Hit Songs Deconstructed Taylor

9/27/2019 Look What You Made Me Do Deconstructed
Taylor Swift
Look What You Made Me Do Deconstructed
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Look What You Made Me Do Deconstructed Pro

Look What You Made Me Do is the lead single from Taylor Swift’s 2017 album, Reputation. Panned by
some and heralded by others, the Swift/Antonoff-penned track (with additional credits to Right Said
Fred) marks a pronounced stylistic departure for Swift due to its darker, more scathing qualities than her
previous hits such as Shake It Off, Blank Space and Wildest Dreams. However, it is just as meticulously
well-crafted and chock-full of the “soap opera” intrigue that her audience has come to expect.
To date, Look What You Made Me Do has landed in the Top 10 on over 50 charts throughout the world,
peaking at #1 on over 20.
Love it or hate it, Look What You Made Me Do put Taylor Swift back in the limelight and heightened an‐
ticipation for the release of her forthcoming album, Reputation.
At a Glance
Artist: Taylor Swift
Song: Look What You Made Me Do
Songwriters: Taylor Swift, Jack Antonoff, (Fred Fairbrass, Richard Fairbrass, Robert Manzoli – I’m Too
Sexy sample credit)
Producers: Jack Antonoff
Record Label: Big Machine, Republic
Primary Genre: Pop
Influences: Dance/Club, Electropop, Fantasy, Hip Hop/Rap, Retro 1980s and 1990s
Length: 3:30
Full Form: I – A – PC – B – A – PC – B – C – C – B – O
Key: A Minor
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Tempo: 128 BPM
First Chorus: 1:00 / 29% of the way into the song 
Intro Length: 0:15
Electronic vs. Acoustic Instrumentation: Acoustic/Electronic Combo
Prominent Instruments: Bass, drums/percussion, piano, strings, synths
Primary Lyrical Theme: Love/relationships, empowerment, biographical
Title Appearances: Look What You Made Me Do appears 20 times within the song
Primary Lyrical P.O.V: 1st, 2nd
Section Abbreviation Key
I=Intro
A=Verse
PC=Pre-Chorus
B=Chorus
C=Bridge
O=Outro
Music notation and lyric excerpts are reproduced here under Fair Use terms, for the purposes of com‐
mentary and criticism.
Overview, Highlights & Takeaways
Standout Factors & Connection Accentuators
Effective Prosody / Vibe Shifts
The vocals, lyrics and music all work in perfect tandem in creating certain vibes that maximize the im‐
pact of each section. The manner in which these vibes shift from section to section provide for a highly
engaging listening experience.
Vibes In-A-Nutshell 
Vibe 1: The orchestral instrumentation invokes an “enchanted fantasy” vibe.
Vibe 2: The lyrics, vocals and accompaniment in each of these sections save for bridge 1 possess
a dark, icy vibe. Bridge 1 features the orchestral instrumentation from the intro which provides an
“enchanted fantasy” vibe, while the lyrical content provides the fantasy with a dark spin.
Vibe 3: The empowering and threatening lyrics are delivered by Swift in both an excited and
threatening manner. The accompaniment is excited, driving and dark.
Vibe 4: The second stanza of verse 2 and bridge 2 possess this vibe. Both feature dark lyrics and
an uneasy, excited and tense accompaniment. Note that the unease is put into effect by the
“alarming” high-pitch synth. Swift’s delivery in verse 2 is more excited compared to bridge 2, which
is darker and more subdued.
Reference the lyrics, vocals and music/instruments sections of the report for further details.
Standout Influences
Fantasy
While Dance/Club, Electropop, Hip Hop/Rap and Retro are popular influences found in the Top 10 of
the Hot 100, Fantasy is not. Put into effect by the orchestral instrumentation, harmony, and melodies in
the intro and bridge 2, this influence helps Look What You Made Me Do to stand out and get noticed.
I’m Too Sexy
The chorus vocals are heavily inspired by Right Said Fred’s 1991 hit, I’m Too Sexy – so much so that
those writers were credited. While the similarities between them heightens familiarity, the fact that Look
What You Made Me Do utilizes this particular vocal influence sets it apart from all others that don’t.
Standout Instruments
The use of orchestral instrumentation in the Top 10 of the Hot 100 is quite rare – especially when defin‐
ing the sound of an entire section as is the case with Look What You Made Me Do (intro and bridge 2).
During the first three quarters of 2017, only 15% of songs featured a string section in their framework,
and none in the Fantasy style manner of Look What You Made Me Do.
Standout Vocals
Along with melodic shifts, the cross-sectional lead and background vocal delivery shifts throughout the
song successfully heighten its engagement value.
Standout Structure
Highly Effective Intro
The orchestral intro is highly effective on three key fronts:

9/27/2019 g y Look What
y You Made Me Do Deconstructed
It easily cuts through airwave clutter and grabs the listener’s attention, considering that orchestral
intros are exceptionally rare in the mainstream (Earned It by The Weeknd and Let It Go by Idina 
Menzel are two notable exceptions).
It creates intrigue right from the get-go. Considering that Look What You Made Me Do is the lead
single from Taylor Swift’s forthcoming album, Reputation, kicking off with a fantasy-inspired intro
piques curiosity as to what direction the song will take, and what the fantasy will be about.
The combination of the “enchanted fantasy” vibe established by the orchestration and the disso‐
nant ending cleverly establishes and sums up the overall premise of the song – the old, sweet,
“Pop princess” Taylor Swift is no more, and in her place is a new “smarter,” “harder” Taylor Swift
who is ready to do battle with her enemies.
Three Departure Sections
Most Top 10 charting hits feature one particular section that provides a pronounced musical, vocal
and/or lyrical departure relative to the other sections in the song. Look What You Made Me Do, howev‐
er, contains three:
Verse 2, Stanza 2 (“The world moves on another day, another drama, drama…”)
Bridge 1 (“I don’t trust nobody and nobody trusts me…”)
Bridge 2 (“I’m sorry, the old Taylor can’t come to the phone right now…”)
While all three of these sections possess unique qualities that set them apart from the others and
heighten engagement as a result, they possess familiar qualities as well, which enables them to easily
connect.
Standout Moments
Strategic accompaniment pulls and the use of effects at certain points throughout the song heightens
the impact of both sections and key lyrical statements:
Dynamic Impact
The accompaniment pull at the end of the following sections provides engaging dynamic contrast
against the section that directly follows:
Chorus 1 into verse 2
Verse 2, stanza 1 into stanza 2
Chorus 2 into bridge 1
Bridge 2 into chorus 3
Chorus 3 into outro (most of the accompaniment is pulled save for a brash synth effect, which pro‐
vides an engaging unexpected transitional moment)
Lyrical Impact
The impact of the following key lyrics is heightened either due to the accompaniment being pulled out
from under them or the implementation of effects:
from under them or the implementation of effects:
Verse 1 (“no I don’t like you”): The bass is removed from the mix, enabling the phrase to further
stand out. It’s directly followed by a “crack of a whip” sounding effect, which cleverly infers the pun‐ 
ishment that the protagonist wants to inflict on the antagonist.
Verse 2 – stanza 1 (“and threw a feast”): The accompaniment pull at the end of the first stanza en‐
ables this intriguing phrase to further stand out and connect with the listener. The impact of the
moment is effectively accentuated by the “what?!?” proclamation that directly follows.
Verse 2 – stanza 2 (“but you’ll all get yours”): The impact of this threatening statement is height‐
ened by the revving, growling downer effect that sounds in tandem with Swift’s vocal.
Pre-chorus (“I check it once, then I check it twice, oh!”): At the end of the section, a synth downer
effect is employed. This, coupled with the low-pitched/low-level electronic tom that enters in the
eighth measure effectively and cleverly provide the protagonist’s veiled threat with a heightened
degree of foreboding and impact.
Chorus (“look what you just made me do”): The full accompaniment is pulled at the end of the sec‐
tion, which enables the title lyrics to shine front and center.
Bridge 1 (“I’ll be the actress starrin’ in your bad dreams”): At the tail end of the section a synth
downer effect is employed that cleverly emphasizes the connotation of Swift’s “bad dreams”
proclamation.
Bridge 2 (“’Cause she’s dead”): The impact of the bridge 2 “punchline” is heightened by the addi‐
tion of the fuzz synth, which heightens tension. The accompaniment pull during the punchline en‐
ables it to connect and resonate with the listener at a heightened level, and the percussive
synth/strings/percussion hit that sounds in tandem with the shouted “oh!” vocal effectively punctu‐
ates this song-defining statement.
Outro (“look what you just made me do”): The full accompaniment is pulled at the end of the sec‐
tion, which enables the title lyrics to shine front and center at the conclusion of the song.
Standout Artistry
The “Soap Opera” Factor
One key quality that many Taylor Swift hits have in common is the “soap opera factor.” She references
events and scenarios that have been featured in the press that pertain to a certain person or persons
without naming names, resulting in a great deal of intrigue that engrosses the listener at a heightened
level. This is a core quality of Look What You Made Me Do. Cryptic references are made throughout,
which heightens speculation as to whom she is referring to. Is it Kanye? Kim? Katy? All of them? Re‐
gardless of who it is, the intrigue heightens the song’s visibility and ability to stand out and get noticed.
Pronounced Artistic Shift
Compared to previous Taylor Swift hits such as Shake It Off, Blank Space and Wildest Dreams, Look
What You Made Me Do is musically, vocally and lyrically darker. Swift’s new image contradicts what she
has been known for, and enables the song to further stand out as a result.
Swift Hit Commonalities
There are a couple of clever similarities between Look What You Made Me Do and other Taylor Swift
hits:
Spoken Moments

Look What You Made Me Do wasn’t the first Taylor Swift hit to feature an engaging spoken passage
(i.e. bridge 2: “the old Taylor can’t come to the phone right now. Why? ‘Cause she’s dead!”). Shake It
Off and We Are Never Ever Getting Back Together are two other notable hits that feature an engaging
spoken moment. Furthermore, the spoken moment in Look What You Made Me Do and Never both fea‐
ture a phone theme and an anticipation-laden pause that precedes the “punchline” in each (i.e. “’cause
she’s dead” and “like ever,” respectively).
Spoken Moment: Look What You Made Me Do
Taylor Swift - Look What You Made Me Do
Spoken Moment: We Are Never Ever Getting Back Together
Taylor Swift - We Are Never Ever Getting Back Together
Spoken Moment: Shake It Off


Taylor Swift - Shake It Off
Heartbeat Beat
The sub bass and kick pattern possesses a “heartbeat” quality that is reminiscent of Swift’s 2015 hit,
Wildest Dreams. The quality is most apparent in the first stanza of both verse sections due to the
sparseness of the arrangement.
Heartbeat: Look What You Made Me Do
Heartbeat Pattern: Wildest Dreams
T l S ift Wild tD
Taylor Swift - Wildest Dreams

Structure: Overview
Form: I / A – PC – B / A – PC – B / C – C – B – O
Look What You Made Me Do kicks off with the intro and is directly followed by a 2x verse – pre-chorus –
chorus sectional progression. Following the second chorus, a bridge 1 – bridge 2 – chorus – outro sec‐
tion progression ensues, bringing the song to a conclusion.
Song Length: Look What You Made Me Do is 3:30 in length. 30% of Hot 100 Top 10 hits landed in the
3:30 – 3:59 range in Q3-2017.
Section Length: Both verse sections and bridge 1 are the longest sections in the song, clocking in at
30 seconds / 16 bars in length. All the other sections are half that, landing at 15 seconds / 8 bars. Fur‐
thermore, the verse, chorus, bridge 1 and outro sections are split into two stanzas of equal length. The
intro, pre-chorus and bridge 2 are composed of one stanza, each.
Sectional Time Allocation: Of all the sections, the greatest amount of time is allocated to the verse,
which comprises 29% of Look What You Made Me Do’s total composition. Note that this is very atypical
in the Top 10 of the Hot 100, as most Pop songs allocate the most time to the chorus. The chorus fol‐
lows at 21%, bridge 1 at 14% (i.e. “I don’t trust nobody…”), and the intro, outro and bridge 2 comprise
7%, each. Additionally, 28% of the song is spent in “hook centers,” which consist of the chorus and out‐
ro. Note that the outro features material from the preceding chorus plus differentiated instrumentation.
First Chorus Appearance: Believer’s first chorus hits at 1:00 / 29% of the way into the song.
Energy & Dynamics: Overview
Look What You Made Me Do progresses through three energy level “waves.” Each wave begins with a
lower energy level compared to the section that precedes it, and concludes with an energy level peak.
Wave 1: Intro (I) – Chorus 1 (B-1)
Wave 2: Verse 2 (A 2) Chorus 2 (B 2)

Wave 2: Verse 2 (A-2) – Chorus 2 (B-2)
Wave 3: Bridge 1 (C-1) – Outro (O)


At-A-Glance: Energy & Dynamics – Section By Section
KEY
Wave: Indicates cross-sectional energy level flow from low to high
Sectional Progression: Sections that appear twice back-to-back on the graph denote the first half vs.
second half of a section (e.g. A-1, A-1)
S.I.A.: Section impact accentuator moment
Green Arrow: Indicates a section that gradually increases in energy
Genres & Influences: Overview
Look What You Made Me Do features a fusion of Dance/Club, Electropop, Fantasy, Hip Hop/Rap and
Retro 1980s and 1990s influences that shape its sound and vibe. The Electropop, Dance/Club, and
Retro influences are featured in every section of the song save for the intro and first bridge, where the
Fantasy vibe is in effect. The Hip Hop/Rap influence is featured exclusively in the second stanza of
verse 2, and is put into effect by Swift’s rapped/sung hybrid vocal style.
Narrative: Overview
Narrative
Look What You Made Me Do is a song about a protagonist (Taylor Swift) who has been wronged by un‐
specified antagonists, becomes empowered, hardened, and vows revenge. The lyrics as they pertain to
certain people and situations are cryptic and are subject to interpretation, which creates a heightened
degree of intrigue that further engrosses the listener in the narrative. Among the possible antagonists
are Kanye West, Kim Kardashian West and Katy Perry.
Narrative Flow: In-A-Nutshell
Verse 1: The first verse sets the scene – the protagonist was wronged by the antagonist and
doesn’t like them.
Pre-Chorus: The pre-chorus turns things around – the protagonist becomes empowered, perse‐
veres, and makes a veiled threat that there will be a consequence for the antagonist’s adversarial
behavior.
Chorus: The chorus provides the summation/payoff – the protagonist took some type of action in
response to the antagonist’s adversarial behavior, which is communicated by the song title “look
what you made me do.”
Verse 2: The first stanza provides additional examples of why the protagonist doesn’t like the an‐
tagonist, while the second stanza revolves around the premise of “what comes around goes
around.”
Bridge 1: The first bridge provides a lyrical twist by bringing mutual distrust into the equation as
well as expounding on the threat/revenge theme in a clever, fantasy themed manner.
Bridge 2: The second bridge recycles chorus lyrics and includes new, song-defining lyrics that
substantiate in a powerful manner what had been alluded to throughout the entire song – the “old”
Taylor Swift is no more.
Outro: The outro features the same lyrical content as the chorus sections.

