Uptown Funk Deconstructed - Hit Songs Deconstructed

24/10/2016 UptownFunkDeconstructedHitSongsDeconstructed
Mark Ronson
Uptown Funk
Deconstructed
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ReleasedastheleadsinglefromMarkRonsonsUptownSpecialalbum,UptownFunkhasbecomeaglobalphenomenon,hitting#1onover30charts
throughouttheworld.
Manykeyfactorscontributedtothesongsmassivesuccess.Someofthemostimportantincludeanabundanceofhooks,payoffsandstandoutmoments,a
cleverandengagingnarrative,amultitudeofvocaltypes,andafun,retrolate1970s/early1980sFunk,HipHop/Rap,Dancenaturethatenablesitto
standoutandresonateamongstitscurrentmainstreamcontemporaries.
Mostimportantly,UptownFunkcontainsawealthofhitsongwritingtechniquesandcharacteristicsthatwhenstudiedwillundoubtedlyhelptakeyourcraft
tothenextlevel.
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Highlights&Takeaways>> SectionBySection>>
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SongStructure>> Vocals>>
Timeline>> VocalAssignments>>
Form>> VocalMelody>>
SectionLength&Count>>
Lyrics&Title>>
TotalSectionBreakdown>>
LyricTypes>>
Momentum/Tension/Intensity(MTI)>> Narrative>>
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Mark Ronson - Uptown Funk ft. Bruno Mars
At a Glance
Artist:MarkRonson
Song:UptownFunk
Songwriters:P.Hernandez,P.LawrenceII,M.Ronson,J.Bhasker,D.Gallaspy,N.Williams
Producers:M.Ronson,J.Bhasker,P.Hernandez
Genre:R&B/Soul
SubGenres/Influencers:Funk,HipHop/Rap,Soul,Dance,Retro
Length:4:27
Structure(Form):*ABABCB
Tempo:115BPM
FirstChorus:0:50/19%ofthewayintothesong
IntroLength:0:17
OutroLength:0:33
Electricvs.Acoustic:Electric/acousticcombo
PrimaryInstrumentation:Bass,brass,drums(acoustic/electronic),electricguitar,synth
PrimaryLyricalTheme(s):Partying/livingitupandboasting
TitleAppearances:UptownFunkappears29timeswithinthesong
PrimaryLyricalP.O.V:1st&2nd
Highlights & Takeaways
UptownFunkisanupbeat,fun,Funk,HipHop/Rap,Soul,Dancenaturedsongwithaprominentlate1970s/early1980sretrovibe.The
modernnatureoftheproductionenablesittoeasilyfitintoacurrentmainstreamformatasopposedtocomingacrossaspurelyperiodpiece.
UptownFunkessentiallyfunctionsasatributesongtolate1970s/early1980sFunkandHipHop/Rap.Itsheavilyinfluencedbyawide
rangeofsongsbyartistsincludingJamesBrown,theSugarHillGang,Prince,TheGapBand,TheSequence,TrinidadJames,aswellasmanyothers.
Someofitscoreelementsseemtohavebeendirectlyliftedoutofspecificsongs.
Themajorityofinstrumentsfeaturedwithinthemixallpossessalate1970s/early1980sretroFunkquality(Linndrums,KorgTridentnatured
synth,thenatureoftheelectricbass,etc).ThisprovidesthesongwithanauthenticretroFunkvibe.
UptownFunkfeaturesaplethoraofhooks,payoffs,cleverelementsandstandoutmomentswhichtakeitfromgoodtogreat.Afewofthe
mostimportantinclude:
Thepitchshifteddoh,doh,dohvocalhook
Thegirlshityourhallelujah/highpitchedWHOOcallandresponsewithintheprechorus
Thebreakdown/build/releaseintothepayoffflowthatdefinesthechorus
Thesongcomingtoanabruptfullstopduringthestop,waitaminutesegmentattheonsetofthesecondverse
Oldschool,comicalboastingthemedlyricssuchasImtoohot/hotdamn/makeadragonwannaretiremanandsmootherthanafreshjar
ofSkippy.
ThekissfollowinggottakissmyselfImsoprettylineandthewhistleouttoJuliotogetthestretch.
AtitscoreUptownFunkfollowstheABABCBform,whichishistoricallythemostpopularwithinthemainstreammusicscene.However,the
natureofitschorusdoesntfallintothetypicalmainstreamformat.Itfeaturesathreepartbreakdown/build/releaseflowwhichismore
indicativeclassicFunk.
UptownFunkcontains10primarysectionswithinitsframework,rangingfrommoderatelyshort(16secondprechorus)torelativelylong(42
secondchorusandbridge).Thelongerlengthsectionsarebrokenintoshorterindependentstanzasthatmakeseachsectionasawholeeasiertodigest
andremember.
Notsurprisingly,thefullchoruswasallocatedthemostamountoftimewithinthesong,accountingfor41%ofitstotalcomposition.
Interestingly,thebridge(NOTtheverseasistypicallythecase),wasallocatedthesecondmostat16%.Itwaswellwarranted,however.
UptownFunksintroisverystrongonanumberoflevels.Itintroducestheprimaryvocalhook,actsasauniqueidentifierforthesong,establishes
partofthesongssubgenreandinfluencermix,providesapowerfultransitionintothefirstverse,andkeepsthelistenerengageddespiteitslengthy
naturevianewelementsbeingaddedintothemixthroughout.
Themannerinwhichtheprechorusisstructuredallowseachindividualelementwithinthemix(vocal,lyricalandmusical)tostandoutandresonate
withthelistener.Thistakestheinfectious,engagingandmemorablenatureofthesection,andthesong,tothenextlevel.
Thegeneralnatureoftheprechorusremainsexactlysameduringbothappearances.Consideringallthedifferentthingsgoingonwithinthemix,
therewasnoneedtoaddordetractelementsinordertoheightentheengagementvalueofthesongviasectionalcontrast(i.e.alloftheelements
deserveasecondlisten).
Thefirstchorushitsat50seconds/19%ofthewayintothesong.Theresabsolutelynoproblemkeepingthelistenerengagedupuntilthispointdue
tothestrengthoftheintro,verseandprechorusthatprecedesit.
Thegeneralnatureofthechorusalsoremainsthesameduringeachoccurrencewithinthesong.Theonlykeydifferenceisthatchorusthreeforgoes
thepartXbreakdown,insteadlaunchingrightintothepayoff.Remember,thisistypicallytheonesectionmorethananyotherthatyouwantfully
ingrainedwithinthelistenershead.
Thebridgefeaturesanengaging/infectioustwopartstructure.PartXfeaturestheoldschoolHipHop/Rapnatureduptownfunkyouupvocal
hookinconjunctionwiththedoh,doh,dohvocalhook.Notethatbothofthesevocalhooksarecleverlyfiringatthesametimebutneversteponeach
otherstoes.PartYlaunchesthesongbackintofullonretroFunkparty/dancemode.
Theoutrocanbeequatedtothegrandfinaleofafireworksshow.Allthestopsarebeingpulled,withmanyofthesongskeycharacteristicsandhooks
beingreinforcedwithinthelistenersheadthroughout.Asaresult,thelistenerisleftonanexcitedhighandwantingmoredespitetheabsenceofa
falseending.
UptownFunkfeaturesaplethoraofMTI(momentum,tension,intensity)twistsandturnsthroughoutthesong,whichmakesforan
exceptionallydynamicandengaginglisteningexperience.Theyrangefromthefullstopthatoccursattheonsetofthesecondverseuptotherousing
crescendothatdefinestheentireoutro.
UptownFunkfeaturesanumberofdifferentvocaltypesandassignmentthroughoutthesongthattakesitsengagementvaluetothenextlevel.
TheseincludethesoloMarslead,backgroundgroup,lead/groupcombo,lowpitchshifted,highpitchquivering,sung,rapped,spokenandshouted.
Thenatureofthevocalmelodyisbasedonthepremiseofinfectioussimplicity.Itfeaturesarelativelylimitedvocalrange(remember,thisisFunk),
engagingrhythmicvariations,clevermelodiclineandphraseparings,andtheperfectbalanceofrepetitionandcontrast.
UptownFunkfeaturesastrongblendofdetail,place/time,emotionandactionnaturedlyrics.Combined,theyenablethenarrativetoconnectwith
thelisteneronamoreprofoundlevel.
UptownFunkfeaturesapartying/livingitupandboastinglyricalthemeblend.Amongstthemanyattributesofthenarrativeincludemulti
lineinterplay(e.g.theImtoohot/hotdamn/makeadragonwannaretiremansetupandpunchlinewithintheprechorus)andthefemale
demographicwinoverviathededicationtothegirlsandreferringtothemasstraightmasterpieces.Thisprovidesthesongwithheightened
exposureandsalespotential.
UptownFunkfeaturesmanyofthecorecompositionalcharacteristicsthatdefinetodayscharttoppinghits,whichmakesiteasyforthe
listenertoconnectwiththesong.Itsthedifferences,suchasitsretroFunknature,lyrics,vocalandinstrumentationtypesamongstotherswhich
enableittostandoutandresonateamongstitsmainstreamcontemporaries.
Song Structure
Timeline (Showswheneachsectionhitswithinthetimelineofthesong)
Form
Atitscore,UptownFunkfollowsastraightupABABCBform(versechorusversechorusbridgechorus).Thisparticularformhashistorically
beenthemostpopularamongstmainstreamhits.
Italsocontainsanintro,twoprechorusesandanoutroaswell.
Asawhole,UptownFunksfullformlookslikethis:
IAPCBAPCBCBO
Chorus & Bridge Parts
Asyoucanseeinthetimelineabove,thechorusandbridgesectionsaresplitintoindividualparts(i.e.stanzas).
Forthisanalysis,wewillbereferringtotheseaspartsX,Y&Z.Moreonthisthroughoutthereport.
Funk Structure: Chorus or no chorus?
ThesongformasdetailedaboveputsUptownFunkintoatraditionalmainstreamPopsongstructure.Butisthechorustechnicallyachorus?PerMark
RonsoninaninterviewwithGrantland:
UptownFunkcouldnthaveachorus,becausefunksongsdonthavechoruses.
WhetherornotUptownFunktechnicallycontainsachorusiscompletelysubjective.Forpurposesofthisanalysisweregoingtoclassifyitasachorus
becauseallthreepartslyricallyinterrelatewithoneanother,ithousesthesongtitlepayoff(partX)anditprovidestensionreleaseintothevocalhook
payoffwithinpartYfollowingthebuildinpartX.
Thatbeingsaid,wecanalsoreclassifyUptownFunksprechorusandchorussectionsasfollows:
Prechorus1:Itcanbeconsideredasaprebreakdown/buildsection,meaningthatitsthesectionthatprecedesthebreakdownandbuildthattakes
placewithinchoruspartX.ItlyricallysetsupthissectionbyMarsdeclaring,breakitdown.
ChoruspartX:Followingthebreakdownthatdefinesthefirsthalfofthesection,thesecondhalfservesasatensionandintensitybuilder,leading
intochoruspartYthatfollows.
ChoruspartY:Thiscanbeconsideredasthetensionrelease/vocalhookpayoffsectionfollowingthebuildinpartX.
ChoruspartZ:ThissectionisavariationofpartY.Ittakestheintensityofthisthreepartruntoaclimaxviathehey,hey,hey,OW!vocalatthetail
end.
RevisedForm:
Intro
Verse1
PreBuild(PreChorus)
Build(ChorusPartX)
Release/Payoff(ChorusPartY)
Climax(ChorusPartZ)
Verse2
PreBuild(PreChorus)
Build(ChorusPartX)
Release/Payoff(ChorusPartY)
Climax(ChorusPartZ)
BridgePartX
BridgePartY
Outro
EitherwayoflookingatUptownFunksstructurewouldbecorrect(itsallsemantics),butforpurposesofthisanalysisweregoingtolookatitina
traditionalmainstreamPopsongstructuremanner.
Section Length & Count
Section Count
UptownFunkfeatures10primarysectionswithinitsframeworkasfollows:
Oneintro
Twoprechorussections
Twoversesections
Twofullchorussections(consistingofpartsX,YandZ)
Onepartialchorussection(consistingofpartsYandZ)
Onebridge(consistingofpartsXandY)
Oneoutro
Section Length
ThelengthoffullsectionswithinUptownFunkrangeasfollows:
Moderately Short
0:16Prechorusoneandtwo
0:17Intro
0:17Verseone&two
Moderate / Moderately Long
0:25Chorusthree(PartsYandZonly)
0:33Outro
Long (0:40 0:49)
0:42Chorusoneandtwo(PartsX,YandZ)
0:42Bridge(PartsXandY)
Accentuating Engagement Through Segmentation
Oneofthemosteffectivewaystoensurethatthelistenerisalwayskeptengagedwithinasongistobreaklongerlengthfullsectionsintoshorter,easierto
digestsegments.Notonlywillthisaccentuatetheengagementfactor,butitwilltaketheoverallmemorabilityofthesongtothenextlevelaswell(i.e.via
thephonenumbermethod).
InUptownFunk,thiswasputintoeffectwithinthelengthyfullchorusandbridgesectionsasfollows:
Chorus One and Two (0:42)
Thefirsttwochorussectionsarebrokenintotwo17secondparts(XandY)andoneeightsecondpart(Z).
Chorus Three (0:25)
Thethird(andlast)choruswithinthesongconsistsofthe17secondpartYandeightsecondpartZsections.
Bridge (0:32)
Thefullbridgeisbrokenintoa25secondpartXsectionanda17secondpartYsection.
ReferencetheMusicsectionofthereportfordetailsregardingeachpartscharacteristics.
Total Section Breakdown
Notsurprisingly,thevastmajorityoftimewithinUptownFunk(41%)isallocatedtothechorus:
PartX:13%(Girlshityourhallelujah/CauseUptownFunk).
PartY:19%(Dontbelievemejustwatch)release/payoff.
PartZ:9%(Dontbelievemejustwatch)shiftfromthenatureofpartY.
Asyoucansee,asmallmajorityoftimeisspentwithintherelease/payoff(partY),followedbypartX,whichhousesthetitlelyricsandtheinfectiousgirls
hityourhallelujah(WHOO)lines.
Interestingly,itwasthebridgeandNOTtheverseasistypicallythecasethatwasallocatedthesecondmostamountoftimewithinthesong,accountingfor
16%ofitstotalcomposition.Asyoullsee,however,thiswaswellwarranted.
Theverse,outroandprechorusfollowclosebehind,eachaccountingfor12%to13%.
Theintroasyouwouldexpectwasallocatedtheleastamountoftimewithinthesong,accountingforjust6%.
MTI (Momentum/Tension/Intensity)
ThissectionofthereportfocusesontheMTI(momentum,tensionandintensity)levelswithineachsectionofthesong.
UptownFunkisfilledwithaplethoraofMTIleveltwistandturnsthroughouttheentiresong,whichmakesforanexceptionallydynamicandengaging
listeningexperience.
*Note:ConsideringthattherearemanyMTIfluctuationsthroughoutthesong,notallaredepictedwithinthegraphabove(but
thekeyonesare).Theothersaredetailedwithintheflowbelow.
Wave 1: Intro (I) Chorus 1 (B-1)
Intro
ThefirsthalfofUptownFunksintrofeaturesalow/midMTIlevelduetoitssparsenature,consistingoftheLinndrumsandtheprimarydoh,doh,doh
vocalhook.ItskickedupanotchduringthesecondhalfoncetheFunknaturedelectricguitarentersthemix.
Atthetailendofthesection,avocalgrowlentersthemixcoupledwithadoublebrasshit.Thisinstantlykicksuptheintensitylevelasthesongmovesinto
thefirstverse.
Verse 1
Followingthetransitionasdetailedabove,theMTIleveliskickedupafewnotcheswithinthefirstverse.Thisisbroughtaboutviathedrivingnatureofthe
drumsandvocaldelivery,whichprovideanincreaseinmomentum.Additionally,theirassociatedcharacteristicsheightentheoverallintensitylevelofthe
sectionrelativetotheintrothatprecedesit.
TheMTIleveltakesaslightdipduringthefirsthalfofthesecondstanza(stylin,wilin)duetothelessdrivingnatureofthevocalmelody.Itsthen
kickedbackupforthedurationofthestanza.
Allinall,thefirstversefunctionstoinstantlygettheexcitementfactorofthesongcranking.
Pre-Chorus 1
TheMTIlevelthatdefinestheprechorusisrelativelythesametoatadabovethatoftheprecedingversedespitetheircontrastingnature.Althoughthe
prechorusdoesntfeaturethesameconstantdrivingvocaldeliveryastheverse,theadditionalinstrumentationandvocalsthathavebeenaddedintothe
mixkeepstheoverallMTIlevelinthemid/highrange.
Additionally,noticethatthesynthhits/stabsthatfolloweachhotdamnvocalprovidethesectionwithbriefburstsofelectricintensity.
Chorus 1
Part X first half (Girls hit your hallelujah)
FollowingBrunoMarssinstructiontothebandattheendoftheprechorustobreakitdown,theMTIlevelwithinchoruspartXinstantlydropsdueto
thesectionssparsenature,consistingprimarilyofMarssvocalandthekickdrum.Thisresultsinadropinthesectionsoverallintensitylevel.
However,noticethattheconsistentdrivingnatureofthekick(quarternotes)keepsthemomentumcranking,andthehighpitchedvocalwhoosprovide
briefburstsofintensityinasimilarmannertothesynthhits/stabswithintheprechorus.
TheMTIlevelincreasesanotchduringthelastgirlshitlineduetotheriseinMarssvocalpitch.Thisprovidesforamoreintense/excitedfeelrelativeto
theprecedinglines.
Part X second half (Cause Uptown Funk is gonna give it to ya)
ThesecondhalfofchoruspartXfindstheMTIlevelstartingtotakeoff.Thisisbroughtaboutbytwoprimaryfactors:
Asnarejoinsthekickwithinthemixandtransitionsoverfromaquartertoaneighthnoterhythm.Thisresultsinanincreaseinboththemomentum
andintensitylevelswithinthesection.
Alowtohighpitchsynthswellentersthemix.Thisgraduallytakestheintensityandtensionlevelsofthesectiontoitsapex.
***ENGAGEMENT & CHORUS IMPACT ACCENTUATOR***
Followingthemomentum,tensionandintensitybuildasdetailedabove,theMTIleveltakesasuddenandstringentdiveduringthelastlineofthesection,
dontbelievemejustwatch.Thisisduetoallofthebackingmusicbeingpulledoutfromunderthevocal.
Thisachievesacoupleofkeythings:
Itfakesthelisteneroutandkeepstheminlimbo.Thelistenerisprobablyexpectingtheswell/momentumincreaseattheendofpartXtotransition
directlyintoahighenergychorus/payoff.Instead,thesuddenshiftfakesthemoutsotospeak,becausetheMTIleveldiveisunexpected.Asa
result,itsjarringnatureengages/reengagesthemwithinthesongataheightenedlevel.
Bypullingthebackingmusicoutfromunderthevocal,itenablesthepowerfulnatureofthechoruspartYsectiontoslaminwithgreaterperceived
impactduetotheircontrastingnature.
AtthetailendofpartX,adoublebrass/bass/drumhitentersthemixcoupledwithMarssintensecomeon!vocal.ThisinstantlythruststheMTIlevelof
thesongallthewaybackupduetotheircombinedintensenature.
Part Y (Dont believe me just watch)
Thetransitionasdetailedaboveushersinthepayoffofthesection.ThisprovidesareleasefromallofthetensionthathadbeenbuildingwithinpartX
thatprecedesit.
ThesectionfeaturesthehighestMTIlevelwithinthesongthusfar,featuringanintense,drivingcombinationofsynths,drums,brass,bass,background
vocals,leadvocalsandintermittentfills.ThelevelremainsconstantthroughouttheentirepartYsection.
Part Z (Dont believe me just watch / Backing music shift)
ThefinalpartwithinthechorusfeaturesaslightdipintheoverallMTIlevelrelativetopartYthatprecedesit.Thisisduetoallofthebackingmusicbeing
pulledoutfromunderthevocalportionofthesectionsaveforthedrums.
However,followingeachvocalline,asuccessionofrapidfirebrass/drum/basshitsenterthemix,whichprovidebriefburstsofhighintensity.
Additionally,thenatureofMarssvocaldeliverybecomesabitmoreintensewitheachsuccessiveline,culminatingwithhishey,hey,hey,OWvocalatthe
tailendofthesection.
Wave 2: Verse 2 (A-2) Chorus 2 (B-2)
Verse 2
***ABRUPT SHIFT***
Followingtheintensenatureofthechorus,theMTIleveltakesanabruptdivedowntonilfollowingthelyricstop.Forthisbriefinstant,thesongcomesto
acompletehalt.
Thisisfollowedbythesolowaitaminutevocalandthedrumsreenteringthemix,whichkicktheMTIlevelbackuptoessentiallywhereitwasduringthe
firstverse.
Pre-Chorus 2 & Chorus 2
Thebalanceofthesectionisbasicallyacarboncopyrepeatoftheprechorus/chorusflowthatdefinesWAVE1withinthesong.
Wave 3: Bridge (C) Outro (O)
Bridge
TheMTIlevelofthesongisbroughtbackdownattheonsetofbridgepartXduetothereversionbacktothedoh,doh,dohvocalhook,straightahead
kick/snarecombo,andMarssbeforeweleavenarration.
ItskickedupanotchforthedurationofthepartonceMarsstartsrappingtheuptownfunkyouuplyricscoupledwiththehatsandbassflourishbeing
addedintothemix.
AssoonasbridgepartYhits,theMTIleveliskickedupanothercoupleofnotchesprimarilyduetothefunkynaturedelectricguitarthathasbeenadded
intothemix.Thishelpstotaketheexcitementfactorofthesectiontothenextlevel.
TheMTIlevelreachesapeaktowardthetailendoncethesectionrevertsbacktotheintensenatureofitsSaturdaynightandweinthespotsegment
whichdefinestheconclusionofchoruspartX.
Chorus 3
Thethird(andfinal)choruswithinthesongpossessesthesamegeneralMTIlevelflowthatdefineschorusesoneandtwo.
Theprimarydifferenceoccursatthetailendduetothehigherpitch/moreanimatednatureofMarssdontbelievemejustwatchvocalcoupledwiththe
additionofthebrasshitsduringhishey,hey,hey,OWvocal.Together,theybringtheintensityofthesectiontoarousingclimax.
Outro
***MTI LEVEL PEAK***
UptownFunksoverallMTIlevelreachesitsapexwithintheoutro,andremainsconstantthroughoutthesection.
Here,alloftheelementsarefiringatoncetheUptownFunkyouupbackgroundvocals,Marssanimatedsaywhat?!?andcomeon!leadvocals,the
doh,doh,dohvocalhook,andthedrivingfunkbass,ride,brasssectionandsynths.
Combined,theyleavethelisteneronanexcitedhighattheconclusionofthesong.
Waveform
Thewaveformgraphicaboveillustratesthesonic/compressionlevelsthatdefineeachsectionwithinthesong.
Asyoucansee,UptownFunkpossessesagoodamountofsonicleveldiversitythroughout,whichhelpstoaccentuateitsoverallimpactwiththelistener.
Uptown Funk Sonic/Compression Levels: Lowest To Highest
Level 1 (Lowest)
Intro
Chorus1&2partX(Firsthalf)
Level 2
Verse1
Verse2
BridgepartX
Level 3
Prechorus1&2
BridgepartY(peaksatlevel5)
Level 4
Chorus1&2partX(secondhalfpeaksatlevel5attheend)
Chorus1&2partZ(instrumentallevelpeaks)
Level 5 (Highest)
Chorus3partZ(instrumentallevelpeaks)
Outro
Music / Instrumentation / Vocal Characteristics
Genres, Sub-Genres, & Vibe Influencers
UptownFunkisaFunk,HipHop/Rap,Soul,Dancenaturedsongwithaprominentlate1970s/early1980sretrovibeandacurrentfeelaswell.
Itfeaturesanupbeat,fun,party/dancenaturethatsdesignedtogetthelistenermoving,groovingandfeelinggood.
Funk Influences
ThefollowingelementsallpossessadistinctFunknature.ReferencetheSectionBySectionpartofthereportfordetails.
Electricguitar
Bass
Synths
Brass
Drums
LeadVocal(melodyandstyleexceptforpartXofthebridge)
Backgroundvocals(e.g.hotdamn)
Primaryvocalhook(i.e.doh,doh,doh)
Vocaladditions(e.g.theJamesBrownishUhhandhey,hey,hey,OW!)
Hip Hop/Rap Influences
Amongsttheelementswithinthesongwhichgiveitacurrentfeelinclude:
Leadvocal:SpecificallywithinpartXofthebridge(i.e.uptownfunkyouup)
Retro Influences
Justabouteveryelementwiththemixfeaturesadistinctlate1970s/early1980svibe.
Modern Influences
Theoverallnatureoftheproduction(i.e.thewayitsounds)enablesittoeasilyfitintoacurrentmainstreamformatasopposedtocomingacrossasa
strictlyperiodpieceduetoitsretroqualities.
Uptown Funk Influences
Songwritersdontreinventthewheeleachtimetheypenanewcomposition.Theyreinfluenceddirectly,orindirectlybyasongthathascomebefore.
Sometimestheinfluenceissubtleandbarelynoticeable,andatothertimesitsexceptionallyprominentandsubjecttolegalactioniftheproper
permissionsarenotsecured.
InthecaseofUptownFunk,itdrawsonaplethoraofFunkandHipHop/Rapsongsstemmingfromthelate1970sallthewaythroughthe2000s.Artists
whosesongsservedasaninfluenceincludeJamesBrown,theSugarHillGang,Prince,TheGapBand,TheSequence,TrinidadJames,aswellasmany
others.
Allinall,UptownFunkservesassortofatributesongtolate1970sandearly1980sFunkandHipHop/Rap.
Asyoullseehowever,someofUptownFunkscharacteristicsdrawVERYHEAVILYfromsomeoftheaforementionedartistssongs.Whetherintentional
oramerecoincidence(onlythewritersknow),itshardtodenythesimilarities.
Whatfollowsareafewlyrical,vocal,beatandstructuralexamples.
Lyrical Influences
AllGoldEverything(TrinidadJames2012)
https://www.youtube.com/watch?v=NK2FqPNIT_U
Thisoneforthehoodni**as
HipsterbitchesthatshopatLenox
Darkskinned,lightskinned,AsianandWhitewomen
UptownFunk(Verse1,lines35)
Thisoneforthemhoodgirls
Themgoodgirls
Straightmasterpieces
Vocal Influences
OopsUpsideYourHead(TheGapBand1979)
https://www.youtube.com/watch?v=IeHDnF7MU90#t=127
ThemannerinwhichTheGapBandrapsoopsupsideyourhead,sayoopsupsideyourheadisvirtuallyidenticaltouptownfunkyouup,Uptown
Funkyouupwithinthebridgeandoutro.
Vocal/Lyrical Influence Combo
FunkYouUp(TheSequence1979)
https://www.youtube.com/watch?v=F_gF1v1xZDc
Herewehaveasimilarvocalstylecoupledwiththefunkyouuplyrics.
FunkYouUp:Weregonnafunkyourightonup,weregonnafunkyourightonup
UptownFunk:uptownfunkyouup,UptownFunkyouup
Beat / Intro Structure Influence
CallMe(NewYorkSkyy1981)
https://www.youtube.com/watch?v=8iBrzUig7Qg
ThenatureofthebeatanddrumcharacteristicswithinCallMeareverysimilartotheprimarybeat/drumsfeaturedwithinUptownFunk,aswellasmany
otherFunksongsforthatmatter.
Additionally,thegeneralstructureoftheintro(itssparsenaturecoupledwiththemannerinwhichittransitionsintotheverse)andelectricguitar
characteristicsaresimilaraswell.
Primary Instrumentation
UptownFunkfeaturesfiveprimaryinstrumentswithinthemixbass,brass,drums(acousticandelectric),electricguitarandsynth.
Bass:Electricmostlycleanlow,treblyandloosewithafunkynature.Twoofitscorecharacteristicsisthatemulatesthedoh,doh,dohvocalhookas
wellasprovidesfunkyflourishesthroughoutthesong.
Brass:Fullbrasssectionconsistingoftrumpet,baritonesax,tenorsaxandtrombone.
Drums(Acoustic):Acousticnaturedkitconsistingprimarilyofkick,snareandhatsplusaridecymbalwithintheoutro.
Drums(Electronic):Linndrummachineprovidestheelectronicclapnaturedelementwithinthemixworkingintandemwiththesnare.
ElectricGuitar:Bright,mostlycleanwithatouchofbite.
Synth(Primary):Brightwithtremoloinspecificsections.PossessesaKorgTridenttypenature.
Synth(Effect):MorphingairytypenaturealatheeffectfeaturedwithinQueensAnotherOneBitesTheDust.
Chord Progression & Harmony
UptownFunkfeaturesaDm7G7progressionthroughoutthesong(impliedoractual)inatwobarframework(i.e.alternatesonechordpermeasurefor
themostpartthroughoutthesong).ThislimitedtypeprogressionisindicativeofmanysongswithintheFunkgenre.
Hooks, Payoffs & Key

