However, it’s also important to realise that the melodic repetitions/imitations are differentiated harmonically. The chorus ekes out the basic “love me like you do” idea with two first–syllable pre–echoes, and then introduces new “touch me.” lyrics for the third iteration of that two–bar unit. The prechorus extends the third iteration of its basic Eb–Bb–C–Ab–Bb riff further down the pentatonic scale. You don’t have to look too far to find other examples of such methods in this song.
While neither of these imitations are direct repeats, their relationship to the previous material remains crystal clear, so they reap most of the memorability benefits of repetitions, but without inducing tedium. First the melodic contour of “you’re the only thing I wanna touch” is shifted into a higher register for “never knew that it could mean so much”, and then “so much” is further imitated on its own - as shown in Diagram 2. That same material is more freely mutated (or ‘imitated’ in classical lingo) to generate the remainder of the verse. In other words, it’s only after three iterations of the opening C–Eb–Eb figure that the Db–Db–C–Bb extension is introduced, and it’s only after that whole two–bar phrase has been repeated that we get the additional Ab–C to reengage our attention.īut it’s not just straight repetition going on here. The beauty of this construction is that it maximises internal repetitions by revealing new material only where it really helps avoid monotony. You can derive the whole verse melody in ‘Love Me Like You Do’ by repeating and imitating sections from just one phrase (shaded in blue). In this case, the opening “you’re the on–” fragment is pre–echoed with different words (“you’re the cure, you’re the pain”), and then all but the final “–na touch” is further pre–echoed to create the opening line (“you’re the light, you’re the night, you’re the colour of my blood”) - as shown in diagram 1. The first trick is to extend a phrase by repeating just a section of it. A couple of ways around this apparent paradox are showcased neatly in this Ellie Goulding song, which effectively creates its entire first–verse melody out of the small phrase “you’re the only thing I wanna touch” (0:27–0:30).
#CLOSE TO ME ELLIE GOULDING THE CURE MASHUP PLUS#
On the plus side, the more you repeat a musical idea, the more you hammer it into the listener’s memory but on the minus side, such a tactic risks boring the listener into pressing Skip. One of the central difficulties of pop melody writing is that repetition is both a good and a bad thing.
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