Vocals: Overview
Vocal Production
Look What You Made Me Do features a host of different vocal delivery characteristics that take its im‐
pact to a heightened level. Among them are sung, rapped, spoken, shouted and hybrid deliveries, sin‐
gular and multi-tracked lead vocals, background vocals that both harmonize and appear independently
of the lead, and various types of effect processing. These characteristics change both within and across
sections, which provides for a very engaging listening experience.
Vocal Melody
The vocal melody in Look What You Made Me Do spans G#3 to C5. Each section features a highly
repetitive melodic structure, most of which are composed of just two melodic parts (verse 2 is the sole
exception due to the significantly changed up second stanza). The repetition ensures that each sec‐
tion’s melody gets ingrained in the listener’s head, while the slight variations in each prevent the melody
from becoming overly monotonous. Most of the song is rooted in the A natural minor scale, with the ex‐
ception of the second bridge which utilizes the A harmonic minor scale.
Furthermore, the melodic and delivery qualities of each section effectively jibe with and accentuate the
connotation of the lyrics. See the prosody highlights section above for details.
Sectional Melodic Part Structure: At-A-Glance
Note: Bridge 2 features recycled chorus vocals and newly introduced spoken vocals. It is not depicted
in the charts below. Reference the vocal melody section of the report for details.
Verse 1

Verse 2
Pre-Chorus
Chorus & Outro
Bridge 1
Sectional Melodic Flow: At-A-Glance
Full Song
*Note: Bridge 2 (C2) is not depicted in the graph as it recycles chorus vocals and features Swift’s spo‐
ken vocals
Verse 1
Verse 2
Pre-Chorus
Chorus & Outro
Bridge 1
Rhyme Schemes: Overview
Look What You Made Me Do features an effective combination of in-line and cross-line rhyme schemes
as well as repetitive lyrics to bolster the song’s memorability factor and engagement value.
KEY
A, B, C: Rhymes
Lyrics: The primary rhymer at the end of each line 
/: Divides the first stanza from the second where applicable
Verse 1: AAAB / CCCB (“games” – “stage” – “play” – “you” / “crime” – “lie” – “mine” – “you”)
Verse 2: AAAB / BBCC (“keys” – “me” – “sleep” – “feast” / “dra-ma” – “kar-ma” – “sure” – “yours”)
Pre-Chorus: AAAA (“time” – “time” – “un-der-lined” – “twice”)
Chorus & Outro: AAAA / AAAA (“do” – “do” – “do” – “ooh” / “do” – “do” – “do” – “do”)
Bridge 1: AAAA / AAAA (“me” – “dreams” – “me” – “dreams” / “me” – “dreams” – “me” – “dreams”)
Bridge 2: Chorus background vocals serve as the backdrop for Swift’s spoken dialog, none of
which rhyme.
Instrumentation & Arrangement: Overview
Instruments
Look What You Made Me Do features five primary instrument types in the mix that shape its sound and
vibe – bass, drums/percussion, piano, strings and synths.
Bass: Two different synth bass sounds are featured throughout the song – deep sub bass and
“nasal” fuzz bass.
Drums/Percussion (Acoustic and Electronic): A wide range of mostly electronic drums and per‐
cussion are utilized in Look What You Made Me Do. Among them are Kick, snare, tom, hi hat and
claps. Acoustic chimes are featured in the orchestral “fantasy” sections, and agago bells are uti‐
lized in the outro.
Piano: Acoustic piano plays sustained chords in the orchestral sections, and repetitive eighth note
chords in the pre-chorus and bridge 2.
p g
Strings: The orchestral sections of the song – intro and bridge 1 – feature a string section consist‐
ing of violins, violas, celli and basses playing both arco and pizzicato articulations. 
Synths: A wide assortment of synths are utilized throughout Look What You Made Me Do. They
play a variety of roles throughout the song, including melodic, harmonic and effects.
Harmony: Overview
Look What You Made Me Do utilizes two chord progressions. The first chord progression is introduced
in the intro and reoccurs in bridge 1. The second progression is utilized in both pre-choruses, bridge 2
and the outro. The verses and choruses do not contain any chords – they’re composed primarily of
drums and bass.
Intro & bridge 1 progression: Am – F – E7 (Am: i-VI-V7)
Pre-chorus, bridge 2 & outro progression: Am-C/G-F(/A)-E7(#5)-E7 (Am: i-III6/4-VI(6)-V7(#5)-V7)
Song Structure
Timeline
Sections
Look What You Made Me Do contains 11 sections in its framework:
One intro section
Two verse sections
Two pre-chorus sections
Three chorus sections
*Two bridge sections
**One outro section (post chorus)
*Songs containing two or more bridge sections in their framework are quite rare in the Top 10 of the Hot

100. During the first three quarters of 2017 there have only been four, with Side To Side being one of
the most notable (Nicki Minaj’s back-to-back bridge sections).
**A little over half of Swift’s Top 10 hits since 2013 feature a post chorus, which functions as an addi‐
tional “hook center” directly following a chorus. They include I Don’t Wanna Live Forever (Swift & Zayn),
I Knew You Were Trouble, Ready For It, Shake It Off and Style.
Form
Sections are arranged into the following form:
I / A – PC – B / A – PC – B / C – C – B – O
Look What You Made Me Do kicks off with the intro and is directly followed by a 2x verse – pre-chorus –
chorus sectional progression. Following the second chorus, a bridge 1 – bridge 2 – chorus – outro sec‐
tion progression ensues, bringing the song to a conclusion.
Two Bridge Sections
Look What You Made Me Do contains two back-to-back bridge sections in its framework, which is quite
rare in the Top 10 of the Hot 100. In addition to the accompaniment departure they provide, bridge 1
features the “I don’t trust nobody…” lyrical development, and bridge 2 features the “I’m sorry, the old
Taylor can’t come to the phone right now…” development. Reference the Story Flow & Meaning,
Music/Instrumentation and Vocal Melody sections of the report for details.
I / A – PC – B / A – PC – B / C – C – B – O
Post Chorus Section Classification
The outro is classified as a post chorus due to the infectious hooks it houses directly following the third
chorus. It includes the recycled vocal hooks from the chorus, and the recycled instrumental hook from
the second stanza of verse 2 and bridge 2. Reference the Music/Instrumentation and Vocal Melody
sections of the report for details.
Section Length
Time
Bars
Both verse sections and bridge 1 are the longest sections in the song, clocking in at 30 seconds / 16
bars in length. All the other sections are half that, landing at 15 seconds / 8 bars.
Furthermore, the verse, chorus, bridge 1 and outro sections are split into two stanzas of equal length.
The intro, pre-chorus and bridge 2 are composed of one stanza, each.
Total Section Breakdown
Of all the sections, the greatest amount of time is allocated to the verse, which comprises 29% of Look
What You Made Me Do’s total composition. Note that this is very atypical in the Top 10 of the Hot 100,

as most Pop songs allocate the most time to the chorus. The chorus follows at 21%, bridge 1 at 14%
(i.e. “I don’t trust nobody…”), and the intro, outro and bridge 2 comprise 7%, each.
Additionally, 28% of the song is spent in “hook centers,” which consist of the chorus and outro. Note
that the outro features material from the preceding chorus plus differentiated instrumentation.
Energy & Dynamics

Look What You Made Me Do progresses through three energy level “waves.” Each wave begins with a
lower energy level compared to the section that precedes it and concludes with an energy level peak.
KEY
Wave: Indicates cross-sectional energy level flow from low to high
Sectional Progression: Sections that appear twice back-to-back on the graph denote the first half vs.
second half of a section (e.g. A-1, A-1)
S.I.A.: Section impact accentuator moment
Green Arrow: Indicates a section that gradually increases in energy



Intro (I)
The intro begins with the lowest energy in the entire song due to the sparseness of the orchestral
arrangement. It increases as the section progresses, however, due to the filling out of the arrangement
coupled with the riser/downer effect employed at the tail end, which provides a heightened degree of
tension.
Verse 1 (A-1)
The energy level is kicked up in the first stanza of verse 1 due to the addition of Swift’s vocals coupled
with the pronounced accompaniment shift that takes place. The drums put the song into motion through
the establishment of the core groove, and the sub bass provides underlying power. The energy level in‐
creases further in the second stanza primarily due to the addition of the prominent, brash electronic
snare that sounds on beats 2 and 4 in each measure.
Pre-Chorus 1 (PC-1)
The energy level reaches its first apex in the pre-chorus. While it doesn’t possess the power of the pre‐
ceding verse due the omission of the kick, snare and sub bass, it possesses a heightened degree of
excitement and forward momentum that is put into effect by the driving clap and piano rhythms and
Swift’s more rapid delivery sung in a higher register. These qualities also provide the section with a
heightened degree of tension leading toward the payoff in the ensuing chorus.
Chorus 1 (B-1)
The energy level remains relatively constant in the chorus primarily due to the tradeoff between the
more driving but less powerful pre-chorus accompaniment and the more powerful kick, snare and sub
bass chorus accompaniment. Note that the kick and snare aspects of the accompaniment are the same
as the second stanza in verse 1, but the more driving quality of the vocals provides the section with a
heightened degree of momentum.
Cross-Section Impact Accentuator #1
All of the accompaniment elements are pulled during the entire last measure of the chorus, leaving
Swift’s lead vocals completely unaccompanied for most of the last two lines, “me do / Look what you 
just made me.” This creates a brief lull in energy that builds anticipation and allows for the ensuing
verse to hit with greater perceived impact due to the pronounced dynamic contrast between them.
Verse 2 (A-2)
The energy level is brought back down in the first stanza of the second verse, which marks the begin‐
ning of the song’s second energy level wave progression. The decrease is due to the reversion to the
core verse 1, stanza 1 accompaniment and lead vocal delivery characteristics. However, additional
background vocals have been added to the mix which provide a heightened degree of momentum, and
the newly interspersed hits and stabs provide brief bursts of intensity.
In-Section Impact Accentuator #1
All of the accompaniment elements are pulled during the entire last measure of the first stanza (part X)
save for a single kick. Similar to the cross-section impact accentuator used to transition from the first
chorus into the second verse, this accompaniment pull leaves the lead vocals completely unaccompa‐
nied for the end of the last line, “threw a feast (what?).” This creates a lull in energy that allows the sub‐
sequent stanza to hit with greater perceived impact.
Following the accompaniment pull at the end of the first stanza, the energy level is significantly thrust
up in the second stanza due to the reinstatement of the kick and snare groove coupled with new ele‐
t h l t i b l d hi h
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ments such as electronic cymbal and high-synth. Additionally, the pronounced vocal delivery shift pro‐
vides the second stanza with a heightened degree of momentum and excitement.

Pre-Chorus 2 (PC-2)
The energy is kicked up a notch over the preceding verse in the second pre-chorus, just as it was the
first time around in the song. However, note that pre-chorus 2 has a higher energy level compared to its
pre-chorus 1 counterpart due in part to the newly introduced prominent fuzz synth and additional
vocals.

