Hello Deconstructed

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>>
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Form>> VocalMelody>>
SectionLength&Count>>
Lyrics&Title>>
TotalSectionBreakdown>>
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Momentum/Tension/Intensity RhymingSchemes>>
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Adele - Hello
At a Glance
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
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
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
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.
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
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
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
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
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
Accentuating Engagement Through Contrast & Segmentation
Oneofthemosteffectivewaystoensurethatthelistenerisalwayskeptengagedinasongistobreaklongerlengthfullsectionsintoshorterindividual
segments(i.e.parts/stanzas).InHello,thisisputintoeffectinallthreechorussections,aswellasthefirstverse.Eachrespectivepartpossessesboth
similarandcontrastingcharacteristicsrelativetooneanother.Thisensuresthatthememorabilityfactorofthefullsectioniskeptatahigh,whilekeeping
thingsfreshandengagingthroughout.
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
Notsurprisingly,thepowerful,infectiouschorusisallocatedthemostamountoftimerelativetotheothersections,comprising52%ofHellostotal
composition.Theversefollowsat26%,andthevocalbreakandprechorussectionscomprise8%,each.Theleastamountoftimeisallocatedtotheintro,
asyouwouldexpect,aswellasthebriefturnaroundandoutrosections.
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:
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
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.
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.
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
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
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)
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
V=Vocalinfluence
Primary Instrumentation
Hellofeaturessixprimaryinstrumenttypesinthemixthatshapeitssoundandvibepiano,synthesizers,drums/percussion,strings,guitar,andbass.
*Clickimagetoenlarge
Piano
PianoplaysamajorroleinHello.Itstheonlyinstrumentthatsineffectthroughouttheentiresong,invaryinglevelsofprominence.Itssoundisoneofan
acousticgrandpianowithaprominentmidrange.Itpossessesanatural,warmtone,withaslightamountofreverb.
ItsfeaturedmostprominentlyinthesparseBalladsectionsofthesong,whereitelicitsadark,melancholytypevibe.Thisperfectlyjibeswithand
accentuatesAdelesvocalsandthelyrics.Itsalsofeaturedprominentlyinthechorusandvocalbreaksections,albeitinconjunctionwithother
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
Piano: Pre-Chorus
Piano: Chorus/Vocal Break
Synthesizers
SynthsinHellofunctioninmoreofasupportingroleasopposedtolead.Therearetwosynthpadvariationsfoundthroughoutthesongonethatfeatures
astringtypequality,andonethatpossessesmoreofanoouvocalvowelsound.Bothareexceptionallyimportantinaccentuatingthesongsvibeand
providingadditionalcolorandtextureintheirrespectivesections.
Synth1:SynthPad1
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
Chorus 2 Pattern
Vocal Break Pattern
Drum Set (With Sticks - Snares On)
Inthethirdandfinalchorus,thedrumsareplayedwithsticksasopposedtomallets.Notethatthisistheonlysectionintheentiresongwherethishappens.
Asaresult,thedrumspossessastrongerandmoredefinedattack,whichprovidesthesectionwithanincreasedsenseofpower.Additionally,thesnarewire
isengaged,whichprovidesitwithitsbright,snappyattackasopposedtothemuffled,tomtypesoundintheaforementionedsections.
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.
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
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
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.
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.
TransitionPoint(PreChorus1intoChorus1):Atthetailendoftheprechorus,thelaststruckpianochordandsynthbrieflyresonate.Justastheir
prominencebeginstodiminish,theyswellbackinatagreaterdegree,usheringthelistenerintothechorusthatfollows.
Chorus 1 (1:06 1:54)
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)
**Indicatesthefirstappearanceofaninstrument/vocalinthemix
First Chorus Occurrence
Hellosfirstchorushitsat1:06/23%ofthewayintothesong,whichisquitelatecomparedtomostotherTop10chartinghits.Forinstance,duringthethird
quarterof2015,onlytwooutoftwentythreesongshadtheirfirstchorushittingoveroneminuteintothesongEarnedItandPhotograph.
Despitethelateoccurrence,thelistenersattentionisheldupuntilthispointthankstothebriefintro,twopartfirstverse,andbriefprechorus.
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)
Piano(VerseprogressionLevel:Mid)PrimaryPlacementinthemix:12:00.
**SynthPad2(oohsoundingsynth,heavyreverbLevel:Mid)PrimaryPlacementinthemix:12:00butspreadwideacross11:002:00
**Indicatesaninstrumentsfirstappearanceinthesong
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)

