God Is a Woman Deconstructed Excerpt from the Vocal Melody Analysis Section Ariana Grande’s God Is A Woman is the second single from her 2018 hit album, Sweetener. Co-written by Grande along with some of the biggest names in songwriting, including Max Martin, Ilya, Savan Kotecha and Rickard Goransson, God Is A Woman packs quite the musical punch and quickly became a favorite of listeners around the world. To date, the song has landed in the Top 10 on over 20 charts throughout the world, peaking at #1 in the US on the Billboard Dance Club Songs and Mainstream Top 40 charts. God Is A Woman is largely driven by its vocal melody and Ariana Grande’s signature vocal chops. The song features infectious hooks throughout, embellished by Grande’s effortless vocal runs and lush harmonies. Below you’ll find an excerpt from the Vocal Melody analysis section of the Hit Song Deconstructed report, God Is A Woman Deconstructed. © 2010-2019 Hit Songs Deconstructed, All Rights Reserved - 1 - Table of Contents (click to go to each section) Overview >> Verse 1 >> Pre-Chorus >> Chorus >> Key Form Abbreviations A=Verse | PC=Pre-Chorus | B=Chorus Vocal Melody Part Classifications Main melodic parts, such as upper-case A, B and C, reflect the main melodic structure of each line in a song section. Melodic sub parts, such as lower-case a, b, and c, reflect melodic structure both within and across lines. The vocal melody part classifications in each section are specific to that particular section and do not relate to other sections with the one exception being for the two verses. (i.e. Part A classification in verse 1 does not relate to part A in the pre-chorus but Part A in verse 1 does relate to Part A in verse 2.). Vocal melody parts are determined by the following criteria: • Pitches and rhythms utilized • Ending characteristics Song Section Part Graphs • Graphs: Reflect lead vocals and harmony specifically in the pre-chorus • Numbers in the Graphs: Depict the scale degree of each note • Curved Line: Slur across two or more pitches Song Section Melodic Part Structure Tables • Main Str.: Main melodic parts • Sub-Structure: Melodic sub parts • Syl: Syllable count • RH: End-of-line rhyme structure © 2010-2019 Hit Songs Deconstructed, All Rights Reserved - 2 - Vocal Melody Overview Below is a graphical representation of God Is A Woman’s vocal melody. Key: Left side: Pitches Across the top: Section starting and ending pitches Pitch colors: Red=lower, Green=higher, Blue=constant Line: Melodic shape Section abbreviations: A=Verse, PC=Pre-Chorus, B=Chorus, O=Outro Chorus 1 Begins on Ab4 and ends a minor seventh lower on Bb3 Verse 1 Begins a minor sixth higher on Gb4 and ends a minor sixth lower on Bb3 Pre-Chorus 1 Begins a minor third higher on Db4 and ends a major second higher on Eb4 Chorus 2 Begins a perfect fourth higher on Ab4 and ends a minor seventh lower on Bb3 Verse 2 Begins and ends on Bb3 Pre-Chorus 2 Begins a minor third higher on Db4 and ends a major second higher on Eb4 Chorus 3 Begins a perfect fourth higher on Ab4 and ends a minor seventh lower on Bb3 Outro N/A (Choir harmony) © 2010-2019 Hit Songs Deconstructed, All Rights Reserved - 3 - VERSE 1 Overview The lead vocal melody in verse 1 is composed of two main melodic parts and two sub parts. It contains six pitches (the Eb minor scale minus the fourth scale degree), spans a minor sixth from Bb3 to Gb4, and features note values primarily of eighth and sixteenth notes. Melodic Structure Overview Melodic Direction Melodic Part Structure © 2010-2019 Hit Songs Deconstructed, All Rights Reserved - 4 - Melodic Structure Detail Lines 1 & 2 © 2010-2019 Hit Songs Deconstructed, All Rights Reserved - 5 - Line 1 Part a1: I don’t wan-na waste no time, yeah Line 1 is composed of main melodic part A/sub-part a1. It essentially consists of two segments as follows: • Segment 1 (“I don’t wan-na”): Segment 1 begins on the third degree of the Eb minor scale where it resides until dropping a half step on the second syllable of the lyric, “wan-na.” The melody is propelled by punchy sixteenth notes. • Segment 2 (“waste no time, yeah”): Segment 2 picks up where segment 1 leaves off on the second scale degree, followed by a descent in thirds to the fifth degree and concluding with a perfect fourth leap back up to the tonic. The melody is propelled by longer eighth notes compared to segment 1. Together, segments 1 and 2 create a full line that firmly adheres to the KISS ME principal (Keep It Simple, Singable and