god is a woman deconstructed...ariana grande’s god is a woman is the second single from her 2018...

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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.


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


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)


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


Melodic Structure Detail

Lines 1 & 2

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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



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.



• 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.




• 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. However, there are a few subtle variations of the part A melodies throughout the section, which

helps to prevent cookie-cutter redundancy.




• Grande’s range in verse 1 is relatively restrained and features a smaller number of melismas (runs)

compared to the chorus and outro “payoff” sections. This is important on two levels – it places increased

emphasis on the narrative, and it enables the more melodically vibrant chorus and outro sections to

further stand out and connect with the listener in comparison.

Pre-Chorus

Overview

The lead vocal melody in the pre-chorus is composed of three main melodic parts, three sub parts, and three

pitches (Db, Ab, and Bb). It spans one octave from Bb3 to Bb4 and features note values primarily of sixteenth

note triplets.


Pre-Chorus Melodic Direction

Verse 1 Melodic Direction Reference: At-a-Glance


Verse 2 Melodic Direction Reference: At-a-Glance

Pre-Chorus Melodic Part Structure: At-a-Glance



Lines 1 & 2

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Line 1

Part a: (Yeah)

Part b: And I can be all the things you told me not to be

Line 1 of the pre-chorus is composed of two melodic parts, A and B. With just three notes (Bb, Db and Ab), its

range spans a minor seventh. Part A consists of just one lyric, “Yeah,” which Grande slurs from a Db to a Bb.

This type of ad lib is commonly found in Hip Hop tracks, which actually accentuates its influence in a non-Hip

Hop song such as God Is A Woman.

Part B shifts the vocal melody into overdrive with a rapid-fire sixteenth note triplet rhythm across a mostly

monotone delivery on the fourth scale degree (Ab), save for a Bb pickup into the start of the phrase and a

short scoop up to a Bb at the end. This provides stringent contrast against the sections that both precede and

follow it, and begins to propel the listener toward the ensuing chorus with a a heightened sense of urgency.

Note that while part B is harmonized an octave below, it also features several more layers of Grande’s sung

and spoken vocals buried in the mix. This layering creates a lush vocal sound and adds sonic depth to the line,

allowing the vocal to take center stage against the minimal instrumentation behind it.

Line 2

Part a: (Yeah)

Part b: When you try to come for me, I keep on flour-ish-ing

Line 2 is a melodic carbon copy of line 1 that precedes it.

Lines 3 & 4

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Line 3

Part a: (Yeah)

Part b: And he see the u-ni-verse when I’m in com-pa-ny

Line 3 is a melodic carbon copy of lines 1 and 2 that precede it.

Line 4

Part c: It’s all in me

Line 4 is composed of melodic part C. It provides pronounced contrast compared to the lines that precede it,

save for the octave harmony, which remains in effect from the preceding lines and is even more pronounced

on the low end.

Consisting of just two notes, F and Eb, the simple melody is made interesting by the syncopation in the second

half of the measure. While the words “it’s” and “all” are both sung on downbeats, “in” comes in on the fourth

sixteenth note of beat three, followed by “me” on the second sixteenth note of beat 4. The last word “me” is

slurred down from F to Eb, providing contrast from the rest of the line and flowing smoothly into the chorus

that follows.

The contrast that line 4 imparts achieves the following:

• It engages the listener at a heightened level following three consecutive lines of the same melody. This

helps to heighten their attention as the song heads into the chorus.

• It helps call attention to what is arguably the key line of the section, “it’s all in me.”

Key Takeaways

• The pre-chorus possesses an AAAB main melodic part structure, which is the same structure used in both

stanzas of the first verse and the first stanza of the second verse. This heightens structural familiarity


within the song, while the differences in melodic shape and rhythm helps to keep things sounding fresh

and engaging.

• The first three lines of the pre-chorus share the same characteristics without variation. This, coupled with

each line’s melodic simplicity (largely residing on one note) and infectious sixteenth note triplet rhythm,

turns the pre-chorus into another hook-based section that effortlessly adheres to the K.I.S.S. principle.

