Sparks Fly Deconstructed

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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.

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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)

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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.

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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

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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

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THE LYRICS The lyrical theme present in both verse sections does a great job of setting the overall scene and premise of the song. Overall, it’s quite simple – Swift is in love with a guy, she knows it’s a bad idea to further the relationship, but alas, she still wants to (or she doesn’t have any power to resist him).

Swift makes great use of imagery and emotion within the lyrics to convey the essence of both characters as well as the scope of the story. For example, take the first verse:

The way you move is like a full on rainstorm, and I’m a house of cards Right off the bat you can gather that he’s intense and bad news (i.e. full on rainstorm), and she’s “fragile” in nature (i.e. house of cards). When they get together, the house of cards doesn’t stand a chance.

You’re the kind of reckless that should send me runnin’ But I kinda know that I won’t get far Here she’s admitting that he’s no good and it would probably be a great idea for her not to be involved in the relationship. The problem is that there’s something about him that she can’t resist, and as a result she knows that she’ll keep coming back despite how bad he is.

Additionally, an interesting phrase comes during the last line of the second verse, where Swift seems to get some self confidence with the lyrics, You find I’m even better than you imagined I would be. It’s really the only time in the song where she’s inferring that he would be lucky to have her.

LYRICS AND CHORD PROGRESSIONS IN VERSES 1 & 2

VERSE-1 Dm – B-flat The way you move is like a full on rainstorm, F – C and I’m a house of cards Dm – B-flat You’re the kind of reckless that should send me runnin’ But I F – C kinda know that I won’t get far

IMAGERY BASED LYRICS & PHRASES IN THE FIRST VERSE:

Rainstorm House of cards

EMOTIONAL BASED LYRICS AND PHRASES IN THE FIRST VERSE:

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Reckless Send me runnin’ I won’t get far

VERSE-2 Dm – B-flat My mind forgets to remind me F – C You’re a bad idea Dm – B-flat You touch me once and it’s really something, F – C You find I’m even better than you imagined I would be.

IMAGERY BASED LYRICS & PHRASES IN THE SECOND VERSE:

You touch me… (not a specific image, but conjures up an image)

EMOTIONAL BASED LYRICS AND PHRASES IN THE SECOND VERSE:

You’re a bad idea I’m even better… You touch me…(it’s also emotional in nature)

THE MELODY Overall the vocal melodies present within both verse sections are infectious, well phrased and memorable, though the memorability factor does suffer a bit during the second stanza of the second verse due to some of the odd phrasing in the section. Strong points include:

Good use of repetition during the two stanzas of the first verse.

Swift does a great job of putting emphasis on certain lyrics via changes in note pitch and duration.

The “magic” bet syllable in the lyric better during the second stanza of the second verse. Here Swift goes up almost an octave on that one syllable, and as a result takes the emotional characteristic of that lyric, and the section as a whole, to the next level.

GRAPHICAL REPRESENTATION OF VOCAL MELODY PRESENT IN THE FIRST VERSE (listen to the section while you look at this):

Key: Red Diamond: Any note value longer in duration than an 8th note (including rests) Blue Diamond: 8th note Green Diamond: 16th note

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1st Stanza

2nd Stanza

Looking at the graphs above, you can see that Swift keeps the vocal melody pretty much uniform during both stanzas in the section. Both start off with a descending eighth note progression via A-G-G-F-F-D, before climbing back up to F, utilizing quarter notes to emphasize the lyrics full on in the first stanza and send me in the second stanza. Later in the section, both go through a C-G-A-A-G-F progression on the lyrics and I’m a house of and I kinda know that I.

A couple of primary differences between the stanzas include:

Stanza 1 kicks off with all eight notes up until we get to the phrase full on rainstorm. Stanza two starts with a brief phrase You’re the which is followed by a rest before proceeding with the eight note delivery through kind of reckless that should.

Stanza 1 ends with the lyric cards, which goes from G on “ca” up to A on “ards.” This nicely sets up the F – G# progression on You’re the which kicks off the second stanza. The second stanza ends on the lyric far, which goes from F on “fa” down to D on “r,” concluding the section before proceeding into the pre-chorus that follows.

