeenaddedintothe
mix.This,inconjunctionwiththemoreRockorientedrhythmandhigheroveralllevelsprovidethesecondchoruswithamoreintense,driving,and
dramaticvibecomparedtochorus1.Additionally,thecontrastbetweenthetwopreventssectionalmonotonyfromsettingin,andaccentuatestheoverall
engagementfactorofthesong.

TransitionPoint(Chorus2intotheVocalBreak):Acymbalswellentersthemixatthetailendofthechorus,followedbyacrashattheonsetof
thevocalbreak.

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Vocal Break (3:25 3:51)

Primary Instrumentation Featured In The Mix

Piano(ChorusprogressionLevel:Mid)PrimaryPlacementinthemix:12:00.
Bass(FollowingpianoLevel:Low)Primaryplacementinthemix:12:00
DrumSet(Withmallets,rockstylebackbeatrhythmLevel:Mid)Primaryplacementinthemix:12:00
Synth1(Synthpad1,sustainedchordsLevel:low)Primaryplacementinthemix:1:00butspreadwideinthestereofieldto11:00/3:00
SynthPad2(Oohsoundingsynthchords,heavyreverbLevel:Mid)PrimaryPlacementinthemix:12:00butspreadwideacross11:002:00
Guitar(Electricguitar,chords,heavyreverbandprocessingLevel:low)Primaryplacementinthemix:11:00
Strings(Lowbowedstrings,followingpianoandbassLevel:Verylow)Primaryplacementinthemix:12:00
Elec.Drums/Perc(Grooving16thsnotes,metallic,entersattheendofPartXbutisheardprominentlyinPartYLevel:Decrescendosmedlow
everyfourbars)Primaryplacementinthemix:12:00butspreadwidefrom10:003:00
ElectronicPerc.Hit(Heavyreverbwithlongdecay,appearsonbeat4everyotherbarLevel:Low)PrimaryPlacementinthemix:12:00withwide
reverbdecay.
CymbalSwell(Cymbalcrescendowithmallets,occursatveryendofsectionLevel:Lowtohigh)Primaryplacementinthemix:2:00 BacktoTop

Characteristics

Thevocalbreaksectionfeaturesthesameoverallaccompanimentcharacteristicsasthatoftheprecedingchorus.Asaresult,thePowerBalladvibeofthe
songremainsineffectwithoutabreakinenergy.Theprimarydifferencebetweenthetwosectionsisthatthedrumsbuildinintensityandfeaturemore
fills,andtheelectricguitarisfeaturedmoreprominently,playingmidrangechordsasopposedtothesinglehighnotesemployedelsewhereinthesong

Bridge Surrogate

Thisisthepointinamainstreamhitwhereonewouldtypicallyexpecttofindabridgeinordertoprovideastringentdeparturelyrically,vocally,
instrumentally,and/orenergywiseinrelationtotheothersectionsinthesong.Here,however,wefindavocalbreaksectioninlieuofabridge.It
providesaprominentvocalandlyricaldeparture,butDOESNTprovideanaccompanimentorenergylevelshift.

Asaresult,theenergylevelofthesongandaccompanimentfromtheprecedingchorusremainsessentiallyunchanged.This,coupledwithnomajorenergy
level/accompanimentshiftinthechorusthatdirectlyfollowskeepsthelistenerinasimilarstateforawhopping40measures/~twofullminutes.Thisis
quiteraretofindintodaysmainstream,butcertainlyworkedquitewellforAdele(heraudienceobviouslyhasnoproblemhearingherflexhervocal
musclesacrossapowerful,evocativePowerBalladbackdropforaslongaspossible).

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TransitionPoint(VocalBreaktoChorus3):DrumSetfillwithsticks.

Chorus 3 (3:51 4:39)

Primary Instrumentation Featured In The Mix

Piano(ChorusprogressionLevel:Mid)PrimaryPlacementinthemix:12:00
Bass(FollowingpianoLevel:Low)Primaryplacementinthemix:12:00
*DrumSet(Withsticks,heavyrockstylebackbeatrhythmLevel:Mid)Primaryplacementinthemix:12:00
Synth1(Synthpad1,sustainedchordsLevel:Low)Primaryplacementinthemix:1:00butspreadwideinthestereofieldto11:00/3:00
*Guitar(Electricguitar,pluckednotesfollowingpianochordsLevel:Low)Primaryplacementinthemix:11:00
Strings(Lowbowedstrings,followingpianoandbassLevel:Verylow)Primaryplacementinthemix:12:00
CymbalSwell(Cymbalcrescendowithmallets,occurseveryfourbarsLevel:Lowtohigh)Primaryplacementinthemix:2:00
Elec.Drums/Perc(Grooving16thsnotebeatLevel:Lowmid)PrimaryPlacementinthemix:12:00butspreadwide10:003:00
ElectronicPerc.Hit(Heavyreverbwithlongdecay,appearsonbeat2inthefirstbarofPartXandPartY)Primaryplacementinthemix12:00
withwidereverb BacktoTop
BellEffect(LowPitched,TubularBelleffectondownbeatsLevel:Low)Primaryplacementinthemix:12:00

Carryovers & Contrast

Characteristics

Theoverallaccompanimentcharacteristicsofthethirdandfinalchorusarethesameasthesecondchorusandvocalbreaksections.Themostprominent
difference,however,isthatthedrumshaveshiftedfrommalletstosticks,andthesnaresarenowon.Asaresult,thedrumsnowhavemorepower,punch,
anddefinition,takingtheoverallintensityleveloftheentiresongtoitsapex.

Additionally,thetubularbelleffectthatsinstitutedonthedownbeatsfurtherfillsoutthebottomend,addscolorandtexture,andprovidesthesection
withanheighteneddegreeofdramaandpower.

Theseaccompanimentfactors,coupledwiththevocalchanges/additions,taketheexcitementfactorofthesongtoitsclimaxinanexceptionallyinfectious
andengagingmanner.

TransitionPoint(Chorus3intotheOutro):Inthelastbarofthechorus,alloftheinstrumentsarepulledfromthemixsaveforthepiano,synth
pad2,andasubtlecymbalswellthatprovidesthetransitionintotheensuingoutro.
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Outro (4:39 4:45)

Primary Instrumentation Featured In The Mix

Piano(Intro/verseprogressionLevel:Mid)PrimaryPlacementinthemix:12:00.
*SynthPad2(Oohsoundingsynth,heavyreverbLevel:Fadesfrommidtonil)PrimaryPlacementinthemix:12:00butspreadwideacross
11:002:00

Chord Progression: Fm Ab/Eb Eb Db (iv I/V V - IV)

Characteristics

Theoutrofeaturesareversionbacktothesoloacousticpianooftheintro.Thisgentlyputsthelistenerbackdownonthegroundfollowing40bars/two
straightminutesofprolongedintensity.Italsofunctionstobringthesongfullcircle.

Atthebeginningofthesection,thesynthpadandreverbtailfromAdelesvocaltrailoff,leavingthepianoasthestandaloneinstrumentinthemix.The
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lastchord,however,featuresadetunedsynthlayeredontop,whichaddscolorandtextureandprovidesahauntedvibeconclusiontothesongasitand
thepianofadeoffintothedistance.

Vocals

Vocal Assignments/Type
HelloprimarilyfeaturesasolofemaleleadvocalfromAdele.Inordertoprovidethesongwithaheighteneddegreeofcolor,textureandengagementvalue,
fourdifferentvocaltypesareinstitutedthroughout.Theyincludesolofemalelead,solofemaleharmony,backgroundharmony,andbackground
independent.Together,theytaketheoverallimpactofthesongtothenextlevel.

ThefirstfoursectionsfeatureAdelessolofemalelead(verse1,prechorus1,chorus1,andverse2).Thesecondprechorusmarksthefirstmajorvocal
shift,whenAdelespronouncedharmonyvocalisinstitutedonthesecondhalfoftheline.Eachsubsequentsectionfeaturesanengagingblendofsolo
femalelead,backgroundharmony,andbackgroundindependentvocalcharacteristics.

Key:

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SoloFemaleLead:Adelenaturalvoicereverb
SoloFemaleHarmony:Adelenaturalvoicereverb
Background/Harmony:GroupfemalevocalfollowsAdeleslead
Background/Independent:GroupfemalevocalindependentofAdeleslead(repeatlyrics)
HighlightedLyrics:Leadandbackgroundvocalsarefeaturedconcurrently
P=Primaryleadvocalinthemix
S=Secondaryvocalinthemix(background,repeat,oneoff,etc)
():Dividesafullsectionintotwohalves(i.e.thevocalcharacteristicisonlyineffectinthefirsthalfofthesectionorthesecond)

Vocal Assignments At-A-Glance

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Verse 1

Part X

Line1:Hello,itsme
Line2:Iwaswonderingifafteralltheseyearsyoudliketomeet
Line3:Togoovereverything
Line4:Theysaythattimessupposedtohealya,butIaintdonemuchhealing

Part Y

Line5:Hello,canyahearme
Line6:IminCaliforniadreamingaboutwhoweusedtobe
Line7:Whenwewereyoungerandfree
Line8:Iveforgottenhowitfeltbeforetheworldfellatourfeet

ThefirstversefeaturesAdelessololead.Hervocalisupfrontinthemix,intimate,andnaturalsounding.Noticethatthereverbprocessingismost
pronouncedonthetitlelyric,hello,atthebeginningofeachstanza.Thisaccentuatesitsimpactandalsoprovidesitwithahaunted,searchingtype
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quality,whichjibeswiththenarrative.