Stand Out Moments
ThefollowingelementsandcharacteristicshelpedtakeUptownFunkfromgoodtogreat.Referencetheirrespectivesectionswithinthereportfordetails.
Instrumental/Backing Music
Bass:Themannerinwhichthebassemulatesthedoh,doh,dohvocalhookcleverlyprovidesitwithincreasedpowerandimpact.
Rapidfiredrum/bass/brasscombo:The16thnotemachinegunnatureofthedrum/bass/brasscombowithinchoruspartZprovidesbriefbursts
ofinfectiousintensityfollowingeachdontbelievemejustwatchvocal.Thisconcludesthesectiononanexceptionallyexcited,actionpackedand
memorablenote.
Vocal
Doh,doh,doh:Thisinfectiouslypitchshiftedvocalfunctionsasthesongsprimaryhookandisarguablyitsmostrecognizablestandout
characteristic.Itsineffectthroughoutthemajorityofthesong,includingtheintro,prechorus,choruspartY,bridgeandoutro.
Whoo:ThishighpitchedstandoutvocalisthecleverresponsetoMarssinstructionwithinpartXofthechorus,girlshityourhallelujah.Notonly
doesitfunctionasakeyinfectiouselement,butitalsofunctionsasanaudienceparticipationelementbuiltdirectlyintothesong(i.e.callandresponsein
alivesetting).
Uptownfunkyouup/UptownFunkyouup:Thisrepetitive,infectiousvocalhookhousesthesongtitle.ItfeaturesanoldschoolHipHop/Rap
naturealaTheGapBandsOopsupsideyourhead,appearinginaprominentmannerwithinbridgepartXandoutrosectionsofthesong.
HotDamn:ThisinfectiousoldschoolvocalfollowseachofMarssImtoohotdeclarationswithintheprechorus.Combined,theyprovidethe
sectionwithaheightenedfunkynature.
TheKiss:FollowingMarssgottakissmyselfImsoprettylinewithinthefirstverse,youhearhimmakingakissingsounddirectlyafter.Thisfunctions
asthecherryontopofthiscomicalline,takingitsimpacttothenextlevel.
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TheWhistleOutToJulio:PriortoMarsshoutingouttoJuliotogetthestretchwithinthesecondverse,youhearawhistleenterthemix.This
addeddetailcleverlyfunctionstoprovidethelinewithincreasedcredence,takingitsimpacttothenextlevel.
Sectional
Eachsectionofthesongisequallyasstrong.Therearetwomoments,however,whichhelptoputthesongoverthetop:
Chorus:Thechorustakesthelisteneronanexceptionallyengagingrideacrossthreelevels.Itbeginsinbreakdownmode(i.e.asparsemanner)within
thefirsthalfofpartXfollowingMarssbreakitdowndeclarationattheendoftheprechorus.Thetensionandintensitylevelsthenbegintoincrease
throughoutthesecondhalfofpartX,reachinganapexatthetailend.
ThetensionisthenreleasedwithinchoruspartY,whichkicksthepartyintohighgear.PartZthatfollowsfeaturesaninfectious,engagingvariationofpart
Y,takingthesectiontoarousingclimaxviatheJamesBrownishhey,hey,heyOH!vocal.
Verse2(beginning):Followingtheintensenatureofthechorus,thesongcomestoafullstopintandemwiththestop,waitaminutevocal.Thisisan
abruptandcleversongdefiningmomentthathelpstoputitoverthetop.
Lyrical
OnethingthatUptownFunkcertainlyisntshortonisengaginglyrics.Someofthemostmemorablearethemostcomical,featuringanoldschoolboasting
typenature.Examplesinclude:
Verse1:GottakissmyselfImsopretty
Prechorus:Imtoohot/hotdamn/makeadragonwannaretireman
Verse2:Ifweshowup,wegonshowout/smootherthanafreshjarofSkippy
Section By Section
Intro (0:00 0:17)

Primary Instrumentation Featured Within The Mix
First half of the section
ElectronicDrums(Linndrumsclapnaturedmultilayeredbrightabruptcutoffupfrontwithinthemix)Primaryplacementaround12:00
butbleedsl/r.
VocalHook(doh,doh,dohthisprimaryvocalhookispitchshiftprocessedtowardthelowendofthespectrumthesecondaryvocalisanoctave
upbutmuchlowerwithinthemix)Primaryplacementaround9:00/3:00butspanstheentiremix
Second half of the section (add)
Guitar(Electricbrightandfunkyinnaturemid/upwithinthemix)Primaryplacementaround10:00
Synth:(warmpadlowlevelwithinthemix):Spanstheentiremix
Effect(airyswooshswellmid/upwithinthemix)Primaryplacementaround11:00
Vocal(Grittyprocessedvocalgrowloccursatthetailendofthesectionincreasesfrommidtohighlevelwithinthemix)Primaryplacement
around12:00
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BrassSection(Featuresadoublehitatthetransitionpointintotheverseupfrontwithinthemix)Primaryplacementaround10:00/2:00
Drums(Doublesnarehitatthetransitionpointintotheversemid/upwithinthemix)Primaryplacementaround12:00
Bass(Electriclow/loose/treblyandfunkyworksintandemwiththebrassanddrumsatthetransitionpointintotheversemid/upwithinthe
mix)Primaryplacementaround12:00
Themarkofatrulyeffectiveintroisonethatbreaksthroughairwaveclutter,instantlyengagesthelistener,andholdstheirattentionuntilthenextsection
takesover.ThisisexactlywhatUptownFunksintroachievesandmore.
It introduces the songs primary vocal hook
Inadditiontothedrumswithinthemixisthedoh,doh,dohvocalhook.Itsunique(inregardtotodaysmainstream)andinfectiousnatureinstantlygrabs
thelistenersattentionandhooksthemintothesong.
It acts as a unique identifier for the song