Memorable). Additionally, note how the focal point of the line, “waste no time, yeah” is emphasized with the greater melodic movement and longer note values compared to segment 1 (“I don’t wan-na”), which functions more in the way of a lead in. Line 2 Part a1: You ain’t got a one-track mind, yeah Line 2 is a melodic copy of line 1 that precedes it. This, along with the end-of-line rhyme commonality, heightens memorability while the lyrical changeup helps keep things fresh and engaging. Lines 3 & 4 © 2010-2019 Hit Songs Deconstructed, All Rights Reserved - 6 - Line 3 Part a2: Have it an-y way you like, yeah Line 3 is composed of main melodic part A/sub-part a2. It reinforces the melody of lines 1 and 2 up until the end, where instead of leaping up a perfect fourth to Eb4, it finishes with a step up to Cb3. This changeup at the end has a few important implications: • Although minor, it prevents melodic cookie-cutter redundancy relative to the lines that precede it. • The smaller interval compared to the preceding lines provides a hint of darkness and mystery. • It allows for the line to flow seamlessly into the Abm7 chord that follows. • The step from the fifth to the sixth scale degree seamlessly flows into and sets up new material that follows on line 4, which alternates between the fifth and sixth scale degrees throughout. Line 4 Part b1: And I can tell that you know, I know, how I want it Line 4 is composed of main melodic part B/sub-part b1. In contrast to the lines that precede it, it follows a steady sixteenth note pattern that alternates between the fifth and sixth scale degrees. This pronounced changeup achieves the following: • The contrast effectively breaks up the three part A lines that precede it, which helps maintain audience interest. It also brings the first stanza to a conclusion in an infectious manner before circling back to three more part A lines in the second stanza. • The low-register, limited range and repetitiveness of the line creates a sultry vibe that effectively jibes with and accentuates the suggestive lyrical content. • The sheer simplicity and repetitiveness of this line provides a much-needed contrast to the lines before it, enabling the catchy lyrical content to further stand out and connect with the listener. © 2010-2019 Hit Songs Deconstructed, All Rights Reserved - 7 - • The simple, infectious melody coupled with the lyrical content creates a hook that stands out among the other lines in the section, and the song as a whole. This hook later returns verbatim in the same spot of the second verse. Lines 5 & 6 Line 5 Part a1: Ain’t no-bod-y else can re-late Following the part B departure at the end of the first stanza, line 5, which marks the beginning of the second stanza, returns to familiar territory with its main part A/sub-part a1 structure. This is the same melodic structure as lines 1 and 2, which heightens memorability, while the new lyrical content and differing end-of-line rhyme (“ay” vs. “eye”) help to keep things sounding fresh and engaging. Line 6 Part a3: Boy, I like that you ain’t a-fraid Line 6 is composed of main melodic part A/sub-part a3. It begins in the same manner as the other part A’s in the section, but concludes with a twist. After landing home with a leap up a fourth to the tonic, Grande concludes the line with a short run down to the fifth scale degree, Bb3. This variation achieves a few key things: • It helps to prevent part A monotony within the scope of the section. © 2010-2019 Hit Songs Deconstructed, All Rights Reserved - 8 - • It provides Grande with an opportunity to minimally show off her vocal chops. • The run imparts a hint of an R&B influence against the otherwise Pop vocal delivery. Lines 7 & 8 Line 7 Part a2: Ba-by, lay me down and let’s pray Line 7 is a melodic copy of its stanza 1, line 3 counterpart. Line 8 Part b1: I’m tell-in’ you the way I like it, how I want it Line 8 brings the second stanza and full verse to a conclusion on a familiar note with main melodic part B/sub- part b1. However, as is the case elsewhere in the section, the lyrical changeup relative to its stanza 1 counterpart helps to keep things fresh, while the in-stanza rhyme commonality bolsters memorability. Key Takeaways • Verse 1 features a highly repetitive AAAB / AAAB main melodic part structure and firmly adheres to the K.I.S.S. ME principal (Keep It Simple, Singable, and Memorable). • The infectious part B melody, which is featured at the end of each stanza, is reinforced verbatim with the listener.