Pre-Chorus 1

Line1:Theressuchadiffrencebetweenusandamillionmiles

Theprechorusfeaturesessentiallythesamevocalcharacteristicsastheprecedingverse.

Chorus 1

Part X

Line1:Hellofromtheotherside
Line2:Imustvecalledathousandtimes
Line3:TotellyouImsorryforevrythingthatIvedone
Line4:ButwhenIcallyouneverseemtobehome

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Part Y

Line5:Hellofromtheoutside
Line6:AtleastIcansaythatIvetried
Line7:TotellyouImsorryforbreakingyourheart
Line8:Butitdontmatter,itclearlydoesnttearyouapartanymore

Thefirstchorusfeaturesessentiallythesamevocalcharacteristicsastheprecedingverseandprechorus.

Verse 2

Line1:Hello,howareyou
Line2:Itssotypicalofmetotalkaboutmyself,Imsorry
Line3:Ihopethatyourewell
Line4:Didyouevermakeitoutofthattownwherenothingeverhappened

Thesecondversefeaturesthesamevocalcharacteristicsasthatofthefirstverse.However,noticethattheaccentuatedreverbprocessingisfeaturedon
line3thistimearound,whichwasntthecaseinthefirstverse.Thisachievesthesamestructuralhauntedtypeofeffectinasinglestanzasectionas
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opposedtotwointhefirstverse.

Pre-Chorus 2

Line1:Itsnosecretthatthebothofusarerunningoutoftime

Thefirstpartoftheline,itsnosecretthatthebothofus,featuresthesamevocalcharacteristicsastheprecedingsections.Thelastpartoftheline
however,arerunningoutoftime,featuresthefirstrealpronouncedvocalcharacteristicshiftinthesong.IncontrasttoAdelessololeadinthepreceding
sections,thissegmentofthelinefeaturesAdelesharmonyvocal.Thisbothprovidesinfectiousvocalcontrastrelativetotheprecedingsections,and
accentuatestheimpactoftheimportantphrase,arerunningoutoftime.

Chorus 2

Part X

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Line1:Sohellofromtheotherside(otherside)
Line2:Imustvecalledathousandtimes(thousandtimes)
Line3:TotellyouImsorryforevrythingthatIvedone
Line4:ButwhenIcallyouneverseemtobehome

Part Y

Line5:Hellofromtheoutside(outside)
Line6:AtleastIcansaythatIvetried(Ivetried)
Line7:TotellyouImsorryforbreakingyourheart
Line8:Butitdontmatter,itclearlydoesnttearyouapartanymore

Thesecondchoruscontinuesonwiththediversifiedvocalcharacteristicsthatwerefirstestablishedinthesecondprechorus.Thisprovidesinfectious,
engagingcontrastrelativetothefirstchorus,whichkeepsthesongsprimarypayofffreshandengaging.Notethefollowing:

Lines1&2featureAdelessololeadasfoundintheprecedingsections.However,noticethatwhensheprolongsthelastlyric/syllable(sideandtimes),a
femalegroupharmonyvocalentersthemix,whichrepeatsthelasttwofulllyricsonbothlines,othersideandthousandtimes.Botharefeatured
concurrently.
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Lines3&4provideadditionalcontrastinthescopeofthesectioninacoupleofways.First,theydontfeaturetherepeatvocalattheend,asisthecasewith
lines1and2.Second,thegroupharmonyjoinsinwithAdelessololeadonthephrasesImsorryforbreakingyourheartanditclearlydoesnttearyou
apart.Thisbothprovidesadditionalvocalcontrastaswellasaccentuatingtheimpactoftheseimportantlinesviatheincreasedweightitprovides.Thelast
lyric,anymore,revertsbacktoAdelessololead,whichisprolongedandleadsintothevocalbreaksectionthatfollows.

Vocal Break

Line1:Ooooohh,anymore
Line2:Ooooohh,anymore
Line3:Ooooohh,anymore
Line4:Anymore

ThevocalbreaksectioniswhereAdeleREALLYgetsthechancetoflexherevocativevocalmuscles.Itfeaturestwodistinctvocalcharacteristics:

Adelessololeadonthesoaringoohsandanymorelyrics.
Groupfemalebackingvocalsontherepetitive,rhythmic,Ivesoundingnonsenselyrics.

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Botharefeaturedconcurrentlyinthemix,withthebackgroundvocalsfunctioninginthemannerofaninfectioustexturalvocalaccompanimenttoAdeles
lead.

Chorus 3

Part X

Line1:Hellofromtheotherside(otherside)
Line2:Imustvecalledathousandtimes(thousandtimes)
Line3:TotellyouImsorryforevrythingthatIvedone
Line4:ButwhenIcallyouneverseemtobehome

Part Y

Line5:Hellofromtheoutside(outside)
Line6:AtleastIcansaythatIvetried(Ivetried)
Line7:TotellyouImsorryforbreakingyourheart
Line8:Butitdontmatter,itclearlydoesnttearyouapartanymore BacktoTop

Thethirdandfinalchorusinthesongpossessessimilarvocalcharacteristicstothatofthesecondchorus.However,thereareacoupleofkeydifferences
thataccentuatethesongsinfectiousengagementvalue.

Thefemalebackgroundharmonyvocalisinstitutedoncertainlyricsinthefirsttwolinesofeachstanzainadditiontojustthelasttwo,whichisthecasein
thesecondchorus.Thisprovidesthevocalmelodywithagreatersenseoffullness,texture,andpowerthroughout.

Noticethatalllinesexceptfor2and6featureacombinationofAdelessololeadandthefemalebackgroundharmonyvocal.Thiscontrastheightensthe
infectiousengagementvalueofeachline,andthesectionasawhole.

Notethatthebackgroundvocalinthethirdchorusismorepronouncedinthemixthatitwasinthesecondchorus.This,inconjunctionwithotherfactors,
takestheexcitementandintensityfactorofthesongtoitsclimax.

Rhyming Schemes
Key

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Inlinerhyming:Rhymesthatoccurwithinaspecificline
Crosslinerhyming:Rhymesthatoccuracrosstwoormorelineswithinaspecificsection
Crosspart/stanzarhyming:Rhymesthatoccuracrosstwoormorepartsorstanzasiaspecificsection
Crosssectionrhyming:Rhymesthatoccuracrosstwobacktobacksections
(Parenthesis):Indicatesabackgroundorsecondaryvocal
(*):Indicatesarhymeschemethatisconnectedtothesectionthatfollows

VERSE 1 / PRE-CHORUS 1

AAAA / AAAA / A

Verse 1

Thefirstversefeaturesacombinationofinline,crossline,andcrosspart(stanza)rhymeschemes.

Part X

Line1:Hello/itsme BacktoTop
Line2:Iwaswonderingifafteralltheseyearsyoudliketomeet
Line3:Togoover/everything
Line4:Theysaythattimessupposedtohealya,butIaintdonemuchhealing

Part Y

Line5:Hello/canyahearme
Line6:IminCaliforniadreamingaboutwhoweusedtobe
Line7:Whenwewereyounger/andfree
Line8:Iveforgottenhowitfeltbeforetheworldfellatourfeet

Cross-Line / Cross-Part Rhyming

Primary Rhymes

EachlineinpartsXandYofthefirstverseareconnectedviatheeesoundingrhymethatoccursatthetailendinthefollowinglyrics:

Line1:me
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Line2:meet
Line3:everything
Line4:healing
Line5:me
Line6:be
Line7:free
Line8:feet

Secondary Rhymes

Lines1/2and3/4inpartXbothfeatureanadditionaldistinctcharacteristicthattieseachlinegrouptogetheronamoreprofoundlevel:

Lines1&2:Theminmeandmeet.
Lines3&4:Theingineverythingandhealing.

Theseadditionalcharacteristicsfurtheraccentuatetheimpactoftheeerhyme,andalsocleverlyprovidepartXwithanunderlyingAABBsecondary
rhymeschemeinadditiontotheAAAAprimaryrhymeschemethatdefinestheentiresection.Ultimately,thisaccentuatesboththememorabilityand
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engagementfactorforthelistener.

In-Line Rhyming

Linesgroups2/6and4/8,whicharethelengthiestlinesinthefirstverse,featureanadditionrhymethatsimplementedtowardthemiddleofeachline,
whichaccentuatesthememorabilityfactor:

Lines2&6

Line2:wondering:Iwaswonderingifafteralltheseyearsyoudliketomeet
Line6:dreaming:IminCaliforniadreamingaboutwhoweusedtobe

Noticethattheseinlinerhymesnotonlytieinwiththeeesoundingprimaryrhymefoundthroughouttheentiresection,buttheyalsotieinwiththe
ingsfoundthroughoutthesectionaswell:

Line2:wondering
Line3:everything
Line4:healing

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Line6:dreaming

Lines4&8

Line4:heal:Theysaythattimessupposedtohealya,butIaintdonemuchhealing
Line8:before:Iveforgottenhowitfeltbeforetheworldfellatourfeet

Theseinlinerhymesbothtieinwiththeeesoundingprimaryrhyme.

Additionally,line7featuresanadditionaleesoundingrhymeaswell:we/free.

Rhyme Impact Accentuators

Sincenoteveryeesoundingrhymeoccursattheendofaspecificlyric,certainlyricshavetheireerhymersunginaprolongedmanner,whichenablesit
toconnectandresonateonamoreprofoundlevel:

*Thefollowinglyricsareexaggeratedforillustrationpurposes:

Line1:meeeee
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Line2:meeeeeet
Line3:everythiiiiing
Line4:heaaaaaling
Line5:me(notprolongedliketheothers)
Line6:beeeeee
Line7:freeeeee
Line8:feeeeeet

Pre-Chorus 1

Line1:Theressuchadifference/betweenus/andamillionmiles

Incontrasttomanyothercharttoppinghits,Hellofeaturesasinglelineprechorusasopposedtoamultilinestanza.Thelineisbrokenintothree
segments,eachofwhichisseparatedbyarest.Therhymeoccursinthemiddlesegmentinthelyricbetween,whichfeaturesaprolongedeesounding
rhyme,connectingitwiththeversethatprecedesit.