Theleftofcenternatureoftheprimaryvocalhookactsasauniqueidentifier,orcallingcardforthesong.Becauseitssodifferentfromwhats
currentlybeingplayedinanairplayenvironment,iteasycutsthroughairwaveclutter,grabsthelistenersattentionandisinstantlyrecognizableasbeing
UptownFunk.
It establishes part of the songs sub-genre & influencer mix
Thenatureofthevocalhook,electricguitarandthevocalgrowl/doublebrass/bass/drumhitcomboatthetailendestablishestheretroFunkyvibeof
thesong.
Its multifaceted
Clockinginat17seconds,UptownFunksintrolandsonthelongerendofthespectrumrelativetothe24songsthatchartedwithintheBillboardHot100
top10duringthefourthquarterof2014(itwasthethethirdlongest).
Inordertoensurethatthelisteneriskeptengagedatalltimes,newelementsareintroducedthroughoutthesectionasfollows:
0:000:09:Vocalhook,Linndrums,swoosheffects
0:09:Prominentelectricguitarisaddedintothemixandremainsineffectforthedurationofthesection.
0:15:Thevocalgrowlentersthemix0:16:Thedoublebrass/bass/drumhitoccurs
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(TransitionPoint:Introintoverse1):Thevocalgrowl+doublebrass/bass/drumhitentersthemixatthetailendoftheintro,leadingdirectlyinto
thefirstverse.
Verse 1 (0:17 0:34)
AcousticDrums(Kick,snareandhats.Thehatsaremostlyclosed,butopenforabriefinstantattheendofthesecond,fourth,sixthandeighth
measureswithinthesection)Thekickandsnareareprimarilypannedstraightupthemiddle,thehatsareabitcloserto11:00
ElectronicDrums(Samenatureastheintroworksintandemwiththesnare,albeitatahigherlevelwithinthemix)Primaryplacementaround
12:00butbleedsl/r.
*Lead/BackgroundVocalCombo(Theleadisstraightupthemiddle.Thebackgroundvocalsarepannedl/rwithinthemix)
*Indicatesanewadditiontothemixrelativetotheprecedingsection
Thefirstverseinstantlykicksthesongintoahighgear/party/dancemodeviathestraightforward,drivingnatureofthebeatandexcitedvocaldelivery.
Noticethatthesectionpossessesasparsenature,consistingsolelyofkick,snare,hats,Linndrumsandvocals.Thisprovidesengagingcontrastrelativeto
thenatureoftheintrothatprecedesitaswellastheprechorusthatfollows.
(TransitionPoint:Verse1intoprechorus1)Aquickbassslideentersthemixatthetransitionpointbetweenthesetwosections.Otherthanthat,
itsaseamlesstransition.
PRE-CHORUS 1 (0:34 0:50)
AcousticDrums(Sameastheprecedingverse)
ElectronicDrums(Sameastheprecedingverse)
*Bass(Electricdeep/trebly/funkymid/upwithinthemix)Primaryplacementaround12:00
*Guitar(Electrictreblymostlycleanwithatouchofbitemidlevelwithinthemix)Primaryplacementbetween9:00and10:00 BacktoTop
*Synth(BrightwithvibratosoundssimilartoaKorgTridenttheprimaryhits/stabsareupfrontwithinthemix.Thesecondaryrunsarelow/mid
level)Primarilypannedaround9:00/3:00butenvelopestheentiremixtoadegree
LeadVocal(BrunoMarsupfrontwithinthemix)Primaryplacementaround12:00
*BackgroundVocal(HotDamngroupvocalupfrontwithinthemix)Primaryplacementaround9:00/3:00butspansthemix
*VocalHook(doh,doh,dohessentiallythesameastheintromid/upwithinthemix)
*Indicatesanewadditiontothemixrelativetotheprecedingsection
TheprechoruskeepsthedrivingnatureofthepartyfromthefirstverseineffectwhileatthesametimetakingtheinfectiousFunkynatureofthesong
tothenextlevel.Notethefollowing:
Sectional Carryover
Drums(Acoustic&Electronic):Thenatureofthedrumqualitiesandassociatedbeatremainsthesameasitwaswithintheprecedingverse.This
providesforanexcitement/drivefactorcontinuitybetweensectionssothatthelistenercankeepdancing/groovingwithoutmissingabeat.
New Elements
ElectricBass,ElectricGuitar,Synth,HotDamnBackgroundVocal,doh,doh,dohVocalHook
Alloftheaforementionednewelementsthatwereaddedintothemixwithintheprechorusservetotakethefunkinessfactorofthesongtothenextlevel
viatheirassociatedqualities.
Theyalsoprovideinfectiouscontrastrelativetothesparsenatureoftheprecedingversesection,whichtakestheengagementfactorofthesongtothenext
levelaswell.
Interrelation
Whatreallymakesthesectionsoeffectiveisthemannerinwhichalloftheseelements(i.e.vocalsandinstruments)interrelatewithoneanother.
Withthedrumsservingastheconstantdrivingbackboneofthesection,thefollowinghappenssurroundingspecificleadvocallines:
Lead Vocal (Lines 1, 3, 5 & 7): Im too hot BacktoTop
Thefirstdohofthevocalhookisputintoeffectinconjunctionwiththelyrichot.Thebalanceofthedohhookfollowsafteralengthydottedhalf
restduringthenextsetofleadvocalsseebelow.
Followingthelyrichot,themostlyeighthnotedeliveredCCCCCCDsinglenoteguitarriffentersthemixfollowedbythehotdamnbackground
vocal,whichisthenfollowedbythesynthhit/stabrightbeforethenextleadvocallineenters.
Lead Vocal (Lines 2, 4 & 6): Call the police / Make a dragon / Say my name
Oncethenextleadvocallineenters,theprecedingguitarriff,backgroundvocalandsynthstabdropoutofthemixandthefollowinghappens:
Thecoreofthevocalhookentersthemix(doh,doh,doh/doh,doh,doh/doh,doh)
Thebassentersthemix.Noticethatitcleverlyemulatesthenatureofthevocalhook,whichprovidestherunwithincreasedsubstanceandpower.
Lead Vocal (Line 8): Am I bad about that money, break it down
Thelastleadvocallinewithinthesectionfeaturesthesamegeneralcharacteristicsaslines2,4&6,withtheprimarydifferenceoccurringatthetailendvia
thechangedupnatureofthedoh,doh,dohvocalhook.ItsclimbingnatureactsasatransitionintopartXofthechorusthatfollows(i.e.girlshityour
hallelujah).
Additionally,noticethatwhenMarsgivesthebandtheinstructiontobreakitdownatthetailendofthesection,adescendingsynthswipeflourishis
brieflyputintoeffect.Thiscleverlyjibeswiththemeaningofbreakitdown.
Standout Elements
Anotherkeycharacteristicthatmakestheprechorussoeffectiveisthatallofthekeyelements(vocal,lyricalandmusical)areabletoshinewiththesame
impactduetotheorderinwhichtheyrefeaturedasdetailedabove.
Asaresult,eachelementisabletoindividuallyconnectandresonatewiththelistener,whichtakestheinfectious,engagingandmemorablenatureofthe
section,andthesong,tothenextlevel.
(TransitionPoint:Prechorus1intochorus1)Turnsonadimefollowingthedescendingsynthswipe.
CHORUS 1 (0:50 1:32)
AsdetailedwiththeSongStructuresectionofthereport,UptownFunkdoesntpossessatraditionalmainstreamnaturedchorusasyoureusedtoseeing.
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AndasperMarkRonson,Funksongsdontcontainchorusesasall.
Thatbeingsaid,forpurposesofthisanalysiswearegoingtoconsiderthissectionasbeingachorusforthereasonsstatedearlierwithinthereport.
Part X (First half girls hit your hallelujah)
AcousticKick(Quarternotedeliverymid/upwithinthemixrightunderthevocal)Primaryplacementaround12:00
SynthEffect(morphingairynatureverysimilartotheeffectusedinQueensAnotherOneBitesTheDustItentersduringthesecondgirls
hitlineincreasesfromverylowtolow/midlevelwithinthemix)Entersthemixpannedaround11:00andfansoutfromthere
*BackgroundVocal(Whoohighpitchedquiveringmultitrackedvocalupfrontwithinthemix)Primaryplacementaround10:00/2:00but
spansthemix
First Chorus Occurrence
At50seconds/19%ofthewayintothesong,thelistenerishitwiththefirstofthreepartsthatdefineUptownFunkschorus.
Characteristics
***CLEVER ELEMENT***
Attheendoftheprechorus,BrunoMarsgiveshisinstructiontothebandtobreakitdown.Thisisdirectlyfollowedbythebreakdown/sparse
natureofthefirsthalfofchoruspartX,consistingofquarternotekickdrum,alowlevelairysyntheffect,leadandbackgroundvocals.
ThiscleverlyinvokesthespiritofJamesBrown,whobothvocallyandnonvocallywouldgivehisbandcuestorampituporbreakitdown.Ultimately,this
heightenstheFunkfactorofthesong.
***SONG-DEFINING ELEMENT / ENTERTAINMENT ACCENTUATOR***
Whatreallymakesthissectionsostrongisthevocalcall&responsetypeinterplaybetweenMarsandthebackgroundvocal:
LeadVocal(Instruction):Girlshityourhallelujah
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BackgroundVocal(Answer):Whoo!
Notonlyisthisoneofthemostinfectious,engagingandmemorableaspectsoftheentiresong,butitservesasanaudienceparticipationelementbuilt
directlyintothesongaswell.
Thinkaboutitlikethiswhenitsplayedatacluborinconcert,youcanveryeasilypicturegirlsthrowingtheirarmsupintheairandgoingWHOO!each
timeMarssays,girlshityourhallelujah).Thistakestheengagementfactorofthesongtothenextlevel.
Part X (second half cause Uptown Funk is gon give it to ya)
*AcousticDrums(Eighthnotedeliverykickandsnaremid/upwithinthemix)Primaryplacementaround12:00
*ElectronicDrums(Linndrumsclapnatureeighthnotedeliveryworkingintandemwiththekickandsnarefluctuatesbetweenmidand
mid/upwithinthemix)Primaryplacementaround12:00butbouncesl/rinacoupleofinstances
*Synth(lowtohighpitchedswellbrightsimilartotheprechorussynthminusthevibratomidtomid/upwithinthemix)Primaryplacement
around9:00/3:00,butenvelopestheentiremix
*Bass(Electriclowtomidlevelwithinthemix)Primaryplacementaround12:00
BackgroundVocal(AppearsonthesecondUptownFunkgongiveittoyaindependentoftheleadupfrontwithinthemix)Primary
placementaround10:00/2:00
ThefirstlinewithinthesecondhalfofpartX,causeUptownFunkgongiveittoya,carriesoninthesamemannerasthefirsthalfofthesection.
Fromthispointon,however,thingsgetchangedup.
***INTENSITY/TENSION BUILDER***
AttheonsetofthesecondcauseUptownFunkline,thefollowinghappens:
Thedrumstakeonafastereighthnotenaturerelativetothequarternotekickthatdefinesthefirsthalfofthesection.
Asynthentersthemix,increasingfromalowtohighpitchthroughoutthesection.
Anelectricbassentersthemix.ItfeaturesarisinghalfstepprogressionspanningaDtoDoctavefeaturingarepetitiveeighthnote/eighthrest
rhythm.
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Workingintandemwithinoneanother,theseelementstakethetensionandintensityofthesectiontoaclimax,andthenthefollowinghappens:
***CLIFFHANGER***
Thebackingmusicispulledoutfromunderthelastlinewithinthesection,dontbelievemejustwatch.Thiskeepsthelistenerhanginginlimbofora
momentuntilthetensionisreleasedwithinpartYthatfollows.
(TransitionPoint:ChoruspartXintochoruspartY)ThelastlyricswithinpartX,Comeon!enterthemixalongwithadoublebass/brass/drum
hitthatushersinchoruspartY.
Part Y ( dont believe me just watch)
*Acoustic&ElectronicDrums(revertbacktothegeneralnaturethatdefinestheverseandprechorus)
*Synth(Possessessamegeneralbrighttremolonatureastheprechorussustainedthroughoutthemajorityofthesectionmid/upwithinthemix)
Primarilypannedl/rbutspanstheentiremix
*BrassSection(Popsinandoutofthemixthroughoutthesectionmid/upwithinthemix)Primarypannedaround12:00butfansoutabitl/r
*Bass(Electricdeep/treblyandfunkymid/upwithinthemix)Primaryplacementaround12:00
*Guitar(Electricbrightandfunkyinnaturelowlevelwithinthemix)Primaryplacementaround10:00
BackgroundVocal(Reverbdrenchedgroupvocalmidlevelwithinthemix)Primaryplacementaround9:00/3:00butspanstheentiremix
*VocalHook(doh,doh,dohessentiallythesameastheintromid/upwithinthemix)
Tension Release & Payoff
FollowingthetensionandintensitybuildthatdefinesthesecondhalfofchoruspartXandthecliffhangerattheend,thelistenerisprovidedwithreliefas
soonaschoruspartYhits,whichputstheFunkypartybackintofulleffect.Notethefollowing:
Groove Reboot
Thedrumsrevertbacktothedriving,solidbeatthatdefinestheprecedingverseandprechorussections.Thisenablesthelistenertogetrightbackintothe
grooveanddanceon. BacktoTop
Vocal Funk Factors & the Return of the Primary Hook
ChoruspartYmarksthereturnofthedoh,doh,dohvocalhook,whichhasbeenabsentfromthemixsincetheprechorus(thoughthebreakcertainly
preventsitfromwearingoutitswelcome).Asaresult,thiskeyhookisfurtherreinforcedwithinthelistenersheadcoupledwithaccentuatingtheFunk
factorofthesection.
Alsonoticethatanadditionalreverbdrenchedbackgroundgroupvocalentersthemixatthetailendofthefirstandthirddohvocalrun.Thisprovides
thesectionwithincreasedretroFunkinessaswellasanadditionalsplashofinfectiouscoloring.
Additionally,noticethatMarsaddsaJamesBrownnaturedUHHatthetailendofbothofhisleadvocallines.Itsquick,anditsfunky.
Instrumental Funk Factor Accentuators
Thesustainedbright/tremolonaturedsynth,lowlevelelectricguitar,electricbass(includingthefunkyflourishes)andbrasssectionputtheretro
Funk/Soulnatureofthesongbackintofulleffect.
Noticethatthebassisonceagainemulatingtheprimaryvocalhook,whichenablesittocomeacrossinastrongandpronouncedmannerwithinthemix.
Inregardtothebrasssection,itREALLYharkensbacktothelate70s/early80s(andeventhemid80salaJamesBrownsLivingInAmerica).Thisisthe
firsttimethatthebrasssectionhasplayedaprominent,sustainedrolewithinthesong.
Noticethatthefirstrunisineffectfromtheonsetofthesectionupthroughthefirstreverbdrenchedbackgroundgroupvocal.Itsthenpulledfromthemix
rightthroughthenextdontbelievemejustwatchleadvocal.Itthenrepeatsasecondtimearoundinthesameexactmanner.Thisenablestheinfectious
natureoftheruntogetingrainedwithinthelistenersheadwhileatthesametimenotoversaturatingthesectionwithtoomuchbrass.
Excitement Factor Accentuators
Whilethesectionasawholetakestheexcitementfactorofthesongtoitsfirstsustainedapex,therapidfiresixteenthnotedrumfill/bass/brasscombo
thatoccursfollowingeachdontbelievemejustwatchvocalprovidesthesectionwithbriefburstsofinfectiousintensity.
ItessentiallyactstodividepartYintotwosubpartsthatpossessthesameoverallcharacteristics.Thisbrieflysnapsthelisteneroutofthepreceding
grooveandresets/reengagesthemforanothergoaround.Withoutthisfill/wakeupcall,thelistenersengagementmightstarttowane.
Sectional Contrast
Marshasonlytwoleadvocallineswithinthesection(dontbelievemejustwatch)thatoccurinthemiddleandattheendofthesection.Thisenablesall
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oftheotherinfectiouselementswithinthemixtoshinefrontandcenterwhilehetakesabackseat.Ultimately,thisprovidesengagingcontrastrelativeto
theothermorevocalheavysectionswithinthesong.
(TransitionPoint:ChoruspartYintochoruspartZ)Turnsonadime
Part Z ( dont believe me just watch variation)
Acoustic&ElectronicDrums(sameaspartYplusthesnarefill)
ElectricGuitar(PossessesthesamecharacteristicsastheelectricguitarfrompartYexceptforitsslidingnaturelowlevelwithinthemix)
