To begin, my composition is in 4/4 common time, and is supposed to be played at 120 bpm. It is moderately fast, at allegretto speed. The clap plays an offbeat (2 and 4), and though often Polynesian music has clapping on the down beat (1 and 3), I prefer the offbeat in my composition. The claps also provide a strong rhythmic pulse alongside the ukulele. There is a repetitive rhythm of strumming for the ukulele consisting of crotchets and quavers, and the melody is a bit more complex with a range of minims, crotchets, quavers and semiquavers.

There is only three layers in my entire composition. There is the melody, which is sung, the harmonic accompaniment which is played on ukulele, and the rhythmic accompaniment provided by the claps. The melody is simplistic and predictable, which is a common theme in Polynesian music. The piece is heterophonic with the ukulele and vocals, and the texture of the piece overall is quite thin with little instrumentation. 

The melody is sung by a mezzo female with a melodic line with little leaps and quite gradual steps between notes. The entire melody is sung between a G and an E, making the melody a small range of a sixth. It is in a key of C Major and remains in that key throughout the entire piece. The chords typically change once per bar, but towards the end of the song, change more consistently to two or three times per bar. It is constant consonance between all the notes in the song.

The overall sound of the piece is made twangy and piercing by the ukulele, but warmed up again when the vocals are added, with the claps it is stitched together in a way to create an overall joyous and acoustic piece. The ukulele is a part of the guitar family, which typically has a twangy sound from the plucking and stumming of the strings. The melody is sung in your typical pop style, with not a lot of twang.

I added an 8-bar intro consisting of the same chord progression as the verse, which was followed by what was once one verse, split into to two. So, two verses are sung and then there is what I have made a pre-chorus on what was originally the first two lines of the chorus, then I have taken the last two lines, and repeated it to make a chorus/outro, finished by three final chords of C, G and then C for a polished outro.

Each instrument line is played in mezzo-piano. The melody line has a diminuendo at the end of the pre-chorus, but is finished with a crescendo at the end of the repeated line in the chorus/outro.

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