• The faster rhythms used across the first three lines compared to the preceding verse sections propels the

listener toward the chorus with a heightened sense of urgency. However, things slow down during the

sparser and syncopated line 4, which serves to both emphasize the key lyrics and heighten engagement

via in-section contrast as the song heads into the ensuing chorus.

• In addition to the melodic differences, the harmony employed throughout the pre-chorus provides

engaging contrast against the verse and chorus sections that precede and follow (reference the Vocal

Production section of the report for details).

Chorus

Overview

The lead vocal melody in the Chorus is composed of three main melodic parts and four sub parts. It contains

six pitches (the Eb minor scale minus the sixth degree) that span an octave from Bb3 to Bb4 and features note

values primarily of eighth, sixteenth, and sixteenth note triplet notes.


Chorus Melodic Direction


Verse 1 Melodic Direction Reference

Verse 2 Melodic Direction Reference

Pre-Chorus Melodic Direction Reference


Chorus Melodic Part Structure

Choruses 1 & 2


Chorus 3



Lines 1 & 2

Line 1

Part a1: You

Part b1: You love it how I move you

Line 1 of the chorus is broken up into two parts – main melodic part A/sub-part a1, and main melodic part

B/sub-part b1. Sub-part a1 consists of just one word, “you,” which is slurred from an Ab4 to a Bb4 across a

sixteenth note and dotted eighth note. This strong “you” on beat one immediately grabs the listener and pulls

them into the chorus, which is especially effective at the beginning of the song (remember, God Is A

Woman kicks off with the chorus following a brief two-second intro).

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Sub-part b1 also starts on the word “you,” though this time it is treated as a sixteenth note pickup into beat

three. Beat two follows a 4-5-4-3 progression over four sixteenth notes, which is followed by two slurred

eighth notes on the lyric “move.” This creates contrast both in the delivery of the vocal (staccato versus

slurred) and the melodic shape (stepwise motion versus intervallic leaps). The slur on the word “move” also

cleverly jibes with the lyric, as the line moves freely along with the lyric “move,” giving it a sultry, sensual vibe.

Line 1 ends again on the word “you,” this time sung on the tonic on beat one of the next measure.

Another interesting characteristic to note is the rhythmic similarity between part B of this line and the

predominant verse melody. Both follow a sixteenth note to eighth note pattern which, though they are not

exact copies of each other, heightens familiarity between sections even as new elements are introduced.

Line 2

Part b2: You love it how I touch you

Part c1: My one

Line 2 consists of two parts, B/b2 and C/c1, and is composed of the same pitches as line 1 that precedes it.

Sub-part b2 follows a similar melodic shape as sub-part b1, aside from two prominent differences:

▪ The pickup note that starts off the phrase is an Eb in sub-part b2 instead of a Gb as in sub-part b1. The

slight variation prevents redundancy from line to line and helps the melody seamlessly flow from one line

to the next, as the last lyric of line 1 was also sung on an Eb.

▪ Grande adds a 3-4-3-1 progression vocal melisma on beat 3, which both shows off her vocal agility and

adds interest to the line, again differentiating it from sub-part b1 and breaking up the sixteenth note to

eighth note pattern seen in both the chorus and verses. Grande’s delivery of the run also accentuates the

lyric “touch” and gives it a suggestive connotation, adding to the song’s clearly sultry vibe.

Sub-part c1 closes out line 2. Note the similarity in rhythm and melodic direction between the last

lyric, “one,” and the first lyric of the chorus, “you.” This effectively bookends the first two lines of the section

and heightens familiarity in the process.


Lines 3 & 4

Line 3

Part c2: When all is said and done

Line 3 is composed of main melodic part C/sub-part c2. It follows a very similar melodic shape to the sub-part

c1 phrase just before it, though it adds embellishment via note repetition. Here, instead of following a basic 7-

1-2 progression, sub-part c2 goes 7-7-1-2-1-2. Though different, the similarity in note choice and progression

ties lines 2 and 3 together and heightens memorability of sub-part c2, which functions here as more of a lead

in to the title lyric coming up in line 4.

Line 4

Part d1: You’ll be-lieve God is a wo-man

Line 4 of the chorus is arguably the most important line in the song considering that it houses the title

hook, “you’ll believe God is a woman.”