Bass(PossessesthesamecharacteristicsasfoundwithinpartYworksintandemwiththesnarefill)
BrassSection(PossessesthesamecharacteristicsasfoundwithinpartYworksintandemwiththesnarefill)
Thelastpartofthechorusprovidesanabruptshiftrelativetotheprecedingparts.Itfeaturesathreetimerepetitionofthedontbelievemejustwatch
vocalfrompartYfollowedbytherapidfire16thnotedrumfill/bass/brasscombo.Notethefollowing:
IncontrasttopartY,allofthebackingmusicispulledoutfromundertheleadvocalsaveforthedrums.Itssparsenatureenablesthefillcombothat
followstohitwithincreasedperceivedimpact.
EachleadvocallinehitsmuchfasterthanitdidwithinpartY,separatedbyjustaquarternote(thisiswherethefillisputintoeffect).
Combined,thesetwocharacteristicsconcludethesectionwithaheightenedsenseofexcitement.Asasidenote,itwouldmakeforagreatsoundtracktoan
actionsequencewithinamovie!
Last,butcertainlynotleast,thehey,hey,hey,OWvocalatthetailendputsthefunkycherryontopofthesection.(AgainveryJamesBrownin
nature).
(TransitionPoint:Chorus1intoverse2)Turnsonadime
VERSE 2 (1:32 1:49)
Song-Defining Moment / Clever Element / Reengagement
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Followingtheintensenatureofthechorus,thesongcomestoafullstopforabriefinstantfollowingthelyricstopattheonsetofthesection.Thisabrupt
andjarringmomentinstantlyreengagesthelistenerinthesongbyprovidingabriefrespite/breather.
Followingthelyricswaitaminute,thesecondversecarriesoninthesamemannerasitdidthefirsttimearound(i.e.drums&vocal)albeitwithchanged
uplyricsandavocalmelodythathasbothsimilarandcontrastingcharacteristicsrelativetoitsverse1counterpart.
Asaresult,thememorabilityfactoriskeptineffectwhileatthesametimekeepingthingsfreshandengagingforthelistener.
(TransitionPoint:Verse2intoprechorus2)Sameasthefirsttimearound
PRE-CHORUS 2 (1:49 2:05)
Thesecondprechorusisessentiallyacarboncopyrepeatofthefirstprechoruswithinthesong.
Whilesomesongswilladdordetractelementsfromthemixinordertoheightentheengagementvalue(thoughthevocalmelodyandlyricsusuallyremain
thesame),therewasnoneedhere.Theressomuchgoingonthattheresnochanceofthelistenergettingboredorlosinginterest(that,coupledwithallof
theinfectiouselementswithinthemixthatcertainlydeserveanotherlisten).
(TransitionPoint:Prechorus2intochorus2)Sameasthefirsttimearound
CHORUS 2 (2:05 2:47)
Asisthecasewiththesecondprechorus,thesecondchorusisvirtuallyidenticaltoitschorus1counterpart.
Onceagainthelisteneristakenonthebreakdown/build/payoffride,gettingallofthediversecharacteristicsfromthismultipartsectionfirmlyingrained
withintheirheadintheprocess.
(TransitionPoint:Chorus2intothebridge)Turnsonadime
BRIDGE (2:47 3:29)
Part X
Acoustic&ElectronicDrums(Essentiallythesameasverseandprechorus.Beginswiththeacoustickick,snare,andLinn,hatsfollowonceMars
startsrappinguptownfunkyouup)
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ElectricBass(Essentiallythesameaswithintheprechorus,butabitlowerinthemixandmuffled.Notehoweverthatsomeofthebassflourishes
leapoutfrontandcenterwithinthemix)
VocalHook(doh,doh,dohessentiallythesameastheintroupfrontwithinthemixwithinpartX,comesdownabitwithinpartYthatfollows)
Part Y (Add)
ElectricGuitars(Multipleelectricguitarsareinplaytheyallpossessthesameclean,funkynaturewithatouchofbiteasintheothersections
mid/uptoupwithinthemix)Theyspantheentiremix
Thebridgeconsistsoftwoprimaryparts.PartXfeaturesanoldschoolHipHop/Rapnaturedvibe,andpartYlaunchesintopureretroFunk.
Intensity Respite
Followingtheintensenatureofthechorus,thesonggoesintoapartialbreakdownattheonsetofthebridge,consistingoftheleadvocal,dohvocal
hook,kick,snareandLinn.
Thisprovidesthelistenerwithamuchneededrespitefromalloftheexcitementthatwastranspiringwithintheprecedingsections.Withoutthisbreak,the
songasawholewouldbecomeabittoooverwhelming,andeventuallyloseitsimpact.
Stylistic Departure #1 (Part X)
Theprimaryfunctionofthebridgeistoprovideadeparturefromtheothersectionswithinasong,whichincreasesitsoverallengagementvalueviathe
variationitprovides.
Here,inadditiontothebreakdownnatureofthesection,theprimarydifferencerelativetoalloftheothersectionsistheoldschoolrappeddeliveryof
theuptownfunkyouup,UptownFunkyouuplyrics.
NotethatdespitethevocalshiftintoHipHop/Rap,thenatureoftherapremainsinlinewiththeoveralllate1970s/early1980svibeofthesong.This,
alongwiththenatureofthedrumsanddohvocalhookprovidesseamlesscontinuitybetweensections.
Multiple Vocal Hooks
ThecorecharacteristicofbridgepartXisthatitcleverlyfeaturestwokeyvocalhooksfiringatthesametime(buttheydontsteponeachotherstoes):The
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doh,doh,dohpitchshiftedhookandtheUptownFunkyouupleadvocalhook.Thisasyoucangatherprovidesthesectionwithanexceptionally
infectiousnature.
Nowtakeintoaccountthattheentiresectionisbasedontherepetitionofbothofthesekeyhooks.Asaresult,theyaswellasthetitlegetcompletely
ingrainedwithinthelistenershead.
Stylistic Departure #2 (Part Y)
WiththedrumsanddohvocalhookremainingineffectfrompartX,thefollowingshiftsoccurwithinpartY:
Vocal & Lyrical Shift
ThenatureofMarssvocalshiftsfromoldschoolHipHop/RapovertopureretroFunk.Notethatthelyricschangeaswell(e.g.comeondance,jumpon
it)
Backing Music Shift
Theykeyinstrumentaladditiontothesectionistheelectricguitar.Forthefirsttimewithinthesongitsprominentlyfeaturedwithinthemix,takingthe
Funkfactorofthesongtoanapexintheprocess.
Combined,bothoftheseshiftslaunchthesongbackintofullonretroFunkydancepartymode.
(TransitionPoint:Bridgeintochorus3)Thelasttwolineswithinthebridge,wellitsSaturdaynightandweinthespot/dontbelievemejust
watch,comeon!areareversionbacktothecharacteristicsthatdefinelinessevenandeighthwithinthechorus.Thisprovidesthetransitiondirectlyinto
choruspartY.
CHORUS 3 (3:29 3:54)
Thethird(andlast)choruswithinthesongbypassesthebreakdown/buildofchoruspartXandinsteadlaunchesrightintotherelease/payoffofchorus
partY.
ThiskeepsthedancepartyfrombridgepartYinfulleffectwhiletakingtheexcitementfactorofthesongtothenextlevelforthelistener.
Notethatthegeneralcharacteristicsofthesectionremainthesameastheywerewithinchorusesoneandtwo.Theprimarydifferenceoccursattheendof
partZ,whereprominentbrasshits/stabsareimplementedinbetweeneachhey,hey,hey,OWvocal.Thisbothprovidesengagingcontrastrelativetothe
precedingchorussections,aswellastakingtheexcitementfactortothenextlevelintheprocess.
(TransitionPoint:Chorus3intotheoutro)Turnsonadimefollowingthehey,hey,heyOWvocal. BacktoTop
OUTRO & ENDING (3:54 4:27)
*Acoustic&ElectronicDrums(Featuresthesamegeneralcharacteristicsastheothersectionswithinthesongplustheadditionoftheridecymbal
intothemix)
*Synth(PossessessamegeneralsustainedbrighttremolonatureasfoundwithinchoruspartY)
*BrassSection(Possessesthesamegeneralcharacteristicsasfoundwithintheothersectionsofthesong)
*Bass(Possessesthesamegeneralcharacteristicsasfoundwithintheothersectionsofthesongbutismoreactivewithinthemix)
*Guitar(Possessesthesamegeneralcharacteristicsasfoundwithintheothersectionsofthesong)
BackgroundGroupVocal(Uptownfunkyouupupfrontwithinthemix)Primaryplacementaround10:00/2:00butspanstheentiremix
SecondaryVocal(BrunoMarssaywhat!?/comeon!upfrontwithinthemix)Primaryplacementaround12:00
*VocalHook(Doh,doh,doh)essentiallythesameastheintromidlevelwithinthemix)
Excitement Factor Peak
UptownFunksoutroservesasthegrandfinaleofthesong.Youcanthinkofitintermsoftheconclusionofafireworksshowallthestopsarebeing
pulledinordertoconcludetheshowonanexciting,breathtakingnote.
Backing Music
Theoverallnatureofthebackingmusicismorefull,dense,intenseanddrivingrelativetotheothersectionswithinthesong.Thisisduetothefollowing
primaryreasons:
Bass:Itsconsistentlyineffectthroughouttheentiresectionasopposedtopurelyemulatingthedohvocalhook(i.e.poppinginandoutofthemix).
Whenitsnotemulatingthevocalhook,itsprovidingfunkyflourisheswhichtakestheFunkfactorofthesectiontothenextlevel.
Brass:Asisthecasewiththebass,thebrasssectionisineffectallthroughoutthesection.Thisprovidestheoverallnatureofthesectionwithamuchmore
intensevibe. BacktoTop
Drums:Noticethatforthefirsttimewithinthesongthataprominentridecymbalhasbeenaddedintothemix.Thishelpstoprovidethesectionwith
increasedmomentumanddrive.
Synth:Ahighpitchedtremolosynthpadremainsineffectforthemajorityofthesection.Thishelpstotaketheexcitementfactortoitsapex.
Vocals
Therearethreekeyvocalcharacteristicsthatdefinethesection.Noticethattwoarethesongskeyvocalhooks,whicharecleverlyreinforcedwithinthe
listenersheadatthesametimethroughoutthesection.
UptownFunkyouup:ThisvocalhookfromthebridgeisbeingconveyedbyagroupvocalasopposedtoasoloMarsvocal,whichhelpstotakeits
impacttothenextlevelandprovideengagingcontrastaswell.Itsrepeatedthroughouttheentiresection,justasitwaswithinthebridge.
Doh,doh,doh:Thisprimaryvocalhookremainsineffectthroughouttheentiresection.
Saywhat!?!?/Comeon!:ThesetwophrasesareconveyedbyMarsthroughoutthesection.Bothfunctiontoincreasetheexcitementlevelaswell
asthefunkinessfactor.
Breaks
Duringtheeighthmeasureofthesection(halfwaythrough),aprominentshiftinthebackingmusictakesplacethatbreaksuptheflowofthesection.This
isexceptionallyimportantinordertopreventthesectionasawholefrombecomingtoooverwhelmingandmonotonousforthelistenertobear.
Additionally,thisbreakservestoaccentuatethefunkinessfactorofthesectionaswell.
Alsonotethatashiftinthedrumpatterntranspireswithinmeasure12,whichalsoservestoaddincreasedcoloringtothesectionandbreakupthe
repetitivenatureoftheflow.
Ending
UptownFunkconcludesinagrand,powerfulandexcitingmanner.Essentiallyitrevertsbacktothetransitionthattranspiredfromtheintrointothefirst
verse,consistingofthebrass/drum/basshitsandvocalgrowl.Thedifferencehereisthatitfeaturesaprolongednaturerelativetothefirsttimearound.
Thisenablesthesongtocomefullcircle,aswellasleavingthelisteneronanexcitedhigh.
Additionally,notethatthesongconcludeswithafirmresolve.Itdoesntleaveyouhangingwithafalseendingasisthecasewithsomanyoftodays
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mainstreamhits.RememberthoughthatthisisoldschoolFunk.Theresolveendingwaswellwarranted.
Vocals
Vocal Assignments/Type
UptownFunkfeaturesasolomaleleadvocalfromBrunoMars.Inordertoheightentheengagementvalueofthesong,backgroundvocals,pitchshifted
lead,sung(toadegree),rapped,spokenandshoutedvocalsareinstitutedthroughout.
Thisprovidesthesongwithinincreasedinfectiouscoloringanddepth,aswellasaheightenedFunkinessfactorinspots.
Key
Primarysololeadvocal
Backgroundgroupvocal(independentofthelead)
Lead/backgroundvocal(inunison)
Lowpitchshiftedvocal(primary)+octaveharmony(secondary)
Highpitchquiveringvocal
INTRO / PRIMARY VOCAL HOOK (APPEARS THROUGHOUT THE SONG)
DOHdohdoh,dohdohdoh,dohdohdoh
DOHdohdoh,dohdohdoh,dohdoh
DOHdohdoh,dohdohdoh,dohdoh
DOHdohdoh,dohdah
Thisistheprimaryvocalhookthatappearsthroughoutthesong.Itsheavilyprocessedwithapitchshifttowardthelowendofthespectrum,which
providesitwithaveryFunkynature(referencethevocalmelodysectionofthereportfordetails).Italsofeaturesanadditionalvocal,whichisanoctave
upthoughlowerinthemixthanthelowpitchfocalpoint.
Verse 1
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Line1:Thisshitthaticecold
Line2:MichellePfeifferthatwhitegold
Line3:Thisoneforthemhoodgirls
Line4:Themgoodgirls
Line5:Straightmasterpieces
Line6:Stylinwhilen
Line7:Livinitupinthecity
Line8:GotChucksonwithSaintLaurent
Line9:GottakissmyselfImsopretty
Thefirstversefeaturesalead/backgroundvocalcombothatstaysineffectthroughouttheentiresection.Itspanstheentiremix,providingeachlinewitha
full,powerfulnature.Italsoactstoaddadditionalcoloringtothesectionandfilloutthesoniclandscapedueitssparsenature(i.e.drumsandvocal).
Pre-Chorus
Line1:Imtoohot(hotdamn)
Line2:Callthepoliceandthefireman
Line4:Makeadragonwannaretireman
Line6:SaymynameyouknowwhoIam
Line8:AmIbadboutthatmoneybreakitdown
*Note:Thedoh,dohvocalhookisineffectthroughoutthesection.
Incontrasttothelead/backgroundcombothatdefinestheentirefirstverseandthemajorityofthesecondverse,hereMarssvocalissingularinnature,
andisfeaturedprettymuchstraightupthemiddle.
Thehotdamnvocalattheendoflinesone,three,fiveandsevenfeaturesagroupbackgroundvocalindependentofthelead.Itspannedl/rwithinthe
mix,whichprovidesinfectiouscontrastagainstMarssvocalasdetailedabove.
Thecombinationofthesololeadandbackgroundvocalsprovidestheaforementionedlineswithacallandresponsetypenature,whichaccentuatesthe
infectiousengagementvalueofthesection.
Chorus: Part X BacktoTop
Line1:Girlshityourhallelujah(whoo)
Line4:CauseUptownFunkgongiveittoya(whoo)
Line5:CauseUptownFunkgongiveittoya
Line7:Saturdaynightandweinthespot
Line8:Dontbelievemejustwatchcomeon
ChoruspartXisdefinedbyafewdifferentvocalcharacteristics.
ThefirstthreelinesfeatureasololeadvocalfromMars,followedbythehighpitchedwhoobackgroundattheendofeachline.SimilartoImtoohot/
hotdamncombowithintheprechorus,thisalsoprovidesaninfectiouscallandresponsetypenature.
Additionally,thehighpitchednatureofthewhooaddsadditionalcoloringtothesection,andfunctionsasasecondaryhook(seethemusicsectionfor
details).
Thebalanceofthesectionfeaturesdifferingvocalcharacteristicsfromlinetoline:
Linefourfeaturesthesamelead/backgroundwhoocombothatdefinesthethreelinesthatprecedeit.
Linefiveprovidescontrastviathebackgroundvocalthatspannedl/rwithinthemix.Noticethatitsatthesamelevelastheleadvocalwithinthe
section.
LinesixfeaturesasolovocalfromMars.Again,thisprovidescontrastrelativetothegroupvocallinethatprecedesit.
LinesevenfeaturesacombinationofMarssleadandthebackgroundvocals.
Thelastlinewithinthesection,line8,onceagainfeaturesasolomalevocalfromMars.Noticethatthistimearoundthebackingmusicispulledfrom
themix,whichenablesittoshinefrontandcenter.
Chorus: Part Y
Line9:Dontbelievemejustwatchuh