GRAPHICAL REPRESENTATION OF VOCAL MELODY PRESENT IN THE SECOND VERSE (listen to the section while you look at this):

1st Stanza

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2nd Stanza

Looking at the graphs above, it’s easy to see that the vocal melody in the second verse has been changed up quite significantly from the melody that was defining the first verse. Note the following:

There’s basically nothing similar or repetitive between stanzas one and two.

Stanza one almost seems to be a “set-up” for the second stanza that follows – both lyrically and melodically.

For the most part, stanza two is delivered in a relatively monotone fashion, with the first two-thirds fluctuating between F and G.

The “magic” defining note in the section occurs on the first syllable of the lyric better. Up until “bet,” as mentioned above, it’s been a primarily monotonesq delivery. Then, out of nowhere, she jumps almost an octave, from F to E, putting great emphasis on the lyric better. As small as it is, it takes the section to a whole new level.

Pre-Chorus: 8.5/10 The pre-chorus in Sparks Fly provides a seamless lyrical and melodic transitional build from the verse to the chorus.

THE MUSIC: The backing music present in both pre-choruses is basically a continuation of the music that was defining the preceding verse sections with some subtle differences. In the first pre-chorus, some electric guitar was added to the mix, coupled with a subtly more intense drum beat. In the second pre-chorus, some overdriven electric guitar strums were added to the mix (panned left),

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THE LYRICS Here Swift is conveying her fear of committing and giving in to this guy, since she knows that he’s not any good for her. In the first pre-chorus, she’s afraid that he’ll see how much she wants him, and what would happen if he realized it (i.e. be careful what you wish for). In the second pre-chorus, she once again admits that he’s not any good for her, but now she’s really hoping that they connect.

A great point to take note of in each pre-chorus section is how the last phrase on each line perfectly sets up the lyrical theme of the chorus that follows:

Last line of the first pre-chorus: …What I was thinking of… DROP EVERYTHING NOW, MEEET ME IN THE POURING RAIN.

Last line of the second pre-chorus: …I really wish you would… DROP EVERYTHING NOW, MEEET ME IN THE POURING RAIN.

LYRICS AND CHORD PROGRESSIONS IN BOTH PRE-CHORUS SECTIONS

FIRST PRE-CHORUS B-flat – C And you stood there in front of me just F – C/E – Dm close enough to touch B-flat Close enough to hope you couldn’t see C What I was thinking of

IMAGERY BASED LYRICS & PHRASES IN THE FIRST PRE-CHORUS:

You stood there…close enough to touch

EMOTIONAL BASED LYRICS AND PHRASES IN THE FIRST PRE-CHORUS:

…couldn’t see what I was thinking of

SECOND PRE-CHORUS B-flat – C I’m on my guard for the rest of the world F – C/E – Dm

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But with you I know it’s no good B-flat And I could wait patiently but C I really wish you would…

IMAGERY BASED LYRICS & PHRASES IN THE SECOND PRE-CHORUS:

World

EMOTIONAL BASED LYRICS AND PHRASES IN THE SECOND PRE-CHORUS:

On my guard I know it’s no good Wait patiently Really wish you would

THE MELODY Overall, Swift’s vocal melody does a great job of building up the tension within the section, providing the perfect set up for the strong payoff that follows in the chorus. A few points to note:

As was the case with verses one and two, there isn’t a tremendous amount of repetition going on between pre-chorus one and two.

Even though both pre-choruses are different in nature from one another, notice that the first line in each pre-chorus section ends on D, and the second line in each section (the line preceding the chorus) ends on A. The vocal melody of the chorus that follows begins on G.

Take note of how Swift does an exceptional job in the phrasing of each line in each pre- chorus section, switching between eighth and quarter notes to provide certain words with increased emphasis.

GRAPHICAL REPRESENTATION OF VOCAL MELODY PRESENT IN THE FIRST PRE- CHORUS (listen to the section while you look at this):

Key: Red Diamond: Any note value longer in duration than an 8th note (including rests) Blue Diamond: 8th note Green Diamond: 16th note

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GRAPHICAL REPRESENTATION OF VOCAL MELODY PRESENT IN THE SECOND PRE- CHORUS (listen to the section while you look at this):

Chorus: 9/10 Here’s where we get to the crux of what makes Sparks Fly such a successful song. After building the tension and momentum throughout the verse and pre-chorus sections, Swift proclaims drop everything now, and then we’re instantly thrust into the powerful, ultra-infectious and memorable chorus that provides an exceptional payoff for the listener.