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Thelastsegment,andamillionmiles,providesadeparturefromtheeerhymescheme,andfunctionstobringtheverse/prechorusruntoaconclusion.
Thiseffectivelycleansesthepalletforthechorusthatfollows.

VERSE 2/PRE-CHORUS 2

AAAX / X

Verse 2

Thesecondversefeaturestwosetsofcrosslinerhymesacrossthefirstthreelines.

Line1:Hello,howareyou
Line2:Itssotypicalofmetotalkaboutmyself,Imsorry
Line3:Ihopethatyourewell
Line4:Didyouevermakeitoutofthattownwherenothingeverhappened

Cross-Line Rhyming
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Rhyme Set 1: Lines 1 & 2

Lines1and2areconnectedbythersoundingrhymeinthelyricsareandsorry.

Rhyme Set 2: Lines 1 & 3

Lines1and3areconnectedviatheohsoundingrhymeinhelloandhope.Noticethatthisrhymeschemeoccursatthebeginningofeachlineas
opposedtotheend.

Pre-Chorus 2

Line1:Itsnosecretthatthebothofusarerunningoutoftime

Thesolelineintheprechorus,aswellasline4intheprecedingverse,donotrhymeandstandoutindependently.

Chorus
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AABB / AACC

Thechorusfeaturesacombinationofcrosslineandcrosspart(stanza)rhymeschemes,aswellasrepetitivelyrics.

Part X

Line1:Hellofromtheotherside
Line2:Imustvecalledathousandtimes
Line3:TotellyouImsorryforevrythingthatIvedone
Line4:ButwhenIcallyouneverseemtobehome

Part Y

Line5:Hellofromtheoutside
Line6:AtleastIcansaythatIvetried
Line7:TotellyouImsorryforbreakingyourheart
Line8:Butitdontmatter,itclearlydoesnttearyouapartanymore

Part X BacktoTop

Cross-Line Rhyming

PartX(firststanza)featurestwogroupsofcrosslinerhymes,bothofwhichoccurinthelastlyric:

RhymeGroup1(Lines1&2)

Line1:outside
Line2:tried

Notethattherhymerinboth,i,isprolongedforasignificantduration,whichheightensitsabilitytoconnect(referencetheVocalMelodySectionof
thereportfordetails).

RhymeGroup2(Lines3&4)

Line3:done
Line4:home

Whiletheselyricsarebynomeansperfectrhymes,thereisjustenoughsimilaritythatenablesthemtoconnect.
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Repetitive Lyrics

Noticethatthelyricyouisfeaturedinthefirsthalfoflinesthreeandfour.Thishelpstoaccentuatetheconnectionbetweenthesetwolines,considering
thatanonperfectrhymeoccursattheendasdetailedabove.

Part Y

Cross-Line Rhyming

PartY(secondstanza)alsofeaturestwogroupsofcrosslinerhymes,bothofwhichoccurinthelastlyric:

RhymeGroup1(Lines1&2)

Line5:outside
Line6:tried

Thesetwolyricsareconnectedviatheide/iedrhymeattheend.
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RhymeGroup2(Lines3&4)

Line7:heart
Line8:apart

Noticethatthesetwolyricsfeatureamuchstrongerconnectionviatheeart/artcommonalitycomparedtotheirline3and4partXcounterparts.

Additionally,noticethatrhymeisstillabletoconnectdespiteapartbeingfollowedbythelyricanymoreonline8.

Cross-Part Commonalities

Bothparts(stanzas)featurethefollowingcommonalities,whichtiestheoverallsectiontogetherandaccentuatesthememorabilityfactorasaresult:

Thefirsttwolinesinbothparts(lines1/2and3/4)featuretheprolongedirhymecommonalityattheendinthefollowinglyrics:

Line1:side
Line2:times
Line5:outside

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Line6:tried

Thefirstlineinbothpartslines1and5bothbeginwithhellofromthe.

Thethirdlineinbothpartslines3and7bothbeginwithtotellyouImsorryfor

Word & Syllable Count

Key

(/)=EighthRest
(//)=QuarterRest
(////)=HalfRest
BoldFont/PL:Prolongedlyricrelativetothelyricsthatprecedeandfollow.Itprovidessubtlesegmentationinlieuofarest.
LYR:Lyriccount
SYL:Syllablecount
LINESEG:Linetolinesegmentationmethod BacktoTop

LinesinHellorangefromonetofourteenwordsandthreetoseventeensyllables.

Sectional Line Length Flow

Verse:Linesinbothversesectionsalternateshort/longthroughout(e.g.415816syllablesacrosslines14inthefirstverse)

PreChorus:Thesinglelinethatcomprisesprechoruses1and2isamongthelengthiestintheentiresong,consistingof14and15syllables,respectively.

Chorus:Similartotheverse,thechorusfeaturesanalternationofshortandlonglengthlines.However,thealternationoccursingroupsoftwolinesas
opposedtosingularlines:

Lines1&2(shorter):7&8syllables
Lines3&4(longer):13&11syllables
Lines5&6(shorter):6&8syllables
Lines7&8(longer):11&17syllables

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Segmentation

Somelinesinthesongaresplitintoshortersegmentsviatheimplementationofprolongedlyricsandrests(i.e.thephonenumbermethod).Thisachieves
twokeythings:

Itmakeslongerlengthlinesmucheasiertodigestandremember.
Itheightenstheimpactofimportantlyricsandphrases.

Segmentation Examples

Verse:Hello////+/itsme
PreChorus:Theressuchadiffrence////betweenusandamillionmiles
Chorus:TotellyouIm/sorry/.forbreakingyourheart

Word, Syllable Count, and Segmentation: Section By Section Chart

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Vocal Melody

Melodic Flow: At-A-Glance / Sectional Pitch Starting & Ending Points

(/):Firstnoteofsection/lastnoteofsection.

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HigherPitch

LowerPitch

ConstantPitch

Key
A=verse,B=chorus,PC=prechorus,VB=vocalbreak,X/Y=sectionparts

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Verse 1 Part X

Verse1PartXbeginsonBb3andendsafourthloweronF3.

Verse 1 Part Y

Verse1PartYbeginsupafourthonBb3andendsasecondloweronAb3.

Pre-Chorus 1

Prechorus1beginsandendsonthesamepitch,Ab3.

Chorus 1 Part X

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Chorus1PartXbeginsupasixthonF4andendsonthesamepitch.

Chorus 1 Part Y

Chorus1PartXbeginsonF4andendsasixthloweronAb3.

Verse 2

Verse2beginsupasecondonBb3andendsasecondloweronAb3.

Pre-Chorus 2

Prechorus2beginsandendsonthesamepitch,Ab3.

Chorus 2 Part X

Chorus2PartXbeginsandendsupasixthonF4.
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Chorus 2 Part Y

Chorus2PartYbeginsonF4andendsupafifthonC5.

Vocal Break

ThevocalbreakbeginsupasecondonDb5andendsdownasecondonC5.

Chorus 3 Part X

Chorus3PartXbeginsafifthloweronF4andendsonF4.

Chorus 3 Part Y

Chorus3PartYbeginsonthesamepitch,F4,andendsasixthloweronAb3.

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SECTION BY SECTION

VERSE & PRE-CHORUS

Verse 1

Verse 1 Part X

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Verse 1 Part Y

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Pre-Chorus 1

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Verse 2

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Pre-Chorus 2

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Verse 1

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Pre-Chorus 1

Verse 2 BacktoTop

Pre-Chorus 2

Line Reference

Verse 1

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Part X

Line1:Hello,itsme
Line2:Iwaswonderingifafteralltheseyearsyoudliketomeet
Line3:Togoovereverything
Line4:Theysaythattimessupposedtohealya,butIaintdonemuchhealing

Part Y

Line5:Hello,canyahearme
Line6:IminCaliforniadreamingaboutwhoweusedtobe
Line7:Whenwewereyoungerandfree
Line8:Iveforgottenhowitfeltbeforetheworldfellatourfeet

Pre-Chorus 1

Line1:Theressuchadiffrencebetweenusandamillionmiles

Verse 2 BacktoTop

Line1:Hello,howareyou
Line2:Itssotypicalofmetotalkaboutmyself,Imsorry
Line3:Ihopethatyourewell
Line4:Didyouevermakeitoutofthattownwherenothingeverhappened

Pre-Chorus 2

Line1:Itsnosecretthatthebothofusarerunningoutoftime

Lead Vocal Range: Verse 1

High:C4
Low:F3

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Lead Vocal Range: Pre-Chorus 1

High:Eb4
Low:Ab3

Lead Vocal Range: Verse 2

High:C4
Low:F3

Lead Vocal Range: Pre-Chorus 2

High:Eb4
Low:Ab3

Melodic Structure
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Verse 1

1-2-3 / 4-1-3 / 1-1-3 / 4-1-3

Verse1iscomprisedoffourindependentParts,eachofwithpossessesdistinctmelodicandrhythmiccharacteristicsrelativetooneanother.

Parts1,2and4arerelativelyshortandsuccinctmelodicphrasesthatarefoundintheoddnumberedlinesinthesection.Part3issignificantlylonger,with
morerhythmicandpitchvariety.Itsfoundintheevenlineswithinthesection.