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ChoruspartYfeaturesthreetypesofvocalswithinthemix.ThefirstisBrunoMarsslead,whichisthesingulartypelead.
Thesecondisthedohdohvocalhookthatsineffectthroughoutthesection.Itfunctionsasastandalonebetweenlinesnineandten,andisfeaturedunder
theleadwhenlinesnineandtenareineffect.
Thethirdisanadditionalbackgroundgroupvocalthatappearstwicewithinthesection,precedingeachleadvocalline.Itsamidlevel,heavilyreverb
processedgroupvocalthatspanstheentiremix.
Chorus: Part Z
Line12:Dontbelievemejustwatch
Line14:HeyheyheyOW
ChoruspartZfeaturesastraightupsololeadvocalfromMarsthroughout.
Verse 2
Line1:Stop,waitaminute
Line2:Fillmycupputsomeliquorinit
Line3:Takeasipsignacheck
Line4:Juliogetthestretch
Line5:RidetoHarlemHollywoodJacksonMississippi
Line6:Ifweshowupwegonshowout
*Line7:Smootherthanafreshjarofskippy
Withtheexceptionoftwolines,thesecondversefeaturesthelead/backgroundvocalcombothatdefinedthefirstverse.Thecontrastisinstitutedwithin
thefirststanza,wherelinestwoandfourfeatureasingularleadvocalfromMars.
Additionally,noticethatabottomendbackgroundvocalisaddedintothemixwithinlineseven.Thiswasntpresentwithinthefirstversewithinthesong.
Asaresult,itprovidessubtleinfectiouscontrastaswellasincreasedcoloringandtexturing.
Bridge: Part X
Line1:Beforeweleave BacktoTop
Line2:Imatellyaallalilsomethin
Line3:UptownFunkyouupUptownFunkyouup
Line4:UptownFunkyouupUptownFunkyouupuh
Line5:IsaidUptownFunkyouupUptownFunkyouup
TheentiresectionfeaturesasololeadvocalfromMarsthatisprettymuchstraightupthemiddle.Whiletheleadisineffect,noticethatthedohdohvocal
hookisalsoineffectatarelativelyhighlevelwithinthemix.Soastonotinterferewiththelead,itsprimarilypannedl/r.
Bridge: Part Y
Line7:Comeondancejumponit
Line8:Ifyousexythenflauntit
Line9:Ifyoufreakythenownit
Line10:Dontbragaboutitcomeshowme
Line11:Comeondance
Line12:Jumponit
Line14:WellitsSaturdaynightandweinthespot
Withthedohdohhookstillineffect(albeitatalowerlevelthanitwaswithinpartXsincethisisawordiersection),partYfeaturesacombinationofasolo
Marsvocalandlead/backgroundcombos.
Thecomboisputintoeffectonspecificlyrics(i.e.dance)aswellasallofline10.Noticethatthecomboisverysubtle,functioningmoreasamultitracked
leadthanapowerfulvocalasfoundelsewherewithinthesong.
Line14,however,doespossessthatanimatedlead/backgroundcombo.ItsessentiallythesameasitwasattheendofchoruspartX.
Outro
Line1:UptownFunkyouupUptownFunkyouup(saywhat?)
Line2:UptownFunkyouupUptownFunkyouup(comeon) BacktoTop
Line4:UptownFunkyouupUptownFunkyouup(comeon)
Line8:UptownFunkyouup
Theoutroiscomprisedofthreevocaltypes.First,thedoh,dohvocalhookisineffectthroughoutthesection.Itsfeaturedprominentlywithinthemix,
pannedl/r.
Second,thebulkofthesectionconsistsofthemid/upperlevelUptownFunkyouupbackground.Itspanstheentiremix.
Andthird,BrunoMarsinterjectssolosaywhat?andcomeon!vocalsthroughouttheentiresection.
Vocal Melody
Melodic Flow: At-A-Glance
Key
(/):Firstnoteofsection/lastnoteofsection
Higherpitch
Lowerpitch
Constantpitch
X,Y&Z:Denotethefirst,secondandthirdstanzas(parts)withinthechorusA=verse,B=chorus,PC=prechorus
Sectional Pitch Starting & Ending Points
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*Note:InchoruspartYtheDnotereflectsthefirstdohbackgroundvocal.Thelastnote,F,reflectsthelastnoteintheleadvocal(watch)
Intro (I)
BeginsonDandconcludesatalowerpitchonB.
Verse 1 (A1)
BeginsatahigherpitchonFandconcludesatalowerpitchonA.
Pre-chorus (PC)
BeginsatahigherpitchonFandconcludesviaaspokendelivery(Breakitdown).
Chorus Part X (B-X)
BeginsatahigherpitchonCandconcludesatahigherpitchonF.
Chorus Part Y (B-Y)
BeginsbydroppingdowntoD(dohbackgroundvocal)andconcludesatahigherpitchonF(Dontbelieveme,justwatchleadvocal).
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Chorus Part Z
BeginsatahigherpitchonG(Dontbelieveme,justwatch)andconcludesatahigherpitchonD(Hey,hey,hey,Oh).
Verse 2
BeginsbydroppingdowntoF(Stop)andconcludesatalowerpitchonA.
Bridge
Rapnatureddelivery
Overview & Selected Highlights
ThevocalmelodythatdefinesUptownFunkisbasedoninfectioussimplicity.Incontrasttoothermainstreamhitsthatfeatureatraditionalsungvocal,
herewefindaverylimitedvocalrangealaJamesBrownthatreliesmoreonrhythm/timingthanvocalacrobaticstocreateaninfectious,engagingand
memorablelisteningexperience.
Keyaspectsofthenatureofthevocalmelodythroughoutthesonginclude:
Theperfectbalanceofcrossline,crossstanzaandcrosssectionalrepetitionandcontrast
TheuseofcleverelementsandWOWfactorsthathelptoputthesongoverthetop
Varyingvocalstyles(lead,background,solo,group,sung,spokenandrapped)whichheightentheengagementvalueofthesong
Theuseofinfectiousmelodiclineandphraseparings(i.e.callandresponse,declaration/confirmation/punchlinecombos)
Intro / Primary Vocal Hook
Oneofthemostinfectious,engagingandmemorableaspectsofUptownFunkisthedohdohdohvocalhook.Itfeaturesarepetitive/simplisticflowwith
abottomheavy/octaveharmony.
This,alongwiththenonsenselyricsisoneofthemostidentifiableaspectsofthesong,whichhelpstoenableittostandoutandresonateamongstits
mainstreamcontemporaries.
Thehookisfeaturedwithintheintro,prechorus,chorus(partY)andthebridge.Itpossessesthesamecorecharacteristicswithineach,withtheprimary
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differencestemmingfromthemannerinwhichitends.
Verse 1
Thefirstverseconsistsoflinesandphrasesthatareshorttomoderateinlength.Multiplelinesandphrasesareinterrelatedtocreateonecompletemelodic
phrase,whethertheyarelyricallyconnectedornot.
Eachline/phrasegroupexceptforonepossessesaverysimilarnature,whichaccentuatesthememorabilityfactorofthesectionasawholeforthe
listener.
Theexception,whichoccursattheonsetofthesecondstanza,playsakeyroleinpreventingthesectionasawholefrombecomingoverlymonotonous.
Verse 2
Thesecondversefeaturesbothsimilaranddifferingvocalcharacteristicsrelativetothefirstverse.
Thefirststanzaprovidesacompletedepartureviatheabruptstopwaitaminuteline,whichbrieflyandcleverlybringsthesongtoafullstop.The
stanzaconcludeswiththecallouttoJulio,whichtakestheengagementandexcitementfactorstothenextlevel.
Thesecondstanzafeaturescharacteristicsthatareinlinewiththatofitscounterpartwithinthefirstverse.Theirsimilarnatureactstoaccentuatethe
memorabilityfactorforthelistener,whilethedifferentiationkeepsthingsfreshandengaging.
Pre-Chorus
Theprechorusfeaturesanexceptionallyinfectious,engagingandmemorablemelodicflowthatjibesperfectlywiththenatureofthelyrics.Itconsistsof
threeindependentmelodicpartsasfollows:
Part1Declaration:Imtoohot(highpitchedCFF/FFFvocaldependingontheline)
Part2Confirmation:Hotdamn(lowerpitchspokengroupvocal)
Part3Punchline:Callthepolice/makeadragon,etc(mostlymonotonedeliveryresidinginCandD).
Additionally,oneline,saymynameyouknowwhoIam,featuresahigherpitchthanalloftheotherpunchlines.Thisbothtakestheexcitementfactor
ofthesectiontoanapexaswellasenablingthisego/BreakingBadinfluencedlinecomeacrosswithincreasedimportance.
Chorus
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Therearetwokeyvocalmelodycharacteristicswithinthechorusthathelptoputit,andthesong,overthetop.
Whoo!
Thewhoo!vocalleapprovidesstringentcontrastrelativetothemostlymonotonelowerpitchrunthatprecedesit.Itjibeswithandaccentuatesthelyrical
natureofthesectionandactsasanentertainmentaccentuatorviaitscallandresponsetypenature(i.e.audienceparticipation).
Excitement Factor Accentuator
ThebuildinthecorevocalpitchthroughoutchoruspartXprovidesaconstantbuildintheexcitementlevelleadingintothereleasewithinchoruspartY
andpeakinpartZ:
Part X
Level1:Girlshityourhallelujahx2(CCCCDD)
Level2:Girlshityourhallelujahx1(monotoneF)
Level2:CauseUptownFunkgongiveittoyax3(monotoneF)
Level2:Saturdaynightandweinthespotx1(monotoneF)
Level3:Dontbelievemejustwatchx1(GFGFGF)
(QuickPeak):Comeon!(shout)
Part Y
Level3:Dontbelievemejustwatchx2(GFGFGF)
Part Z
Level3:Dontbelievemejustwatchx1(GFGFGF)Level4:Dontbelievemejustwatchx2(CACACGFx2)Level5(Build/Peak):hey,hey,
hey,OW(DFGD)
Bridge
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ThebridgeprovidesadeparturerelativetoalloftheothersectionswithinthesongbytakingonamoreoldschoolRapnatureddelivery.
Thefirsthalfofthesection(partX)featurestheinfectiousRapnaturedrepetitionofuptownfunkyouup,uptownfunkyouup.Thesecondhalfkeeps
theRapvibeineffect,butaddsanadditionaldoseofoldschoolFunkintothemixinordertohelptaketheengagementfactortothenextlevel.
INTRO & PRIMARY VOCAL HOOK
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LINE REFERENCE
Line1:DOH,dohdohdoh,dohdohdoh,dohdoh
Line2:DOHdohdoh,dohdohdoh,dohdoh
Line3:DOHdohdoh,dohdohdoh,dohdoh
Line4:DOHdohdoh,dohdah
LEAD VOCAL RANGE
High:G
Low:B
MELODIC STRUCTURE
Eachlinepossessesthesamecorecharacteristics,whichiscenteredaroundthedoh,doh,dohnonsenselyricsthatfollowaninfectiousandrepetitiveD
GFprogression/eighthdottedeighthsixteenthrhythm.
Withtheexceptionofthefirstdoh,eachdohdohdohrunisfollowedbyaneighthrest.
Asyoullsee,thedifferentiationbetweeneachlineisminor,andinacoupleofcasesthenatureoflinesareexactlythesame.Forthisreason,eachlineis
givenaPART1classification.
Theminordifferenceswillbedenotedasparts1a,1band1c.
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Part Commonalities
AllpartsfeaturetheDGFcoreprogression.
Parts1aand1bconcludeviaadipdowntoCandstepuptoD.
Part Differences
Part 1a
Part1abeginswithastandalonedohDnote,consistingofaneighthnotevalue.Itsfollowedbyalengthydottedhalfrest.
Notethatnoneoftheotherpartswithinthesectionbegininthismanner.ThebalanceofthelinefeaturesaDGF/DGF/CDprogression.
Part 1b
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Part1bfeaturesthesamecharacteristicsaspart1aminusthestandalonedohatthebeginning.
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Part 1c
Part1cstartsoutinthesamemannerasparts1aand1bviatheDGFprogression.Itthenpartswaysduetoitsabbreviatednature,followinganFB/
EighthEighthruntoconclude.
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Verse 1
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LINE REFERENCE
First Stanza
Line4:Themgoodgirls
Second Stanza
Line6:Stylinwilin
Lead Vocal Range BacktoTop
High:F
Low:A
Melodic Structure
Thevocalmelodywithinthefirstverseconsistsoftwoindependentmelodicparts.
PART 1
Part1representsthebulkofthefirstverse.Itconsistsofthreesetsoflinegroupings,allofwhichallpossesssimilarcharacteristicswithoneanother.For
thisreason,eachoftheselinegroupingsfallsunderthepart1umbrella.
However,eachoftheselinegroupspossessescontrastingcharacteristicsaswell.Forthisreasontheyhavebeenassignedsubclassificationsdenotedas
parts1a,1band1c:
Part1a:Thisshitthaticecold/MichellePfeifferthatwhitegold
Part1b:Thisoneforthemhoodgirls/themgoodgirls/straightmasterpieces
Part1c:GotChucksonwithSaintLaurent/GottakissmyselfImsopretty
Parts1aand1brepresentthefirststanzaofthefirstverse.Part1cconcludesthesecondstanzafollowingthedeparturethatoccursatthebeginningofpart
2,whichenablesthesectiontocomefullcircle,sotospeak.Ultimately,thisactstoaccentuatethememorabilityfactorofthesectionasawholeforthe
listener.
Part commonalities
Allpartsbegininasimilarmanneratthehighestpitchwithinthesection:
Part1a:Thisshit(FF/dottedeighthdottedeighth)
Part1b:Thisone(FF/dottedeighthdottedeighth)
Part1c:GotChuckson(DFF/eighthdottedeighthdottedeighth)
FollowingthestartonF,eachpartdescendstoCandfollowsasimilarflowforallorpartofthegrouping:
Part 1a
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Thaticecold(CDD/eighthdottedeighthdottedeighth)
MichellePfeifer(CDDD/eighthdottedeighthdottedeighthsixteenth)
Thatwhitegold(CDDB/eighthdottedeighthdottedeighth)
Part 1b
Forthemhoodgirls(CCDD/sixteentheighthdottedeighthdottedeighth)
Themgoodgirls(CDD/eighthdottedeighthdottedeighth)
Part 1c
WithSaintLaurent(CDDC/eightheighthsixteenthdottedeighth)
Part variations
Inadditiontotheminordifferencesasdepictedabove,themostpronounceddifferenceoccursattheendofparts1band1c:
Part1b:Straightmasterpieces(CDCCCC/eightheighthsixteentheighthsixteenth)
Part1c:GottakissmyselfImsopretty(monotoneCrunwithadropdowntoAattheend/sixteenthsixteentheighthsixteenthdottedeighth)
Noticethatbothofthesepartsconcludethefirstandsecondstanzas,respectively.Theshiftbreakstheflowthatprecedesitandasaresultprepsthe
listenerforthestanzaandsectionthatfollows.
Part 1a
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Part 1b
Part 1c BacktoTop
PART 2
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Part2representsthefirsthalfofthesecondstanza,consistingoflinessixandseven.Incontrasttoparts1aand1bthatprecedeit,theselinesfollowa
monotoneCnoterunupuntilthetailendwhereitbumpsuptoDonthelasttwolyrics/syllables.
Whatmakespart2equallyasinfectiousastheotherlineswithinthesectionisthenatureofitsrhythm.Notethefollowing:
Line 6: Styl-in, wil-in
Thefirstandsecondsyllableswithintheselyricsfeatureadottedeighthsixteenthvalue,respectively.Bothlyricsarefollowedbyaquarterrest.
Line 7: Liv-in it up in the cit-y
Thefirsthalfoftheline,livinitup,featuresarapidfiresixteenthnotedeliveryupuntilthetailend,whichisaneighthnote.
Thesecondhalf,inthecity,featuresasixteentheighthsixteenthsixteenthrhythm.
Notethatthetwostrategicallyplacedeighthnotesaccentuatetheengagementvalueofthelineviathecontrasttheyprovideagainsttheotherwiserapid
firesixteenthnotedelivery.
Part 2 as a whole
Whenyoulookatthetwolinesaboveasonelinegrouping(i.e.part2),youseethattheybothplayoffofeachotherinaninfectiousmannerviathenature
oftheirrhythm(i.e.start/stop,start/stop,continuousfastpacedrun).
Additionally,part2playsavitalrolewithintheoverallscopeofthesectionduetoitsstringentlycontrastingnaturerelativetopart1.Withoutthis
departure,thesectionasawholewouldcomeacrossasbeingoverlymonotonousandultimatelyloseitsimpactwiththelistener.
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VERSE 1 LINE STRUCTURE
Lines 1& 2: Part 1a