Chorus 2 (B-2)
The energy level reaches a new apex in the second chorus. This is due in part to the additional instru‐
mentation – most notably the driving electronic hi-hat, and also Swift’s lead, which is now more prom‐
inent in the mix and effected with a greater degree of reverb.
Cross-Section Impact Accentuator #2
The end of chorus 2 features a very similar cross-section impact accentuator as its chorus 1 counter‐
part. The main difference is that instead of pulling all of the accompaniment during the last measure, a
single kick sounds at the onset of the lull, and a high-pitched, ascending radio/synth effect is heard at
the transition point into the ensuing bridge. This contrast provides the impact accentuator with a fresh
spin and prevents it from becoming overly redundant and predictable.
Bridge 1 (C-1)
Following the energy peak in chorus 2, the level significantly drops off in the first half of bridge 1 due to
the reversion to the sparse orchestral accompaniment that defines the beginning of the intro and Swift’s
more subdued vocal delivery. The energy is kicked up in the second half of the section as additional or‐
chestral and vocal elements enter the mix, which swell to a crescendo by the end of the section.
Bridge 2 (C-2)
The energy level increases in bridge 2 due to the utilization of the pre-chorus 2 accompaniment cou‐
pled with additional instrumental and vocal elements that provide a heightened degree of momentum,
power and tension.
In-Section/Cross-Section Impact Accentuator

At the end of the section the full accompaniment is pulled, which creates a lull that enables the lyrical
focal point of the section, “’cause she’s dead,” to connect and resonate with the listener at a heightened
level. It also provides engaging dynamic contrast against the chorus that directly follows. At the end of
the section a synth/string/percussion/fx hit sounds in tandem with the shouted “oh!” vocal, which pro‐
vides a sudden spike in energy that effectively punctuates the song-defining statement that precedes it.
Chorus 3 (B-3)
Following the accompaniment pull at the end of bridge 2, the energy is thrust back up to an apex in
chorus 2 and remains constant throughout the section.
Cross-Section Accentuator #3
The last cross-section impact accentuator in the song possesses similarities and differences with the
other cross-section impact accentuators. Like the others, it occurs during the last measure of the sec‐
tion and pulls most of the accompaniment. However, instead of leaving silence (or near silence) except
for the vocals, a brash synthesizer effect occupies the space. This creates an unexpected moment of
higher energy compared to the other lulls, yet still provides engaging contrast against the full accompa‐
niment that kicks in at the onset of the outro.
Outro (O)
The outro features the highest overall energy in the song. This is due to its utilization of the chorus 2
accompaniment coupled with additional synths and percussion. The energy drops off at the tail end of
the section once the accompaniment is pulled out from under Swift’s vocals, bringing the song to an
abrupt end.
Genres & Influences

Many of today’s hits feature a fusion of different genres, sub-genres and influences that helps to 
achieve the following:
Provide the song with a unique sound that enables it to stand out from its mainstream contempo‐
raries via interesting and at times unconventional pairings.
Increase the fan base and sales potential of the artist and song by traversing multiple genres.
Primary Influences
Look What You Made Me Do features a fusion of Dance/Club, Electropop, Fantasy, Hip Hop/Rap and
Retro 1980s and 1990s influences that shape its sound and vibe. The Electropop, Dance/Club, and
Retro influences are featured in every section of the song save for the intro and first bridge, where the
Fantasy vibe is in effect. The Hip Hop/Rap influence is featured exclusively in the second stanza of
verse 2.
Fantasy
The intro and bridge 1 possess a Fantasy-type vibe. It is put into effect by the orchestral accompani‐
ment in both sections, and augmented in the first bridge by the lyrics, “actress starrin’ in your bad
dreams.”
Electropop
The song’s Electropop influence is put into effect by the electronic instruments (drums/percussion,
synths) featured in each section of the song save for the orchestral intro and bridge 1.
Dance/Club
The Dance/Club influence is primarily put into effect by the rhythmic patterns featured in each section
save for the intro and bridge 1. Additionally, the timbre of the drums/perc, bass, synths and effects 
throughout the song possess a distinct club influence as well.
Retro 1980s and 1990s
The timbre of certain synths throughout the song as well as the influence of Right Said Fred’s I’m Too
Sexy vocals in the chorus provide the song with an underlying 1980s and 1990s Retro vibe. However,
the song as a whole comes across in a very “now” manner due to the more dynamic and brighter
production.
Hip Hop/Rap
The Hip Hop/Rap influence is featured in the second stanza of verse 2, and is put into effect by Swift’s
rapped/sung hybrid vocal delivery (reference the Vocal Production section of the report for details).
Past Taylor Swift Hits
There are a couple of notable similarities between Look What You Made Me Do and other Taylor Swift
hits:
Spoken Moments
Look What You Made Me Do wasn’t the first Taylor Swift hit to feature an engaging spoken passage
(i.e. bridge 2: “the old Taylor can’t come to the phone right now. Why? ‘Cause she’s dead!”). Shake It
Off and We Are Never Ever Getting Back Together are two other notable hits that feature an engaging

spoken moment. Furthermore, the spoken moment in Look What You Made Me Do and Never both fea‐
ture a phone theme and an anticipation-laden pause that precedes the “punchline” in each (i.e. “’cause
she’s dead” and “like ever,” respectively).
Taylor Swift - We Are Never Ever Getting Back Together
Spoken Moment: Shake It Off

Heartbeat Beat
The sub bass and kick pattern possesses a “heartbeat” quality that is reminiscent of Swift’s 2015 hit,
Wildest Dreams. The quality is most apparent in the first stanza of both verse sections due to the
sparseness of the arrangement.
Heartbeat: Look What You Made Me Do
Heartbeat Pattern: Wildest Dreams
Taylor Swift - Wildest Dreams
Primary Instruments
Look What You Made Me Do features five primary instrument types in the mix that shape its sound and
vibe – bass, drums/percussion, piano, strings and synths.
*Click image to enlarge
Strings
Arco Strings
Legato, bowed acoustic strings are used in the intro and bridge 1. In both instances the violins enter
first, followed by other sections (violas, celli and basses). They help to impart the “fantasy” vibe that de‐
fines the intro and first bridge.
Pizzicato Strings

Plucked violins are utilized along with the legato strings in some parts of the intro and first bridge. They
provide additional melodic interest and augment the “fantasy” vibe of those sections.
Drums/Percussion
A wide range of drums and percussion are utilized in Look What You Made Me Do.
Chimes (Acoustic)
Acoustic chimes are heard in the intro and first bridge. They help to impart the “fantasy” vibe in those
sections.
Kick (Electronic)
A synth-derived electronic kick is used in both verses, all three choruses, and the outro. Its timbre helps
to impart the electro vibe of the song.
Snares (Electronic)
Snare 1 & 2
These snares are derived from the same sample, but snare 1 is heavily processed with a low-pass filter
and much lower in the mix than snare 2. Snare 1 is only used in the first half (part X) of both verses,
while snare 2 appears in the second half (part Y) of both verses, all choruses, and the outro.
Snare 3
A high-pitched, staccato electronic snare plays fills in the second stanza of verse 2.
Snare 4
This snare plays steady sixteenth notes at the end of pre-chorus 2.
Tom (Electronic)
A low-pitched synth tom is used at the transition point into the first chorus.
Hi-Hat (Electronic)
An electronic hi-hat playing steady sixteenth notes gives a boost of momentum and energy to choruses
2 and 3 and the outro.
Cymbal (Electronic)
An electronic cymbal with a timbre similar to a tambourine plays steady eighth notes in the second stan‐
za (part Y) of verse 2 It provides the section with an additional boost of momentum as well as engaging
za (part Y) of verse 2. It provides the section with an additional boost of momentum as well as engaging
verse-to-verse contrast.

Agogo Bells
Agogo bells, while very subtle in the mix, provide the outro with additional color relative to the other
sections in the song.
Claps (Electronic)
Clap 1
Clap 1 possesses an electronic “crack of a whip” type quality and is featured solely in the second stan‐
za (part Y) of the first verse.
Clap 2
Clap 2 plays steady eighth notes in both pre-choruses and bridge 2. It provides these sections with a
heightened degree of momentum and tension leading into the chorus that directly follows.
Drums and Percussion
Verse 1 & Verse 2 (Part X)
Verse 2 (Part Y)
Chorus 1
Chorus 2 & 3
Guitar
Electric Guitar
Only a single pluck of electric guitar is used in the song at the very beginning of the intro, panned slight‐
ly right.
Piano
Acoustic Piano
Acoustic piano, along with the acoustic strings, contrasts the prominent electronic elements in the song.
In the intro and bridge 1 it plays sustained chords along with the orchestral elements. In the pre-chorus‐
es and bridge 2 it plays repetitive eighth note chords, which provide increased forward momentum
along with the claps.
Piano
Intro & Bridge 1
Pre-Chorus & Outro
Bass
Two different bass sounds play important roles throughout Look What You Made Me Do.
Sub Bass
A deep, sub bass is utilized in the verse, chorus and outro sections. Its characteristics are changed up
slightly throughout the song, ranging from sustained drones to ebbing and flowing and pitch modulated.
The droning sub bass is used in in the first stanza (part X) of verses 1 & 2, and both parts of each cho‐
rus. The pitch-modulated sub bass is used in the second stanza (part Y) of verse 1, both parts of verse
2, chorus 3 and the outro. See the section-by-section breakdown for details.
Synth Bass Fuzz – Pre-chorus
A slightly nasal, fuzzy synth bass plays sustained notes in both pre-choruses. Its timbre contrasts that
of the sub bass (which is softer) helping to provide the pre-choruses with a different character relative to
the verses and choruses that surround them.
Synth Bass Fuzz - Chorus
This is essentially the same bass patch as synth bass fuzz, but effected with chorus to give it a wider
stereo image in the mix. It’s heard in tandem with synth bass fuzz in pre-chorus 2, and briefly in chorus‐
es 2, 3 and the outro.
Synths
A wide assortment of synths are utilized throughout Look What You Made Me Do. They play a variety of
roles throughout the song, including melodic, harmonic and effects.
Synth – Alarming High Hook
A wobbly, soft, high-pitched synth is featured in the second stanza (part Y) of verse 2, bridge 2, and the
outro. It plays a repetitive, “alarming” pattern that functions as a subtle hook, and provides these sec‐
tions with an uneasy vibe.
Synth - Riser
A synth riser with a string-like timbre is used as a transitional element at the end of the intro and bridge
1. A brief sample of the riser is used at the end of bridge 2. 
Synth - Downer
A descending bend synth downer is used as a transitional element at the end of pre-choruses 1 & 2
and bridge 1.
Synth - Arp
A dark, low, synth arpeggio, reminiscent of helicopter blades spinning, is heard during bridge 2. It pro‐
vides the section with additional texture and a heightened degree of tension.
Synth - Fuzzy
Sustained, low, somewhat nasal synth. Is featured in verse 2, pre-chorus 2, bridge 2, chorus 3 and the
outro.
Synth - FX
An assortment of synth effects are featured throughout the song, ranging from pitch modulated vowel
sounds to various hits, blips and computer-sounding sound bites. They are generally used at transition
points to punctuate the end of phrases or to help segue into the next section. They provide the sections
in which they’re featured with an unusual-sounding, modern edge.
Synth - Keys
An electric piano-like synth can be heard playing a descending melody in the intro and bridge 1. It adds
to the “fantasy” vibe of those sections.
Synth - Pad
A high, smooth, simple synth pad is heard in the second stanza (part Y) of bridge 2. It pans left to right.
Synth – Orchestra Hit
This brief, bright, percussive hit can be heard at the onset and five bars into verse 2
Synth - Saxophones
Droning low tones from synth saxophones are heard during bridge 2.
Music & Instruments: Section By Section
Intro (0:00 – 0:15)


Primary Instruments Featured In The Mix
Strings (Arco): (Sustained strings, more and more enter as section progresses – Level: Mid)
Strings (Pizz): (Plucked high strings – Level: Mid-low)
Chimes: (Acoustic, whimsical chimes – Level: Low)
Electric Guitar: (Clean, picked guitar at onset of section– Level: Mid-low)
Acoustic Piano: (Sustained chords – Level: Mid-low)
Synth – Riser: (Cinematic, string-sounding riser at end of section – Level: Mid)
Synth – Downer: (Cinematic, string-sounding downer at end of section – Level: Mid)
Synth – Keys: (Stepwise descending melody – Level: Low)
Chord Progression: Am-F-E7 (Am: i-VI-V7)
Characteristics
The intro is the only section in the song that is fully instrumental and is one of only two sections that
features primarily orchestral instrumentation. The sustained arco strings, the pizzicato strings, chimes
and acoustic piano impart the section with an “enchanted fantasy” vibe, which achieves the following:
It enables the intro to easily cut through airwave clutter and grab the listener’s attention, consider‐
ing that orchestral intros are exceptionally rare in the mainstream (Earned It by The Weeknd and
Let It Go by Idina Menzel are two notable exceptions).
It creates intrigue right off the bat. Considering that Look What You Made Me Do is the lead single
from Taylor Swift’s forthcoming album, Reputation, kicking off with a fantasy-inspired intro piques
curiosity as to what direction the song will take, and what the fantasy will be about.
At the end of the section, an engaging development takes place where riser and downer effects,
panned left and right, respectively, are employed simultaneously. This achieves the following:
The dissonance between them cleverly infers that the “enchantment” aspect of the fantasy is over.
The vibe shift sets the tone for the dark verse that follows.
Together, the “enchanted fantasy” aspect of the intro coupled with the dissonant ending cleverly estab‐
lishes and sums up the overall premise of the song – the old, sweet, “Pop princess” Taylor Swift is no
more, and in her place is a new “smarter,” “harder” Taylor Swift who is ready to do battle with her
enemies.
Transition Point (Intro to Verse 1): Turns on a dime following the riser and downer effects featured at
the end of the intro.
Verse 1 (0:15 – 0:45)


Part X (0:15 – 0:30)
**Kick (Electronic): (Synth-based kick – Level: Mid)
**Snare 1 (Electronic): (Synth-based, heavily processed with a low-pass filter – Level: Low)
**Clap 1 (Electronic): (Synth-based, swell then clap at end of part X and halfway through part Y –
Level: Mid-high)
**Sub Bass: (Droning – Level: Mid)
**Synth – FX: (Low sweep FX – Level: Low)
Part Y (0:30 – 0:45)
Same as Part X, minus synth FX and snare 1, with the following additions/changes:
**Snare 2 (Electronic): (Synth-based, same as snare 1 without low-pass filter, varying decay
lengths – Level: Mid)
*Sub Bass: (Pitch modulated – Level: Mid)
*Indicates a new or significantly changed up instrument in the mix compared to the preceding section
**Indicates the first appearance of an instrument in the mix
Chord Progression: None
Characteristics
Following the riser/downer effect employed at the end of the intro, which signals the end of the “en‐
chanted fantasy,” the first verse provides a complete shift in regard to vibe and arrangement. The or‐
chestral instrumentation from the intro is omitted, and in its place, electronic drums, percussion, sub
bass and effects play the defining role. Together they impart a darker, icy, sterile, minimalist-type vibe,
which jibes with the dark essence of the lyrics.
Stanza 1 (Part X)
The first stanza (part X) features the following characteristics:
The synth-based kick and low-level, filtered electronic snare lock the listener into the groove,
which remains constant throughout the section. Note that its timbre and pattern create a “heart‐
beat” quality, which creates a sense of tension and cleverly harkens back to another Taylor Swift
hit – Wildest Dreams – which also features a “heartbeat” influenced rhythm.
The sub bass possesses a droning quality that both fills out the bottom end and provides the sec‐
tion with a heightened sense of unease and tension.
Toward the end of the sixth bar of the section a low sweep effect is employed and is followed by
the sub bass being removed from the mix for the remaining two bars of the stanza. Its omission
both enables the lyrical focal point of the line, “of the fool – no I don’t like you” to stand out and
connect at a greater level, and provides in-section contrast against the fuller arrangement that fol‐
lows in the second stanza (part Y) which heightens engagement
lows in the second stanza (part Y), which heightens engagement.
At the end of the stanza, reversed clap and clap samples are used to portray a “crack of a whip”