LINES 1 & 2

Line1:Hello,itsme
Line2:Iwaswonderingifafteralltheseyearsyoudliketomeet

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Line 1

Line1consistsoftwoindependentpartspart1aand2a.Botharetheshortestmelodicfragmentsinthescopeofthesection.Part1arepresentsthetitle
lyric,hello,andfeaturesaBbdeliveryacrossthetwosyllableswithabumpuptoCattheend.NoticethatthestepuptoCprovidesthehellolyricwitha
searchingandunsettledtypeofvibe.Thisjibeswithandaccentuatesthefirstcallinalongtimeaspectofthenarrative.Noticethatitalsoleavesthe
listenerhanginginanticipationfortheresolutionthatcomesinpart2athatfollows.

Part2arepresentsthelasttwolyricsontheline,itsme.Incontrasttopart1a,itfeaturesamonotoneBbeighthquarternotedelivery.Thisconcludes
thelineinamelancholytypemanner,whichalsojibeswiththenarrative.

Additionally,noticethattheprolongedreststhatfollowparts1aand2aaccentuatethehesitanceanduneasinessthattheprotagonistisfeelinginthescope
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ofthenarrative.

Line 2

Followingtheshortintroductiontothephonecallonline1(i.e.hello,itsme),line2followswiththereasonforthecall.Asaresult,itssignificantly
longerthanline1,andrunsstraightthroughwithoutapauseasopposedtotwomelodicfragments(i.e.followingthehesitancyonline1theprotagonist
blurtsoutthepurposeforthecallinonebreathtogetitoutofhersystem).

Themajorityofthelinespanstherangeofathird(AbtoC),withthefirsthalffeaturingamonotoneCdelivery.This,alongwiththecharacteristicsof
Adelesdeliverykeepsthemelancholyvibeineffect.Inordertopreventthemonotonenatureofthesegmentfrombecomingtoohumdrum,themajorityof
therhythmissyncopatedviadottedeighthsandsixteenths,whichprovidesitwithaninfectiousspinwithoutcompromisingthemelancholicvibe.

Thesecondhalfinjectsadditionalmelodicvarietyintotheline,whichalsoactstoaccentuateitsinfectiousnature.Hereitspanstherangeofafifth,fromF
toC.However,thesyncopatedrhythmremainsineffect,whichprovidesrhythmiccontinuityacrossthelineasawholeandaccentuatestheinfectious
memorabilityfactorasaresult.Noticethatthemelodicvarietylightensuptheotherwisemostlymelancholicnatureofthefragmentsthatprecedeit,jibing
withthehopefulpotentialoutcomeyoudliketomeet.

LINES 3 & 4

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Line3:Togoovereverything
Line4:Theysaythattimessupposedtohealya,butIaintdonemuchhealing

Thelasttwolinesinthefirststanza(partX),featurebothsimilaritiesanddifferencescomparedtolines1and2.Asaresult,thememorabilityfactoriskept
atahigh,whilethestanzaasawholeremainsfreshandengagingthroughout.

Line 3

Incontrasttoitsline1counterpart,thefirstmelodicfragmentonline3featuresadifferentiatedmelodyandrhythm,andisdenotedaspart4aasopposed
toapart1classification.Itbeginsandendsonthesamepitch,Ab,witharidethroughCCBbalongtheway.Noticethatthelyric,over,isprolongedpast
itsnormalsyllablecount,whichprovidesthefragmentwithasubtleaccentuatedinfectiousspin.
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Thefragmentthatfollows,everything,hasmoreincommonwithpart1thanpart2asfoundonline1,andisprovidedwithapart1bclassification.Notice
thatasthecasewiththelyricoverthatprecedesitthatitsprolongedpastitsnormalsyllablecountattheend.However,insteadofdroppingfromBbto
Ab,itclimbsfromBbtoC,whichisthesamewaythatthelyrichelloconcludedonline1.Thisprovideslineasawholewithaninfectiousspin.
Additionally,restsareimplementedfollowingeachfragment,whichalsoaccentuatesthefamiliarity/memorabilityfactorofthesectionasawhole.

Line 4

Line4featuresbothsimilarandcontrastingcharacteristicswithitsline2counterpart.Thefirsthalfofthelineisthemostsimilar,featuringthemonotone
Cdeliverywithasyncopateddottedeighthsixteenthrhythm.Again,thisprovidesthefragmentwithaninfectiousspinwhilekeepingthe
memorability/familiarityfactoratahigh.

Thesecondhalfofthelineiswherethingsarethemostchangedup.Incontrasttothemoreadventurous,syncopatedmelodythatconcludesline2,here
themelodyprimarilyresidesinAbandBbanddoesntfeaturethesameinfectioussyncopation.Asaresult,itcomesacrossinamoremelancholicmanner,
whichjibeswiththelyricsbutIaintdonemuchhealing.ItthenconcludeswithadropfromAbtoFasopposedtotheFtoAbleapthatconcludesline2.
Thisprovidesclevercontrastinthescopeofthestanzaviathehopefulendtoline2(i.e.liketomeet),anddespairinline4(Iaintdonemuchhealing).

Additionally,noticethatthebriefsixteenthrestthatfollowsthefirstfragmentaccentuatesthelyricalimpactofthesecondfragmentviathesetup/fact
flow(i.e.TheysaythattimessupposedtohealyabutIaintdonemuchhealing).
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LINES 5 & 6

Line5:Hello,canyahearme
Line6:IminCaliforniadreamingaboutwhoweusedtobe

Thesecondstanzaofthefirstverse(partY)possessesbothsimilarandcontrastingcharacteristicscomparedtoitsfirststanza(partX)counterpart.

Line 5

Line5beginswiththetitlelyric,hello,whichisthesameasitsline1counterpart.However,insteadoffeaturingasuccinctBbBbCrun,thistimearound
itsprolongedacrossasixteenthnotealternatingBbCprogression,andisdenotedaspart1casaresult.Thisprovidesthetitlewithanaccentuated
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infectiousspin,whichbothincreasesitsimpactwiththelistenerandprovidesthesectionwithheightenedengagementvalue.Thefragmentconcludesviaa
dropdowntoAb,asopposedtoaclimbuptoC,whichisindicativeofpart1aonline1.Noticetheprolongednatureofhellocoupledwiththedropdown
attheendjibeswithandaccentuatestheimpactoftheunderlyingmeaningoftheline(i.e.theprotagonistslongingtoconnect,buttheresnoanswer).

Thesecondfragmentismoreinlinewithpart1thanitiswithpart2inthefirststanza.ItbeginswithamonotoneBbsyncopatedrunacrosscanyahear,
followedbyastepuptoCattheendonthelyricme.Thisputsthesameinquisitivetypeeffectintoplaythatwasinitiallyfoundinthelyrichelloatthe
beginningofthesong,leavingthelistenerhanginginanticipationofthelinethatfollows.

Line 6

Linesixpossessesthesamemelodicandrhythmiccharacteristicsasitsline2counterpartinthefirststanza.Forthisreasonitsprovidedwithapart3
classification.

LINES 7 & 8

Line7:Whenwewereyoungerandfree
Line8:Iveforgottenhowitfeltbeforetheworldfellatourfeet

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Thelasttwolinesinthesecondstanza(partY)featurekeycommonalitiesanddifferenceswithbothlines5and6thatprecedethem,aswellastheirfirst
stanza(partX)lines3and4counterparts.

Line 7

Thefirstfragmentonline7possessesverysimilarcharacteristicstothesamefragmentonline3,hencethepart4classification.However,itfeaturesan
additionalAbnoteatthebeginning,andconcludeswithasixteenthnoteasopposedtoadottedeighth.Forthisreasonitsprovidedwithapart4b
classificationasopposedto4a.

Thesecondfragmentfeaturesamelodicandrhythmicvariationonthepart1frameworkfoundwithinthescopeoftheentiresection,hencethepart1e
classification.InsteadofbeginningonBbastheotherpart1sdo,itbeginsasteploweronAb,progressesthroughtwoBbs,andconcludesastepuponCon
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theprolongedfreelyric.Itsgeneralcharacteristicsaresimilarenough,however,sothatthememorabilityfactoriskeptatahighwhilekeepingthings
freshandengaging.

Line 8

Thelastlineinthefirstverse,line8,featuresessentiallythesamemelodicandrhythmiccharacteristicsasthatoflines2and6.

Pre-Chorus 1

4-5-4

Theprechorusfeaturesjustoneline.Itconsistsoftwodistinctmelodicparts,onethatiscarriedoverfromtheprecedingverse(part4),andonethat
makesitsfirstappearanceinthesongthusfar(part5).

Line 1

Line1:Theressuchadiffrencebetweenusandamillionmiles

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Line 1

Thefirstfragmentintheprechorusisalmostidenticaltothefragmentfoundatthebeginningofline7inthefirstverse(whenwewereyounger).The
differencesarethatthesecondsyllableisaneighthnotevs.asixteenthnote,andthefourthsyllable,dif,isaquarternotevsaneighthnote.Together,
theyfunctiontoslowdowntherhythmcomparedtoline7inthefirstverse.

Additionally,noticethatthefirstpartofthefragment,theressucha,essentiallyfunctionstosetuptheinfectiouslyprolongeddifferencelyricthat
follows.