Part1a:Thisshitthaticecold/MichellePfeifferthatwhitegold
Lines 3, 4 & 5: Part 1b

Part1b:Thisoneforthemhoodgirls/Themgoodgirls/Straightmasterpieces
Lines 6 & 7: Part 2

Part2:Stylin,wilin/Livinitupinthecity
Lines 8 & 9: Part 1c

Part1c:GotChucksonwithSaintLaurent/GottakissmyselfImsopretty
VERSE 2
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LINE REFERENCE
Line1:Stopwaitaminute
Line7:Smootherthanafreshjarofskippy
LEAD VOCAL RANGE
High:B
Low:A
MELODIC STRUCTURE
Thevocalmelodywithinthesecondverseconsistsoffourindependentmelodicparts.
PART 1
Part1representslinesoneandtwowithinthefirststanza.
Line1:Stop,waitaminute
Followingthedriving/powerfulnatureoftheprecedingchorus,themomentumofthesongcomestoanabrupthaltonlineonewhenthelyricsstop,waita
minutearesung(spoken).Thisisreflectedbothwithinthebackingmusicaswellasthevocaldelivery.
Inregardtothevocaldelivery,thelyricstopisanFnotepossessingaquarternotevalue.Itsfollowedbyaquarterrest,whichcleverlyputsthestop
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intoeffect.
Thelyricsthatfollow,waitaminute,consistoftwoDandCnotes,allofwhichpossessarapidfiresixteenthnotedelivery.Thisphraseisthenfollowed
byanotherquarterrest,whichjibeswiththewaitaminutelyrics.
Followingthestop,thebackingmusicandvocaldeliveryarebothkickedbackintogear.IncontrasttothedescendingFDDCCstop/start
progressionthatdefineslineone,linetwoleapsbackuptoFandcontinuesonwithacontinuousmonotoneFnotedeliverythroughout.
Noticethatthedescentonlineoneactstosetupthemorevibrantnatureoflinetwowithincreasedperceivedimpactviatheleap.
This,alongwiththenatureofthebackingmusic,accentuatestheoverallexcitementfactorofthesong.
Line2isessentiallysplitintotwodistinctsegments(phrases)viathenatureoftherhythm:
Segment1:Fillmycup(sixteentheighthdottedeighth)
Segment2:putsomeliquorinit(allsixteenthnotes)
Notethefollowing:
Thelastlyricwithinthefirstsegment,cup,possessesthelongestdurationrelativetoalloftheothernotesontheline(i.e.dottedeighth).Assubtleasthis
is,itenablesbothphrasestostandoutindependentlyfromoneanother,whichmakesthelineasawholeeasiertodigestandremember.
Thedifferenceinthenatureoftherhythmbetweenbothsegmentsprovidesitwithaninfectious,engagingflow(i.e.slowervs.fast)
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PART 2
Parttworepresentslinesthreeandfourwithinthefirststanza.Eachlineissplitintotwodistinctphrases(andinonecaseasinglelyric).Eachphraseis
segmentedfromoneanotherviaarest.
Asyoullsee,thegeneralnatureofparttwopossessesbothsimilaritiesanddifferencesrelativetopart1thatprecedesit.
Line3:Takeasip,signacheck
Commonalities with line 1, part 1
ItstartsonanFnoteandthenprogressesdownwardviaDandCtoconclude.
Aquarterrestisimplementedattheendofbothphrases(takeasip/signacheck).Thesamewasdonefollowingthelyricandphrasestop/wait
aminutewithinpart1.
Differences
Theprimarydifferenceresidesinthesyllablecountandrhythm.Eachphrasecontainsthreesyllablesandfollowsaneighthsixteenthsixteenth
noterhythm.
Line4:Julio,getthestretch
***Excitement Accentuator Line***
Similartolinetwowithinpart1,followingthedescentdowntoConlinethree,linefourimmediatelyleapsuptoahigherpitch.ThistimeitsaGnoteas
opposedtoanFnote.Bygoingonestephigher,ithelpstotaketheexcitementfactoroftheparttothenextlevel,whichalsojibeswiththeactionnature
ofthelyrics(i.e.GETthestretch).
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Noticethatthenatureoftherhythmisthereverseoflinethree.Wherelinethreefeaturesaneighthsixteenthsixteenthrhythm,linefourfeaturesa
sixteenthsixteentheighthrhythm.Startingoffwithafasterpaceddelivery(i.e.sixteenthvs.eighth)helpstotaketheexcitementfactortothenextlevel
alongwiththeincreaseinpitch.
ThelastexcitementaccentuatorpartofthislineistheleapuptoBthatoccurswithinthelastsyllableofthelyricJulio.
NoticethattheleapuptoBfollowedbytheeighthrestgivesthelistenertheimpressionofBrunoMarsshoutingouttoJuliotogetthestretch.This
enablesthelistenertoconnectwiththestorylineonamoreprofoundlevel(i.e.BrunoMarsisactingitout,sotospeak).
Thephrasethatfollows,getthestretch,featuresthesamerhythmasJulio,butisconveyedwithamonotoneGdelivery.Thisperfectlyjibeswiththe
acting,whereMarsprovidestheinstructiontogetthestretchfollowingthecallouttoJulio.
Lines 3 & 4 combined
Eachphraseconsistsofthreesyllablesandisfollowedbyarest.This,alongwiththefactthatbothphrasesfeaturethesamerhythmprovidespart2within
anexceptionallyinfectiousandmemorableflow.
Additionally,consideringthatthegeneralnatureoftheselinesissimilartotheircounterpartswithinpart1,thememorabilityfactorofthestanzaasa
wholeisaccentuatedforthelistener.
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PART 3
Partthreerepresentslinefive,whichisthefirstlinewithinthesecondstanza:
Line5:RidetoHarlem/Hollywood/JacksonMississippi
***SECTIONAL TIE / MEMORABILITY ACCENTUATOR***
Thenatureoflinefivewithinthesecondverseisverysimilartothatofpart2withinthefirstverse,whichconsistsofthefollowingline6/line7grouping:
Line6:Stylin/wilin
Bothpartsfeaturethefollowingcommonalities:
BothfollowamostlymonotoneCnotedelivery.
BothbumpuptoaDnoteattheend.
Botharesplitintothreedistinctsegmentsviatheimplementationofrests.
Bothpartsfeatureanalmostidenticalsyllablecount(12vs.13).
Asisthecasewithitscounterpartwithinthefirstverse,itsthenatureoftherhythmwhichmakesthelineasawholesoinfectious,engagingand
memorable.
Eachsegmentbeginswithaslowernatureddelivery(i.e.aneightordottedeighth)andconcludeswithafasterpacedsixteenthnotedelivery.Eachsegment
issegmentedfromoneanotherviaaquarterrest.Notethefollowing:
Segment1:RidetoHarlem(eightheighthdottedeighthsixteenth)
Segment2:Hollywood(eighthsixteenthsixteenth)
Segment3:JacksonMississippi(dottedeighthdottedeightsixteenthx4)
Inregardtosegmentthree,noticehowitsgivenanincreasedinfectiousspinviathesloweddownpaceofJackson,whichisthenfollowedbytherapidfire
deliveryofMississippitoconclude. BacktoTop
PART 4
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Part4representslinessixandseven,whicharethelasttwolineswithinthesecondstanza(andthesection,forthatmatter).
Line6:Ifweshowup/wegonshowout
Asisthecasewithpart3,italsofeaturescommonaltieswithitscounterpartwithinthefirstverse(part1c):
Line8:GotChuckson/withSaintLaurent
Note the following:
Linesix(verse2)andlineeight(verse1)arebothsplitintotwoindividualsegments(phrases).Bothfollowasimilarmelodicprogressionandpossess
rhythmicsimilaritiesaswell.
Lineseven(verse2)andlinenine(verse1)bothfeatureaprimarilymonotonenatureddelivery(linesevenfeaturesaquickdipdowntoCA,but
otherwiseresidesinD).Theybothalsofeaturearelativelyrapidfirevocaldelivery,consistingmostlyofsixteenthnotes.Combined,thesetwoqualities
providestringentcontrastrelativetothelinethatprecedesthem.
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VERSE 2 LINE STRUCTURE
Lines 1& 2: Part 1
Part1:Stop,waitaminute/Fillmycupputsomeliquorinit
Lines 3 & 4: Part 2
Part2:Takeasipsignacheck/Juliogetthestretch
Line 5: Part 3
Part2:RidetoHarlemHollywoodJacksonMississippi
Lines 6 & 7: Part 4
Part3:Ifweshowupwegonshowout/Smootherthanafreshjarofskippy
PRE-CHORUS
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LINE REFERENCE
LEAD VOCAL RANGE
High:F
Low:F(octavebelow)
MELODIC STRUCTURE
Thevocalmelodywithintheprechorusconsistsofthreeindependentmelodicparts.
PART 1
Part1representsthelyricsImtoohot,whichdefinestheleadvocalwithinlinesone,three,fiveandseven.Thecommonalitythattheyallshareisthe
sixteentheighthquarterrhythm.Melodically,theydifferslightly.Thevariationsaredenotedasparts1aand1basfollows:
Part1a(linesoneandseven):BothfeatureamonotoneFnotedelivery.
Part1b(linesthreeandfive):BothbeginonaC,followedbyanFFdelivery.
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Despitethedifferences,theleapthatoccursatthebeginningrelativetothelastnotewithintheprecedingversecoupledwiththeheightenedmonotone
pitchforthedurationachievesthefollowing:
Itinstantlykickstheexcitementfactorofthesongupanotch.
Ithelpsconveytheboasting,egodrivennatureofthelyricswithincreasedauthority.
Part 1a
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Part 1b
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PART 2
Part2representsthespokenhotdamnbackgroundgroupvocalthatfollowstheImtoohotleadonlinesone,three,fiveandseven.Itconsistsoftwo
eighthnotesandisfollowedbyaquarterrest.
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PART 3
Part3representslinestwo,four,sixandeight.Incontrasttopartsoneandtwowhichconsistofthreeandtwosyllables,respectively,part3ismuchlonger,
landingbetweennineandtensyllablesdependingontheline.
Eachlinewithinpartthreefeaturesbothsimilarandcontrastingcharacteristicsrelativetooneanother.Forthisreason,eachvariationisassignedasub
classificationdenotedasparts3a,3band3c:
Part3a(line2):Callthepoliceandthefireman
Part3a(line4):Makeadragonwannaretireman
Part3b(line6):SaymynameyouknowwhoIam
Part3c(line8):AmIbadboutthatmoneybreakitdown
Part Commonalities
Linestwo,fourandeightfollowasimilarCDCcoremelodicprogression.Noticelinestwoandfourarenearlyidentical:
Line2:CCC/DDD/CCC
Line4:CCCC/DDD/CCC
Line8:CC/DDD/C(F)
Part Variations
Rhythmically,eachlinediffersfromoneanother.Thiswasnecessarynotonlytocountertherepetitivenatureoftheprogressiononeachline,butthe
repetitivenatureofparts1and2thatprecedeitaswell.Asaresult,ithelpstokeeptheoverallflowofthesectionengagingforthelistener.
Melodically,themostpronounceddifferenceoccursonlinesix(saymynameyouknowwhoIam).FollowingtherepetitiveCDCnatureoflinestwo
andfour,linesixprovidesengagingcontrastviaitshigherpitchmonotoneFnotedeliverythroughout.Thisactstobothbreakupthemonotonousnature
ofthesectionaswellasaccentuatetheexcitementfactor.
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Noticethatthehigherpitchofthislineperfectlyjibeswithandaccentuatesthenatureofthelyrics.Here,Marsisconveyingthemostegodrivenline
withintheentiresection(i.e.saymyname).Thehigherpitchenablesittostandoutamongstalloftheotherlines,whichprovidesitwiththemost
weight.
Section Ender
Thefinalphrasewithinthesection,breakitdown,possessesamorespokennaturerelativetotheotherlines(thoughitdoesfeatureadescending
naturedprogression).Itpossessesasixteenthsixteenthquarternotedeliveryandleadsdirectlyintothechorusthatfollows.
Part 3a
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Part 3b
Part 3c
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PRE-CHORUS LINE STRUCTURE
Line 1: Part 1a Part 2
Part1a:Imtoohot
Part2:hotdamn
Line 2: Part 3a
Part3a:Callthepoliceandthefireman
Line 3: Part 1b Part 2
Part1b:Imtoohot
Part2:hotdamn
Line 4: Part 3a
Part3a:Makeadragonwannaretireman
Part1b:Imtoohot
Part2:hotdamn
Line 6: Part 3b BacktoTop
Part3b:SaymynameyouknowwhoIam
Part1a:Imtoohot
Part2:hotdamn
Line 8: Part 3c
Part3c:AmIbadboutthatmoney(breakitdown)
CHORUS
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LINE REFERENCE
Line4:Causeuptownfunkgongiveittoya(whoo)
Line5:Causeuptownfunkgongiveittoya
Line14:HeyheyheyOW
LEAD VOCAL RANGE
High:D
Low:D BacktoTop
MELODIC STRUCTURE
Thevocalmelodywithinchorusconsistsoffourindependentmelodicparts.
PART 1
Part1representsthemonotone/mostlymonotonenatureddeliverythatdefinesthefirsthalfofthesectionlinesonethroughseven.Itconsistsoffour
variations,whicharereferredtoasparts1a,1b,1cand1d.
Part 1a(lines1&2)
Part1arepresentsthefirsttwogirlshityourhallelujahlines.
Melodicprogression:MonotoneCnoterunupuntilthelasttwosyllables,whichstepuptoD.
Rhythm:Thefirsttwoandlasttwosyllablesfeatureaprolongedeighth/dottedeighthduration.Sandwichedinthemiddleisarapidfiresixteenth
noterun.Combined,theymakeforaninfectiousrhythm.
Part 1b(line3)
Part1brepresentsthethird(andlast)girlshityourhallelujahline.Itfeaturesbothsimilarandcontrastingcharacteristicsrelativetolinesoneandtwo
thatprecedeit(part1a). BacktoTop
Whilethenatureoftherhythmisexactlythesame,themelodicprogressionhasbeenchangedupasfollows:
Itsatahigherpitch(Fvs.CandD).
Itfeaturesastraightthroughmonotonerun
Therhythmicsimilarityhelpstokeepthememorabilityfactorineffect,whiletheincreaseinpitchhelpstotaketheexcitementfactorofthesectiontothe
nextlevel.Additionally,thecontrastbetweenthetwopreventsthesethreelinesfromtakingonanoverlymonotonousquality(remember,thelyricsarethe
sameaswell).
Part 1c (lines4,5&6)
Part1crepresentsthethreeCauseuptownfunkgongiveittoyalinesthatdirectlyfollowthegirlshitlinesasdetailedabove.
AllthreecontinueonwiththemonotoneFnoterunthatwasestablishedinpart1b,whichkeepstheexcitementfactorataheightenedlevel.Thedifference
relativetopart1bstemsfromthenatureoftherhythm:
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Itstartsoffwithasixteenthnoteonthelyriccause,whichisthenfollowedbyasuccessionofeighthnotesonthelyrics/syllablesuptownfunk
gon.Thelastfourlyrics,giveittoya,speedthingsupviaareversionbacktoanallsixteenthnotedelivery.
Allthreeoftheselinesareidenticalinnaturemelodically,rhythmicallyandlyrically.
Part 1d(line7)
Part1drepresentsthelyricaloddballwithinthesection,Saturdaynightandweinthespot(notethatitstheonlyonethatdoesntrepeat).Asisthe
casewithparts1band1c,itfeaturesamonotoneFnotedelivery,whichkeepstheexcitementlevelatahigh.Whereitdiffersisinthenatureofitsrhythm:
Saturdaynight:Sixteenthsixteenthsixteentheighth
Andweinthespot:Sixteentheightheighthsixteenthsixteenth BacktoTop
PART 2
Part2representsthehighpitchedvocalwhoothatoccursattheendoflinesonethroughfour.AllconsistofaDquarternote.
NoticethattheleapuptoDcoupledwiththenatureofthevocalcleverlyprovidestheresponsetothegirlshityourhallelujahinstructionthatprecedesit.
Itsnaturealsoperfectlyjibeswiththereligiouscontextoftheline.
Additionally,noticethatiteffectivelybreaksupthemontonesquerepetitivenatureofthethreegirlshitlines.Thebriefstringentcontrastthatit
providespreventsthingsfrombecomingoverlymonotonousandactstokeepthelistenerengagedataheightenedlevel.
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PART 3
Part3representsthesecondhalfofthesection,whichencompasseslineseightthroughthirteen.
Incontrasttothemostlymonotonenatureddeliverythatdefinespart1,part3featuresarepetitivealternatingGF(part3alineseightthrougheleven)
orCA(part3blines12and13)deliveryatitscore.
Part 3a
ThefirstthreedontbelievemejustwatchlinesfeatureanalternatingGFprogressionconsistingofaneighthsixteentheighthsixteentheighth
quarterrhythm.
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Part 3b
Incontrasttopart3a,thelasttwolineswithinthesectionincreaseinpitchviaCA.Thishelpstotaketheexcitementandintensityfactorsofthesectionto
aclimax,whileatthesametimeprovidingsomemuchneededcontrastrelativetothevocallinesthatprecedeit.
However,noticethatthenatureoftherhythmandgeneralframeworkofthemelodicprogressionremainsthesame,whichaccentuatesthememorability
factor. BacktoTop
PART 4
Part4representsthehey,hey,hey,OWvocalflourishthatoccursatthetailendofthechorus.
ItfeaturesaJamesBrowntypenature,climbinganoctavefromDtoDviaaneighth/eighthrest/eighth/eighthrestrhythm.NotethattheOWis
prolongedviaadottedquarterduration.
Overall,thisflourishactstoconcludethesectiononanintense,retroSoul/Funknote.
CHORUS LINE STRUCTURE