effect. This both marks the transition point into the second stanza and cleverly infers the punish‐
ment that the protagonist wants to inflict on the antagonist.
Stanza 2 (Part Y)
The second stanza possesses both commonalities and differences with part X that precedes it:
Commonalities
The synth-based kick remains in effect, which keeps the listener locked in the core groove.
The “crack of a whip” clap effect returns toward the end of the twelfth measure of the section, al‐
beit in a differentiated manner (see below).
The sub bass remains in effect, but its pattern and timbre have been changed up (see below).
Differences
The low-level snare is omitted from the mix and is replaced by a bright, brash, prominent electron‐
ic snare sounding on beats 2 and 4 of each measure. Its addition provides the stanza with a
heightened degree of texture, drive, and energy. Note that the length of its decay varies throughout
the section. It’s longer on beat 2 in the odd- numbered bars, and is shorter, cutting off abruptly in
the even numbered bars. While the effect is subtle, it is noticeable due to the sparseness of the
arrangement and enhances the sonic landscape as a result.
The timbre and pattern of the sub bass differs from the first stanza. In contrast to the sustained
drone that defines the first stanza, the pattern here ebbs and flows and is modulated to make the
pitch go up and down. It only appears in the ninth, 11th and 13th measures of the section. Note
that its duration slightly increases with each subsequent iteration. Additionally, the sub bass in the
ninth and 13th measures feature a drop in pitch, while the 11th measure of the section features a
morphing ascending/descending pitch. These pitch variations provide increased color as well as a
dark, uneasy type of vibe.
The “crack of the whip” clap effect returns in the twelfth measure featuring a double clap as op‐
posed to a single as featured at the end of the sixth bar.
Transition Point (Verse 1 into Pre-Chorus 1): A background “uh” vocal sounds on the last beat of the
section, signaling the transition into the pre-chorus.
Pre-Chorus 1 (0:45– 1:00)
**Tom (Electronic): (Synth-based, low pitch, enters at end of section – Level: Low)
**Clap 2 (Electronic): (808-style clap, steady quarter notes – Level: Mid)
*Acoustic Piano: (Steady eighth note chords – Level: Mid-low)
**Synth Bass Fuzz: (Low, sustained, fuzzy synth – Level: Mid)
*Synth – Downer: (Occurs at end of section – Level: Mid)

*Indicates a new or significantly changed up instrument in the mix compared to the preceding section 
Chord Progression: Am-C/G-F-E7#5-E7 (Am: i-III6/4-VI-V7#5-V7)
Characteristics
The pre-chorus follows suit with the preceding verse in providing a complete overhaul of the vibe and
accompaniment relative to the section that directly precedes it. All of the instrumentation and patterns
from the preceding verse are done away with, and in their place, the following occurs:
Electronic claps playing steady quarter notes function as the sole percussion instrument through‐
out the majority of the section.
Acoustic piano plays steady eighth note chords.
A “fuzzy” synth bass plays low, sustained notes that follow the chord progression.
Along with Swift’s more animated vocals, the overhauled accompaniment achieves the following:
It provides the pre-chorus with a heightened degree of excitement and forward momentum that
propels the listener toward the payoff in the ensuing chorus.
It effectively jibes with and accentuates the impact of the empowerment and veiled threat-themed
lyrics.
An engaging development takes place toward the end of the section. In the seventh bar a bright, organ-
sounding synth downer effect is employed. This, coupled with the low-pitch/low-level electronic tom that
enters in the eighth measure serve as the backdrop for Swift’s “I check it once, then I check it twice,
oh!” vocal. Together, they effectively and cleverly provide the protagonist’s veiled threat with a height‐
ened degree of foreboding and impact.
Transition Point (Pre-Chorus 1 into Chorus 1): The downer effect in the seventh and eighth bars of
the section signals that the end of the section is near, followed by the “oh” proclamation at the transition
point into the chorus.
Chorus 1 (1:00 – 1:15)
Part X (1:00 – 1:07)
*Kick (Electronic): (Synth-based kick – Level: Mid)
*Snare 2 (Electronic): (Synth-based, same as snare 1 without low-pass filter, varying decay
*Clap 2 (Electronic): (808-style clap, single hit at end of first stanza – Level: Mid)
*Sub Bass: (Droning – Level: Mid)
Part Y (1:07 – 1:15) 
Same as Part X, minus the clap.
Characteristics
Like the other sections, the chorus provides a pronounced accompaniment shift relative to the section
that precedes it – in this case, the pre-chorus. It essentially reverts to the accompaniment that defines
the first verse, utilizing elements that are unique to each verse stanza as well as elements they have in
common:
Verse 1, both stanzas: Kick (timbre and rhythm)
Verse 1, stanza 2: Bright electronic snare (timbre and rhythm)
Verse 1, stanza 1: Buzzing synth bass. Note that the bass remains audible for only the first two
bars of each stanza before completely fading from the mix. Its omission for the balance provides
an even starker, minimalist quality that heightens engagement due to the in-section and cross-sec‐
tion contrast imparted.
Together, these characteristics achieve the following:
They lock the listener back into the core groove that was initially established in the first verse.
They provide the chorus with an icy, sterile vibe that along with Swift’s equally icy vocal delivery
jibes with and accentuates the payoff/summation title lyrics, “look what you made me do.”
In the last bar of the section, the full accompaniment is pulled out from under Swift’s “made me do /
Look what you just made me” vocals. This achieves the following:
It provides in-section contrast that heightens the engagement value of the section.
It enables the verse that follows to hit with increased impact once the accompaniment is reinstated
at the onset of the section.
Transition Point (Chorus 1 into Verse 2): Following the accompaniment pull at the end of the chorus,
the last lyric in the chorus, “do,” sounds in tandem with the kick, snare, bass and orchestra hit on the
first beat of the verse.
Verse 2 (1:15 – 1:45)
Part X (1:15 – 1:30)
Kick (Electronic): (Synth-based kick – Level: Mid)

*Snare 1 (Electronic): (Synth-based, heavily processed with a low-pass filter – Level: Low)

*Sub Bass: (Droning and pitch modulated – Level: Mid)
**Synth – Fuzzy: (Somewhat nasal, fuzzy sustained synth – Level: Mid)
*Synth – FX: (Various pitch-modulated synth FX– Level: Mid)
**Synth – Orch. Hit: (Single hit at onset of section and the fifth bar – Level: Mid)
Part Y (1:30 – 1:45)
Same as Part X with the following additions:
**Snare 3 (Electronic): (Synth-based, high pitched, plays fills – Level: Mid)
*Cymbal (Electronic): (Synth-based, steady eighth notes – Level: Mid)
*Clap 1 (Electronic): (Whip crack-sounding clap, sounds in the 2nd and 6th bars of part Y – Lev‐
el: Mid)
*Sub Bass: (Pitch modulated – Level: Mid)
**Synth – Alarming High Hook: (High synth hook – Level: Mid)
*Synth – FX: (Engine revving, growling-type effects – Level: Mid)
Characteristics
Verse 2 consists of two stanzas, both of which possess similar and differing qualities relative to one an‐
other, as well as their verse 1 counterparts.
Stanza 1 (Part X)
The first stanza begins with an orchestra, kick and bass hit, which kicks the section off in a powerful
manner following the accompaniment pull at the end of the preceding chorus. The balance of the stan‐
za features the core kick groove and sustained sub bass that is featured in the first stanza (part X) of
the first verse, which creates like-section familiarity. However, there are interspersed hits, stabs and
synth effects that aren’t featured in the first verse, which provide additional coloring and engaging like-
section contrast. Additionally, both the droning sub bass and pitch modulated sub bass are used in tan‐
dem in the first stanza (part X) only.
The stanza concludes in a similar manner as the first stanza in verse 1 with a thinning of the accompa‐
niment to just kick drum in the seventh measure, but then takes it one step further in the eighth mea‐
sure with a full accompaniment pull. This achieves two key things:
It enables one of the most intriguing phrases in the stanza “threw a feast ” to further stand out and
It enables one of the most intriguing phrases in the stanza, “threw a feast,” to further stand out and
connect with the listener.

It effectively brings stanza 1 to a conclusion and enables the highly differentiated stanza 2 to enter
with a heightened degree of impact.
In the last beat of the first stanza, a new high-pitched, “alarming” synth hook enters the mix in conjunc‐
tion with the ”what?” background vocal proclamation. Together they create a highly engaging moment
that leads the listener into the second stanza that follows.
Stanza 2 (Part Y)
The second stanza features the core kick/snare drum groove that defines both the preceding chorus
and the second stanza of verse 1, which results in cross and like-section familiarity. However, as is the
case with the first stanza, new elements are added to the mix such as the engine revving/growling
synth, the electronic cymbal that’s playing steady eighth notes, the “stuttered” snare and the “alarming”
high synth hook. These new elements achieve the following:
They provide engaging like-section, cross-section and cross-stanza contrast along with the pro‐
nounced vocal shift.
They provide a heightened degree of momentum, excitement and unease (especially the high-
synth) that jibes with and accentuates the “what comes around, goes around” essence of the
narrative.
In the last bar of the section, a revving, growling downer synth effect is heard. This both signals
the end of the section and cleverly accentuates the impact of the threating lyrics, “you’ll all get
yours.”
Transition Point (Verse 2 into Pre-Chorus 2): The downer synth coupled with the “uh” background
vocal marks the transition point into pre-chorus 2.
Pre-Chorus 2 (1:45–2:00)
**Snare 4 (Electronic): (Synth-based, low pitched, enters at end of section – Level: Mid)
*Clap 2 (Electronic): (808-style clap, steady quarter notes – Level: Mid)
*Acoustic Piano: (Steady eighth note chords– Level: Mid-low)
*Synth Bass Fuzz: (Low fuzzy synth – Level: Mid)
**Synth Bass Fuzz – FX: (Low fuzzy synth, chorus effect, wide in the stereo image – Level: Mid)
*Synth – Fuzzy: (Sustained, somewhat nasal synth – Level: Mid)
*Synth – Downer: (Synth effect at end of section – Level: Mid)

Chord Progression: Am-C/G-F-E7#5-E7 (Am: i-III6/4-VI-V7#5-V7)

Characteristics 
Pre-chorus 2 features the same core accompaniment as its pre-chorus 1 counterpart plus the addition
of a fuzz/chorus-effected synth. Its prominent level in the mix provides the section with a heightened de‐
gree of color, texture, and power compared to pre-chorus 1.
Toward the end of the section, a low-level synth effect is heard coupled with a snare crescendo playing
sixteenth notes. The snare, in particular, provides additional forward momentum and an excitement-
laden lead-in to the chorus that follows.
Following the snare fill, the accompaniment is briefly pulled in the last beat of the section, which pro‐
vides separation against the chorus that follows. Without this brief pull, the chorus wouldn’t hit with the
same degree of impact considering that both it and the pre-chorus feature a driving rhythm.
Transition Point (Pre-Chorus 2 into Chorus 2): See above.
Chorus 2 (2:00 – 2:15)
Part X (2:00 –2:07)
**Hi-Hat (Electronic): (Steady sixteenth notes – Level: Mid)
*Sub Bass: (Droning – Level: Mid)
*Synth Bass Fuzz – FX: (Low fuzzy synth, chorus effect, wide in the stereo image – Level: Mid)
*Synth – FX: (Assorted transitional synth effects – Level: Mid)
Part Y (2:07 – 2:15)
Same as Part X.
Characteristics
Chorus 2 features the same core accompaniment as its chorus 1 counterpart, which creates like-sec‐
tion familiarity. However, there are a few key differences to take note of, which prevent cookie-cutter
monotony and heighten engagement:
An electronic hi-hat playing a steady sixteenth note rhythm is introduced. This provides additional
color, texture and forward momentum compared to chorus 1. 
A fuzzy synth and vowel-sounding synth effect provide a brief burst of engaging color and serve to
mark the transition point into the second stanza.
In the seventh bar of the section, the kick pattern is changed up to a busier and more momentous
pattern. This provides engaging contrast against the accompaniment pull that follows in the eighth
measure of the section.
Transition Point (Chorus 2 to Bridge 1): In the last beat of the chorus a low/mid-level synth riser
serves to usher in bridge 1.
Bridge 1 (2:15 – 2:45)
Part X (2:15 – 2:30)
*Strings (Arco): (Sustained strings, more enter as section progresses – Level: Mid)
*Strings (Pizz): (Plucked high strings – Level: Mid-low)
*Chimes (Acoustic): (Acoustic, whimsical chimes – Level: Low)
*Acoustic Piano: (Sustained chords – Level: Mid-low)
*Synth – Keys: (Descending stepwise melody – Level: Low)
Part Y (2:30 – 2:45)
Same as Part X with the following additions:
*Synth – Riser: (A synth riser is used at the end of the section, just as in the intro – Level: Mid)
*Synth – Downer: (A synth downer is used at the end of the section just as in the pre-chorus –
Level: Mid)
Chord Progression: Am-F-E7 (Am: i-VI-V7) *additional E7#5 on the last measure
Characteristics
Chorus 2 into bridge 1 provides one of the most pronounced and engaging cross-section accompani‐
ment shifts in the song. In contrast to the preceding chorus, bridge 1 utilizes the orchestral accompani‐
ment that has not been heard since the intro. This results in the return of the “fantasy” vibe, which now
supports the equally fantasy-laden “I’ll be the actress starrin’ in your bad dreams” lyrics. However, note
that this time around the fantasy is dark due to the connotation of the lyrics.
The first stanza features a relatively sparse arrangement, consisting primarily of strings, chimes and
acoustic piano. The arrangement in the second stanza is filled out by additional sections of the string
orchestra entering. Along with the vocals, the full arrangement begins to crescendo and reaches a

grand apex at the end of the section.
At the tail end of the section, in the second half of the eighth bar of the section, a synth downer effect is
employed. This serves to both bring the section to a conclusion and cleverly emphasize the connotation
of Swift’s “bad dreams” proclamation.
Transition Point (Bridge 1 to Bridge 2): Turns on a dime following the synth downer effect.
Bridge 2 (2:45 – 3:00)
*Strings (Arco): (Sound at very end of section – Level: Mid)
*Snare 2 (Electronic): (Single hit at end of section – Level: Mid)
*Clap 2 (Electronic): (808-style clap, steady quarter notes – Level: Mid)
*Acoustic Piano: (Steady eighth note chords – Level: Mid-low)
*Syn. Bass Fuzz: (Low fuzzy synth – Level: Mid)
*Synth – Alarming High Hook: (High synth hook– Level: Mid)
*Synth – Riser: (Brief appearance at end of section – Level: Mid)
**Synth – Arp: (Helicopter-sounding synth arp – Level: Mid)
**Synth – Pad: (High synth pad, enters at end of section – Level: Mid)
**Synth – Saxophones: (Low, droning saxophones – Level: Mid)
Chord Progression: Am-C/G-F/A-E7 (Am: i-III6/4-VI6-V7)
Characteristics
Following the orchestral-influenced bridge 1, bridge 2 provides a pronounced and engaging cross-sec‐
tion shift by utilizing the core accompaniment that defines pre-chorus 2 (with the main difference being
that the fuzzy synth featured less prominently in the mix) along with additional instruments:
New element: Low, droning, synth saxophones panned primarily left provide additional texture and
a sense of heaviness.
New element: A “helicopter-esque” synth arpeggio provides additional texture and tension.
New element: Sustained strings enter in the fifth measure of the section, which provide a height‐
ened sense of drama.
Recycled element: The “alarming” high synth hook from the second stanza of verse 2 returns, pro‐
viding the section with a heightened state of unease.