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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)
Characteristics / Vibe Continuity & Shift
Incontrasttothesparsecharacteristicsofthefirstverse,thesecondversefeaturesamorerobustaccompaniment.Whilethedark,melancholicvibe
remainsineffect,itnowpossessesaslowburninggroove,whichtakestheinfectiousengagementfactorofthesongtothenextlevel.
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)
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
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)
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
*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.
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.
Vocal Break (3:25 3:51)
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).
TransitionPoint(VocalBreaktoChorus3):DrumSetfillwithsticks.
Chorus 3 (3:51 4:39)
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
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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.
Outro (4:39 4:45)
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:
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
Part Y
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
Part Y
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
Line1:Sohellofromtheotherside(otherside)
Line2:Imustvecalledathousandtimes(thousandtimes)
Part Y
Line5:Hellofromtheoutside(outside)
Line6:AtleastIcansaythatIvetried(Ivetried)
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
Line4:Anymore
ThevocalbreaksectioniswhereAdeleREALLYgetsthechancetoflexherevocativevocalmuscles.Itfeaturestwodistinctvocalcharacteristics:
Adelessololeadonthesoaringoohsandanymorelyrics.
Groupfemalebackingvocalsontherepetitive,rhythmic,Ivesoundingnonsenselyrics.
Botharefeaturedconcurrentlyinthemix,withthebackgroundvocalsfunctioninginthemannerofaninfectioustexturalvocalaccompanimenttoAdeles
lead.
Chorus 3
Part X
Line1:Hellofromtheotherside(otherside)
Line2:Imustvecalledathousandtimes(thousandtimes)
Part Y
Line5:Hellofromtheoutside(outside)
Line6:AtleastIcansaythatIvetried(Ivetried)
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
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
Line3:Togoover/everything
Part Y
Line5:Hello/canyahearme
Line7:Whenwewereyounger/andfree
Cross-Line / Cross-Part Rhyming
Primary Rhymes
EachlineinpartsXandYofthefirstverseareconnectedviatheeesoundingrhymethatoccursatthetailendinthefollowinglyrics:
Line1:me
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
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.
Thelastsegment,andamillionmiles,providesadeparturefromtheeerhymescheme,andfunctionstobringtheverse/prechorusruntoaconclusion.
Thiseffectivelycleansesthepalletforthechorusthatfollows.
VERSE 2/PRE-CHORUS 2
AAAX / X
Verse 2
Thesecondversefeaturestwosetsofcrosslinerhymesacrossthefirstthreelines.
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
Thesolelineintheprechorus,aswellasline4intheprecedingverse,donotrhymeandstandoutindependently.
Chorus
AABB / AACC
Thechorusfeaturesacombinationofcrosslineandcrosspart(stanza)rhymeschemes,aswellasrepetitivelyrics.
Part X
Part Y
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Cross-Line Rhyming
PartX(firststanza)featurestwogroupsofcrosslinerhymes,bothofwhichoccurinthelastlyric:
RhymeGroup1(Lines1&2)
Line1:outside
Line2:tried
Notethattherhymerinboth,i,isprolongedforasignificantduration,whichheightensitsabilitytoconnect(referencetheVocalMelodySectionof
thereportfordetails).
Line3:done
Line4:home
Whiletheselyricsarebynomeansperfectrhymes,thereisjustenoughsimilaritythatenablesthemtoconnect.
Repetitive Lyrics
Noticethatthelyricyouisfeaturedinthefirsthalfoflinesthreeandfour.Thishelpstoaccentuatetheconnectionbetweenthesetwolines,considering
thatanonperfectrhymeoccursattheendasdetailedabove.
Part Y
Cross-Line Rhyming
PartY(secondstanza)alsofeaturestwogroupsofcrosslinerhymes,bothofwhichoccurinthelastlyric:
Line5:outside
Line6:tried
Thesetwolyricsareconnectedviatheide/iedrhymeattheend.
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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
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
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.
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
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.
SECTION BY SECTION
VERSE & PRE-CHORUS
Verse 1
Verse 1 Part X
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Verse 1 Part Y
Pre-Chorus 1
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Verse 2
Pre-Chorus 2
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Verse 1
Pre-Chorus 1
Verse 2 BacktoTop
Pre-Chorus 2
Line Reference
Verse 1
Part X
Line1:Hello,itsme
Part Y
Pre-Chorus 1
Verse 2 BacktoTop
Pre-Chorus 2
Lead Vocal Range: Verse 1
High:C4
Low:F3
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
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
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).
LINES 5 & 6
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
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
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.
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
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
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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.
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
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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.
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
Chorus 2
Chorus 3
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Line Reference
Chorus
Part X
Part Y
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
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).
ThisbumpuptoCachievesthefollowing:
Itfunctionsasasecondmagicmomentinthesection.Itmightseemminor,butittakestheemotiontoaheightenedlevel.
Itprovidessubtle,yeteffectiveandinfectiouscontrastrelativetothesimilarmelodicstructureofline1thatprecedesit.Asaresult,thesetwobackto
backlineskeepthememorabilityfactoratahighwhileremainingfreshandengaging.
LINE 3
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:
Itprovidessmoothflowcontrastrelativetothemoredisjointedcharacteristicsofpart2athatprecedesit.Asaresult,thelineconcludesinaneasierto
followmanner.Ifitwasalsodisjointedandadventurous,itwouldbemuchmoredifficultforthelistenertodigestandremember.
Itenablestheartsyandadventurouspart2bsegmentthatfollowstoresonateonamoreprofoundlevel.
LINE 4
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
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
Line 7
Line7featuresthesamemelodicstructureasitsline3partXcounterpart.
LINE 8
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
Line4:Anymore
Lead Vocal Range
High:Ab4
Low:F3
Melodic Structure
1-2-1-2 / 1-3-4
Inlieuofabridge,thevocalbreakprovidesthemoststringentdepartureinthescopeofthesongfromavocalstandpoint.Here,Adelereallygetsthe
chancetoflexhervocalmusclesandremindtheaudienceofherstellartalentafteralengthyhiatus(rememberHelloishercomebacksingle).
ThesectionconsistsoftwoprimaryelementsAdelesinfectiousooumelismas,andtheanymorevocalthatfollows.
LINES 1 & 2
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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
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)
Verse 1
Verse 2
Pre-Chorus 1
Pre-Chorus 2
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Chorus
Imagery Lyrics & Phrases