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Part1a:girlshityourhallelujah
Part2:WHOO
Part2:WHOO
Part2:WHOO
Line 4: Part 1c Part 2
Part1c:Causeuptownfunkgongiveittoya
Part2:WHOO
Line 5: Part 1c
Line 6: Part 1c
Line 7: Part 1d
Part1d:Saturdaynightandweinthespot
Line 8: Part 3
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Part3:Dontbelievemejustwatchcomeon
Line 9: Part 3
Part3:DontbelievemejustwatchUh
Line 10: Part 3
Part3:DontbelievemejustwatchUh
Line 11: Part 3
Part3:Dontbelievemejustwatch
Line 12: Part 3b
Part3b:Dontbelievemejustwatch
Line 13: Part 3b
Part3b:Dontbelievemejustwatch
Line 14: Part 4
Part4:Hey,hey,hey,OW
BRIDGE
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Bridge Part X
Lines 1 & 2
Line1:Beforeweleave
Thefirsttwolineswithinthebridgeserveasalyricalintroductiontothesection.Withtheexceptionofthelyricleave,whichpossessesaneighthnote
value,alloftheotherlyricsfeaturearapidfireeighthnotedelivery.
Lines 3 6
Line3:Uptownfunkyouup/uptownfunkyouup
Line4:Uptownfunkyouup/uptownfunkyouup(uh)
Line5:Isaiduptownfunkyouup/uptownfunkyouup(uh)
Line6:Uptownfunkyouup/uptownfunkyouup
LinesthreethroughsixfeatureanoldschoolRapnatureddeliveryfromBrunoMars.Eventhoughthesamelyricsrepeatthroughouttheentiresection
(i.e.uptownfunkyouup),thevaryingnatureoftherhythm,inflectionanduseofvocalflourisheshelpstokeepthesectionengagingthroughout.Note
thefollowing:
Rhythm
Eachlineconsistsoftwoconsecutiveuptownfunkyouupphrasesthataresegmentedfromoneanotherviaaquarterrest.Thecommonalitythatthey
bothshareistheeighthsixteenthsixteenthrhythmonthelyricsfunkyouup.
Thecontrastingelementbetweenthetwoistherhythmicnatureofuptown.
Thefirstuptownfeaturesaprolongednatureviaaquarterquarternotedelivery.Thesecondfeaturesafasterpaceddelivery,eachpossessingan
eighthnotevalue. BacktoTop
Combined,thecontrastbetweenthetwophrasescreatesaninfectious,engagingflow,whileatthesametimekeepingthememorabilityfactoratahighdue
totherepetition.
Inflection/Stress
Thefirstuponeachlinesaveforlinethreefeaturesahigherinflectionthantheotherlyrics.Thisachievestwokeythings:
ItprovidesabriefsplashofcoloringagainsttheotherwisemonotoneRapnatureddelivery.
Itcleverlyjibeswiththemeaningofthelyric(i.e.goingupininflectiononthelyricup).
Additionally,noticethatMarsputsadditionalstressonthelastuponlinefive.Again,assubtleasitisitprovidescontrastrelativetotheprecedinglines,
whichhelpstopreventthingsfrombecomingoverlymonotonous.
Vocal Flourishes
Followingthelastuplyriconlinesfourandfive,Marsaddsanadditionallowleveluhvocaltothemix.Thisresultsineachoftheselinesconcludingin
anupuhmanner.
Notonlydoesthisprovidecontrastandadditionalsubtlecoloring,butitalsoaccentuatestheFunkfactorofthesectionaswell(i.e.thistypeofvocal
flourishisverypopularwithinthegenre).
Additional Lyrics
LinefiveprovidescontrastrelativetoalloftheotherlinesduetothefactthatitbeginswiththelyricsIsaid,whichpossessasixteentheighthnote
delivery.
Bridge Part Y
Lines 7 12
Line10:Dontbragaboutitcomeshowme BacktoTop
Thenatureoftherhythmfeaturesacombinationofrepetitiveandcontrastingcharacteristicsthroughout.
Line 7
Linesevenbeginswithasixteenthdottedeighthrhythmonthelyricscomeon.Thelyricdancethatfollowsisprovidedwithincreasedemphasisviaits
prolongedquarternotevalueanditsassociatedvocalcharacteristics.Thelastthreelyrics,jumponit,allfeatureeighthnotevalues.
Lines 8 & 9
Thesetwoconsecutivelinespossessthesameinfectiousrhythmicnature.Followingthesixteentheighthnoteleadin(ifyou),thelyricsthatfollow
featureaninfectiouslyprolongeddottedeighthdottedeighthrhythm(sexyandfreaky).
Thelastthreelyricsoneachline(thenflauntitandthenownit,respectively)featureanalleighthnoterhythm.
Line 10
Thefirsthalfofline10,dontbragaboutit,providesrhythmiccontrastagainthethreelinesthatprecedeit.Itfeaturesaneightheighthsixteenth
eighthsixteentheighthrhythm.Thelastthreelyrics,comeshowmefeatureanalleighthnoterhythm.
Lines 11 & 12
Theseslinesarelyricalandrhythmiccarboncopiesoflineseightandnine.
***Primary Repetition***
Asyouveprobablybynownoticed,thecommondenominatorbetweenlinesseventhroughtwelvearethethreeconsecutiveeighthnotesthatconclude
eachline.
Asaresult,eachlineconcludesinafamiliarmanner,whichultimatelyheightensthememorabilityfactorforthelistenerdespitethevariationsthatoccur
duringthefirsthalfofeachline.
Lines 13 & 14
Line13:WellitsSaturdaynightandweinthespot BacktoTop
Thebridgeconcludesbyrevertingbacktolinessevenandeightfromthechorus.Thisprovidesanimmediateandstringentdeparturefromtheotherlines
withinthebridge,andservesastheleadinforchoruspartYthatfollows.
Lyrics & Title
Lyric Types
Thissectionhighlightsthetypesoflyricsandphrasesthatappearwithineachsectionofthesong.Noticethatsomeofthelyricsandphrasesappearinmore
thanonecategory.
Detail/Imagery Lyrics & Phrases
(Theselyricspaintapictureinyourmindand/orprovidedetailastowhatshappeningwithinthestoryliterally,metaphoricallyorimplied)
Examples:
Verse 1
Verse 2
Pre-Chorus
Line1:Imtoohot
Line2:Callthepoliceandthefireman BacktoTop
Chorus
Chorus
Bridge
Line1:Beforeweleave(leavingaspecificplace)
Line14:WellitsSaturdaynightandweinthespot(nondefinedplace)
Emotional/State Of Mind Based Lyrics and Phrases
(Theselyricsandphrasesshedlightonthecharactersstateofmindand/orconveyemotioneitherdirectlyorindirectlycurrentorfutureenabling
youtoconnectwithwhatthecharactersarefeelingorgoingthroughonanemotionallevelwithinthestory)
Verse 2
Thelasttwolineswithinthesectionconveyfeelinggoodinanindirectmanner.
Verse 1 BacktoTop
Line7:Livinitupinthecity(relatestofeelinggood)
Line9:GottakissmyselfImsopretty(conveysthathesfeelinggoodabouthimself)
Pre-Chorus
Theentireprechorusrevolvesaroundtheprotagonistfeelinggoodabouthimself(specificallyhislooks)
Chorus
Bothoftheselinesinterrelate.TheyconveythatUptownFunkisgoingtomakethegirlsfeelelated.
Bridge
Theselinesrelatetofeelinggoodandhavingagoodtime.
Action Based Lyrics & Phrases
(Theselyricsinformthelistenerofwhatthecharacterswithinthestoryhavegonethrough,aregoingthrough,willgothrough,havedone,aredoingor
willdodirectlyorindirectly)
Verse 1
Line6:Stylinwilin
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Verse 2
Pre-Chorus
Chorus
Line8:Dontbelievemejustwatch(theactionof)
Bridge
Narrative
Key
1stPerson
2ndPerson
3rdPerson BacktoTop
Groups
Specific
VERSE 1
Line4:Themgoodgirls
Line6:Stylinwilin
PRE-CHORUS
CHORUS 1
Line2:Girlshityourhallelujah(whoo) BacktoTop
Line14:Heyheyheyoh
VERSE 2
BRIDGE
Line1:Beforeweleave
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OUTRO
Rhyming Schemes
Key
Inlinerhyming:Rhymesthatoccurwithinaspecificline
Crosslinerhyming:Rhymesthatoccuracrosstwoormorelineswithinaspecificsection
Crossstanzarhyming:Rhymesthatoccuracrosstwoormorestanzaswithinaspecificsection
Crosspartrhyming:Rhymesthatoccuracrosstwoormorespecificpartswithinaspecificsection(e.g.choruspartXandpartY)
(Parenthesis)indicatesabackgroundvocal
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Verse 1
Thefirstversefeaturesacombinationofinlineandcrosslinerhymingschemesaswellastheuseofrepetitivelyrics.
ThefirststanzafeaturesanAABBXscheme.Linesoneandtworhymewithoneanother,asdolinesthreeandfour.Thefifthlineservesasanindependent
rhymebreaker(i.e.itdoentrhymewithanyoftheotherlineswithinthestanza).
ThesecondstanzaprimarilyfeaturesanXAXAscheme.Thenoncrosslinerhyminglines(linesoneandthree)featureasetofinlinerhymes,whilelines
twoandfouraretiedtogetherviaarhymeoccurringwithinthelastlyric.
First Stanza (AABBX)
Line4:Themgoodgirls
Lines One & Two
Linesoneandtwoaretiedtogetherviatwodifferentsetsofrhymesasfollows:
old:Thelyricscoldandgoldconcludelinesoneandtwo,respectively.
I:NoticethatthecoldandgoldasdetailedaboveareprecededbytheIrhymefoundwithiniceandwhite,respectively.Additionally,theI
rhymeisfurtherreinforcedinthemiddleoflinetwoviathelyricPfeifer.
Lines three & four
Linesthreeandfourfeaturethesamegeneralrhymeschemeaslinesoneandtwo:
girls:Thislyricconcludeslinesthreeandfour.
ood:Thelyricgirlsonbothlinesisprecededbytheoodrhymefoundwithinthelyricshoodandgood.
Rhyme Breaker
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Noticethatthelastlinewithinthefirststanza,straightmasterpieces,doesntrhymewithanyofthelinesthatprecedeit.Thisfunctionstowipetheslate
cleansotospeak,resettingthelistenerforthenewsetsofrhymesthatfollowwithinthesecondstanza
Second Stanza (XAXA)
Line6:Stylinwilin
Incontrasttothefirststanzathathastherhymeoccurringattheendoftwoconsecutivelines(AABB),herewehavethefollowing:
In-Line Rhyming
Linessixandeightbothfeatureinlinerhyming,anddonotrhymewithanyotherlinewithinthestanzaorsection:
Line6:ylin/ilin(notethatthereareonlytwolyricsontheline)
Line8:on/ent(noticethattherhymeoccursattheendofeachphrase)
Cross-Line Rhyming
Linessevenandninearetiedtogetherviatheity/ettyrhymethatoccursonthelastlyricwithinbothlines,cityandpretty,respectively.
Verse 2
Thesecondversealsofeaturesacombinationofinlineandcrosslinerhymingschemesaswellastheuseofrepetitivelyrics.
ThefirststanzafeaturesanAABBscheme,whichdefinesthefirststanzaofthefirstverseaswell(minustheXlinefive).ThesecondstanzafeaturesanAXA
scheme.
First Stanza
Line4:Juliogetthestretch BacktoTop
Thefirststanzafeaturesarhymingschemethatssimilartoitscounterpartwithinthefirstverse.
Lines one & two
Theselinesaretiedtogetherviatheinute/initrhymethatoccursatthetailendoflinesoneandtwo,respectively.Noticethatthetwosyllable
structureissimilartotheI/oldandtheood/girlsrhymeswithinthefirstverse.
Lines three & four
Theselinesaretiedtogetherviatheeck/etchrhymewithinthelyricscheckandstretchattheendoflinesthreeandfour,respectively.Noticethat
itDOESNTfeaturethetwosyllablestructureasdetailedabove.
Second Stanza
Line7:SmootherthanafreshjarofSkippy
Thesecondstanzafeaturesacombinationofinline,crosslineandrepetitivelyrics.Thishelpstotiethestanzatogetherinamemorablemannerand
accentuatetheoverallnatureoftheflow:
In-Line Rhyming
Line5
Consideringthatlinefiveisquitelengthy,noticethatcertainsyllablestiethelineasawholetogether:
Ha/Ho:TiestogetherthelyricsHarlemandHollywood.
em/on:TiestogetherthelyricsHarlemandJackson.
Line6:
Thelyricshowisthecommondenominatorwithinbothphrasesontheline.
Cross-Line Rhyming
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Linesfive&seven
Linesfiveandsevenaretiedtogetherviathepi/pyrhymethatoccurswithinthelastlyrics,MississippiandSkippy.
Pre-Chorus
TheprechorusfeatureanA1A2A1A2A1A2A1Xrhymingschemeaswellastheuseofrepetitivelyrics.Therhymesaredeliveredbyboththeleadand
backgroundvocals.
Cross-Line Rhyming (A2): Lead Vocal lines two, four and six
Linestwoandfouraretiedtogetherviathecleveriremanrhymewhichoccurswithinthelastlyric/lyricsonbothlines,firemanandretireman.
Additionally,noticelinesixconcludeswithIam,whichtiesintotheaforementionedrhymeasdetailedabove.
Cross-Line Rhyming/Repetitive Lyrics (A1): Background vocal lines one, three, five and seven
Alloftheselinesareidenticalinnature.
Lead/Background Vocal Rhymer
Thelastsyllableonlinestwo,fourandsix(manandam)rhymeswiththebackgroundvocaldamnonlinesone,three,fiveandseven.Asaresult,each
linewithinthesectionsaveforlineeightrhymeswithoneanother.
Rhyme Breaker
Aswasthecaseattheendofthefirststanzawithinthefirstverse,herewefindalinethatdoesntrhymewithanyofthelinesthatprecedeit,amIbad
boutthatmoney(breakitdown).
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Thisfunctionstobreaktheflowandprepthelistenerforthechorusthatfollows.
Chorus
Line8:Dontbelievemejustwatch(comeon)
Line14:HeyheyheyOW
Thechorusisprimarilybasedontherepetitionofthreelines:
Linesonethree:Girlshityourhallelujah(whoo)
Linesfoursix:Causeuptownfunkgongiveittoya
Lineseightthirteen:Dontbelievemejustwatchuh
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Theoddballinthegroupislineseven,Saturdaynightandweinthespot.Noticehoweverthattheotinspotrhymeswiththeatinwatch
withinthelinethatfollows.
Bridge
Thebridgefeaturesacombinationofcrosslinerhymingaswellastheuseofrepetitivelyrics.
First Stanza (Part X)
Line1:Beforeweleave
Line3:Uptownfunkyouupuptownfunkyouup
Line5:Isaiduptownfunkyouupuptownfunkyouup
Thefirsttwolineswithinthestanzadonotrhymewithanyotherlinewithinthesection.Essentially,theyfunctionasasetupforthelyricsthatfollow.
ThebalanceofthesectionfeaturestherepetitionoftheUptownFunkyouuplyrics,plustheIsaidlyricsatthebeginningoflinefive.
Second Stanza (Part Y)
ThesecondstanzafeaturesanAAAAAABBrhymingscheme. BacktoTop
Lines seven twelve
Alloftheselinesconcludewiththelyricit,saveforline10whichconcludeswiththelyricme.However,noticethatthemannerinwhichBrunoMarsraps
thelyricitandmeisverysimilar.Asaresult,alloftheselinesaretiedtogether.
Additionally,noticethatthelinesevenandlineeightparingisthesameastheline11andline12paring.
Lines 13 and 14
ThelasttwolineswithinthesectionarethelinesthatconcludepartYofthechorus.Theyretiedtogetherviatheotandatrhymeswithinthelyrics
spotandwhat.
Outro
Line1:Uptownfunkyouupuptownfunkyouup(saywhat?)
Line8:Uptownfunkyouup
TheoutroiscomprisedoftherepetitionoftheUptownFunkyouuplinefromthebridge.Additionally,noticethatthelyricssaywhatareaddedatthe
endoflinesone,three,fiveandseven.
Theyfunctiontobothbreakupthemonotonyofthesectionaswelladdanadditionaltyingagentbetweennonconsecutivelines.
Word Syllable & Count
Lines/phraseswithinUptownFunkrangefromtwototenwordsandthreetothirteensyllables.
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Someofthelongerlengthlinesweregivensomeextrahelpinthememorability/digestivitydepartmentviatheimplementationofinlinerhyming,
prolongedlyricsandrests.Belowareacoupleofexamplesofhowthiswasdone:
13Syllables:RidetoHarlemHollywoodJacksonMississippi
HerethequarterrestsactinthemannerofcommasfollowingthelyricsHarlemandHollywood.JacksonandMississippistandapartfromoneanother
otherduetothecontrastingnatureoftheirrhythm.Jacksonconsistsoftwodottedeighthnotes,whileMississippifeaturesarapidfiresixteenthnote
delivery.
Additionally,inlinerhymingwasutilizedtotaketheflowandmemorabilityfactortothenextlevel.
10Syllables:Uptownfunkyouupuptownfunkyouup
Thefirstuptownconsistsofaquarternotedelivery,whichprovidescontrastagainsttheeighth/sixteenthnoterhythmthatdefinesthefunkyouup
thatfollows.
ThefirstcompleteuptownfunkyouupisthenseparatedfromthesecondUptownFunkyouupviaaquarterrest.
VERSE 1
Line1(5/5):Thisshitthaticecold
Line2(5/7):MichellePfeifferthatwhitegold
Line3(6/6):Thisoneforthemhoodgirls
Line4:(3/3):Themgoodgirls
Line5:(2/5):Straightmasterpieces
Line6(2/4):Stylinwilin
Line7(6/8):Livinitupinthecity
Line8(6/7):GotChucksonwithSaintLaurent
Line9(6/9):GottakissmyselfImsopretty
VERSE 2
Line1(4/5):Stopwaitaminute
Line2(8/9):Fillmycupputsomeliquorinit
Line3(6/6):Takeasipsignacheck
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Line4(4/6):Juliogetthestretch
Line5(6/13):RidetoHarlemHollywoodJacksonMississippi
Line6(8/8):Ifweshowupwegonshowout
Line7(7/9):Smootherthanafreshjarofskippy
PRE-CHORUS
*Line1(5/5):Imtoohot(hotdamn)
Line2(6/9):Callthepoliceandthefireman
Line4(6/10):Makeadragonwannaretireman
Line6(8/8):SaymynameyouknowwhoIam
Line8(9/10):AmIbadboutthatmoneybreakitdown
CHORUS
*Line1(5/8):Girlshityourhallelujah(whoo)
Line4(8/9):Causeuptownfunkgongiveittoya
Line7(7/9):Saturdaynightandweinthespot
Line8(7/8):Dontbelievemejustwatchcomeon
Line9(5/6):Dontbelievemejustwatch
Line12(5/6):Dontbelievemejustwatch BacktoTop
Line14(4/4):HeyheyheyOW
BRIDGE
Line1(3/4):Beforeweleave
Line2(8/9):Imatellyaallalilsomethin
Line3(8/10):Uptownfunkyouupuptownfunkyouup
Line5(10/12):Isaiduptownfunkyouupuptownfunkyouup
Line7(6/6):Comeondancejumponit
Line8(6/7):Ifyousexythenflauntit
Line9(6/7):Ifyoufreakythenownit
Line10(7/8):Dontbragaboutitcomeshowme
Line11(6/6):Comeondancejumponit
Line12(6/7):Ifyousexythenflauntit
Line13(9/11):WellitsSaturdaynightandweinthespot
Line14(7/8):Dontbelievemejustwatchcomeon
OUTRO
*Line1(10/12):Uptownfunkyouupuptownfunkyouup(saywhat?)
Line8(4/5):Uptownfunkyouup BacktoTop
*Includesbackgroundandsecondaryleadvocals.
Word Cloud
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Song Title
Overview
UptownFunkisanintriguingtitlethatinstantlygrabsthelistenersattentionandpiquestheircuriositytofindoutwhatthesongisallabout.
TwokeypointstonoteregardingthetitleisthattheentirestorylinerevolvesaroundtheUptownFunklyricalpayoff,andthatitperfectlyjibeswiththe
natureofthemusic.Withoutevenhearingthesong,thelistenercandeducewhatthenatureofthemusicwill,andwontbe.
Title Appearances & Placement
ThetitleUptownFunkappears29withinthesong,whichisatthehigherendofthespectrumrelativetothemajorityofsongsthatlandwithinthetop10
eachquarter.
Itappearswithinthreesections,whichalsodiffersfrommajorityoftop10hits(mostfeaturethetitleexclusivelywithinthechorus)
Chorus (three times)
Herethetitleappearsasasingleentitywithinthemiddleofthesection.
Girlshityourhallelujah(whoo)
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CauseUptownFunkgongiveittoya
Saturdaynightandweinthespot
DontbelievemejustwatchcomeonDontbelievemejustwatchuh
Dontbelievemejustwatchuh
Dontbelievemejustwatchuh
Dontbelievemejustwatch
Dontbelievemejustwatch
HeyheyheyOW
Bridge (eight times)