THE MUSIC Here the music takes a complete 180 from what was defining the preceding verse and pre-

12 / 28 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com chorus sections. Those sections were characterized by mid tempo, primarily acoustic based Country Pop. The second the Chorus hits, we’re slammed with mid/up tempo driving modern Pop/Rock/Country fusion characterized by intense drums, overdriven electric guitars, acoustic guitars, banjo, piano, organ and bass. As was the case with all of the other sections within the song, the music in the Chorus perfectly supports Swift’s vocal delivery and takes the song to the next level.

THE LYRICS Here’s where we get to what the story had been building toward during the verse and pre- chorus sections. Lyrically, you pretty much knew that despite all of her reservations that all she really wants is to be with this guy. Overall, the section makes great use of both emotional and imagery filled lyrics to convey the story (see below).

LYRICS & CHORD PROGRESSIONS PRESENT IN THE CHORUS

Section 1

Dm – B-flat Drop everything now. Meet me in the pouring rain F – C Kiss me on the sidewalk. take away the pain Dm – B-flat ’cause I see sparks fly F – C whenever you smile

Section 2

(C) – Dm – B-flat Get me with those green eyes, baby, as the lights go down F – C Give me something that’ll haunt me when you’re not around Dm – B-flat ’cause I see sparks fly F – C whenever you smile

IMAGERY BASED LYRICS & PHRASES IN THE CHORUS:

Pouring rain Sidewalk Sparks Green eyes Lights go down

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Smile (both imagery and emotional)

EMOTIONAL BASED LYRICS & PHRASES IN THE CHORUS:

Drop everything now Kiss me Take away the pain Smile (both imagery and emotional) Haunt me

THE MELODY It’s not a surprise, from a melodic standpoint, that the chorus in Sparks Fly is by far the most infectious and memorable segment of the song. It’s broken into two distinct sections, with the last stanza in each virtually identical in nature to one another.

GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE CHORUS (listen to the section while you look at this):

Key: Red Diamond: Any note value longer in duration than an 8th note (including rests) Blue Diamond: 8th note Green Diamond: 16th note

CHORUS SECTION 1

The first line in the first section of the chorus is broken into 4 phrases, with the first phrase ending on a drop to D, the next two ending on a drop to C, and the last ascending to A.

The second line in the section, and most important in the sense that this is where the title is

14 / 28 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com introduced, is broken into three distinct phrases. The first two are identical in nature from a melodic and phrasing standpoint, and with good reason. It’s what you really want people to remember:

I see Sparks Fly

The melodic progression of each phrase is F-G-A-F, and notice how the lyric “I” and “sparks” are extended over G and A even though they’re one syllable words.

The final (third) phrase on the line whenever you smile ascends from C (when) up to B-flat (you – plus note that it’s the highest pitch in the section) and ends on a A-F-A progression on syllable/lyrics “ou-smi-ile.

CHORUS SECTION 2

The first line in the second section of the chorus is broken into two phrases (as opposed to the four on the first line in the first section of the chorus). Notice that the second phrase encompasses a higher pitch than that of the first, giving the melody a more intense vibe.

The second line in the second section of the chorus is virtually identical in nature to the second line of the first section, except for the fact that near the end of the line the melody drops down further in pitch (B-A-F-A vs. B-A-E-D-F). Also note that the lyric “you” is spread out over three syllables in the second section as opposed to two as defined the first section. Additionally, the line ends on F, as opposed to ending on A in the first section.

Bridge: 9/10 Hitting after a brief 0:11 solo, the bridge section in Sparks Fly provides a great departure both lyrically and melodically from the rest of the song (like any good bridge should), and overall is

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THE MUSIC The first thing that you notice when the bridge hits is that the rhythm and nature of the music is COMPLETELY different from anything else in the song up until this point. Here we see quarter note overdriven guitar chord “strikes” used in conjunction with the drums that take the overall vibe much more in a pure rock direction than anything Country or Pop.

The second part of the section sees the music resuming more of a “chorus” oriented pace, and ultimately breaks down in the third part of the section where the music is defined primarily by acoustic guitar strums, bass, cymbal accentuations and piano. Overall, the music in the bridge not only provides a great departure from the rest of the song, but it’s three distinct vibes as described above do a fantastic job of adding additional depth and color to the overall framework of the song.