These new and recycled elements, along with the processed chorus vocal backdrop, create a dark, ten‐
sion-laden vibe that serves as a highly effective accompaniment for what is arguably THE standout lyri‐
cal passage in the entire song:
I’m sorry, the old Taylor can’t come to the phone right now.
Why?
Oh, ’cause she’s dead! (oh!)
The impact of the “punchline” (i.e. “‘cause she’s dead”) is heightened by the following:
A fuzzy synth enters and swells in the seventh bar of the section. This takes the tension to a cli‐
max during the “why? oh” lyrical setup.
The full accompaniment is pulled in the eighth measure, which enables the focal point of the sec‐
tion, “’cause she’s dead,” to connect and resonate with the listener at a heightened level.
At the end of the section percussive synth/strings/percussion hit sounds in tandem with the shout‐
ed “oh!” vocal, which effectively punctuates this song-defining statement.
Transition Point (Bridge 2 to Chorus 3): See above.
Chorus 3 (3:00 – 3:15)
Part X (3:00 – 3:07)
*Snare 2 (Electronic): (Sounds on beats 2 and 4 in each bar, varying decay lengths – Level: Mid)
*Hi-Hat (Electronic): (Steady sixteenth notes – Level: Mid)
*Sub Bass: (Droning & pitch modulated – Level: Mid)
*Syn. Bass Fuzz – FX: (Low fuzzy synth effected with chorus – Level: Mid)
Part Y (3:07 – 3:15)
Same as Part X with the addition of:
*Synth – FX: (Assorted transitional synth FX – Level: Mid)
Characteristics

Chorus 3 utilizes the chorus 2 accompaniment coupled with the pitch-modulated sub bass that is fea‐
tured in the second stanza of verse 2. This provides like-section contrast and a heightened degree of
comparative energy. In the last bar of the section, a heavily distorted synth downer effect is heard,
which provides the transition into the ensuing outro.
Transition Point (Chorus 3 to Outro): See above.
Outro (3:15 – 3:30)
Part X (3:15 – 3:22)
Kick (Electronic): (Synth-based kick – Level: Mid)
Snare 2 (Electronic): (Sounds on beat two and four of every bar – Level: Mid)
Hi-Hat (Electronic): (Steady sixteenth notes – Level: Mid)
**Agogo Bells (Acoustic): (Subtle metallic percussion – Level: Low)
Sub Bass: (Droning & pitch modulated – Level: Mid)
Syn. Bass Fuzz – FX: (Low fuzzy synth effected with chorus – Level: Mid)
*Synth – Alarming High Hook: (High synth hook – Level: Mid)
Part Y (3:22 – 3:30)
Same as Part X.
Chord Progression: Am-C/G-F/A-E7 (Am: i-III6/4-VI6-V7)
Characteristics
The outro functions in the manner of a “grand finale,” utilizing new and recycled elements from multiple
sections to leave the listener on an excited high at the conclusion of the song. It features the core ac‐
companiment from the preceding chorus coupled with additional synths and percussion that help to
take the song’s energy level to a grand apex. It also features the “alarming” high synth hook from bridge
2 and the second stanza of verse 2.
Ending
In the second to last bar of the outro the pitch of the synth hook drops followed by the full accompani‐
In the second to last bar of the outro, the pitch of the synth hook drops, followed by the full accompani
ment being pulled in the last bar. This creates an abrupt and jarring moment that heightens the listen‐
er’s engagement as the fragmented song title line, “me do / Look what you just made me do” shines 
front and center and brings the song to its conclusion.
Harmonic Progressions
Chord Progressions
Look What You Made Me Do utilizes two chord progressions. The first chord progression is introduced
in the intro and reoccurs in bridge 1. The second progression is utilized in both pre-choruses, bridge 2
and the outro. It’s important to note that the verses and choruses do not contain any chords – they’re
composed primarily of drums and sub bass.
Harmonic Progression 1
Characteristics
The first chord progression is a four-bar cycle: Am – F – E7 (Am: i-VI-V7) and is used in the “fantasy”
sounding sections – the intro and bridge 1 and is played primarily by piano and strings. It begins with
two measures of A minor, the tonic chord, followed by one measure of F major, the chord of the sixth
scale degree. It concludes with a dominant seventh chord on the fifth scale degree, E, which creates
tension and momentum toward the next phrase.
Harmonic Progression 2
Characteristics
The second chord progression is an eight-bar phrase: Am-C/G-F(/A)-E7(#5)-E7 (Am: i-III6/4-VI(6)-

V7(#5)-V7) and is used in both pre-choruses, bridge 2 and the outro*. It is similar to the first chord pro‐ 
gression in that it begins on A minor, ends on E7, includes an F major chord, and is primarily delivered
by acoustic piano. However, it differs in the rate of the chord changes and the rhythm with which it’s
played.
It begins with two measures of A minor and followed by two measures of C/G, which is the major chord
of the third scale degree in second inversion. It then heads to F for two measures, the major chord of
the sixth scale degree, and concludes with one measure of E7#5* and one measure of E7.
*Special Notes:
The #5 in the seventh measure is shown in parenthesis in the notation because it is played by a
synth and not included in the piano notation, and only occurs in the pre-choruses, not bridge 2 or
the outro. A dominant chord with a raised fifth (which makes it an augmented chord) is rare in the
Top 10, and in pop music in general. However, there was another recent hit that used this chord
type – Stay by Zedd and Alessia Cara. Reference our Stay Deconstructed Report for details.
Bridge 2 and the outro use the F major chord in first inversion, making the progression Am-C/G-
F/A-E7 (Am: i-III6/4-VI6-V7).
Rhyme Schemes
Verse 1
Verse 1 is composed of two four-line stanzas that possess commonalities and differences with one
another.
The first stanza features an AAAB rhyme scheme. Lines 1, 2 and 3 are connected by the “ay” sounding

commonality at the end of the lyrics “game,” “stage,” and “play.” Line 4 breaks from this pattern by con‐
cluding with the lyric “you.” This changeup marks the end of the first stanza. Note that both phrases in
line 4 are connected by the “ou” sounding commonality in the lyrics “fool” and “you.”
The second stanza features a CCCB rhyme scheme. While the structure is the same as the first stanza,
the sound of the primary rhyme is different. Here, lines 5, 6 and 7 are connected by the “eye” sounding
commonality at the end in the lyrics “crime,” “lie,” and “mine.” Note that the connection between lines 5
and 7 is heightened by the “ime”/”ine” commonality. And as is the case with line 4 in the first stanza, line
8 breaks this pattern via the “ou” sounding commonality in the lyrics “cool” and “you” at the end of both
phrases. This connection brings the section to a conclusion on a familiar note.
Additionally, take note of the repetitive lyrics and other rhyme commonalities found throughout the sec‐
tion, which bolster the section’s connection value and memorability. Reference the chart above for
details.
Select examples:
“Don’t like”: Lines 1, 2, 4, 5, 8
“I don’t like”: Lines 1, 4, 5, 8
“No I don’t like”: Lines 4, 8
“Like”: Serves as an additional connection between the first stanza and the second stanza primary
rhymes (“crime,” “lie,” “mine”).
Verse 2
Like verse 1 verse 2 is composed of two four line stanzas However unlike verse 1 there aren’t any
Like verse 1, verse 2 is composed of two four-line stanzas. However, unlike verse 1, there aren’t any
commonalities between stanzas.

The first stanza features an AAAA rhyme scheme. Each line is connected by the “ee” sounding com‐
monality at the end of the lyrics “keys,” “me,” “sleep,” and “feast.” The connection value and memorabili‐
ty of the stanza is heightened by the “you” / “threw” commonality on lines 3 and 4, respectively, as well
as the repetitive back-to-back lyrics on lines 1, 2 and 3, which also provide the section with a unique in‐
fectious spin.
In addition to providing a major melodic shift compared to the first stanza and the first verse, stanza 2
provides a pronounced rhyme structure shift as well. It features a BBCC rhyme scheme, where lines 5
and 6 are connected at the end by the lyrics “dra-ma” and “kar-ma,” and lines 7 and 8 are connected at
the end by the lyrics “sure” and “yours.”
The connection value and memorability of the stanza is heightened by the in-line and cross-line repeti‐
tive lyrics and additional connections depicted in the chart above.
Pre-Chorus
The pre-chorus features an AAAA rhyme scheme. Each line is connected by the “eye” sounding com‐
monality at the end of the lyrics “time,” “un-der-lined.” and “twice.” Note that the connection value is
heightened on lines 1, 2 and 3 by the “ime”/”ine” commonality.
There is also a host of other in-line and cross-line commonalities that heighten the connection value
and memorability of the section. Reference the chart above for details.
Additionally, note that the “eye” rhyme, as well as “ime”/”ine,” is a commonality shared with verse 1.
This further heightens the connection and memorability factor of the song as a whole.
Chorus & Outro
The chorus is composed of two stanzas and features an all A rhyme scheme. Each line in the section is
almost identical, save for the following:
Lines 1 and 5 (the first line in both stanzas) begin with the nonsense lyric, “ooh.” This connects
with the primary rhymer at the end of each line, “do.”
Lines 3, 4, 7 and 8 (the last two lines in each stanza) feature the lyric “just.”
While line 4 doesn’t conclude with the lyric “do,” it is directly followed by the nonsense lyric “ooh” at the
beginning of line 5 without a pause between lines. This keeps the “ou” sounding rhyme flow of the sec‐
tion in effect.
Bridge 1
Bridge 1 features an all A rhyme scheme. Lines 1 and 2 are connected by the “ee” sounding common‐
Bridge 1 features an all A rhyme scheme. Lines 1 and 2 are connected by the ee sounding common
ality in the lyrics “me” and “dreams” at the end, respectively. Note that the connection value of line 1 is
accentuated by the “trust no-bod-y” / “no-bod-y trusts” commonality. The balance of the section features 
the repetition of these two lines. Additionally, note that the beginning of each line features the “I”
commonality.
Bridge 2
Bridge 2 features the lyrics from the chorus (lines 1-7), which are sung as background vocals, and
Swift’s newly introduced spoken dialogue (lines 8-10). Lines 8-10 do not rhyme with each other, as well
as the other lines in the section.
Vocals
Vocal Production
Look What You Made Me Do features a host of different vocal characteristics that take its impact to a
heightened level. Among them are sung, rapped, spoken, shouted and hybrid deliveries, singular and
multi-tracked lead vocals, background vocals that both harmonize and appear independently of the
lead, and various types of effect processing. These characteristics change both within and across sec‐
tions, which provides for a very engaging listening experience.

