Written by Ariana Grande, Ilya, and Max Martin, “yes, and?” features a catchy, expertly crafted melodic arrangement that heightens interest, memorability and emotional impact as the song progresses along with showcasing Grande’s stellar vocal chops.

Verse 1
The first verse features the widest range in the song, spanning a low Bb3 to a mid-high Ab4. However, this wide range is mainly due to the engaging, harder-to-sing intervallic leap of a minor 7th at the beginning of lines 1-3. Taken out of the equation, each melody resides within an easier-to-sing diminished fifth.

Complimenting the section’s singability is its otherwise stepwise motion, small intervallic leaps, moderate phrase lengths, easy-to-follow melodic patterns, and easy-to-lock into rhythms. In addition, the repetitive AAAB main melodic structure allows the listener to easily connect with Grande’s first installment of the narrative while keeping things both interesting and memorable. The part A’s are all highly similar but not exact, while the part B melody provides engaging variation leading into the pre-chorus.

Pre-Chorus 1
The pre-chorus provides engaging contrast against the verse with its notably higher register, tighter range, and generally stagnant and ascending AABA melodic patterns. Along with notably heightening interest against the verse along with Ariana’s trademark background vocals, these melodic changeups also effectively support the shift in lyrics from problematic to inspirational, which bolsters the section’s, and the song’s, emotional impact.

The pre-chorus’ melodic qualities are also important from an artist standpoint. While more difficult for the average listener to sing comfortably, they effectively showcase Grande’s stellar vocal chops.

Chorus 1
The first chorus provides engaging contrast against the pre-chorus with its generally tight, mid-register focus and combination of short segments with sustained rhythms and longer segments with fast-paced rhythms. Along with being easier for the listener to sing along with, the directness of the repetitive melody along with Grande’s shift in vocal performance perfectly supports the call-to-action, empowerment-themed lyrical summation. However, to help keep things interesting as the section progresses, intervallic leaps of a third are implemented.

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