A 0:00 This intro starts with a guitar fade-in, followed by the main theme. The drums play a double-bass roll with some additional accents on the snare while the guitars play in support of the synth melody. The synth is the centerpiece of the section. The first portion of the melody is followed immediately by a sliding downward note which terminates in the second measure of the melody. The synth used is monophonic. Essentially, the synth only plays one note at a time. Playing a second note does not cause the synth to re-sound (like picking a new note on a guitar, or playing another key on a piano), but rather causes the pitch to shift rapidly towards the new tone. This gives the glissando effect of sliding from one note to the next, rather than punching out the melody (as with a piano). It may be easier to hear this effect in the intro to Senses Tied. The fill (0:19) is in 3-3-2 syncopation, which sets up the next section. B 0:21 This section alternates, two measures at a time, between quiet and loud orchestrations. The rhythm of the quiet section is the 3-3-2 syncopation, sharply punctuated by the guitar, with the keys playing the harmony in the background. This harmony uses a common technique: the keys play upward through the notes of the chord, but restart the sequence of notes on the beats of the syncopation. This repetition of the chord gives the quiet measures a constrained feeling, as the same notes repeat without developing into a melody. The loud measures of the section are contrasted against this. The guitars play through the whole measure, which returns the dominant rhythm to the drums and lessens the strength of the beat. This creates smoothness after the preceding section. The synth plays a generally ascending melody, soaring out of the constriction of the quiet measures while referencing the same rhythm. A (Chorus) 0:38 This section is the same as above, but with vocals. C 0:55 Here, the drums switch to double-time (effectively doubling the tempo). The guitar riff is very melodic, except for the last few notes which are a flat, rapid grind. The end of the guitar riff is sharply punctuated by the drums. The section changes (1:03), with the one guitar hammering out the beat. The drums switch to playing only the quarter notes (with the bass drum used for embellishment). This ends the double-time feel in the drums and provides a moment of pure, heavy rhythm before continuing. D - 1:12 This section features a melody played in tandem between both guitars and the keys. After the brightness or aggression of previous sections, the descending melody here is somewhat sad. The keys feature a piano tone, adding sharpness to each note of the melody relative to the monophonic synth used elsewhere in the song. The final notes of the melody (1:18 and 1:26) create a moment of tension immediately before the end of the riff. The first time, this tension resolves in the repeating riff. After the second iteration, the tension at the end of this rich melody resolves into the sharp, dry tones of the next section. B 1:28 C 1:45 E (Bridge) - 2:02 This section is based off of the D section. The lead guitar begins by playing the same melody, but gradually develops into a small solo. The core of the solo (2:10) is played over a double-bass roll. The end of this section (2:19) features a return of the guitar/key melody of the D section, but played over a fill which is more reminiscent of the B section. The fill that begins here is two measures of 3-3-2 syncopation, played on the snare drum, with the accents appearing mostly on the cymbals and bass drum. The sharp accents of the rhythm guitar in this section resemble the syncopated B riff. This two-measure fill is broken by two measures of normal 4/4. A 2:36 B 2:53 The ending of this section is extended (3:10). The soaring keyboard melody of the B section repeats quietly at the end, unaccompanied except for the drums fill that transitions to the next section. This technique puts the energy of the song momentarily on hold before exploding into the chorus. A 3:13 The full chorus plays twice here, ending the song. The drums are similar to earlier versions, but place snare notes on every quarter note, rather than just the backbeat. During the repeat of the chorus, this is extended slightly by an extra snare note on the last 8th note of measure, pounding fiercely into the next measure.