Vocal Delivery Overview
This table provides an at-a-glance arrangement overview of the most prominent vocal delivery charac‐
teristics in each section of the song.
KEY
X: A characteristic is in effect for the majority of the section
X/X: A characteristic is in effect either in the first half or second half of the section
Sung/Spoken Hybrid: The vocals have a spoken quality but also possesses a distinct melody
Sung/Rapped Hybrid: The vocals have a rapped quality but also possesses a distinct melody
Vocal Characteristics: Section By Section
KEY
LEAD (SINGLE): Solo female (Swift), primarily panned up the middle
LEAD (MULTI): Multi-tracked female (Swift), spans more of the stereo field than LEAD (SINGLE)
BACK 1 (MULTI): Multi-tracked background vocals – same pitch as the lead
BACK 2 (HARM): Multi-tracked background vocals that harmonize with the lead at a lower level
BACK 3 INDPT: Background vocals that are featured independent of the lead and at a lower level than
the lead
the lead
S: Sung
R: Rapped 
SP: Spoken
SH: Shout
Verse 1
Verse 1 features Swift’s solo sung lead. Her voice is primarily panned up the middle and minimally pro‐
cessed with reverb, which provides it with an intimate, direct quality. This, along with her subdued deliv‐
ery, the tension-laden melody and the limited range creates a dark, icy vibe that jibes with and accentu‐
ates the equally dark lyrics.
At the end of line 8, a male-sounding shouted “uh” background vocal processed with a filter effect and
ample reverb is heard. It both signals the end of the section and punctuates the dissatisfied connotation
of the lyrics that precede it.
Pre-Chorus 1
Pre-chorus 1 features Swift’s multi-tracked sung lead coupled with high-register harmonizing back‐
ground vocals that are in effect on lines 1, 2 and 3 at a lower level than the lead. These vocal character‐
istics along with the changeup in melody provide engaging cross-section contrast relative to the verse
by encompassing more of the stereo field and imparting a more excited vibe, which accentuates the im‐
pact of the empowerment-themed lyrics.
On line 4 an engaging shift transpires due to the following:
The high-register harmony background vocals are omitted, leaving only Swift’s multi-tracked lead.
Swift essentially speaks the line as opposed to singing it.
A multi-tracked lead and background vocal “oh” shout brings the section to a conclusion on an ex‐
cited note.
Chorus 1

Chorus 1 provides engaging cross-section vocal contrast against the pre-chorus that precedes it, just
as the pre-chorus provides engaging contrast against the verse:
The high-register harmony from the pre-chorus is omitted
Swift’s lead shifts to an up-the-middle single voice as opposed to multi-tracking that spans the
stereo field
Her delivery takes on a spoken/sung hybrid quality, which imparts the section with an intimate, di‐
rect and icy vibe.
In order to provide the section with additional color and engagement value, additional background vo‐
cals spanning the stereo field are layered on the “ooh” at the beginning of lines 1 and 5, coupled with a
lower-level female “uh” shout that sounds in tandem.
Verse 2
Verse 2 provides engaging vocal contrast against the preceding chorus in the first stanza by reverting
to the core vocal characteristics that define verse 1. However, to prevent it from coming across in a
cookie-cutter-type manner and provide a fresh and engaging twist, the following is done:
Lead-harmonizing background vocals are featured on the syllables/lyrics “-dom,” “keys” and “me”
on lines 1 and 2, panned slightly to the left. Their addition provides these lines with an additional
splash of engaging color.
Independent background vocals repeat specific lyrics on the first three lines. They essentially fill 
the void left by the rests in the first verse, which provides the section with a continuous flow and a
heightened degree of comparative momentum.
An independent female shouted “what?” vocal is heard at the end of line 4, following the lyrics
“locked me out and threw a feast.” It illustrates her feeling of disbelief and heightens engagement
value in the process.
In the second stanza, a pronounced vocal shift takes place, which is unique to the section:
It features multi-tracked lead and background vocals, which provide the impression of group vo‐
cals spanning the stereo field.
The vocal delivery features a sung/rapped hybrid quality, which provides engaging contrast
against the sung vocals in the first stanza.
A pronounced delay effect panned around 9:00 is employed on the lyric “sure” at the end of line 7.
This provides the line with a brief splash of engaging color.
The section concludes on a familiar note with a shouted, male-sounding, reverb-laden “uh” background
vocal. Note that this is the same vocal that brings the first verse to a conclusion.
Pre-Chorus 2
Pre-chorus 2 features essentially the same vocal characteristics as its pre-chorus 1 counterpart with
one main difference – the last phrase on lines 1 and 2 is repeated by high-register female vocals, which
partially overlap the lead and are panned slightly right. This provides engaging like-section contrast
against the otherwise very similar characteristics between sections.
Chorus 2
Chorus 2 features the same core vocal characteristics as its chorus 1 counterpart, which creates famil‐
iarity and heightens memorability. However, to prevent cookie-cutter monotony from occurring, two sub‐
tle changes are implemented:
Swift’s lead is processed with more reverb compared to chorus 1, which is more dry and intimate.
This provides her vocals with a bigger feel.
The background “uh” vocal is louder in the mix and treated with a higher level of reverb compared
to chorus 1, which is drier and cuts off abruptly.
Bridge 1
In contrast to the sung/spoken hybrid chorus, the first half of bridge 1 (lines 1-4) features Swift’s inti‐
mate, single-voiced sung lead. This, along with the characteristics of the melody and “fantasy” influ‐
enced accompaniment provides engaging cross-section contrast and accentuates the impact of the
lyrics. On line 4 a shift occurs where multi-tracked background vocals close in pitch to Swift’s lead are
featured on the lyrics, “star-rin’ in your bad dreams.” Their addition essentially functions to smooth the
transition into the second half of the section, which features prominent background vocals.
In contrast to the first half, the second half features Swift’s multi-tracked lead plus high-register back‐
ground vocal harmony, independent background vocal stabs that provide rhythmic interest and addition‐
al color and texture, as well as other background vocals that are independent of the lead (i.e. “ohhhh”
on line 8). Together along with the accompaniment they fill out the sonic landscape and create a taunt‐
ing, fantasy vibe that jibes with the lyrics in a very theatrical manner.
The section ends with Swift’s shouted “bad dreams!” vocal, which brings the section to a conclusion on
a powerful note.
Bridge 2
Bridge 2 is unique in the scope of the song in that it features both recycled vocals from the chorus and
newly introduced spoken word from Swift.
In contrast to the chorus sections, here the chorus vocals (lines 1-7) are featured in a background ca‐
pacity. They’re lower in the mix and heavily processed with a low-pass filter, essentially serving as a
clever and familiar backdrop for Swift’s spoken word passage that enters during line 3 (represented by
lines 8-10 in the table above).
Her spoken vocals, which convey a phone conversation, are heavily processed with high and low-pass
filters and panned slightly left. This cleverly accentuates the phone conversation aspect of the section
while concurrently enabling her vocals to cut through the mix.
At the end of the section, the chorus vocals and accompaniment are pulled, leaving only the punchline,
“oh, ‘cause she’s dead,” to connect with the listener in an unadulterated manner. This is followed by a
pronounced lead/background multi-tracked “oh!” proclamation, which essentially serves as a clever ex‐
clamation point to the punchline.
Chorus 3
The third and final chorus features essentially the same vocal characteristics as its chorus 1 counter‐
part. Note that choruses 1 and 3 differ from chorus 2 due to the lower amount of reverb processing on
the lead and background vocals. As a result, the vocals in these sections possess a more intimate and
direct quality.
Outro
The outro, which recycles vocals from the chorus, features the same characteristics as chorus 2, which
is more reverb-laden than choruses 1 and 3. This provides subtle but noticeable contrast compared to
chorus 3 that precedes it.
Vocal Melody
*Note: Bridge 2 (C2) is not depicted in the graph as it recycles chorus vocals and features Swift’s spo‐
ken vocals
Verse 1
Begins on A3 and ends on A3
Pre-Chorus 1
Begins on the same pitch – A3 – and ends an octave higher on A4
Chorus 1
Begins a perfect fifth lower on D4 and ends a perfect fourth lower on A3
Verse 2
Begins on the same pitch – A3 – and ends a perfect fourth higher on D4
Pre-Chorus 2
Begins a perfect fourth lower on A3 and ends an octave higher on A4
Chorus 2
Begins a perfect fifth lower on D4 and ends a perfect fourth lower on A3
Bridge 1
Begins a perfect fifth higher on E4 and ends a perfect fourth higher on A4
Bridge 2
Begins a perfect fifth lower on D4 and concludes with a spoken vocal (i.e. no pitch)
Chorus 3

Begins on D4 and ends a perfect fourth lower on A3
Outro
Begins a perfect fourth higher on D4 and ends a perfect fourth lower on A3
KEY
Part Graphs
Graphs: Reflect lead vocal only
Numbers in the Graphs: Depict the scale degree of each note
Curved Line: Depicts a slur across two or more pitches
Vocal Melody Part Assignments
The vocal melody part assignments in the verse sections are related to one another (e.g. a melodic
phrase with a part 1 classification in verse 1 is related to a part 1 classification in verse 2). The same is
the case with pre-choruses 1 and 2. Verse and pre-chorus part assignments are NOT related to each
other or the chorus and bridge part assignments.
Lyrics
Parenthesis: Depicts background vocals
VERSE 1
Line Reference
Line 1: I don’t like your lit-tle games

Line 2: Don’t like your tilt-ed stage
Line 3: The role you made me play
Line 4: Of the fool, no I don’t like you
Line 5: I don’t like your per-fect crime

Line 6: How you laugh when you lie
Line 7: You said the gun was mine
Line 8: Is-n’t cool, no I don’t like you (uh)
Lead Vocal Range
High: D4
High: D4
Low: A3

Overview
Melodic Structure Overview
Verse 1 is composed of two stanzas, both of which feature an identical melodic structure. The section
features Swift’s sung delivery, two melodic parts, four pitches (A, B, C and D, which are the first, sec‐
ond, third and fourth degrees of the A minor scale, respectively), spans a perfect fourth from A3 to D4,
and consists of quarter notes.
The first three lines in both stanzas are nearly identical to one another, beginning in a fragmented man‐
ner and concluding with a stepwise progression down to the tonic. These qualities along with the sim‐
plicity, limited range, and Swift’s subdued delivery create an engaging and memorable melody as well
as a dark, tension-laden vibe that accentuates the connotation of the lyrics. The last line in both stanzas
possesses both similar and contrasting qualities compared to lines 1, 2 and 3 that precede it. As a re‐
sult, they come across in a familiar manner while heightening engagement due to the contrast
imparted.
Verse 1 Melodic Direction: At-a-Glance
Verse 1 Melodic Part Structure: At-a-Glance
Syllable Count
Lines in the first verse are very close in syllable count, ranging from six to eight (nine including the
background vocal on line 8).
Segmentation
In-Line Segmentation
(Do lines run straight through without a pause or are they broken into shorter segments by prolonged
lyrics and rests?)
In-line segmentation is put into effect by quarter rests on lines 1-3 and 5-7, which segment the first one
or two lyrics from the remainder of the line. Segmentation is put into effect by eighth rests on lines 4
and 8, which separate the rapid-fire segments of those lines, “of the fool” and “isn’t cool,” from the rest.
Cross-Line Segmentation
Each line except for two is segmented from one another by a quarter rest. Lines 3 and 7 differ in that
they conclude with a shorter eighth rest.
Melodic Structure Detail

Stanza 1 
Lines 1 & 2
Line 1: I don’t like your lit-tle games

Line 2: Don’t like your tilt-ed stage
Line 1
Part 1a: “I don’t like your lit-tle games”
Line 1 is composed of part 1a. It spans a perfect fourth, consists of four pitches (A, B, C and D, which
are the first, second, third and fourth degrees of the A minor scale, respectively), seven syllables, and
features an all quarter note delivery.
The first two lyrics, “I don’t,” are on the tonic, A, and are both directly followed by a quarter rest, which
provides a fragmented feel. The balance of the line begins on the third scale degree, C, ascends to the
fourth degree, and then heads back down the scale in a fluid manner to the tonic to conclude.
These qualities along with the simplicity, limited range, and Swift’s subdued delivery achieve the
following:
They establish the uniquely engaging and memorable melody that defines the first three lines in
each verse section stanza.
They create a dark, tension-laden vibe that accentuates the connotation of the lyrics and defines
the overall tone of the song.
Line 2
Part 1b: “Don’t like your tilt-ed stage”
Line 2 is nearly a melodic carbon copy of line 1, with the exception being that it contains one less sylla‐
ble at the beginning. This was a very clever move on the part of the writers, as it provides line-to-line
separation while concurrently keeping the section in motion and creating rhythmic familiarity with the
first line while seeming different at the same time.
This is achieved by the last lyric on line 1, “games,” being an A quarter note, and followed by a quarter
rest. 
Lines 3 & 4

Line 3
Part 1b: “The role you made me play”
Line 3 is a melodic carbon copy of line 2 that precedes it.
Line 4
Part 2a: “Of the fool, no I don’t like you”
Line 4 is composed of part 2a. It spans a perfect fourth, consists of three pitches (A, C and D, which are
the first, third and fourth degrees of the A minor scale, respectively), eight syllables, and features a
combination of sixteenth and quarter notes.
It possesses both similar and contrasting qualities compared to lines 1, 2 and 3 that precede it. As a re‐
sult, it comes across in a familiar manner while heightening engagement due to the contrast imparted.
Memorability Enhancers Via Familiarity (in-line and cross-line)
F d h h ( li f ili
https://catalog.berklee.edu:2106/2017/10/20/look-made-deconstructed/ i ) 73/118
Fragmented rhythm (cross-line familiarity)
Beginning on the tonic (cross-line familiarity) 

Back-to-back rhythmic repetition (“of the fool” / “no I don’t”) (in-line familiarity)
Engagement Enhancers Via Contrast (cross-line)
Introduction of sixteenth notes
Omission of the second and third scale degrees at the end compared to lines 1 – 3.
Stanza 2
Lines 5 & 6
Line 5: I don’t like your per-fect crime

Line 5
Part 1a: “I don’t like your per-fect crime”
Line 5 is a melodic carbon copy of line 1.
Line 6
Part 1b: “How you laugh when you lie”
Lines 7 & 8

Line 8: Is-n’t cool, no I don’t like you (uh)
Line 7
Part 1b: “You said the gun was mine”
Line 8
Part 2a: “Is-n’t cool, no I don’t like you”
VERSE 2
Line Reference
Line 1: I (I) don’t (don’t) like your king-dom keys (keys)

Line 2: They (they) once be-longed to me (me)
Line 3: You (you) asked me for a place to sleep
Line 4: Locked me out and threw a feast (what?)
Line 5: The world moves on, an-oth-er day, an-oth-er dra-ma, dra-ma
Line 6: But not for me, not for me, all I think a-bout is kar-ma
Line 7: And then the world moves on, but one thing’s for sure
Line 8: May-be I got mine, but you’ll all get yours
Lead Vocal Range
High: A4
Low: A3
Overview
Verse 2 is composed of two stanzas, both of which completely differ from a vocal standpoint. The first
stanza features Swift’s sung delivery two melodic parts four pitches (A B C and D which are the first
stanza features Swift s sung delivery, two melodic parts, four pitches (A, B, C and D, which are the first,
second, third and fourth degrees of the A minor scale, respectively), and spans a perfect fourth from A3
to D4. Swift’s lead is nearly identical to both stanzas in the first verse, save for a couple of subtle differ‐ 
ences that prevents cookie-cutter monotony from occurring. Additionally, the first three lines feature
background vocals that fill the void where the rests are in the first verse. This results in increased mo‐
mentum and a continuous flow that provides engaging like-section contrast.
The second stanza provides a major shift both within the section and in the scope of the song. It con‐
sists of three new melodic parts, utilizes all of the pitches in the A minor scale, and spans an octave
from A3 to A4. In contrast to the other verse stanzas, it features Swift’s sung/rapped hybrid delivery and
a changed-up melody that consists primarily of shorter eighth notes.
Verse 2 Melodic Direction: At-a-Glance
Verse 1 Melodic Direction Reference: At-a-Glance
Verse 2 Melodic Part Structure: At-a-Glance
Syllable Count
As is the case with the first verse, the vocal melody in the first stanza in the second verse ranges from
six to eight syllables – ten including the additional background vocals. However, the melodically
changed up second stanza spans 10 to 15 syllables.
Segmentation
lyrics and rests?)