THE LYRICS Here we see the story taking an interesting twist where for the moment all of the reservations that she had about this guy are put aside, and now it’s all about the pleasure of being with him – making visual and physical contact. As with all the other sections in the song, Swift makes great use of both emotional and imagery based lyrics to paint the picture in the listeners head.

LYRICS & CHORD PROGRESSIONS PRESENT IN THE BRIDGE

Dm – B-flat – F – C I run my fingers through your hair and watch the lights go wild. Dm – B-flat – F – C Just keep on keeping your eyes on me, it’s just wrong enough to make it feel right. Dm – B-flat – F – C And Lead me up the staircase Won’t you whisper soft and slow? Dm – B-flat – F – C I’m captivated by you, baby, like a firework show.

IMAGERY BASED LYRICS & PHRASES IN THE BRIDGE:

Fingers Hair Lights Eyes Staircase Firework show Whisper soft and slow

EMOTIONAL BASED LYRICS & PHRASES IN THE BRIDGE:

Just wrong enough to make it feel right Captivated

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THE MELODY The vocal melody present in the bridge is pretty much just as strong and memorable as the chorus and broken into two distinct segments. One thing that both sections have in common is the use of ascending and descending phrasing throughout.

GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE BRIDGE (listen to the section while you look at this):

Key: Red Diamond: Any note value longer in duration than an 8th note (including rests) Blue Diamond: 8th note Green Diamond: 16th note

SECTION 1

The first line in the section is split into three phrases, each ascending and descending in pitch throughout. Notice that the vocal melody utilizes a primarily quarter note oriented delivery to jibe with what’s going on instrumentally within the section.

Note that the first two phrases on the first line are virtually identical in nature to one another, and the third starts out in the same manner but continues to ascend during the lyrics lights go wild until concluding on A.

The second line starts out in a similar manner as the first, but then goes off in another direction over the lyrics just wrong enough to make it feel right.

SECTION 2

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The first line in the second section of the bridge starts off in a similar manner as that of the first section, characterized by the ascending and descending melody throughout the section. The second line continues in the same vein, though is changed up a bit to reflect Swift’s more subtle natured vocal delivery (this is where the music “breaks down” into the acoustic guitar strums and piano as mentioned in the music section above).

Outro: 8.5/10 The outro in Sparks Fly is very effective on a couple of levels. First, it reverts back to the intro theme melody, and as a result it hammers home the “identity” and memorability factor of the song as discussed earlier in the report. Second, the title is repeated twice during the section, again furthering the memorability factor of the song. Overall, it does a great job of bringing the song full circle and to a powerful conclusion.

F – C When the sparks fly…

(C ) – Dm – B-flat Oh, baby, smile…

(B-flat) – F – C When the sparks fly…

Dm7

Waveform Back to Top

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Overall, with the exception of the intro and bridge sections, the levels within Sparks Fly are pushed to the max and immensely compressed for maximum sonic impact. I must say that I was a bit surprised to see that even the acoustic based verse and pre-chorus sections utilized so much compression, but if you want to get noticed these days, loud is the way to go. Too bad the dynamics usually suffer as a result!

Primary Instrumentation, Tone & Mix Back to Top

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Benchmark Analysis Back to Top

Compares the song being analyzed to all Pop songs that have entered the Billboard Pop top 10, Q1 through Q2-2011

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Even though Sparks Fly is a Country/Pop hybrid, it pays to take a look at how the song stacks up against current Pop hits (considering that it’s more Pop than Country in nature). The key elements present in the song are in-line with all year-to-date top 10 Pop hits EXCEPT:

The form is A-B-A-B-Solo-C-B as opposed to A-B-A-B-C-B.

Sparks Fly is 0:32 longer than the average hit Pop song.

The song contains a “proper” outro where a small majority of top 10 Pop hits don’t.

The tempo is a combination of mid and mid-up (verse and chorus) as opposed to being primarily mid-up.

Sparks Fly utilizes both acoustic and electric based instrumentation and primarily features guitar as opposed to a synth.

The song is sung by a female as opposed to a male (a small majority of top 10 Pop hits are sung by a male lead vocalist).