Followingthehalfrestattheendofthefirstfragment,thesecondfragmentprovidesastringentshiftrelativetothefirstfragmentandtheentirefirst
verse.Forthisreasonitsprovidedwithapart5classification.Itpossessesthefollowingcharacteristics:
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Itconsistsofjusttwolyrics/threesyllables(betweenus),butisstretchedacross7pitches.
ItbeginswithaleapuptoConbefollowingtheCBbAbdescentattheendofthefirstfragment.This,coupledwiththeleapuptoEbontwee
anditsprolongedquarternotevaluetakestheevocativenatureofthesection,andthesong,tothenextlevel.Notethatthisisthehighestpitchinthe
songthusfar.ThestretchedlyricbetweenthenconcludesviaadropbackdowntoC.
Thelastlyricinthefragment,us,isinfectiouslyprolongedacrossfourpitches.ItbeginswithastepuptoDb,andthendescendsviaansixteenthnote
rhythmacrossCBbAb.

Thethirdandfinalfragmentinthesection,andamillionmiles,possessesasimilarstructuretothatofthefirstfragment,hencethepart4classification.
However,thereisakeydifference,mostnotablyinhowitconcludes.Insteadofutilizingsixteenthnotes,itfeaturesaquarterandawhole.Thisachievesthe
following:

ItwindstheBalladsectionofthesongdowninpreparationofthesoaringPowerBalladsegmentthatfollows.
Itsrhythmicstructurecleverly,andinfectiously,locksinwiththepianochordsmillionmiles(notethatmillioniscleverlystretchedacrossthree
syllablesasopposedtotwo).Additionally,notethatthisisalsothecasewithbetweenusinthesecondfragmentaswell.
Thesloweddownpacecleverlyjibeswithandaccentuatesthelongconnotationofthemillionmileslyrics.

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Alsonoticethatthereversionbacktothemelodicshapeofpart4andsloweddownpaceactstoconcludetheprechorusonamoremelancholicnote
relativetopart5athatprecedesit.

Keyfragmentcommonalities:

Whileeachfragmentpossessescharacteristicsthatareuniquetothem,theyallpossesscertaincommonalitiesthataccentuatethememorabilityfactorof
thesectioninaninfectiousmanner:

Eachfeaturesaprolongedquarternotetwotothreesyllablesinfollowingasixteenth,eighth,oracombinationofthetwoleadin(theressuchaDIF,
beTWEE,andaMIL).
Fragments1and2bothfeatureaCBbAb/sixteenthnotedescentcommonalityattheend.ThethirdfragmentalsofeaturesaCBbAbdescentatthe
end,albeitinamoredrawnoutmanner.
Thesectionbeginsandconcludesinasimilarmannerviathepart4commonality.

Verse 2

1-2-3 / 2-1-3
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Verse2consistsofonestanzaasopposedtothetwofoundinverse1.Itutilizesparts1,2,and3fromthefirstverse,butdoesnotincludepart4.Overall,
thesectionspossessaverysimilarvocalmelodynature,whichaccentuatesthememorabilityfactorofthesongasawhole.Thedifferences,however,
preventthingsfrombecomingoverlymonotonous.

LINES 1 & 2

Line1:Hello,howareyou
Line2:Itssotypicalofmetotalkaboutmyself,Imsorry

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Line 1

Line1inthesecondverseconsistsoftwomelodicfragments,whichisalsothecaseinthefirstverse.Thefirstfragmentfeaturesthesamecharacteristicsas
itsverse1counterpartmelodically,rhythmically,andlyrically.Asaresult,itsprovidedwithapart1aclassification.Thesecondfragment,however,is
slightlydifferentiated.WhileitfeaturesamonotoneBbrun,itconsistsofthreesyllablesasopposedtotwo.Thisresultsinachangeinrhythmrelativetoits
verse1counterpart:sixteentheightheighthvs.sixteenthquarter.Despitethedifference,theoverallvibethatdefinesline1isthesameinbothverse
sections.

Line 2

Line2featuresthesamemelodicandrhythmiccharacteristicsfoundinlines2,6,and8inthefirstverse,hencethepart3aclassification.

LINES 3 & 4

Line3:Ihopethatyourewell
Line4:Didyouevermakeitoutofthattownwherenothingeverhappened

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Line 3

Incontrasttothepart4characteristicsthatdefinethefirstfragmentofline3inthefirstverse,hereinthesecondversepart2ofthefirstversemakesa
returnappearanceonthelyrics,Ihope.However,itconsistsoftwoCnotesasopposedtoBb,hencethepart2cclassification.

Thesecondfragment,thatyourewell,featurescharacteristicsthataremostsimilartothepart1sfoundthroughoutthefirstandsecondversesections.
However,itfeaturesadiversifiedmelodyviaAbAbBbCandadiversifiedrhythmaswell.Noticethattherhythmisthemostvariedofallthepart1sinthe
song,consistingofanengaginglongshortlongershorterflow.

Verse1andVerse2Line1Commonality

Aninterestingpointtonoteisthatline3inthesecondversefeaturesasimilarstructuretothatofline1inboththefirstandsecondverse(specificallythe
monotoneandascendingruns)justinthereverseorder.
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Asaresult,thiscleverlyputsatwostanza/partstructuraleffectintoplay,whichisindicativeofthefirstverse,butintheonestanza/partsecondverse.
Thishelpstoreinforceboththememorabilityfactorofthesection,andthesongasawhole.

Line 4

Line4featurespart3a,whichisthemelodicandrhythmicstructureofthemajorityofevennumberedlinesinbothversesections.

Pre-Chorus 2

4-5-4

Prechorus2featuresaverysimilarmelodicandrhythmicstructuretothatofprechorus1.However,therearesomekeydifferencesthatkeepthesection
freshandengaginginthescopeoftheoverallsong,yetmemorableaswell.

Line 1

Line1:Itsnosecretthatthebothofusarerunningoutoftime

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Line 1

Thefirstfragmentinthesecondchorusispart4a.Itfeaturesthesamemelodicshapeasthatofpart4ainthefirstverse,andisalsoverysimilartopart4b
inthefirstprechorus.Theprimarydifferenceisthatthereisonelesslyric/syllableatthebeginning.

Thesecondfragment,part5b,isalsoverysimilartoitspart5aprechorus1counterpart.TheprimarydifferenceistheadditionalEbnotethatprecedesthe
secondprolongedEb.However,noticethatitconcludesinvirtuallythesamemanner,includingtheinfectiouslyprolongeduslyric.

Thethirdfragment,part4d,differsinregardtopart4cattheconclusionofthefirstprechorussectionsduethemannerthatitbeginsandconcludes.It
beginsonaCnoteasopposedtoAb,andconcludeswithtwoAbsasopposedtoone.Otherthanthat,thecorecharacteristicsarethesame.

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SyncopatedRhythmCommonality/Reinforcement

Part4dfeaturesaninfectiouslysyncopatedshortlongrhythmicflow,consistingofaneighthquarternotealternation.Thisreinforcestheimpactofthe
eighthquarterflowinthefirstprechorus,aswellasthesixteentheighthsyncopatedflowfoundinpart3ofbothversesections.

CHORUS

Chorus Part X Core Melody

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Chorus Part Y Core Melody

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Chorus 1

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Chorus 2

Chorus 3

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Line Reference

Chorus

Part X

Line1:Hellofromtheotherside
Line2:Imustvecalledathousandtimes
Line3:TotellyouImsorryforevrythingthatIvedone
Line4:ButwhenIcallyouneverseemtobehome
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Part Y

Line5:Hellofromtheoutside
Line6:AtleastIcansaythatIvetried
Line7:TotellyouImsorryforbreakingyourheart
Line8:Butitdontmatter,itclearlydoesnttearyouapartanymore

Lead Vocal Range: Chorus

High:Eb5
Low:Ab3

Melodic Structure

Part X: 1/ 1 / 2-3 / 2-3


Part Y: 1 / 1 / 2-3 / 2-3-4
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Eachchorusiscomprisedoftwostanzas,whicharedenotedaspartsXandY.Bothfeatureaverysimilarmelodicstructure,whichkeepsthememorability
factoratahigh.However,therearesomenotabledifferencesaswell,whichpreventsthesectionasawholefromtakingonamonotonouscookiecutter
typequality.

PART X (Lines 1 4)

LINES 1 & 2

Line1:Hellofromtheotherside
Line2:Imustvecalledathousandtimes

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Line 1

ThechorusbeginsonanFnote,whichisasixthhigherthanwheretheprechorusleftoff.This,coupledwiththecharacteristicsofAdelesdeliveryinstantly
providesthesectionwithaheighteneddegreeofpassionateintensityrelativetotheprechorus.

Thelineisdenotedaspart1a,andconsistsoftwosegmentsasfollows:

Segment1(hellofromtheother):Thefirstsegmentessentiallyprovidesthesetupforthemagicmomentthatfollowsinsegment2viaan
ascendingeighthnoteFFAbAbBbBbplatformprogression.
Segment2(siide):Followingtheaforementionedsetup,thesecondsegmentfeaturestheprolongedsidelyric,whichisheldforalmostawhole
notewiththelongestdurationonBb.Thisprovidesthelinewithanintensesoaringcharacteristicthatachievesthefollowing: BacktoTop

It,alongwiththechangeupintheaccompaniment,shiftsthesongfromBalladtoPowerBallad.

ItprovidesthelistenerwiththemagicmomentthattheywerelongingtohearinAdelesfirstsinglethepassionate,soaringvocalthatshessowell
knownfor.Asaresult,thisfirstinstanceofhersoaringvocalofficiallysignalstothelistener,Adelesback!

Together,segment1andsegment2featureagettingtothemountaintoptypeofquality,withthegrandpayoffoccurringatthepeak.

Line 2

Line2featuresaverysimilartwosegmentframeworkcomparedtoline1,withsomenotabledifferences.Asaresult,itsprovidedwithapart1b
classificationasopposedtopart1a.

