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1 Make Pop Music - Song Analysis


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3 Song: Shape of You
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5 Artist: Ed Sheeran
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7 Line By Line Breakdown:
8

9 Verse 1
10 Rhyme Melody Syllables Notes
11 The club isn't the best place to find a lover so the bar is where I go A A 19 The verse is super wordy, almost like a rap. The lines are all long
12 continuing lines that are basically 2 standard lines meshed together.
13 Me and my friends at the table doing shots drinking fast and then we talk slow A B 19 They all have their own slightly different melody but they all
14 float around the same melodic region, just with slight variations.
15 Come over and start up a conversation with just me and trust me I'll give it a chance now B C 24 The vocals are providing a rhythm as well as a melody for the verses.
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17 Take my hand, stop, put Van the Man on the jukebox And then we start to dance, and now I'm singing like C D 24
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22

23 Prechorus
24 Rhyme Melody Syllables Notes
25 Girl, you know I want your love A A 7 The rhythm in the prechorus is very intentional. Notice how the
26 syllable count is perfectly balanced between part 1 and part 2 of this
27 Your love was handmade for somebody like me B B 11 prechorus. The verses of this song are very quick, bouncy, and wordy.
28 The prechorus acts as a resolve, loosening up with a more flowy, sexy
29 Come on now, follow my lead B C 7 rhythm. The melody goes down from the verse with the first line and
30 builds up throughout the prechorus and then back down for the last
31 I may be crazy, don't mind me B D 8 line of each part ("I may be crazy "and the final "come, come on now")
32 The melody makes a rise and a fall, think of it visually as a pyramid.
33 Say, boy, let's not talk too much A A 7
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35 Grab on my waist and put that body on me B B 11
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37 Come on now, follow my lead B C 7
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39 Come, come on now, follow my lead B C 8
40

41 Chorus
42 Rhyme Melody Syllables Notes
43 I'm in love with the shape of you A A 8 There are 2 parts to this chorus. There is the part A that goes all the way
44 until the "Oh-I" starts and then there is part B, when the "Oh-I" starts.
45 We push and pull like a magnet do A B 9 The melody stays really similar throughout the entire chorus with slight
46 variations at the end of phrases. Again, Ed pays major attention to the
47 Although my heart is falling too A A 8 rhythm and the syllable count stays consistent through part A and part B.
48 When the O-I comes in, it takes the place of the first 8 syllable lines in part A.
49 I'm in love with your body B 7 Notice how the final two lines of the entire chorus bring lyrical and melodic
50 resolve. They reinstate part A of the chorus and then the chorus concludes
51 And last night you were in my room A C 8 with "I'm in love with the shape of you", which is the beginning of the hook.
52 This chorus goes full circle in terms of melody and lyrical content.
53 And now my bedsheets smell like you A B 8
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55 Every day discovering something brand new A 11
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57 I'm in love with your body B 7
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59 OhIohIohIohI A 8
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A B C D E F
61 I'm in love with your body B B 7
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63 OhIohIohIohI A 8
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65 I'm in love with your body B B 7
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67 OhIohIohIohI A 8
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69 I'm in love with your body B B 7
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71 Every day discovering something brand new A 11
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73 I'm in love with the shape of you A 8
74

75 Verse 2
76 Rhyme Melody Syllables Notes
77 One week in A A 3 Throughout verse 2, the lines are split up into small phrases that flow into
78 larger phrases that work together. You could combine 3 lines that I have
79 We let the story begin A A 7 broken down into one normal size phrase. There is not a lot of repeated
80 melody in the verse because, like the first verse, this one relies on rhythm
81 We're going out on our first date B 8 and almost carries a rap vibe. Most of the verse is half-sang / half-talked
82 and then finished off with a little melody. Ed is using his verbose style and his
83 You and me are thrifty C 6 flow to fill the spaces in Shape of You. He is known for doing this in a lot
84 of his songs. He trades conventional melody in his verses for lyrical flow. He
85 so go all you can eat C 6 does something similar in his songs "Don't" and "You Need Me, I Don't Need You".
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87 Fill up your bag and I fill up a plate B 10
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89 We talk for hours and hours D 8
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91 about the sweet and the sour D 8
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93 And how your family is doing okay B 11
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95 Leave and get in a taxi E B 7
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97 then kiss in the backseat E B 6
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99 Tell the driver make the radio play, and I'm singing like B | extra phrase 10 | 5
100

101 Prechorus
102 Rhyme Melody Syllables Notes
103 Girl, you know I want your love A A 7 The rhythm in the prechorus is very intentional. Notice how the
104 syllable count is perfectly balanced between part 1 and part 2 of this
105 Your love was handmade for somebody like me B B 11 prechorus. The verses of this song are very quick, bouncy, and wordy.
106 The prechorus acts as a resolve, loosening up with a more flowy, sexy
107 Come on now, follow my lead B C 7 rhythm. The melody goes down from the verse with the first line and
108 builds up throughout the prechorus and then back down for the last
109 I may be crazy, don't mind me B D 8 line of each part ("I may be crazy "and the final "come, come on now")
110 The melody makes a rise and a fall, think of it visually as a pyramid.
111 Say, boy, let's not talk too much A A 7
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113 Grab on my waist and put that body on me B B 11
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115 Come on now, follow my lead B C 7
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117 Come, come on now, follow my lead B C 8
118