Here,thelyricsuptownandfunkarefeaturedindependentlyofoneanotherduetothemannerinwhichBrunoMarsissingingit.Uptownfunctions
asastandalone,whilefunkissungaspartoffunkyouup.
Beforeweleave
Imatellyaallalilsomethin
UptownFunkyouupUptownFunkyouup
UptownFunkyouupUptownFunkyouupuh
IsaidUptownFunkyouupUptownFunkyouup
Comeondancejumponit
Ifyousexythenflauntit
Ifyoufreakythenownit
Dontbragaboutitcomeshowme
Comeondancejumponit
Ifyousexythenflauntit
WellitsSaturdaynightandweinthespot
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Dontbelievemejustwatchcomeon
Outro (15 times)
Herethetitleisfeaturedinthesamemannerasitiswithinthebridgesection.
UptownFunkyouupUptownFunkyouup(saywhat?)
UptownFunkyouup
Story Flow & Meaning
Highlights
PrimaryThemes:Partying/livingitupandboasting
Old-School Boasting & Humor
UptownFunkfeaturesaplethoraofoldschoolRap/Funknaturedboastinglinesthroughoutthesong.Mostfeatureacomicalnature,whichenablesthe
boastingtocomeacrossinalightheartedmanner(i.e.youdontwalkawayfromthissongbeingturnedoffbyitsegodrivennature).Examplesinclude:
Verse1:GottakissmyselfImsopretty
Prechorus:Imtoohot/hotdamn/makeadragonwannaretireman
Chorus:girlshityourhallelujah/becauseUptownFunkgongiveittoya
Verse2:smootherthanafreshjarofSkippy
Female Demographic Win-over
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Marssdedicationtothegirlswithinthefirstversecoupledwithreferringtothemasstraightmasterpiecesinstantlyhelpstowinoverthefemale
demographic.Thisprovidesthesongwithheightenedexposureandsalespotential.
ThewriterscouldhavejustaseasilyfeaturedademeaningreferencetowomenasfoundwithinotherFunkorHipHop/Rapsongs,buttheychosetotake
thehighroad,whichultimatelyworkedintheirfavor.
Multi-Line Interplay
Themannerinwhichcertainlinesinterrelatewithoneanotherprovidesforanengagingflowthattakestheoverallimpactofthenarrativetothenextlevel.
Intheprechorus,theImtohotleadvocaldeclarationisfollowedthebackgroundhotdamnvocal.Bothacttosetupthecomicalpunchlinesthat
follow,suchascallthepoliceandthefireman.
Inthechorus,thereasonWHYgirlsaregoingtohittheirhallelujahasstatedonlinesonethroughthreeisGIVENonlinesfourthroughsix,which
featuresthetitlepayoffcauseUptownFunkisgongiveittoya.
Entertainment/Engagement Accentuator
Thecallandresponsetypenatureofgirlshityourhallelujah/WHOO!withinthechorustakestheentertainmentvalueofthesongtothenextlevel,
especiallyinaliveorclubsetting.ItsnotafarstretchtoimaginegirlswithinaclubshoutingoutaWHOOeachtimethatMarssaysto.
Havingthisinteractiveentertainmentelementbuiltdirectlyintothesongwasexceptionallyclever,andtakesitsoverallimpacttothenextlevelasaresult.
Prosody
Oneofthecorestrengthsofthesongisthatthenatureofthelyrics,vocalmelodyandbackingmusicallperfectlyinterrelatewithoneanother.Oneofthe
bestexamplesofwherethisisputintoeffectiswithinthefirstlineofthesecondverse:
Stop/waitaminute
Followingthelyricstop,thebackingmusiccomestoanabrupthalt,whichprovidesthesongwithoneofitsmostcleverandmemorablemoments.The
backingmusicreentersthemixduringthelyricsthatfollow,fillmycupputsomeliquorinit,whichalongwiththenatureofthemelodykicksthe
excitementfactorofthesongbackup.
Detail
UptownFunkfeaturesatremendousamountofdirectandindirectdetailthroughoutthesong,whichmakesforaveryengaginglisteningexperience.
Examplesfromeachsectioninclude:
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Verse1:GotChucksonwithSaintLaurent
PreChorus:Makeadragonwannaretireman
Chorus:Girlshityourhallelujah
Verse2:Fillmycupputsomeliquorinit
Bridge:Comeondancejumponit
In-A-Nutshell
Verse 1
First Stanza
MarsboastsspecificallyaboutUptownFunk,thesong.
Marsdedicatesthesongtothegirlsandflattersthem
Second Stanza
Lines6&7pertaintotheMarsslooksandlifestyleinageneralmanner
Lines8&9describewhatMarsiswearing,andhisloveofthewayhelooks(inacomical,lighthearted,oldschoolmanner)
Pre-Chorus
Lines1,3,5&7featureMarsboastingabouthishotness,followedbythebackgroundhotdamnvocalwhichsubstantiateshishotnessina
comical,oldschoolmanner.
Lines2&4featureacomical,oldschoolpunchlinetoMarssImtoohotdeclaration(e.g.howhotareyou?makeadragonwannaretireman!)
Line6featuresanegodrivenBreakingBadreference(intentionallyornot)via,saymynameyouknowwhoIam.
Line8breaksfromthenarrativeandushersinthebreakdownnatureofchoruspartXviathelyricsbreakitdown.
Chorus
Part X
Lines1,2&3featureinstructionalcallandresponseviagirlshityourhallelujahWHOO!
Lines4,5&6featuretheWHYbehindlinesone,twoandthree(i.e.causeUptownFunkgongiveittoya)
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Line7providesashiftinthenarrativebytransportingthelistenertoayettobedefinedplaceataspecifictime.
Parts Y & Z
Lines813lyricallytiethesectiontogetherbybasicallystating,donttakemywordthatUptownFunkisgonnamakeyouhityourhallelujah
checkthisoutforproof!
Verse 2
First Stanza
Line1servestoreengagethelistenerfollowingthelengthychorus(i.e.stop,waitaminute).
Lines2,3&4describewhatsgoingonatthespotspecificallyMarshavinghisdrinkfilled,takingasip,signingthecheck,andhavingJuliogetthe
stretch.
Second Stanza
Line5findsMarsandhisfriendscruisingtovariousnotabledestinations
Lines6&7findMarsandcompanyarrivingattheirdestinationinstyle.Morecomicalboastingisfeatured,specificallysmootherthanafreshjarof
Skippy.
Bridge
Part X
Lines1&2findMarssettingthesceneforthepayofflyricsthatfollow(i.e.beforeweleave)
Lines36featuretherepetitionofasinglephrasethathousesthetitlepayofflyricsUptownFunkyouup
Part Y
Lines713transportthelistenerbacktothespotwheretheactionistakingplace.Itrelatestodancing,flauntingtheirlooksandowningtheirfreaky
nature.
Lines13&14revertbacktolinessevenandeightwithinchoruspartX,whichservestousherinchoruspartY.
Outro
TheoutrofeaturestherepetitionoftheUptownFunkyouuplyricsfromthebridge.
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Section By Section
VERSE 1 First Stanza
Line4:Themgoodgirls
Lines 1 & 2 (Song Boasting)
Oneofthemostimportantlineswithinasongistheopener.Itneedstoinstantlygrabthelistenersattentionandpiquetheirinterest/curiosityforwhat
comesnext.ThisisexactlywhatlinesoneandtwoachievewithinUptownFunk.
TheycanbeconstruedasMarsboastingaboutthecompositionalqualitiesofthesong.Noticethatitsgrandiosenatureiscleverlyconveyedviathe
following:
Thisshit:Here,shitreferstothesongUptownFunk.Noticethatshitfeaturesapositiveconnotationasopposedtonegative(i.e.thisshitisso
good).
Thaticecold:Thissongisntjustcool,itsicecold.
MichellePfeifer,thatwhitegold:Thisreferencecleverlylikensthesongtoanimageofheightenedbeauty,styleandclassalaMichellePfiefer.Note
thatthisthemedefinesmanyofthelinesthroughoutthesong.
Additionally,notethatwhitegoldcanalsobeconstruedasapredictionastohowthesongwillperformonthecharts.
Lines 3, 4 & 5 (Dedication and Flattery)
Thebalanceofthesectionfeaturesasongdedicationstrictlytothefemaledemographic.Theinclusionoftwotypesofgirls(i.e.hoodgirlsandgood
girls)enablesthededicationtoreachalltypesofgirls,nomatterwheretheyrefromorwhattheyrelike.
Marscleverlyconcludesthestanzabyreferringtoallgirlsasstraightmasterpieces.Asaresult,thepositivityofthemessage,asopposedtoothercurrent
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songsthatrefertogirlsinademeaningmanner,instantlyhelpstowinoverthefemaledemographic,whichultimatelyheightensthesongsexposureand
salespotential.
Second Stanza
Line6:Stylin,wilin
Lines 6 & 7 (Looks & Lifestyle)
ThefirsttwolineswithinthesecondstanzashiftthestorylinebacktoMars.Theyconveyanauraofhipnessandhavingagoodtime,whichjibeswiththe
overallnatureofthesong.
Additionally,noticethattheuseofthelyriccityprovidesthesection,andthesong,withanunderlyingurbanconnotation,whichjibeswiththefirstlyric
withinthetitle,uptown.
Lines 8 & 9 (Looks & Boasting/Humor)
Thelasttwolineswithinthesecondstanzaalsopertaindirectlytotheprotagonist.Lineeightiscleverinthesensethatitbothpaintsapictureinthe
listenersheadastowhattheprotagonistlookslike,aswellasprovidingthemwithasenseofhisgeneralnature.
ThepairingofChucks(Conversesneakers)withSaintLaurentprovidesanimageofsomeonewhoisbothinformalandintouchwiththestreetsas
wellasintoalavish,highendlifestyle.
Linenineconcludesthesectiononalighthearted/comicalnotewhenBrunoMarsstates,gottakissmyselfImsopretty.Noticethatthisrelatesdirectly
tothedescriptiveimagerythatsfeaturedonlineeight.
PRE-CHORUS
Line4:Makeadragonwannaretireman BacktoTop
Theprechoruspicksupwherethefirstverseleftoff,withtheprotagonistboastingabouthislooks.
Noticethatthebulkofthesectionisbrokenintosetsoftwolinesthatinterrelatewithoneanother,providingforasetup/punchlinetypenature.Note
thefollowing:
The boasting declaration (lines 1, 3, 5, 7)
TheselinesallbeginwiththeImtoohotboastingnaturedleadvocal.
The hotness substantiation (lines 1, 3, 5, 7)
TheImtoohotleadvocalisdirectlyfollowedbythehotdamnbackgroundvocal.ThisvocalbothtakestheFunkinessofthesectiontothenextlevel,
providesatouchofhumor,andcombinedwiththefirstlineprovidesasetupforthepunchlinethatfollows(i.e.Imtohot/hotdamnyouare!
nowtellusjusthowhot!)
The punch-line (lines 2, 4 & 6)
Sohowhotishe?Wefindoutonlinestwoandfour,bothofwhichmakecleveruseofanalogyandhumor:
Linesixpartswaysbyrelatingdirectlytohisbigego.Herehestates,saymynameyouknowwhoIam.(BreakingBadreference?)
Line 8 (Wealth and sectional transition)
Thelastprimarylinewithinthesectionrelatestotheprotagonistswealth.Itsthesecondaryphrase,however,whichcleverlyushersinthechorusthat
follows.
Noticethatthelyricsbreakitdownhavenothingtodowiththenarrativeathand.Instead,theyprovideinstructiontotheband(alaJamesBrown)to
transitionintothenextsection,whichpossessesasparsenatureattheonsethencethebreakitdownconnotation.
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CHORUS
Line14:HeyheyheyOW
Hereiswherethelistenerishitwiththesongspayoff.However,asmentionedearlierwithinthereport,UptownFunkdoesntpossessastandard
mainstreamPoporR&B/Soultypechorus.ThisisFunk,andasaresultthestructureofthesectionisdifferentfromthatofatypicalcurrentmainstream
hit.
Lines 1, 2 & 3 (Instructional Call & Response)
Thefirstthreelinesfeatureacallandresponsetypenatureviatherepetitionofgirlshityourhallelujahleadvocal,whichisdirectlyfollowedbythehigh
pitchedWHOObackgroundvocal.
Asawholethislinepossessestwokeyqualities:
Itconveystothelistenerthatthegirlswillbeinecstasy(i.e.hittingtheirhallelujah).Thereasonwhyfollowsonlinesfour,fiveandsix.
***CLEVERELEMENT***
Thecallandresponsetypenatureisprimedtotaketheengagementvalueofthesongtothenextlevelinaliveenvironmentbeitatacluborinconcert.
WhenMarsstates,girlshityourhallelujah,itsnotafarstretchtoimaginethegirlsinthecluborattheshowthrowinghandsupintheairandanswering
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witharesoundingWHOO!Havingthiscleverentertainmentaccentuatorbuiltdirectlyintothesongtakesitsoverallimpacttothenextlevel.
Lines 4, 5 & 6 (Provides the why behind lines 1, 2 & 3)
ThenextthreelinesfeaturetherepetitionoftheCauseUptownFunkgongiveittoyalyrics.Notethefollowing:
ItprovidesthereasonWHYgirlswillhittheirhallelujah.Noticethatthislinefeaturesaboastingconnotationnotabouttheprotagonistaswesaw
previously,butabouttheactualsong(i.e.thisicecoldshitissogoodthatitsgoingtomakegirlshittheirhallelujah).
ThisisalsowherethetitlelyricsUptownFunkfirstappearwithinthesong.Theyprovideatitlerelatedpayoffforthelistenerduetothefactthatits
UptownFunkthatsgoingtoresultingirlshittingtheirhallelujahasdetailedabove.ThisiswhytheentiresongrevolvesaroundtheUptown
Funktheme.
Line 7 (Transition)
Linesevenprovidesashiftinthenarrativebytransportingthelistenertoayettobedefinedplaceataspecifictime(i.e.Saturdaynight).Itssafeto
assume,however,thatthespotreferstoaclub.
Lines 8 13 (Sectional tie & musical/vocal payoff prepper)
FollowingtheclaimonlinesonethroughsixthatUptownFunkisgoingtomakegirlshittheirhallelujah,lineeighttiesitalltogetherbystating,dont
believemejustwatch.Otherwisestated,donttakemywordforit,checkthisoutfortheproof!
Theproofresidesinthebalanceofthesection,whichfeaturesthemusicaltensionreleasefollowingthebuildthattraversedthefirsthalfofthesection
coupledwiththereturnofthedoh,doh,dohvocalhook.MaybeMarsshouldhavestated,dontbelievemejustLISTEN,butwatchcertainlysoundsa
lotbetter!
VERSE 2
Incontrasttothefirstversewhichfeaturesboasting(song&personal),dedication,flattery,looksandlifestylethemes,thesecondverseshiftgearsby
depictingtheprotagonistandcompanysnightout.
First Stanza
Line3:Takeasipsignacheck BacktoTop
Line 1 (Abrupt reengagement)
Followingthelengthymultipartnatureoftheprecedingchorus,thefirstlinewithinthesecondverseinstantlyshiftsgearsandreengagesthelistenerata
heightenedlevelviathestop,waitaminutelyrics.
Theimpactofthelyricsisaccentuatedviathebackingmusicbeingpulledfromthemix.Combined,perfectprosodyisachieved,whichcreatesoneofthe
songsmostmemorable,clevermoments.
Lines 2, 3 & 4 (Happenings at the spot)
ThenextthreelinestransportthelistenertowhatweassumeisthespotonaSaturdaynight.Remember,thiswasfirstestablishedonlinesevenwithin
thechorus.
Noticethatallthreelinesarerichindetailandaction,whichengrossesthelistenerataheightenedlevelwithinthesong.
Linestwoandthreerelatetothepartying(orinthiscase,imbibing)partofthenight.Theendoflinethreefindshistimeatthespotcomingtoa
conclusionwherehesignsthecheck.
LinefourthatfollowsfindstheprotagonistcallingouttoJuliotogetthestretch.WecanassumethatJulioishisdriver.Notethefollowing:
Wefindoutthattheprotagonisteitherhasalotofmoney,orthathesplurgedonthenightinordertokeepupappearances.Regardless,itsinlinewith
thestylinandhotimagethattheprotagonisthasabouthimself.
Thelinesignalsatransitionpointwithinthestorylinewhereheandhisfriendsaregoingtomovefromthespottocruisingabouttown.
Second Stanza
Lines 5 (Cruising to new destinations)
OnceJuliogetsthestretch,linefivedetailstheprotagonistandhisfriendscruisingaroundtheirchoicedestinations(obviouslynotallinthesamenight,
thoughthatwouldbeinteresting).TheyincludeHarlemNYC,Hollywood(CA)andJacksonMississippi.NotethatHarlemrelatesdirectlytotheuptown
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inUptownFunk.
Lines 6 & 7 (Destination arrival and more personal boasting)
Thelasttwolinesonceagainfeatureaboastingtheme.Thistimewherevertheprotagonistandhisfriendsshowup,theyregoingtoshowout(i.e.show
off/standout).Itslineseven,however,whichputstheicingonthecake(orinthiscase,peanutbutter).
Howsmootharethey?TheyresmootherthanafreshjarofSkippy.Thisconcludesthesectiononanotheroldschool,comical,boastingnote.
BRIDGE
Part X
Line1:Beforeweleave
Thefirsttwolineswithinthebridgefindtheprotagonistnarratingdirectlytothelistener.ThissetsthestagefortherepetitionoftheUptownFunkyou
uptitlelyriclines.
NoticethatitfeaturesaFunkyplayonlyrics.Normallythelistenerwouldbeexpectingtohearaprofanity(itsnotastretchtofigureoutwhichone),but
thelyricfunkiscleverlyusedinitsplace.
Additionally,noticethatthelineasawholejibeswiththeUptownFunkboastingthattookplacewithinthechorus(i.e.causeUptownFunkgongiveitto
ya.Ifyoudontbelievemejustwatch.).
Part Y
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Thesecondstanzawithinthebridge(partY)transportsthelistenerbacktothespot.
Thenatureofthelyricscoupledwiththebackingmusicqualitieshasadistinctretroearly1980svibewhichfeelsmoreathomeinStudio54thanaclub
from2015.
Here,thelistenerisnowoutonthefloor,wherethesexyandfreakypeopleareathomeandflauntingtheirattributes(againveryStudio54).
Thelasttwolineswithinthesectionrevertbacktolinessevenandeightwithinthechorus,whichushersinchoruspartYthatfollows.
OUTRO
TheoutrofeaturestherepetitionofthelyricsthatwerefeaturedwithinpartXofthebridge,plustheadditionofthesaywhat?vocalattheendoflines
one,three,fiveandseven.
Benchmark
Section Length
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UptownFunkbeinginlineorclosetoinlinewithQ4top10hitaverages
Itsprechorusisthesamelengthasthetop10average
UptownFunkNOTbeinginlineorclosetoinlinewithQ4top10hitaverages
Itsintrois7seconds/70%longer
Itsverseis8seconds/32%shorter
Itschorusis10seconds/33%longer
Section Count
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UptownFunkfeaturesthesamesectioncountasthevastmajorityoftop10chartinghits.
Sectional Percent Of Total Song
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UptownFunkbeinginlineorclosetoinlinewithQ4top10hitaverages
Itallocates1%moretimetotheintro
Itallocates2%lesstimetothechorus
Itallocates3%lesstimetotheprechorus
Itallocates3%moretimetotheoutro
UptownFunkNOTbeinginlineorclosetoinlinewithQ4top10hitaverages
Itallocates15%lesstimetotheverse
Itallocates4%moretimetothebridge
Additional Compositional Characteristics
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UptownFunkbeinginlinewiththemostpopularcharacteristicsofQ4stop10chartinghits
ItfeaturesanR&B/Soul&HipHop/Rapsubgenreinfluencewithinthemix(#1and#3mostpopular)
Itfeaturesasynth,prominentdrumsandelectricguitarwithinthemix(#1,#1and#2mostpopular)
Itfeaturestwowordswithinitstitle(#1mostpopular)
Itfeatures29songtitleappearances(the21+rangeisthesecondmostpopular)
Itfeaturesacombinationofelectricandacousticbasedinstrumentswithinthemix(#2mostpopular)
Itfeaturesthe*ABABCBform(#1mostpopular)
Itbeginswithanintro(#1mostpopular)
Itconcludeswithanoutro(tiedasthe#1mostpopular)
Itsfirstchorushitsat50secondsintothesong(the0:400:59rangeisthe#1mostpopular)
Itcontainsaprechoruswithinitsframework(71%ofsongs)
Itcontainsabridgewithinitsframework(67%ofsongs)
*RememberUptownFunksformisnotatraditionalmainstreamPoporR&B/Soulstructure.
Differences
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WhileUptownFunkfeaturesagoodnumberofcharacteristicsthatdefinethemajorityofthequarterstop10hits,itsthedifferencesthatenableitto
standoutandresonateamongstitsmainstreamcontemporaries.
Some of the key factors include:
Itsearly1980sretroFunkandHipHop/Rapnature
Theboastingandpartying/livingituplyricalthemes(muchofwhichisconveyedinaretro/comical/Funkymanner)
Itsnontypicalstructuredchorusrelativetomostothermainstreamhits(ifyouwanttoconsideritasachorusatall)
Thenatureoftheleadandbackgroundvocalsfoundthroughoutthesong(melodyandvocalcharacteristics)
Thecharacteristicsofinstrumentationfoundwithinthemix(i.e.theretroFunknaturedguitar,bassandsynth)
Thefeaturingofabrasssectionwithinthemix

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24/10/2016 UptownFunkDeconstructedHitSongsDeconstructed

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Mark Ronson - Uptown Funk ft. Bruno Mars

Highlights & Takeaways

Chorus & Bridge Parts

Funk Structure: Chorus or no chorus?

Section Length & Count

Moderate / Moderately Long

Long (0:40 0:49)

Accentuating Engagement Through Segmentation

Chorus One and Two (0:42)

Chorus Three (0:25)

Total Section Breakdown

Wave 1: Intro (I) Chorus 1 (B-1)

Part X first half (Girls hit your hallelujah)

Part X second half (Cause Uptown Funk is gonna give it to ya)

***ENGAGEMENT & CHORUS IMPACT ACCENTUATOR***

Part Y (Dont believe me just watch)

Part Z (Dont believe me just watch / Backing music shift)

Wave 2: Verse 2 (A-2) Chorus 2 (B-2)

Pre-Chorus 2 & Chorus 2

Wave 3: Bridge (C) Outro (O)

***MTI LEVEL PEAK***

Uptown Funk Sonic/Compression Levels: Lowest To Highest

Music / Instrumentation / Vocal Characteristics

Genres, Sub-Genres, & Vibe Influencers

Hip Hop/Rap Influences

Uptown Funk Influences

Vocal/Lyrical Influence Combo

Beat / Intro Structure Influence

Chord Progression & Harmony

Hooks, Payoffs & Key

Intro (0:00 0:17)

Primary Instrumentation Featured Within The Mix

First half of the section

Second half of the section (add)

It introduces the songs primary vocal hook

It acts as a unique identifier for the song

It establishes part of the songs sub-genre & influencer mix

Verse 1 (0:17 0:34)

Primary Instrumentation Featured Within The Mix

PRE-CHORUS 1 (0:34 0:50)

Primary Instrumentation Featured Within The Mix

Lead Vocal (Lines 1, 3, 5 & 7): Im too hot BacktoTop

CHORUS 1 (0:50 1:32)

Part X (First half girls hit your hallelujah)

First Chorus Occurrence

***SONG-DEFINING ELEMENT / ENTERTAINMENT ACCENTUATOR***

Part X (second half cause Uptown Funk is gon give it to ya)

Part Y ( dont believe me just watch)

Tension Release & Payoff

Vocal Funk Factors & the Return of the Primary Hook

Instrumental Funk Factor Accentuators

Excitement Factor Accentuators

Part Z ( dont believe me just watch variation)

VERSE 2 (1:32 1:49)

Song-Defining Moment / Clever Element / Reengagement

PRE-CHORUS 2 (1:49 2:05)

CHORUS 2 (2:05 2:47)

BRIDGE (2:47 3:29)

Primary Instrumentation Featured Within The Mix

Stylistic Departure #1 (Part X)

Multiple Vocal Hooks

Stylistic Departure #2 (Part Y)

ENGAGEMENT & CHORUS IMPACT ACCENTUATOR

MTI LEVEL PEAK

SONG-DEFINING ELEMENT / ENTERTAINMENT ACCENTUATOR

Excitement Accentuator Line

SECTIONAL TIE / MEMORABILITY ACCENTUATOR