ThefirstsegmentfeaturesanalmostidenticaleighthnoteascendingFAbBbplatformprogression.TheprimarydifferenceisthattheresanadditionalF
noteatthebaseoftheprogression.

Thesecondsegmentfeaturestheprolonged,soaringtiiiimeslyric,whichisdeliveredinasimilarmannertosideinline1.Theprimarydifferenceis
thatfollowingtheprolongedBb,whichisthepinnaclepitchonline1,AdelesvocalbrieflybumpsuptoC(sixteenthnote),beforedescendingviaBbAbto
conclude(line1concludesonF).
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ThisbumpuptoCachievesthefollowing:

Itfunctionsasasecondmagicmomentinthesection.Itmightseemminor,butittakestheemotiontoaheightenedlevel.
Itprovidessubtle,yeteffectiveandinfectiouscontrastrelativetothesimilarmelodicstructureofline1thatprecedesit.Asaresult,thesetwobackto
backlineskeepthememorabilityfactoratahighwhileremainingfreshandengaging.

LINE 3

Line3:TotellyouImsorryforevrythingthatIvedone

Line 3 BacktoTop

Line3consistsoftwoindependentpartsparts2aand3a.

Part2aiscertainlyofthemostartsyandvocallyadventuroussegmentsintheentiresong.Itprovidesinfectiouscontrastrelativetothemorestraight
aheadvocalcharacteristicsoftheotherfragmentsinthesongthusfar.

ItbeginswithapronouncedleapupafifthfromAbtoEbonthelyricstotell,followedbyapronounceddropdownafourthtoBbonthefirstpartofthe
prolongedyouulyric.AfterdroppingdownasteptoAbattheendofyouu,thevocalproceedsstepwiseuptoConanotherstretchedlyric,Im.

FollowingtheAbBbCascentattheendofthetotellyouImfragment,aneighthrestisimplementedpriortotheconclusionofpart2aonthe
infectiouslyprolongedsorrylyric.Notethefollowing:

TheascentuptoCattheendofImcoupledwiththerestthatfollowsheightenstheanticipationfactorfortheresolveonsorrythatfollows.
Theascentandrestaccentuatetheimpactofthelyricsorry,whichisakeylyricinthescopeofthenarrative.
Themelodicandrhythmicshiftrelativetothesimilarnatureoflines1and2takestheinfectiousengagementfactorofthesectiontothenextlevel.

Followingthemelodicallyandrhythmicallyadventurouspart2a,part3abringsthelinetoaconclusioninamorestraightaheadmanner.Itbeginswitha
monotoneAbrun,followedbyastepdescentdowntoEbtoconclude.Itsmorestraightaheadnatureisimportantforthefollowingreasons:

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Itprovidessmoothflowcontrastrelativetothemoredisjointedcharacteristicsofpart2athatprecedesit.Asaresult,thelineconcludesinaneasierto
followmanner.Ifitwasalsodisjointedandadventurous,itwouldbemuchmoredifficultforthelistenertodigestandremember.

Itenablestheartsyandadventurouspart2bsegmentthatfollowstoresonateonamoreprofoundlevel.

LINE 4

Line4:ButwhenIcallyouneverseemtobehome

Line 4
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Line4possessesaverysimilarstructuretothatofline3thatprecedesit.Theprimarydifferencestemsinthemannerinwhichitbeginsandconcludes:

Theleapattheonsetofpart2bismorepronouncedthanitwasatthebeginningofpart2ainline,spanninganoctaveasopposedtoafifth.Asaresult,
theimpactofthismagicmomentWOWfactoristakentothenextlevel.
Attheendoftheline,part3bfeaturesthesamedescendingAbGFEbprogressionaspart3ainline3.However,itdoesntcontainthemonotoneAb
runatthebeginning,anditbumpsuptoFattheendinsteadofconcludingonE.

PART Y (Lines 5 8)

LINES 5 & 6

Line5:Hellofromtheoutside
Line6:AtleastIcansaythatIvetried

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Line 5

Line5featuresastructurethatsverysimilartolines1and2,hencethepart1classification.However,itsuniqueinthesensethatitfeaturescharacteristics
thatarefoundbothinparts1aand1b,hencethepart1cclassification.Mostnotably,itconcludeswithadescenttoF,whichithasincommonwithpart1a,
andfeaturesthebriefinfectiousbumpuptoC,.whichithasincommonwithpart1b.Thiscombinationkeepsline5familiarinthescopeofthesection,but
providessubtlecontrastaswell,whichkeepsthingsfrombecomingoverlymonotonous.

Line 6

Line6featuresapart1bstructure,whichisthesameasitsline2counterpartinchoruspartX.
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LINE 7

Line7:TotellyouImsorryforbreakingyourheart

Line 7

Line7featuresthesamemelodicstructureasitsline3partXcounterpart.

LINE 8

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Line8:Butitdontmatter,itclearlydoesnttearyouapartanymore

Line 8

Thelastlineinthechorus,line8,featuresbothsimilarandcontrastingcharacteristicsrelativetoitsline3,4and7counterparts.

Itbeginsinaverysimilarmannerviapart2,butfeaturesanadditionalsyllablerelativetopart2b,hencethepart2cclassification.Itfollowswithaslightly
changedupvariationoftheotherpart3s,hencethepart3dclassification.

Themostpronouncedshiftrelativetotheotherlinesinthesectionoccursattheend.Herepart4makesitsfirstandonlyappearance,consistingoftwoF
notesonthelyricany,followedbyaCBbAbdescentonthestretchedmorelyric,whichbringsthesectiontoitsconclusion.Noticethatdropdowna
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fourthfromanytomorefollowedbytheprogressiondowntoAbconcludesthesectiononadowntroddennote,whichjibeswithandaccentuatesthe
narrative.

VOCAL BREAK

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Line Reference

Line1:Ooooohh,anymore
Line2:Ooooohh,anymore
Line3:Ooooohh,anymore
Line4:Anymore

Lead Vocal Range

High:Ab4
Low:F3

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Melodic Structure

1-2-1-2 / 1-3-4

Inlieuofabridge,thevocalbreakprovidesthemoststringentdepartureinthescopeofthesongfromavocalstandpoint.Here,Adelereallygetsthe
chancetoflexhervocalmusclesandremindtheaudienceofherstellartalentafteralengthyhiatus(rememberHelloishercomebacksingle).

ThesectionconsistsoftwoprimaryelementsAdelesinfectiousooumelismas,andtheanymorevocalthatfollows.

LINES 1 & 2

Line1:Ooooohh,anymore
Line2:Ooooohh,anymore

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Line 1

Line1beginswithalongflowing,artsyoohmelismathatbeginsonDbandfollowsanascending/descendingmelodicstepwiseflowthroughout.It
concludeswiththestretchedanymoorelyric,whichfeaturesaflowthatsreminiscentofthefirststretchedhelloolyricinbothversesections(Ab
AbAbCvs.BbBbC).

Line 2

Line2featuresaverysimilarmelodicstructureasthatofline1withonekeydifference.FollowingthedescentfromFtoEb,Adelesvocalleapsupafourth
toAb,whichisthepinnaclepitchintheentiresong.NotonlydoesthisWOWfactortaketheevocativeimpactofthesectiontothenextlevel,butitalso
substantiatesAdelesstatureasoneofpremiervocalistsintodaysmainstream.

LINES 3 & 4

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Line3:Ooooohh,anymore
Line4:Anymore

Line 3

Thefirsthalfofline3featuresthesamemelodicstructureasline1,hencethepart1aclassification.However,thesecondhalfisdifferentiated.Itfeaturesa
prolongedmelismaonthelyricanymore,whichprovidesthesectionwithaheighteneddoseofinfectiouscoloringandcontrast,preventingallofthe
anymorelyricsfrombecomingoverlymonotonousintheirdelivery.

Line 4
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Line4,whichconcludesthesection,beginsinthesamemannerastheotherpart2s.However,itsprolongedattheend,whichprovidesasoaringleadinto
thefinalchorusofthesong.

Lyric Types
Thissectionhighlightsthetypesoflyricsandphrasesthatappearineachsectionofthesong.Noticethatsomeofthelyricsandphrasesappearinmore
thanonecategory.

Whatfollowsareacoupleofexamplesfromeachsection,whenapplicable.ReferencetheStoryFlow&Meaningsectionofthereportforafullnarrative
breakdown.

Detail Lyrics & Phrases


(Theselyricsprovidedetailastowhatshappeninginthestoryliterally,metaphorically,orboth)

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Verse 1

Line4:Theysaythattimessupposedtohealya,butIaintdonemuchhealing
Line6:IminCaliforniadreamingaboutwhoweusedtobe

Verse 2

Line2:Itssotypicalofmetotalkaboutmyself,Imsorry
Line4:Didyouevermakeitoutofthattownwherenothingeverhappened

Pre-Chorus 1

Line1:Theressuchadiffrencebetweenusandamillionmiles

Pre-Chorus 2

Line1:Itsnosecretthatthebothofusarerunningoutoftime

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Chorus

Line2:Imustvecalledathousandtimes
Line4:ButwhenIcallyouneverseemtobehome

Imagery Lyrics & Phrases


(Theselyricspaintapictureinthelistenersheadinordertofurtherengrosstheminthestory(e.g.brownhair,redpickuptruck,etc.)

