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Sparks Fly Deconstructed

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Sparks Fly Deconstructed Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com Sparks Fly Deconstructed Skip to: Audio/Video General Information At a Glance Structural Analysis Sectional Analysis Waveform Primary Instrumentation, Tone & Mix Benchmark Analysis Overall Assessment Hit Factor Assessment Conclusion Why it’s a Hit Take Aways Audio/Video Back to Top General Information Back to Top Artist: Taylor Swift Song/Album: Sparks Fly/Speak Now Songwriter(s): Taylor Swift Producer(s): Nathan Chapman, Taylor Swift Genre: Country Sub Genre: Pop/Rock At a Glance Back to Top Length: 4:23 Structure: A-B-A-B-Solo-C-B Tempo: Mid (Verse), Mid/Up (Chorus) First Chorus: 0:50 (19% into the song) Intro Length: 0:17 Outro Length: 0:30 Electric vs. Acoustic: Electric/Acoustic Combo Primary Instrumentation: Electric and Acoustic Guitar Lyrical Theme: Love/Relationships Title Occurrences: 8 times within the song, twice in each chorus on the last line of each stanza. 1 / 28 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com Occurs twice in the outro as well. Primary Lyrical P.O.V: 1st and 2nd Structural Analysis Back to Top At-a-Glance Section Length (Length of each individual section within the song) Overall, Sparks Fly is structured quite symmetrically, with the intro and pre-choruses landing at 0:17, both verses landing at 0:16 and all three choruses landing at 0:33. Both the intro and outro sections are moderate in length (landing at 0:19 and 0:30 respectively) and the transition between the first chorus and second verse as well as the solo are quite short in length (landing at 0:09 and 0:11 respectively). Structure Timeline (Shows when each section hits within the timeline of the song) 2 / 28 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com Total Section Analysis (Total time consumed by each section and its percentage of the total song) Not surprisingly, the ultra-infectious chorus within Sparks Fly comprises the largest percentage of the song, accounting for 37% of the song’s total composition. The pre-chorus, bridge, verse and outro sections are given pretty much equal weight in regard to total time allocation, each comprising 13%, 12%, 12% and 11% of the song respectively. The intro, solo and transitional interlude between the chorus and second verse account for the least amount of time within the song, encompassing 6%, 4% and 3% of the song respectively. Momentum/Intensity Factor (Evaluation of the intensity of each section within the song timeline on a scale of 1 – 10, 10 being the most intense) Overall, Sparks Fly makes great use of momentum and intensity fluctuations throughout the song, providing the listener with a very engaging listening experience. 3 / 28 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com The song kicks off in a moderate fashion, with the first-third of the intro characterized by the strumming acoustic guitar in conjunction with the “identifier” electric guitar melody line (more on this in the intro section of the report). This continues up until we hit the drum fill at 0:05, ushering in the intense “full band” section of the intro, characterized by a heavy driving beat, electric and acoustic rhythm guitar, as well as piano and organ which subtly provide texture to the overall sound. The “intense” nature that defined the second part of the intro quickly fizzles out as we enter into the first verse at 0:17. Here we see a decrease in overall intensity brought about by a more “simplistic” beat, strumming acoustic guitars and electric bass supporting Swift’s vocals. The momentum levels remain pretty much constant throughout the first verse until being kicked up a notch as we enter into the pre-chorus at 0:33. Here the tension increases due to the change-up in Swift’s vocal delivery, more intense drums (in a subtle manner), and the addition of the electric guitar melody that’s panned left in the mix. The momentum continues to build toward the end of the section until we hit the transition point between the pre-chorus and chorus at 0:48. Once we hit that transition point, we see the backing instrumentation being pulled briefly from the mix during Swift’s proclamation drop everything now. This quick drop in momentum does a fantastic job of giving the intense chorus that follows more “punch” and impact when it hits at 0:50. The second we hit the chorus, the overall momentum and intensity levels of the song instantly peak, brought about by Swift’s multi-tracked lead and harmony vocal melody backed by the intense drums, overdriven guitars, acoustic guitars, piano, organ and bass. The momentum levels remain constant throughout the section as well as during the transitional interlude that follows (reprise to the intro). At 1:32 we enter into the second verse where the drums are briefly pulled from the mix during the first portion of the section. Here, Swift’s vocals are supported by a strumming acoustic guitar and “chugging” electric guitar that’s panned left in the mix. The drums reenter the mix at 1:36, where we see the intensity levels landing a bit above where they were during the first verse due to the addition of the electric guitars into the mix (they weren’t present during the first verse) and the subtly more intense drums. The second pre-chorus hits at 1:48, where once again we see the intensity levels a bit above that which defined the first pre-chorus, specifically due to the addition of the electric guitar strums that are panned left in the mix, the organ and more intense drumming. At 2:03 we enter back into the drop everything now transition before launching into the second chorus. Notice that the backing music continues for 0:01 longer than it did during the transition into the first chorus. The momentum levels that defined the first chorus are repeated here in the second chorus, continuing through the brief 0:11 solo section which hits at 2:38. At 2:47 we enter into the bridge, which is still quite intense but not as “driving” as the chorus 4 / 28 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com due to the nature of the quarter note electric guitar/drum hits that support Swift’s changed-up vocal delivery from what was defining the song up until this point. This continues until we hit the next section of the bridge at 3:03, where we see the intensity kicked up a notch due to a reversion back to the more “driving” nature that was indicative of the chorus. This momentum continues until we hit the last part of the bridge at 3:11, where we see the intensity levels being brought way down via the changeover to the acoustic guitar strums, atmospheric cymbals, piano, bass and Swift’s more restrained vocal delivery. The sparse vibe present in the last section of the bridge continues through the first part of the third and final chorus, which hits at 3:20. As the chorus progresses, we see the intensity levels start to dramatically increase once we hit the lyrics I see, sparks fly… This is brought about via the introduction of the kick drum into the mix followed by the guitars, bass, organ, piano and ultimately peaking with the drum fill that ushers in the “fully intense” chorus at 3:37. Once we’re back in “full chorus” mode, the momentum continues right through the outro, until hitting the final note at 4:10 followed by a 0:13 ring-out. Sectional Analysis Back to Top Intro: 9/10 The intro section within Sparks Fly is very effective on a couple of levels: The electric guitar melody line acts as an instant “identifier” for the song, which is an attribute that strong intro’s possess. In addition to setting the overall vibe of the song, you want the intro to be memorable, unique and instantly grab the listener the second they hear it. The intro melody within Sparks Fly achieves all three. Splitting the intro into two distinct sections (i.e. the solo guitars that are indicative of the first half and the full-on intensity of the second half) does a great job of first subtly “luring” the listener into the song and then “smashing” them with the sonic bombasity that defines the chorus sections that appear later in the song. Together they work in perfect tandem to effectively engage the listener and keep them engaged. Verses: 8.5/10 THE MUSIC The music present in the first verse is a complete departure from the intense Pop/Rock vibe that defined the second half of the intro. Here we’re in acoustic Country/Pop territory, characterized by acoustic guitar, electric bass and a simple drum beat. In the second verse, a couple of electric guitars are added to the mix coupled with a subtly more intense beat that does a great job of providing diversity between sections, ultimately adding to the listening experience and furthering the engagement factor of the song. Overall, the difference in the music between verses one and two is quite subtle, but noticeable just enough where it provides the song with additional variety as well as increasing the overall intensity and 5 / 28 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com tension within the song.
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