“Beautiful Things” features a highly engaging energy arrangement characterized by subtle and pronounced shifts across sections. These shifts, put into effect by changes in arrangement density, rhythms, instrument choices (such as soft acoustic piano versus overdriven electric guitar), and vocal attributes (ranging from high-register belted and soaring to lower-register soft and subdued), contribute to a dynamic listening experience while heightening the listener’s emotional connection with the lyrics.

Wave 1: Intro (I) – Verse 1 (A1)

Like many of today’s hits, “Beautiful Things’” brief intro features the lowest energy in the song. With a sparse, reverb-laden guitar part, it draws the listener in, sets the vibe, and leaves room for energy and arrangement growth in subsequent sections.

The first stanza of verse 1 maintains this arrangement, allowing Benson Boone’s heartfelt and passionate delivery of the lyrics to shine without distraction and raise the song’s energy in the process. Energy further escalates in the second stanza through the addition of drums, bass, and additional electric guitar, creating a denser, more forward-moving arrangement. However, in the last bars, a partial accompaniment pull S.I.A. (section impact accentuator) is implemented where the drums are pulled from the mix, and the guitar shifts to a sparser, strummed pattern. This decrease in density and forward motion serves to highlight key lyrics, signal the end of the intro-verse arrangement, and set the stage for the instrumentally diversified turnaround that follows.

Wave 2: Turnaround (T) – Vocal Break 1 (VB1)

Following the verse, the brief turnaround marks a pronounced shift in the instrumental arrangement at the start of “Wave 2.” Transitioning from the spacious, atmospheric accompaniment of the verse, it adopts a sparse, driving, overdriven rock-oriented electric guitar accompaniment, supporting Boone’s “oh, I hope I don’t lose you” decree. Despite being less dense than the bulk of the second stanza of verse 2, the eighth-note triplet guitar pattern provides heightened forward motion, while the overdrive adds energetic rock grit to the section.

This accompaniment continues into the first stanza of the chorus, supporting Boone’s direct delivery of the summative lyrics. As the section progresses, snare and additional guitar are introduced, gradually building drive and intensity, culminating in Boone’s shouted “these beautiful things that I’ve got.” Following this, a brief one-beat full accompaniment S.I.A., save for a sustained bass note, sets the stage for the super-heavy second stanza to arrive with maximum perceived impact.

Stanza 2 of the chorus sees a notable leap in energy with a full, driving rock accompaniment on beats 1 and 3, and Boone’s shouted “please, stay” on beats 2 and 4, leading to an emotional climax reminiscent of Nirvana’s 1993 hit, “Heart-Shaped Box.” The subsequent bar maintains the driving accompaniment alongside Boone’s plea, sustaining the energy before repeating the pattern.

Immediately after the chorus, the first two bars of the vocal break post-chorus further elevate the song’s energy and emotional impact through the driving rock accompaniment and layered, soaring, high-register vocal. However, this climax is short-lived as the arrangement breaks down to low-energy piano chords supporting Boone’s subdued “please don’t take” vocal in the concluding two bars. This variation provides heightened emotional dimension and serves as a launching point for the song to build again in “wave 3.”

Wave 3: Verse 2 (A2) – Outro (O)

Verse 2 initiates the song’s third energy “wave” with a steady, fully developed groove comprising of electric and acoustic guitars, piano, bass, and drums. Its energy surpasses that of verse 1 with a denser, more driving accompaniment, maintaining listener interest as the song progresses.

Towards the end of the section, instrumental hits in bar 6 heighten interest leading into a build in bars 7 and 8, similar to the one at the end of the first stanza of chorus 1. This engaging build transitions directly into the high-energy chorus payoff, bypassing its initial breakdown and effectively maintaining momentum.

Following one last energy-peaking vocal break post-chorus, a breakdown chorus gently brings the listener back down to the ground as the song concludes. With a sparse piano accompaniment and Boone’s summative vocal, this “wind down” technique provides emotional contrast against the intense pleading of preceding sections and leaves listeners longing for the super-intense payoff again, likely fostering repeat listens.

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