Verse 1

None

Verse 2

None

Pre-Chorus

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None

Chorus

None

Place & Time Lyrics & Phrases


(Theselyricsreflectplacesandthetimelineofthestorydirectlyorindirectly)

Verse 1

Line2:Iwaswonderingifafteralltheseyearsyoudliketomeet
Line6:IminCaliforniadreamingaboutwhoweusedtobe

Verse 2

Line4:Didyouevermakeitoutofthattownwherenothingeverhappened
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Pre-Chorus 1

Line1:Theressuchadiffrencebetweenusandamillionmiles(Relatestothedistancebetweenwheretheprotagonistandantagonistreside)

Pre-Chorus 2

Line1:Itsnosecretthatthebothofusarerunningoutoftime

Chorus

Line5:Hellofromtheoutside
Line4:ButwhenIcallyouneverseemtobehome

Emotional/State Of Mind Based Lyrics and Phrases


(Theselyricsandphrasesshedlightonthecharactersstateofmindand/orconveyemotion)

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Verse 1

Line4:Theysaythattimessupposedtohealya,butIaintdonemuchhealing
Line8:Iveforgottenhowitfeltbeforetheworldfellatourfeet(Relatestoanassumedgoodfeeling)

Verse 2

Line2:Itssotypicalofmetotalkaboutmyself,Imsorry
Line3:Ihopethatyourewell

Pre-Chorus 1

None

Pre-Chorus 2

None

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Chorus

Line3:TotellyouImsorryforevrythingthatIvedone
Line7:TotellyouImsorryforbreakingyourheart

Action Based Lyrics & Phrases


(Theselyricsinformthelistenerofwhatthecharacterswithinthestoryhavegonethrough,aregoingthrough,willgothrough,havedone,aredoingorwilldodirectlyor
indirectly)

Verse 1

Line2:Iwaswonderingifafteralltheseyearsyoudliketomeet(Potentialfutureaction)
Line6:IminCaliforniadreamingaboutwhoweusedtobe(Theactof)

Verse 2

Line2:Itssotypicalofmetotalkaboutmyself,Imsorry(Theactof)

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Pre-Chorus 1

None

Pre-Chorus 2

None

Chorus

Line2:Imustvecalledathousandtimes(Pastaction)
Line4:ButwhenIcallyouneverseemtobehome(Theactof)

Nonsense Lyrics
(Ohhs,whoas,whoos,heys,mmms,shalas,etc.)

Vocal Break
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Line1:Ooooohh,anymore
Line2:Ooooohh,anymore
Line3:Ooooohh,anymore

Word Cloud

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Song Title

Clever/Powerful or Universal/Generic

Songtitlesfallwithinoneoftwocategoriesthosethatareunique,clever,attentiongrabbingand/orpossessapowerfulnature(e.g.679,FightSong,
CantFeelMyFace),andthosethatpossessmoreofauniversal/genericnature(e.g.SeeYouAgain,GoodForYou).

Whilethereisnothinguniqueaboutthewordhello,itfunctionsasaneffectivetitleforthefollowingtwokeyreasons:

ConsideringthatHelloisthetitleofAdelesfirstsingleinyears,itmarksherreturninaclevermanner,whichhasnothingtodowiththestoryline(i.e.
hello,fansImback!).
Withoutthecontextofthenarrative,thelistenerhasabsolutelynoideawhathellorelatestointhescopeofthestoryline(althoughtheycan
probablysurmisethatithassomethingtodowitharelationship).Asaresult,itpiquestheircuriositytofindoutwhatitsallabout.

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Title Appearances & Placement

ThetitleHelloappearsninetimesthroughoutthesong.Itsfeaturedinthechorussections,asonewouldexpect,butalsotheversesections,whichisquite
rareinthemainstream(exceptfortheHipHop/Rapgenre).

Verse 1

Inbothversesectionsthetitleappearsasthefirstlyricineachpart/stanza.Thefirstversecontainstwoparts(partsXandY),andthesecondversecontains
one.

Part X

Line1:Hello,itsme
Line2:Iwaswonderingifafteralltheseyearsyoudliketomeet
Line3:Togoovereverything
Line4:Theysaythattimessupposedtohealya,butIaintdonemuchhealing

Part Y
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Line5:Hello,canyahearme
Line6:IminCaliforniadreamingaboutwhoweusedtobe
Line7:Whenwewereyoungerandfree
Line8:Iveforgottenhowitfeltbeforetheworldfellatourfeet

Verse 2

Line1:Hello,howareyou
Line2:Itssotypicalofmetotalkaboutmyself,Imsorry
Line3:Ihopethatyourewell
Line4:Didyouevermakeitoutofthattownwherenothingeverhappened

Chorus

Asisthecasewiththeversesections,eachchorussectionfeaturesthetitleasthefirstlyricineachpart/stanza.Allthreechorusescontaintwopartsparts
XandY.

Part X
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Line1:Hellofromtheotherside
Line2:Imustvecalledathousandtimes
Line3:TotellyouImsorryforevrythingthatIvedone
Line4:ButwhenIcallyouneverseemtobehome

Part Y

Line5:Hellofromtheoutside
Line6:AtleastIcansaythatIvetried
Line7:TotellyouImsorryforbreakingyourheart
Line8:Butitdontmatter,itclearlydoesnttearyouapartanymore

Story Flow & Meaning

Overview

Helloisalove/relationshipthemedsongaboutaprotagonistwhoislookingtoreconnectandreconcilewithsomeonewhotheywrongedinthepast.
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However,despitenumerousattemptstoconnectoverthephone,theprotagonistisunabletomakecontact.Theprotagonisttakessolace,however,in
knowingthattheydideverythingintheirpowertotryandmakethereconciliationhappen.

PerAdeleinaNovember28,2015interviewwithiD:

Thesongisabouthurtingsomeonesfeelingsbutitsalsoabouttryingtostayintouchwithmyself,whichsometimescanbealittlebithardtodo.
Itsaboutayearningfortheothersideofme.WhenImaway,Ireally,reallymissmylifeathome.ThewaythatIfeelwhenImnotinEngland,is
desperation.

Itsaboutfriends,exboyfriends,itsaboutmyself,itsaboutmyfamily.Itsalsoaboutmyfansaswell.IfeellikeeveryonethinksImsofaraway
andImnot.EveryonethinksIliveinf*ckingAmerica,Idont.

DespitetheparticularmeaningthatHellohasforAdele,themostlyuniversalmannerinwhichthenarrativeiscommunicatedenablesittobeapplicabletoa
multitudeofscenariosandconnectwithawideaudienceasaresult.

Additionally,oneparticularlycleveraspectofthenarrativetotakenoteofisthatthetitle,hello,isfeaturedathebeginningofeachstanza(part)
throughoutthesongexceptforthesinglelineprechoruses:

Verse1,PartX:Hello,itsme
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Verse1,PartY:Hello,canyahearme
Verse2:Hello,howareyou?
Chorus1,PartX:Hellofromtheotherside
Chorus1,PartY:Hellofromtheoutside

Asaresult,thetitleiscontinuallyreinforcedwiththelistenerinafreshmannerthroughoutthesong.

Narrative Structure: At-A-Glance

Key
GreenFont:Theprotagonistcommunicatingtotheantagonist
RedFont:Theantagonistcommunicatingtotheprotagonist
BlueFont:Theprotagonistnarratingtothelistener

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(Parenthesis):Implied/Continued

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Verse 1

Part X

Line1:Hello,itsme
Line2:Iwaswonderingifafteralltheseyearsyoudliketomeet
Line3:Togoovereverything
Line4:Theysaythattimessupposedtohealya,butIaintdonemuchhealing
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Part Y

Line5:Hello,canyahearme?
Line6:IminCaliforniadreamingaboutwhoweusedtobe
Line7:Whenwewereyoungerandfree
Line8:Iveforgottenhowitfeltbeforetheworldfellatourfeet

Opening Line

Thefirstlineinasongisamongthemostimportant.Why?Becauseitneedstoinstantlygrabthelistenersattentionandpiquetheircuriosityforwhat
comesnext.

Notonlydoeshello,itsmeachievethis,butitalsocleverlyproclaimsthereturnofAdelefollowingamultiyearabsence.

Sectional Characteristics

Part X
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Thefollowingisestablishedinthefirststanza(partX):

Reconnection/TimePeriodEstablishment:Theprotagonistisreachingouttoanonspecifiedpersontoreconnectafteralongperiodoftime
(i.e.ifafteralltheseyearsyoudliketomeet).

MethodofReconnection:Themeansbywhichtheprotagonistreachesoutismostlikelyaphonecall(i.e.iftheprotagonistwasmeetingsomeone
inperson,theywouldntintroducethemselvesviahello,itsme).

RelationshipRift:Thereisayettobemadeapparentissuebetweentheprotagonistandthisunspecifiedperson.Thisiscommunicatedonlines3
and4viatogoovereverything/theysaythattimessupposedtohealya,butIaintdonemuchhealing.

PurposeforReconnection:Afteralongperiodofbeingoutoftouch(i.e.afteralltheseyears),theprotagonistapparentlywantstohashitout
(i.e.goovereverything)sothatshe/hecanfinallyheal.

Prosody:NoticethattheproblematicnatureoftherelationshipisaccentuatedviathecharacteristicsofAdelesvocalandthesolopiano
accompaniment.Theirmelancholicqualitiesdoagreatjobofillustratingthedegreeofhurtwithouttheneedtoexpressitintheformoflyrics.

Part Y

Thefollowingisestablishedinthesecondstanza(partY): BacktoTop

ReconnectionIssue:Thesecondstanza(partY)beginsinthesamemanneraspartXviathetitlehello,butthistimeispartofaquestionas
opposedtoagreeting(i.e.hellocanyouhearme?).Thisindicatesthatthereisnoanswerontheotherendoftheline.Asaresult,onecandeduce
thattheotherpartydoesntwanttohaveanythingtodowiththeprotagonistafterallthistime.