(Theselyricspaintapictureinthelistenersheadinordertofurtherengrosstheminthestory(e.g.brownhair,redpickuptruck,etc.)
Verse 1
None
Verse 2
None
Pre-Chorus
None
Chorus
None
Place & Time Lyrics & Phrases

(Theselyricsreflectplacesandthetimelineofthestorydirectlyorindirectly)
Verse 1
Verse 2
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Pre-Chorus 1
Line1:Theressuchadiffrencebetweenusandamillionmiles(Relatestothedistancebetweenwheretheprotagonistandantagonistreside)
Pre-Chorus 2
Chorus
Emotional/State Of Mind Based Lyrics and Phrases

(Theselyricsandphrasesshedlightonthecharactersstateofmindand/orconveyemotion)
Verse 1
Line8:Iveforgottenhowitfeltbeforetheworldfellatourfeet(Relatestoanassumedgoodfeeling)
Verse 2
Pre-Chorus 1
None
Pre-Chorus 2
None
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Chorus
Action Based Lyrics & Phrases

(Theselyricsinformthelistenerofwhatthecharacterswithinthestoryhavegonethrough,aregoingthrough,willgothrough,havedone,aredoingorwilldodirectlyor
indirectly)
Verse 1
Line2:Iwaswonderingifafteralltheseyearsyoudliketomeet(Potentialfutureaction)
Line6:IminCaliforniadreamingaboutwhoweusedtobe(Theactof)
Verse 2
Line2:Itssotypicalofmetotalkaboutmyself,Imsorry(Theactof)
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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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.
Title Appearances & Placement
ThetitleHelloappearsninetimesthroughoutthesong.Itsfeaturedinthechorussections,asonewouldexpect,butalsotheversesections,whichisquite
rareinthemainstream(exceptfortheHipHop/Rapgenre).
Verse 1
Inbothversesectionsthetitleappearsasthefirstlyricineachpart/stanza.Thefirstversecontainstwoparts(partsXandY),andthesecondversecontains
one.
Part X
Line1:Hello,itsme
Part Y
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Verse 2
Chorus
Asisthecasewiththeversesections,eachchorussectionfeaturesthetitleasthefirstlyricineachpart/stanza.Allthreechorusescontaintwopartsparts
XandY.
Part X
Part Y
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
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
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Part Y
Line5:Hello,canyahearme?
Opening Line
Thefirstlineinasongisamongthemostimportant.Why?Becauseitneedstoinstantlygrabthelistenersattentionandpiquetheircuriosityforwhat
comesnext.
Notonlydoeshello,itsmeachievethis,butitalsocleverlyproclaimsthereturnofAdelefollowingamultiyearabsence.
Sectional Characteristics
Part X
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.
Pre-Chorus 1
Thesolelineinthefirstprechorusillustratesinapotentmannerthereasonswhytherifthasntbeenresolved:
Reason1(Theressuchadifferencebetweenus):ThisphrasetiesintowhoweUSEDtobeandbeforetheworldfelloutourfeetas
communicatedinthefirstverse.Whiletheprotagonistandthispersonmayhavebeenonthesamepageinthepast,lifescircumstanceshaveturned
themintostringentlydifferentpeople.
Reason2(Andamillionmiles):ThisphrasetiesintoCaliforniainthefirstverse.Whereverthisotherpersonlives,itsVERYfarawayfrom
California(onecanassumethatitstheUK).Asaresult,outofsite,outofmindapplies.
Chorus
Part X BacktoTop
Part X
Part X
Thefollowingisestablishedinthefirststanza(partX):
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?