Sparks Fly contains a solo, where the vast majority of top 10 hit Pop songs don’t.

The lyrical theme is “love/relationship” based as opposed to “hooking up.”

Sparks Fly possesses a Pop/Rock sub-genre influence as opposed to Electro Pop/Dance.

Overall Assessment Back to Top

Structure: 9/10 Does the song flow in a cohesive manner? Overall, Sparks Fly is a very well structured song, with each section perfectly jibing and flowing seamlessly in and out of one another (even during the transitions into the more “jarring” chorus and bridge sections). Additionally, each section does a fantastic job of providing shifts in momentum and intensity levels that provide the listener with a very engaging listening experience.

Production: 8.5/10 How does the production stand up in maximizing the songs impact? Considering that Sparks Fly is a Country/Pop/Rock hybrid that leans more toward the Pop/Rock side, it makes sense that the production values provide the song with a modern Pop/Rock “gloss.” Yes, the song is immensely compressed for maximum sonic impact, but that’s the nature of production these days. You need to be loud in order to get heard. Sad but true. In regard to the mix, overall it’s very strong with each instrument coming through and working in perfect tandem with Swift’s vocals in creating the rich sonic texture that defines the song.

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Instrumentation/Tone: 9/10 Does the instrumentation and sound maximize the vibe of the song? Sparks Fly perfectly blends Country, Pop and Rock instrumentation and their associated tones in creating a very effective sonic landscape that crosses both genres. On one side, you have the acoustic guitars, piano, banjo (barely) and organ which lean more toward the Country end of the spectrum, and on the other side you have modern, overdriven guitars that give the song its power Pop/Rock vibe, most specifically in the intro, chorus, bridge and outro sections of the song.

Lyrics: 9/10 Are the lyrics strong, fresh and original? Do they serve the song and jibe with the vibe of the music? Throughout Sparks Fly, Swift takes universal Love/Relationship themed lyrics and conveys them with copious amounts of imagery and emotion that does a fantastic job of engaging the listener in the story. Each section builds upon each other quite well from a storytelling perspective (verse – pre-chorus – chorus), and the bridge does a great job of providing a lyrical departure from the rest of the song.

Vocal Delivery: 9/10 Does the tonality and phrasing of the vocals maximize the songs impact? Overall, Swift’s vocals are very strong throughout, and her use of emotion and unique phrasing does a fantastic job of accentuating the lyrical content of the song. Additionally, her unique vocal style enables her to land somewhere right between Pop and Country, further accentuating the crossover hit potential of the song.

Hit Factor Assessment Back to Top

Memorability: 9/10 How easy is it to remember this song after you hear it once? There are two facets within Sparks Fly that are exceptionally memorable in nature. The first, of course, is the ultra-infectious chorus. Swift’s vocal melody coupled with the nature of the music resonates in your head and is very difficult to shake once it’s in there. The second is the guitar melody line that defines the intro, transitional interlude between the first chorus and second verse and outro sections of the song. It’s simple, unique and memorable, and serves as a fantastic “identifier” for the song.

Originality: 9/10 Does this song have its own unique vibe when compared to other songs/artists in the genre? Even through Country/Pop/Rock hybrids are a dime a dozen these days, Taylor Swift still has her own unique vibe and sound amongst the pack (especially considering that she writes her own music), and as a result Sparks Fly comes across 100% “Taylor Swift” in nature.

Payoff: 9.5/10 Does the song provide the listener with a strong payoff (i.e. a hot chorus)? The chorus within Sparks Fly provides the listener with a tremendous payoff, both lyrically and sonically. From a lyrical standpoint, it gets to the crux of what Swift really wants deep down inside, despite all of the reservations she has for the male in the story. And, it achieves this through evocative lyrics

24 / 28 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com that use copious amounts of imagery. From a sonic perspective, it’s the explosion that comes after the tension that had been building in the primarily acoustic based verse and pre-chorus sections. Combined together, it’s exceptionally infectious and powerful.

Longevity: 10/10 (Artist), 7/10 (Overall Genre) Does this song have what it takes to stand the test of time? Will it become a staple of the artist’s repertoire? In regard to Taylor Swift’s current and future catalog of hits, Sparks Fly will no doubt stand out and be considered a highlight of her career, and will most likely be featured in her live performances for years to come. In regard to the Country and Pop genres, I really do think that Sparks Fly is strong enough both musically and lyrically where it will linger around for some time to come. The lyrics are universal in nature, it provides the listener with an exceptional payoff, and overall is just a very engaging song.