PlaceEstablishment/CleverLyrics:Line6establishesthattheprotagonistiscurrentlyinCalifornia.Togetherwiththelyricthatdirectly
follows,dreaming,theycleverlymakereferenceoneofthebiggesthitsofthe1960sTheMamasAndPapasCaliforniaDreaming.

ReminiscingAboutBetterTimes:Thelastthreelinesinthefirstverseillustratetheprotagonistreminiscingabouttheold/bettertimestheyhad
withtheantagonistbeforelifegotintheway.Thisisconveyedinanimpactfulmannerviathefollowinglyrics:

Californiadreaming
Whoweusedtobe
Youngerandfree
Beforetheworldfelloutourfeet.

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Pre-Chorus 1

Line1:Theressuchadiffrencebetweenusandamillionmiles

Sectional Characteristics

Thesolelineinthefirstprechorusillustratesinapotentmannerthereasonswhytherifthasntbeenresolved:

Reason1(Theressuchadifferencebetweenus):ThisphrasetiesintowhoweUSEDtobeandbeforetheworldfelloutourfeetas
communicatedinthefirstverse.Whiletheprotagonistandthispersonmayhavebeenonthesamepageinthepast,lifescircumstanceshaveturned
themintostringentlydifferentpeople.

Reason2(Andamillionmiles):ThisphrasetiesintoCaliforniainthefirstverse.Whereverthisotherpersonlives,itsVERYfarawayfrom
California(onecanassumethatitstheUK).Asaresult,outofsite,outofmindapplies.

Chorus

Part X BacktoTop

Line1:Hellofromtheotherside
Line2:Imustvecalledathousandtimes
Line3:TotellyouImsorryforevrythingthatIvedone
Line4:ButwhenIcallyouneverseemtobehome

Part X

Line5:Hellofromtheoutside
Line6:AtleastIcansaythatIvetried
Line7:TotellyouImsorryforbreakingyourheart
Line8:Butitdontmatter,itclearlydoesnttearyouapartanymore

Sectional Characteristics

Part X

Thefollowingisestablishedinthefirststanza(partX):
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Greeting/DifferenceReinforcement#1:Thechorusbeginswithanotherhello,butthistimeitisfollowedbythelyricsfromtheotherside.
Thiscleverlytiesintothetheressuchadifferencebetweenusasconveyedintheprechorus,andreinforcesthepointasaresult.

NumerousReconciliationAttempts/RiftOwnership:Theprotagonisthasreachedouttothispersonathousandtimestoreconcile.Notice
thatitstheprotagonistwhoistakingownershipoftheriftanddoingtheapologizingasdepictedonline3totellyouImsorryforevrythingthat
Ivedone.

ReconnectionIssueReinforcement:Thelastlineinthefirststanza(partX)butwhenIcallyouneverseemtobehomereinforcesthatthe
otherpartydoesntwanttohaveanythingtodowiththeprotagonist,andisavoidingthem.Thiswasinitiallybroughttolightinthefirstversevia
hello,canyahearme?

Part Y

Thefollowingisestablishedinthesecondstanza(partY):

Greeting/DifferenceReinforcement#2:Thesecondstanza(partY)beginsinthesamemanneraspartXviahellofromthe.Thesole
differenceisthemannerinwhichthelineconcludesoutsideasopposedtootherside.However,theconnotationremainsthesame,andthe
similarityreinforcesthememorabilityfactorofthesection.
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RiftEffect:HereinpartYthelistenerlearnstheoutcomeofwhattheprotagonisthasdoneasstatedinpartXtheprotagonistbrokethisthe
antagonistsheart.

TheProtagonistTriedtoReconcile,butitsNotGoingToHappen:Line6providesanimportantdevelopmentinthenarrative.Bythe
protagoniststating,atleastIcansaythatIvetried,itindicatesthattheprotagonistisreadytoacceptthefutilityofreconciliationandmoveonin
peace,knowingthateveryattemptwasmadetotryandfixthings.Sincetheantagonistisclearlyavoidingtheprotagonist,tryingtoapologizedoesnt
matteranymore,becauseitclearlydoesnttearthisotherpersonapart.Bottomlinetheantagonistjustdoesntcare.

Prosody:Thesoaring,powerfulcharacteristicsofAdelesvocalcoupledwiththePowerBalladcharacteristicsoftheaccompanimenthammerhome
thedeterminationoftheprotagonistwantingtoconnect,apologizeandreconcile.However,thedownshiftthattakesplaceonthelyricanymore
cleverlyreflectsthefutilityofthereconciliation.ReferencetheVocalMelodyandMusicSectionBySectionsectionsofthereportfordetails.

Verse 2

Line1:Hello,howareyou?
Line2:Itssotypicalofmetotalkaboutmyself,Imsorry

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Line3:Ihopethatyourewell
Line4:Didyouevermakeitoutofthattownwherenothingeverhappened?

Sectional Characteristics

Thefollowingisestablishedinthesinglestanzasecondverse:

Greeting&AnotherQuestion:Thesecondversebeginswithanotherhello,butthistimeisfollowedbyhowareyou?Thisshowsthatthe
protagonistisinterestedinseeinghowthingsarewiththeantagonistafteralltheseyears.

AnotherApology:Inadditiontoapologizingforeverythingthathasbeendoneandbreakingtheantagonistsheart,theprotagonistapologizes
fortalkingaboutthemselvesinthesecondverse.Thiscanbothpertaintothenarrative,aswellasapotentialotherreasonfortherift(i.e.the
protagonistmayhavebeenselfcentered).

WellWishes:Online3,theprotagoniststates,Ihopethatyourewell.Thisindicatesthatdespitetherifttheprotagoniststillcaresaboutthe
antagonist.

WhytheProtagonistMightHaveGonetotheOtherSide/RiftReason:Thelastlineinthesecondverseposesanotherquestiontothe
antagonist,didyouevermakeitoutofthattownwherenothingeverhappened?Thisinfersthatthereasonfortheprotagonistgoingtotheother
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sidewasbecauseshe/hewantedalifeofexcitement,adventure,andsuccess,whichwasntgoingtobehadifshe/hestayedput.However,becausethe
antagonistDIDapparentlystayput(atleastforacertainamountoftime),thiscouldhavebeenoneoftheprimaryreasonsfortherift(i.e.the
protagonistabandonedtheantagonist,andasaresultbroketheirheart).

Pre-Chorus 2

Line1:Itsnosecretthatthebothofusarerunningoutoftime

Sectional Characteristics

Thesolelineinthesecondprechorusindicatesthatthelongertheprotagonistandantagonistdontresolvetheirissues,thelesslikelyitwilleverhappen.

Benchmark
ThissectionexploreshowHellocompositionallycomparestothe23songsthatchartedintheBillboardHot100Top10duringQ32015.

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Familiarity Factors

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Hellosharesthefollowingcompositionalcharacteristicsthatweremostpopularamongthe23songsthatchartedintheHot100Top10duringQ32015.
Thecommonalitiesmakeiteasierforamainstreamaudiencetoconnectwiththesong,especiallyinanairplayenvironmentduetothefamiliaritythey
impart(i.e.thesongisntcomingoutofleftfieldwhichwouldcausethelistenertohavetoworkatconnectingwiththesong).

Top Characteristics

Hellobeinginlinewiththemostpopular(#1)characteristicsofQ3sTop10chartinghits:

HelloisfirstandforemostaPopsong
Hellofeaturesalove/relationshiplyricaltheme
Hellostitleappearsinthechorus(inadditiontotheverse)
Hellofeaturessynthsinthemixaswellasprominentdrums/beats/percussion
Hellosfirstsectionisanintro
Helloslastsectionisanoutro
Hellocontainsaprechorusinitsframework(albeitasinglelineprechorus,whichisatypical)
Hellosfirstchorushitsat23%ofthewayintothesong(the20%29%rangewasthemostpopular)
Hellodoesntcontainatraditionalbridgeinitsframework(itwasanearequalsplitofsongsthatdoandsongsthatdont) BacktoTop

Runners Up (#2 most popular characteristics)

Hellowaswrittenbyateamconsistingoftwosongwriters
HellofeaturesanR&B/Soulsubgenreinfluence
Hellostitleappearsninetimesinthesong(the610appearancecategorywasthesecondmostpopular)
Hellofeaturesacombinationofacousticandelectricbasedinstrumentationinthemix
Hellosintrolandsatsixseconds(the0:010:09rangewasthesecondmostpopular)

Standing Out

ThefollowingkeyfactorshelpedHellostandoutinthemainstreampackandgetnoticed:

TheComebackFactor:HellowasAdelesfirstsingleinyears.Asaresult,anticipationforthesinglewasatafeverishhigh.
Strong/CleverOpeningLine:Helloitsmefunctionsasanattentiongrabbingopeningline,andcleverlymarksAdelesreturn.
AdelesVocals:Adelessoulful,powerfulandevocativevoicedistinguishesher,andthesong,frommostothercurrentmainstreamartistsandhits.

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Ballad/PowerBallad:AtthetimeHelloenteredtheHot100at#1(Billboardweekof11/14)andthemonththatfollowed,itwastheonlysonginthe
Top10thatwasathroughandthroughBallad/PowerBallad.Asaresult,itstoodoutamongalloftheothermainstreamhits.
BridgeSurrogate:DuetothefactthatHellodoesntcontainabridgeinitsframework,anontypicalvocalbreaksectionisinstitutedinorderto
provideastrongdeparturerelativetotheothersectionsinthesong.FeaturingAdelesinfectiousoohmelismas,itsubstantiatesthatAdeleisback,
andinpeakform.

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