Line4:Didyouevermakeitoutofthattownwherenothingeverhappened?
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
Thesolelineinthesecondprechorusindicatesthatthelongertheprotagonistandantagonistdontresolvetheirissues,thelesslikelyitwilleverhappen.
Benchmark
ThissectionexploreshowHellocompositionallycomparestothe23songsthatchartedintheBillboardHot100Top10duringQ32015.
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Familiarity Factors
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.
Ballad/PowerBallad:AtthetimeHelloenteredtheHot100at#1(Billboardweekof11/14)andthemonththatfollowed,itwastheonlysonginthe
Top10thatwasathroughandthroughBallad/PowerBallad.Asaresult,itstoodoutamongalloftheothermainstreamhits.
BridgeSurrogate:DuetothefactthatHellodoesntcontainabridgeinitsframework,anontypicalvocalbreaksectionisinstitutedinorderto
provideastrongdeparturerelativetotheothersectionsinthesong.FeaturingAdelesinfectiousoohmelismas,itsubstantiatesthatAdeleisback,
andinpeakform.
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24/10/2016 HelloDeconstructed

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Overview, Highlights & Takeaways

Hooks, Payoffs, Clever Elements & WOW Factors

Hooks & Payoffs

Clever Opening Line

Vocal WOW Factors

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

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

Genre, Sub-Genres & Vibe: Overview

Rhyme Schemes: Overview

Section Length & Count

Middle Of The Road Sections

Accentuating Engagement Through Contrast & Segmentation

Part X (0:24/8 Bars)

Part Y (0:24/8 Bars)

Part X (0:24/8 Bars)

Part Y (0:24/8 Bars)

Total Section Breakdown

Gradual Intensity Increase

Chorus Impact Accentuators

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

Verse 1 Parts X and Y

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

Chorus 1 Parts X and Y

Wave 2: Turnaround (TURN) End

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

Power Ballad (Sub-Genre)

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

Piano: Chorus/Vocal Break

Drum Set (Mallets)

Vocal Break Pattern

Drum Set (With Sticks - Snares On)

Electronic Drums & Percussion

Electronic Percussion Loop

Pre-Chorus/Chorus 1: Piano/Synth Swell

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

Music & Instrumentation: Section By Section

Intro (0:00 0:06)

Primary Instrumentation Featured In The Mix

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

Partial Genre/Sub-Genre Establishment

Unique Identifier/Attention Grabber

Verse 1 (0:06 0:54)

Primary Instrumentation Featured In The Mix:

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

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

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

Characteristics / Vibe Continuity & Shift

Chorus 1 (1:06 1:54)

Primary Instrumentation Featured In The Mix

Part X (1:06 1:30)

Part Y (1:30 1:54)

First Chorus Occurrence

Cross-Section Contrast & Vibe Shift

Turnaround (1:54 2:01)

Primary Instrumentation Featured In The Mix

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

Verse 2 (2:01 2:25)

Primary Instrumentation Featured In The Mix

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

Characteristics / Vibe Continuity & Shift