CONCLUSION: 9/10 Back to Top

Song Strengths:

Sparks Fly is exceptionally well crafted, perfectly fusing Country, Pop and Rock elements into a cross-genre hit that still sounds 100% Taylor Swift in nature.

The song is quite memorable, due in part to the exceptionally strong chorus and the guitar melody line “identifier” that defines the intro, transitional interlude, and outro.

The universal themed lyrics make great use of imagery and emotion that do a great job of engrossing the listener in the story.

All of the instrumentation used and their associated tones perfectly accentuate both the Country and modern Pop/Rock vibes within the song.

The listener is provided with an exceptionally strong payoff in the chorus.

Swift’s vocal performance is very strong, coming across both Country and Pop in nature, all the while bringing the lyrics to life.

Song Weaknesses:

Certain sections of the song get a bit wordy (most particularly in the second verse) and her phrasing gets a little “artsy” in nature. The result is that although these sections are entertaining, they aren’t as easy to remember as others.

Besides the chorus and intro/outro sections, there isn’t a lot of repetition between sections within the song. As a result, the memorabiltiy factor suffers a bit since the melody isn’t being reinforced more than once. Now, on the flip side, you can also say that this is a plus, since the song is provided with varied diversity throughout. It all

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comes down to what you deem more important, but one thing is for sure: The more memorable the better.

Why it’s a Hit Back to Top

There were a few primary factors that aided in making Sparks Fly a hit:

1. The Music & Engaging Storyline: As mentioned throughout this report, Sparks Fly is a very well crafted, infectious and memorable song that possesses a strong storyline with engaging lyrics that are universal in nature coupled with the utilization of copious amounts of emotion and imagery throughout. Together, they enabled the song to stand out amongst its peers, propelling it toward the top of the charts. 2. Cross-Genre Pollination: The blurred line that Taylor Swift created between Country and Pop enabled the song to cross over into both genres and resonate equally with both audiences. 3. Taylor Swift: With all of the success that Taylor Swift has had, and is still having, she’s still very much in the public eye, and the proof is in the pudding. Her fans can’t get enough of her, and her chart performance proves it.

Take Aways From Sparks Fly Back to Top

Universal themed lyrics are exceptionally important if you want to maximize the reach and accessibility of your song. That being said, make sure that you convey them in an interesting, unique and engaging manner, utilizing emotion and imagery so that you don’t come across as being just “one of the bunch.” Remember, you want to engage the listener and keep them engaged in the story. This is something that Taylor Swift pulled off exceptionally well in Sparks Fly.

When composing a genre “crossover” oriented song, make sure that you attain just the right balance between styles so that it hits both markets just right. This is something that Taylor Swift is a pro at. She found the perfect balance between Country and Pop, and as a result she’s been exceptionally successful in both.

The ample use of repetition is extremely important in fostering memorability. If some of the sections within your song aren’t exceptionally repetitive (such as the verse and pre- chorus sections within Sparks Fly), make sure that the most important sections of your song are (as with the chorus and intro/interlude/outro melody line in Sparks Fly).

Crafting your intro so that it serves as a unique “identifier” for your song is a great way to foster memorablility and get noticed. The melody that kicked off Sparks Fly not only achieved this in the intro, but it also turned up in the interlude between the chorus and second verse as well as in the outro. As a result, it took the memorability factor of the song to the next level.

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Providing your song with varying degrees of momentum and intesity is a great way to keep the listener engaged as well as giving your song increased depth and character. This is one of the factors that went into making Sparks Fly so effective and successful.

If you really want your chorus to “pop,” try incorporating the method that Taylor Swift used in transitioning from the pre-chorus to the chorus in Sparks Fly. She pulled the backing music, which provided for a brief lull in momentum, followed by her proclamation drop everything now, before slamming in with the ultra-powerful chorus. It wouldn’t have had nearly as much impact if she didn’t pull the backing music at that point.

Overall, Sparks Fly makes great use of momentum and intensity fluctuations throughout the song, providing the listener with a very engaging listening experience.

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.

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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.

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 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.

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