Each line in the section save for line 4 runs straight through without a pause. In the first stanza, the
consistent flow is due to background vocals filling the void left by the rests in the lead vocal. In the sec‐
ond stanza, each line consists of a steady stream of mostly eighth notes in the lead vocal.
In the first stanza, each line flows directly into one another without a pause except for line 3 into line 4,
which are segmented by a brief eighth rest. Each line in the second stanza is segmented from one an‐
other by an eighth rest except for lines 7 and 8, which are separated by a longer half + eighth rest. This
provides a heightened degree of lyrical anticipation between lines:
Lyrical Anticipation
And then the world moves on, but one thing’s for sure…
Lyrical Resolve
…May-be I got mine, but you’ll all get yours
Stanza 1
Lines 1 & 2
Line 1: I (I) don’t (don’t) like your king-dom keys (keys)

Line 2: They (they) once be-longed to me (me)
*The vocal melody graph and sheet music reflect the lead vocals only
Line 1
Part 1a: “I (I) don’t (don’t) like your king-dom keys (keys)”
The lead vocal melody on line 1 in the second verse is the same as its verse 1 counterpart. However,
the quarter rests that directly follow the lead vocal lyrics “I” and “don’t” are directly followed by back‐

ground vocal repeats of those lyrics. Together, these qualities result in the following:
The lead vocal commonality with the first verse heightens memorability.
The addition of background vocals that fill the void where rests are in the first verse provides an
engaging rhythmic changeup that heightens engagement due to the contrast imparted. The line
now has increased momentum and a continuous flow as opposed to being fragmented and more
tension-laden.
Line 2
Part 1b: “They (they) once be-longed to me (me)”
Line 2 features the same lead vocal characteristics as its verse 1 counterpart. However, as is the case
with line 1, background vocals fill the void left by the quarter rests in the first verse, which provides the
line with a continuous flow.
Lines 3 & 4
Line 3: You (you) asked me for a place to sleep

Line 3
Part 1c: “You (you) asked me for a place to sleep”
Line 3 is the only line within both verse sections with a part 1c classification. While its very similar to its
line 3 part 1b counterpart in the first verse as well as the other part 1’s in both verse sections, there are
some minor differences that sets it apart:
The quarter rest following the lyric “you” in the lead vocal is filled by a background vocal repeat of
that lyric, as is the case in the preceding lines in the second verse.
The last segment, “asked me for a place to sleep,” features two additional syllables compared to
its other part 1 counterparts. As a result, the first four notes are eighth notes as opposed to quarter
notes. This provides the line with a changed up rhythmic feel while the general melodic shape rein‐
forces memorability.
Line 4 
Part 2b: “Locked me out and threw a feast (what?)”
Line 4 is the only line in both verse sections with a part 2b classification. The sole difference between
part 2b and part 2a is that it contains one less syllable at the beginning, which is an eighth note as op‐
posed to two sixteenth notes. This provides a subtly differentiated rhythm that prevents cookie-cutter
repetition from occurring.
Stanza 2
Lines 5 & 6
Line 5: The world moves on, an-oth-er day, an-oth-er dra-ma, dra-ma
Line 6: But not for me, not for me, all I think a-bout is kar-ma
Line 5
Part 3a: “The world moves on, an-oth-er day, an-oth-er dra-ma, dra-ma”
Line 5 is composed of part 3a. It spans a minor seventh, utilizes all the pitches in the A minor scale,
contains fifteen syllables, and consists entirely of eighth notes.
It features a sung/rapped hybrid delivery, consisting of a steady stream of eighth notes that begins a mi‐
nor seventh higher than where the first stanza leaves off on the seventh scale degree (G). After step‐
ping up to the tonic, A, the melody progresses down the scale, repeating most notes twice, to the sec‐
ond scale degree on the last syllable in the lyric “an-oth-er.” The line concludes on a repetitive and in‐
fectious note via the 2-3-2-3 scale degree alternation in the lyrics “dra-ma, dra-ma.”
Line 6
Part 4: “But not for me, not for me, all I think a-bout is kar-ma”
Line 6 is composed of part 4. It spans a perfect fifth, consists of four pitches (A, B, C and E, which are 
the first, second, third and fifth degrees of the A minor scale, respectively), 15 syllables, and consists
entirely of eighth notes.
It begins in a similarly infectious manner to how line 5 concludes, (i.e. “dra-ma, dra-ma”), with the repet‐
itive “but not for me, not for me” vocal, which features a 3-3-3-5-3-3-5 scale degree progression. The
balance of the line primarily features a monotone run on the second scale degree, B, and concludes on
the tonic, A, on the last syllable.
Lines 7 & 8
Line 8: May-be I got mine, but you’ll all get yours
Line 7
Part 3b: “And then the world moves on, but one thing’s for sure”
Line 7 is composed of part 3b. It spans a perfect fifth, utilizes all of the pitches in the A minor scale ex‐
cept for the second degree – B, contains 11 syllables and consists entirely of eighth notes.
It features a similar descending all eighth note progression as part 3a on line 5 (hence the part 3 com‐
monality), but is more linear and concludes on the third scale degree as opposed to the second. This,
along with the lengthy half + eighth rest that follows, creates a heightened degree of anticipation for the
lyrical resolve that occurs on line 8.
Line 8
Part 5: “May-be I got mine, but you’ll all get yours”
Line 8 is composed of part 5. It spans a minor third, consists of three pitches (B, C and D, which are the
second, third and fourth degrees of the A minor scale, respectively), 10 syllables, and features a combi‐
nation of eighth and quarter notes.
It begins where line 7 leaves off, on the third scale degree (C), and essentially consists of two
segments:
9/27/2019 g Look What You Made Me Do Deconstructed
Segment 1: “May-be I got mine, but you’ll”


The first segment consists of an all eighth note rhythm and resides in the second and third scale de‐
grees up until the end, where it climbs to the fourth degree (D).
Segment 2: “all get yours”
The second segment differs in that it consists of longer quarter notes and concludes with an ascent to
the fourth scale degree on the slurred lyric, “you-rs.” The change up in rhythm provides the revenge-
themed focal point of the line with increased emphasis and potency, enabling it to stand out in the
scope of the section. Furthermore, by not concluding on the tonic, it keeps the listener hanging in antici‐
pation for the pre-chorus that follows. Note that this does not transpire in the first verse, which con‐
cludes on the tonic.
PRE-CHORUS
Line Reference
Line 1: But I got smart-er, I got hard-er in the nick of time

Line 2: Hon-ey, I rose up from the dead, I do it all the time
Line 3: I’ve got a list of names and yours is in red, un-der-lined
Line 4: I check it once, then I check it twice, oh!
Lead Vocal Range
High: C5
Low: A3
Overview
The pre-chorus features sung and spoken deliveries, two melodic parts, seven pitches (A-two octaves,
B, C-two octaves, D and E which are the first, second, third, fourth and fifth degrees of the A minor
scale, respectively), spans a tenth from A3 to C5, and consists primarily of eighth notes.
The first three lines feature an identical melodic structure, beginning with a monotone eighth note run
and concluding with a leap up a fifth. The last line, line 4, contrasts the first three both in regard to
melody and delivery. The beginning of the line is spoken and delivered in a rapid-fire manner as six‐
teenth notes. The line concludes with a fragmented ascent on the lyrics “check it twice,” followed by a
higher-pitched, exclamatory “oh!”
The section’s more full-voiced delivery and primarily steady eighth note rhythm provides more power
and forward momentum in contrast to the preceding verse.
P Ch M l di Di ti At Gl
Pre-Chorus Melodic Direction: At-a-Glance
Pre-Chorus Melodic Part Structure: At-a-Glance


Syllable Count
The first three lines in the section consist of 14 syllables, each. Line 4 is shorter, consisting of 10.
Segmentation
lyrics and rests?)
Each line except for one runs straight through without a pause. The exception is line 4, which has its
two phrases segmented from one another by a quarter rest.
The first three lines in the section are segmented from one another by an eighth rest. Line 3 is seg‐
mented from line 4 for a longer duration, lasting for a quarter + sixteenth rest.
Lines 1 & 2
Line 1: But I got smart-er, I got hard-er in the nick of time

Line 2: Hon-ey, I rose up from the dead, I do it all the time
9/27/2019 y Look What You Made Me Do Deconstructed
Line 1
Part 1: “But I got smart-er, I got hard-er in the nick of time”
Line 1 is composed of part 1. It spans a perfect fifth, consists of just two pitches (A and E, which are the
first and fifth degrees of the A minor scale, respectively), 14 syllables, and features a mostly eighth note
delivery.
The entire line save for the last two lyrics is delivered in a monotone manner on the tonic, A, with an all
eighth note rhythm. The sole changeup occurs at the end, where the last two lyrics, “of time,” are sung
a perfect fifth higher and conclude with a quarter note. Additionally, background vocals harmonize with
Swift’s lead an octave higher. Together, these vocal characteristics achieve the following:
The faster, steadier, driving delivery compared to the preceding verse coupled with the leap at the
end and high-register harmony creates a heightened degree of excitement and provides increased
forward momentum toward the ensuing chorus.
The vocal qualities jibe with and accentuate the impact of the empowerment-themed lyrics.
In addition to heightening engagement by providing a brief, albeit important, splash of color

against the monotone run, the perfect fifth leap at the end serves as a familiar motive throughout
the first three lines of the section, which heightens memorability.
Line 2
Part 1: “Hon-ey, I rose up from the dead, I do it all the time”
Line 2 is composed of part 1 and features the same melodic characteristics as line 1 that precedes it.
Lines 3 & 4
Line 3: I’ve got a list of names and yours is in red, un-der-lined

Line 3
Part 1: “I’ve got a list of names and yours is in red, un-der-lined”
Line 3 is composed of part 1 and features the same melodic characteristics as lines 1 and 2 that pre‐
cede it.
Line 4
Part 2: “I check it once, then I check it twice, oh!”
Line 4 is composed of part 2. It spans a ninth, consists of five pitches (A, B, C, D and E, which are the
first, second, third, fourth and fifth degrees of the A minor scale, respectively), 10 syllables, and fea‐
tures a combination of sixteenth and eighth notes.
It provides pronounced and engaging contrast against lines 1, 2 and 3, breaking the repetitive pattern
and priming the listener for the chorus that directly follows. It begins a major third below where line 3
leaves off and possesses the following characteristics:
It possesses more of a spoken quality than the first three lines.
The high-register harmony is omitted.
The line is rhythmically fragmented compared to the steady, all eighth note delivery that defines
lines 1, 2 and 3.
It begins with two back-to-back repetitive patterns consisting of sixteenth and eighth notes, which
heightens memorability while providing additional rhythmic contrast that heightens the excitement
factor.
The line concludes with a staccato ascent that spans a ninth, culminating with an “oh” shout that brings
the section to a conclusion on a powerfully excited note on the tonic.
CHORUS & OUTRO
Line Reference

Line 1: Ooh, look what you made me do

Line 2: Look what you made me do
Line 3: Look what you just made me do
Line 4: Look what you just made me

Lead Vocal Range
High: D4
Low: A3
Overview
The chorus vocals are composed of two stanzas, both of which feature a nearly identical melodic struc‐
ture. The section features Swift’s sung/spoken delivery, two melodic parts, four pitches (A, B, C and D,
which are the first, second, third and fourth degrees of the A minor scale, respectively), spans a perfect
fourth from A3 to D4, and consists of a combination of quarter and eighth notes.
The chorus is both simplistic and repetitive, featuring the title lyrics, “look what you made me do,” as its
focal point. However, in order to prevent the section from becoming overly monotonous, the following is
done:
Higher pitched, sung “ooh”s are interjected on lines 1 & 5 by layered vocals, which add bursts of
color.
An additional lyric, “just,” is featured on lines 3, 4, 7 & 8. This changes up the rhythmic flow.
While the vocals in this section are in the same register and use similar note values and progressions
as other sections in the song, the icy, sung/spoken delivery style sets it apart.
*Note that the outro recycles the chorus vocals verbatim.
Chorus Melodic Direction: At-a-Glance
Pre-Chorus Melodic Direction Reference: At-a-Glance
Chorus Melodic Part Structure: At-a-Glance
Syllable Count
Lines in the chorus and outro are very close in syllable count, ranging from six to seven.
Segmentation 
lyrics and rests?)
Each line except for two run straight through without a pause. The exceptions are lines 1 and 5 (the first
lines in both stanzas), which feature an eighth rest following the nonsense “ooh” vocal.
The first three lines in each stanza are segmented from one another by an eighth rest. Lines 3 and 4,
however, flow directly into one another without a pause.
Stanza 1
Lines 1 - 4

Line 1
Part 1: “Ooh”
Part 2a: “look what you made me do”
Line 1 is composed of two melodic parts – part 1 and part 2a. It spans a perfect fourth, consists of four
9/27/2019
p p p Look What You
p Made Me DopDeconstructed
p ,
pitches (A, B, C and D, which are the first, second, third and fourth degrees of the A minor scale, re‐
spectively), seven syllables, and features a mostly eighth note delivery. 
Part 1 represents the nonsense “oo-h” slur, which begins on D (the highest pitch in the section and a
perfect fourth below where the pre-chorus leaves off) and concludes on B, both of which are eighth
notes. The slur is followed by an eighth rest, which enables it to stand out independently from the rest
of the line. Note that this is the first of two instances of the part 1 melody within the section (the other
occurs at the beginning of the second stanza). Together, they function as an infectious and engaging
motive both within the section and in the scope of the song as well.
Part 2a represents the proper vocal portion of the line, “look what you made me do,” which is the song
title. It is conveyed in a hybrid sung/spoken manner, features an all eighth note rhythm except for the
quarter note at the end, primarily uses just two pitches (B and C) and concludes on the tonic, A. The
limited range, consistent rhythm, melodic “platform” 3-3-2-2-1 descent to the tonic and Swift’s subdued
delivery provides the section with an icy and tense vibe that accentuates the impact of the cryptic lyrics.
Note that the tension is primarily due to the melody mostly residing in the second and third scale
degrees.
Line 2
Part 2a: “Look what you made me do”
Line 2 is composed of part 2a. It is melodically identical to part 2a on line 1 that precedes it.
Lines 3 & 4
Part 2b (Line 3): “Look what you just made me do”