The melody cascades downwards in a series of sixteenth notes and sixteenth note triplets, though the most

important lyrics (“You’ll,” “God” and “woman”) are held out on sustained notes, emphasizing their importance

in the chorus. Though the sixteenth note triplets add interest to the line, they function more as passing tones

embellishing the basic 4-3-2-1 melodic progression.




Lines 5 & 6

Line 5

Part a2: And I

Part b1: I feel it af-ter mid-night

Line 5 consists of main melodic part A/sub-part a2 and main melodic part B/sub-part b1. Sub-part a2 follows

the shape of sub-part a1 save for the added eighth note pickup leading into it. This pickup both prevents

redundancy between stanzas and functions as a segue between the end of line 4 and the start of line 5.

Sub-part b1 is a melodic carbon copy of its first stanza counterpart aside from the lyric changeup helping to

keep things fresh and engaging.

Line 6

Part b2: A feel-in’ that you can’t fight, my one

Part c1: My one

Line 6 is a carbon copy of its line 2 counterpart aside from the lyrical content and a subtle change in the

melisma on the lyric “can’t” (previously “touch” in the first stanza). Instead of starting the melisma with a Gb4

right on the downbeat of beat three, Grande takes a very short pause before singing “can’t”, treating the Gb

as more of a grace note leading into the second sixteenth note of beat three. This allows the music to breathe

and prevents redundancy between similar melodies stanza to stanza.




Lines 7 & 8

Line 7

Part c2: It lin-gers when we’re done

Line 7 is composed of sub-part c2, which is the same melody as its stanza 1, line 3 counterpart.

Line 8

Part d2: You’ll be-lieve God is a wo-man

Line 8 is composed of sub-part d2. It features the same lyrics and melody as the title lyric in stanza 1 save for

one minor difference. At the very end of the line, Grande sings a short downward run following a 1-7-5 pattern

on the second syllable of the word “wo-man.” While minor, this prevents the cookie-cutter effect while

simultaneously not affecting memorability.

Key Takeaways

• Both stanzas feature the same AABC main melodic part structure, which heightens familiarity and

memorability. However, there are a few minor variations in the sub-structure, which prevents cross-

stanza redundancy.

• The slurred “You” on beat 1 of the section, which is followed by a dotted eighth rest, functions as an

effective calling card for both the section and the song as a whole. At the beginning of the song, it grabs


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the listener’s attention and pulls them in following the brief two-second intro. The contrast this imparts

following each pre-chorus achieves the same result for subsequent chorus sections.

• Compared to the verse and pre-chorus sections, the chorus has a larger range, makes greater use of

melismas (runs), and features a heightened degree of melodic variation. This enables the chorus to

further stand out compared to the other sections in the song and provides Grande the opportunity to

show off her stellar vocal chops.

• The first chorus foreshadows melodic qualities that are heard in other sections of the song, and reinforces

them in subsequent choruses. Among them are the procession from sixteenth notes to eighth notes in

lines 1, 2, 5 and 6 (a commonality shared with the part A melodies in the verse sections), the step-wise

alternation on lines 3 and 7 (a commonality shared with the part B melodies in the verse sections), and

the use of triplets (a commonality shared with verse 2 and the pre-chorus). Note that while these

qualities are not carbon copies of one another, they do impart familiarity throughout the song, allowing

each section to easily stick in the listener’s mind.

• The first two lines in each stanza feature an engaging blend of staccato and slurred rhythms along with

both step-wise motion and intervallic leaps. Together they create a highly dynamic and memorable flow.

• The God Is A Woman song title hook utilizes a downward cascading sixteenth note and sixteenth note

triplet delivery. This, coupled with the emphasis on the hook’s key lyrics, “You’ll,”

“God,” and “Woman” via sustained ascending slurs, allow the title hook to easily stand out and connect

with the listener. Note that though the sixteenth note triplets add interest to the line, they really function

more as passing tones embellishing the basic melodic progression: 4-3-2-1. Together, these characteristics

create an infectious roll-off-the-tongue melody that stands out in the scope of the song and easily gets

ingrained in the listener’s head.


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god is a woman deconstructed...ariana grande’s god is a woman is the second single from her 2018...

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