119 Chorus
120 Rhyme Melody Syllables Notes
A B C D E F
121 I'm in love with the shape of you A A 8 There are 2 parts to this chorus. There is the part A that goes all the way
122 until the "Oh-I" starts and then there is part B, when the "Oh-I" starts.
123 We push and pull like a magnet do A B 9 The melody stays really similar throughout the entire chorus with slight
124 variations at the end of phrases. Again, Ed pays major attention to the
125 Although my heart is falling too A A 8 rhythm and the syllable count stays consistent through part A and part B.
126 When the O-I comes in, it takes the place of the first 8 syllable lines in part A.
127 I'm in love with your body B 7 Notice how the final two lines of the entire chorus bring lyrical and melodic
128 resolve. They reinstate part A of the chorus and then the chorus concludes
129 And last night you were in my room A C 8 with "I'm in love with the shape of you", which is the beginning of the hook.
130 This chorus goes full circle in terms of melody and lyrical content.
131 And now my bedsheets smell like you A B 8
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133 Every day discovering something brand new A 11
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135 I'm in love with your body B 7
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137 OhIohIohIohI A 8
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139 I'm in love with your body B B 7
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141 OhIohIohIohI A 8
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143 I'm in love with your body B B 7
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145 OhIohIohIohI A 8
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147 I'm in love with your body B B 7
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149 Every day discovering something brand new A 11
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151 I'm in love with the shape of you A 8
152

153 Bridge
154 Rhyme Melody Syllables Notes
155 Come on, be my baby, come on A A 8 This bridge is very simple. It is just the same phrases repeated 8 times. The
156 melody shifts between an A/B version every line. You'll hear a SLIGHT melody
157 Come on, be my baby, come on A B 8 change between the first and second line and then it follows in that pattern
158 for the entire track. The bridge gets a lot of it's vibe from the harmonies that are
159 Come on, be my baby, come on A A 8 in it. The harmonies build as the bridge progresses. It builds up almost as a chant
160 before going into the final chorus. Ed does something similar in the bridge of
161 Come on, be my baby, come on A B 8 his song "Give Me Love". This chanty bridge builds tension up to the final chorus.
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163 Come on, be my baby, come on A A 8
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165 Come on, be my baby, come on A B 8
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167 Come on, be my baby, come on A A 8
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169 Come on, be my baby, come on A B 8
170

171 Chorus
172 Rhyme Melody Syllables Notes
173 I'm in love with the shape of you A A 8 There are 2 parts to this chorus. There is the part A that goes all the way
174 until the "Come on, be..." starts.
175 We push and pull like a magnet do A B 9 The melody stays really similar throughout the entire chorus with slight
176 variations at the end of phrases. Again, Ed pays major attention to the
177 Although my heart is falling too A A 8 rhythm and the syllable count stays consistent through part A and part B.
178 When the "Come on, be" comes in, it takes the place of the first 8 syllable lines in part A.
179 I'm in love with your body B 7 Notice how the final two lines of the entire chorus bring lyrical and melodic
180 resolve. They reinstate part A of the chorus and then the chorus concludes
A B C D E F
181 And last night you were in my room A C 8 with "I'm in love with the shape of you", which is the beginning of the hook.
182 This chorus goes full circle in terms of melody and lyrical content.
183 And now my bedsheets smell like you A B 8
184 The final chorus uses the bridge chant on the back side of part B instead of the "Oh-I"
185 Every day discovering something brand new A 11
186
187 I'm in love with your body B 7
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189 Come on, be my baby, come on C (Bridge Melody A) 8
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191 I'm in love with your body B B 7
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193 Come on, be my baby, come on C (Bridge Melody B) 8
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195 I'm in love with your body B B 7
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197 Come on, be my baby, come on C (Bridge Melody A) 8
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199 I'm in love with your body B B 7
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201 Every day discovering something brand new A 11
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203 I'm in love with the shape of you A 8
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208 Arrangement notes Length (bars) Notes
209
210 Intro 4 Repeats the same mallet percussion phrase twice, once alone, once with percussion
211 and guitar. The line repeats throughout the song as a theme/hook.
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213 Verse 1 8 Note how the vocals are pretty dry in the verse and have the call/response with the
214 hm-mm-mms.
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216 Prechorus 8 Reverb picks up slightly, main vocals doubled. Note how everything drops out right
217 before the chorus for additional impact.
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219 Chorus 16 Delay comes up. Vocals doubled in a different octave for excitement. The second half of
220 The chorus is the only place where there is an appreciable amount of bottom end so far,
221 which is entirely intentional. Pop music, after all, does revolve around the chorus so
222 make it exciting. And that mallet percussion hook is still there.
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224 Verse 2 8 Note how the energy drops fairly considerably for the verse after the chorus. This is
225 intentional to make the next chorus hit harder. The stop half way through the verse
226 keeps the listeners interest.
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228 Prechorus 8 The bass comes in for the prechorus this time, again keeping the listeners attention.
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230 Chorus 16 Theres a guitar melody in the chorus along with some string hits in the second half.
231 This is a classic technique to add new stuff in each chorus to move the energy
232 up as the song goes on.
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234 Bridge 8 The bridge is the first part where that mallet melody layers back and is also the first
235 part where the acoustic guitar is doing more than doing mutes. There are quite a few
236 layers of vocals here as well, and harmonies, which we havent heard before.
237 Once again, theres a dropout before the last chorus.
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239 Chorus/Outro 16 Similar to chorus 2, but with additional guitar, and some ad-libbed vocals. The mallet
240 hook is back. The verse chant is back as well. Classic tactic, add something from
241 earlier in the song as a reprise in the final chorus. Finishes with just vocals, no reverb
242 or delay at all.