Part 2c (Line 4): “Look what you just made me”
Lines 3 and 4 are composed of parts 2b and 2c, respectively. While both are melodically very similar to
part 2a on lines 1 and 2, there are a couple of key differences that set them apart:
While lines 1 and 2 are relatively short phrases followed by eighth rests that provide segmentation,
lines 3 and 4 flow directly into one another without a pause.
Lines 3 and 4 do not conclude with a descent to the tonic, as is the case on lines 1 and 2. Instead,
they alternate 3-3-2-2 throughout, which, along with the lack of rests and segmentation, keeps the
melody in motion and imparts a higher degree of attitude.
Line 4, which is the last line in the first stanza, concludes on the second scale degree, B, on the
lyric, “me.” By omitting the lyric “do,” not concluding on the tonic (A), and not employing a rest at
the end keeps the section in motion with the resolve essentially occurring on the “o-oh” slur at the
beginning of the second stanza on line 5.
Together, the characteristics of the melody coupled with the lack of segmentation that results in 13 con‐
secutive syllables without a pause makes the last two lines of the first stanza more of a mouthful to sing
compared to lines 1 and 2. This provides heightened interest in the otherwise simplistic and repetitive
characteristics of the section.
Stanza 2
Lines 5 - 8 

The second stanza features the same melodic characteristics as the first stanza except at the very end.
Represented by part 1d, line 4 ends on the tonic, A, as opposed to the second scale degree, which
brings the full section to a resolved conclusion.
BRIDGE 1
Line Reference
Line 1: I don’t trust no-bod-y and no-bod-y trusts me

Line 2: I’ll be the ac-tress star-rin’ in your bad dreams

Lead Vocal Range
High: C5
Low: G#3
Overview 
The bridge 1 vocals are composed of two stanzas, both of which feature a nearly identical melodic
structure. The section features Swift’s sung delivery, two melodic parts, four pitches (A, C, E and G#,
which are the first, third, fifth and raised seventh degrees of the A minor scale, respectively), spans a
diminished eleventh from G#3 to C5, and consists mainly of quarter and eighth notes.
Like the chorus, this section is simple and repetitive, but contrasts other sections in the song by exhibit‐
ing a sing-song-y, fantasy-sounding vibe. This is put into effect in part by the alternating between the
two vocal melody parts. The first part oscillates between a perfect fifth from A to E, ending on E, the fifth
scale degree. The second part utilizes mainly the tonic and the raised seventh degree, which puts the
harmonic minor scale into effect. This helps to impart the “fantasy” vibe with an underlying sense
darkness.
The section concludes with a leap up a diminished eleventh (octave + diminished fourth) from G#3 to
C5. This effectively emphasizes the anger felt by the protagonist and brings the section to a conclusion
on a powerful note.
Bridge 1 Melodic Direction: At-a-Glance
Pre-Chorus Melodic Direction Reference: At-a-Glance
Chorus Melodic Direction Reference: At-a-Glance
Bridge 1 Melodic Part Structure: At-a-Glance
Syllable Count
Lines in bridge 1 are very close in syllable count, ranging from 11 to 12.

Segmentation
lyrics and rests?)
Each line runs straight through without a pause.
Lines 1, 3, 5 and 7 are segmented from lines 2, 4, 6 and 8 by a dotted quarter rest. Lines 2, 4 and 6,
however, flow directly into the lines that follow.
Stanza 1
Lines 1, 3, 5, 7

Part 1: “I don’t trust no-bod-y and no-bod-y trusts me”
Lines 1, 3, 5 and 7 are composed of part 1. It spans a perfect fifth, consists of just two pitches (A and E,
which are the first and fifth degrees of the A minor scale, respectively), 12 syllables, and features a
mostly eighth note delivery.
The bulk of part 1 features a repetitive “platform” progression (i.e. two identical pitches comprise a “plat‐
form” stage) that alternates between the first and fifth scale degrees with a constant eighth note rhythm
up until the last two lyrics, which are single quarter notes. It concludes on the fifth scale degree, which
keeps the section in motion and the listener hanging in anticipation for the resolve that occurs on the
keeps the section in motion and the listener hanging in anticipation for the resolve that occurs on the
line that follows.

The qualities of the progression achieve the following:
The simplicity and repetitive characteristics enable it to easily connect and resonate with the
listener.
The lyrics and melody impart a child-like sing/song-y vibe, which jibes with the fantasy-influenced
accompaniment. This provides engaging contrast against the other sections of the song.
Line 2, 4 6
Part 2a: “I’ll be the ac-tress star-rin’ in your bad dreams”
Lines 2, 4 and 6 are composed of part 2a. It spans a perfect fourth, consists of four pitches (A, B, C and
G#, which are the first, second, third and raised seventh degrees of the A minor scale, respectively), 11
syllables, and features a combination of eighth and quarter notes.
It essentially consists of two segments, both of which have similar and contrasting qualities:
Segment 1: “I’ll be the ac-tress”
The first segment begins on the tonic, which is a perfect fifth below where line 1 leaves off. It ascends
to the third scale degree on the lyrics/syllables, “I’ll be the ac-,” followed by a minor third drop to the ton‐
ic on the syllable “-tress” to conclude. The first three notes are eighth notes, while the last two are
longer quarter notes.
Segment 2: “star-rin’ in your bad dreams”
The second segment primarily consists of an eighth note monotone run on the raised seventh scale de‐
gree (G#). This provides a great deal of tension leading to the end of the line on the slurred lyric, “dre-
ams,” which concludes with a stepwise ascent to the tonic.
Segment 1 & 2 Commonalities
The main commonality between both segments is the rhythm. Each begins with a succession of eighth
notes, and concludes with two lyrics that are one beat in duration (segment one features two quarter
notes, and segment two features a quarter note followed by a sixteenth-dotted eighth slur). The famil‐
iarity imparted heightens the memorability of the line.
Line 8
Line 8
Part 2b: “I’ll be the ac-tress star-rin’ in your bad dreams”
Line 8 is composed of part 2b. It spans an eleventh, consists of six pitches (A-two octaves, B, C-two oc‐
taves and G# which are the first, second, third and raised seventh degrees of the A minor scale, re‐
spectively), 11 syllables, and features a combination of eighth and quarter notes.
It features the same melodic characteristics as part 2a on lines 2, 4 and 6, except at the very end. In‐
stead of concluding with G# followed by a half step slur up to the tonic on the lyrics “bad dre-ams,” the
melody leaps up a diminished eleventh (octave + diminished fourth) to the third scale degree, C. This
leap is countered by a minor third drop to the tonic on the slurred lyric, “ba-d,” which is then followed by
reiteration of the tonic on “dreams” to conclude. Note the following:
The leap at the end both provides engaging contrast with in the scope of the section and brings it
to a conclusion on a highly excited note.
The rhythmic similarity with part 2a creates familiarity and heightens memorability.
Both segments conclude with a C-A descent, with the second being on octave above the first. This
is unique in the scope of the section and heightens memorability as well.
BRIDGE 2
Overview
Bridge 2 features both recycled chorus vocals and newly introduced spoken vocals.
The first seven lines of the chorus are featured as background vocals. They are low-pass filtered and
lower in the mix than how they appear in the chorus:
Line 1: (Ooh, look what you made me do)

Line 2: (Look what you made me do)
Line 3: (Look what you just made me do)
Line 4: (Look what you just made me)

They essentially serve as a familiar vocal backdrop for Swift’s spoken vocals that enter halfway through
line 3:
I’m sorry the old Tay-lor can’t come to the phone right now
I m sorry, the old Tay lor can t come to the phone right now.
Why?
Oh, ’cause she’s dead!” (oh!) 
Processed with filters to emulate the sound of a phone call or answering machine, this spoken passage
followed by the “oh” shout at the end brings the section to a conclusion on a highly engaging and pow‐
erful note.
Lyrics & Title
Song Title
Clever/Powerful or Universal/Generic
Song titles fall on a spectrum ranging from unique, clever, attention-grabbing and/or powerful (e.g.
“DNA.”, “1-800-273-8255,” “24K Magic”), to those that possess more of a universal/generic characteris‐
tic (e.g. “Stay”, “Let Me Love You”).
Look What You Made Me Do falls on the attention-grabbing end of the spectrum for two key reasons:
It piques the listener’s curiosity as to who the “you” is, and what this person made the protagonist
do.
It plays into the intrigue that surrounds many of Taylor Swift’s songs. Who is she singing about
now? Is it an ex-boyfriend? Katy Perry? Kanye? Kim? Someone else? This is the Taylor Swift
“soap opera factor” effect that heightens her fan base’s curiosity for the next installment.
Song Title Appearances and Placement
Look What You Made Me Do appears verbatim 20 times in the song. It’s featured as a lead vocal on the
first two lines of each stanza in the chorus and outro, and as a background vocal in bridge 2. It’s fea‐
tured an additional 12 times in a fragmented manner in the aforementioned sections due to the inclu‐
sion of the lyric, “just,” and an additional seven times in a partial manner excluding the last lyric, “do.”


Song Title Impact Accentuation


There are a few factors that accentuate the impact of the song title throughout the song:
Swift’s icy, spoken/sung hybrid delivery provides vocal contrast against the sections that do not
feature the title.
The sparse arrangement of the choruses enables the title vocal to shine front and center.
The continuous repetition of the title ingrains it in the listener’s head.
The effect processing in the second bridge provides it with a unique characteristic in the scope of
the song.
Word Cloud
Narrative
Look What You Made Me Do is a song about a protagonist (Taylor Swift) who has been wronged by un‐
specified antagonists, becomes empowered and hardened, and vows revenge. The lyrics as they per‐
tain to certain people and situations are cryptic and are subject to interpretation, which creates a height‐
ened degree of intrigue that further engrosses the listener in the narrative. Among the possible antago‐
nists are Kanye West, Kim Kardashian West and Katy Perry.
y , y y

Highlights
Intrigue Through Cryptic Lyrics
Both verse sections feature cryptic references that are subject to interpretation by the listener. While it
is not made known specifically who or what these references pertain to, speculation revolves around
people whom Swift has had well publicized issues with in the past, most notably Kanye and Kim Kar‐
dashian West (possibly verse 1) and Katy Perry (possibly verse 2).
Regardless of who the culprits are, the intrigue created heightens the song’s publicity and further en‐
grosses and engages the listener in the narrative.
Verse 1
Little games
Tilted Stage (Kanye West utilized a tilting stage on his 2016 Saint Pablo tour)
The role you made me play – of the fool
Perfect crime
Laugh when you lie
You said the gun was mine
Verse 2
Kingdom keys
Place to sleep
Locked me out
Threw a feast (Katy Perry’s second single from her 2017 Witness album is Bon Appetit)
Bridge
I don’t trust nobody and nobody trusts me (Swift’s representatives initially denied that she was
made aware beforehand that Kanye West would use specific lyrics about her in his song, Famous.
However, Kim Kardashian West recorded the call on video, which resulted in Swift being caught in
a well-publicized lie).
Artist Transformation
The biting lyrics, in addition to the musical and vocal qualities of the song, signal a new artistic direction
for Taylor Swift. While the “old” Taylor Swift vented about relationships and haters, for the most part she
wasn’t vengeful. Now that that the “old” Taylor Swift is “dead,” the new Taylor Swift is “smarter, “harder,”
vengeful and ready to do battle with all those that cross her.
Song-Defining Moment
In bridge 2, Swift shifts to a spoken vocal that is processed to sound like she’s speaking through a tele‐
phone or answering machine to communicate the following: 
I’m sorry, the old Taylor can’t come to the phone right now… (pause)
Why?… (pause)
Oh… (pause)
‘Cause she’s dead!” (oh!)
This pronounced shift in delivery style coupled with the suspenseful pauses enables these important
and powerful lyrics to stand out in the scope of the song and connect with the listener at a heightened
level.
Familiar Hit Song Moment
Swift’s song-defining spoken vocal in bridge 2 harkens back to a song-defining moment that occurs in
one of her previous hits, We Are Never Ever Getting Back Together. Key commonalities include the
phone call vocal processing effect as well as the anticipation-laden pause that sets up the punchline in
both songs – “’cause she’s dead” and “like ever,” respectively.
Taylor Swift - Look What You Mad…

Mad…
Taylor Swift - We Are Never Ever G…

G…
Lyrical Repetition
Look What You Made Me Do features ample lyrical repetition, which further ingrains the narrative in the
listener’s head.
Chorus: Features the repetition of the title line, “look what you made me do.” Two additional lyrics
which are interspersed throughout the section, “just” and “ooh,” which prevent the chorus from be‐
coming overly monotonous.
Bridge 1: Features the alternation between two lines throughout the entire section – “I don’t trust
nobody and nobody trusts me” and “I’ll be the actress starrin’ in your bad dreams.”
Bridge 2: Features the repetition of the chorus lyrics, which are now conveyed as background
vocals.
Outro: Recycles the chorus lyrics.
Additionally, the lyrics “don’t like” in the first verse serve as a common thread throughout the section,
appearing on five out of the eight lines.
Prosody
The characteristics of Swift’s vocal delivery, the accompaniment and lyrics all effectively complement
one another:
Verse: Sparse accompaniment, fragmented, subdued vocal delivery, dark lyrics
Pre-chorus: Excited and tension-laden accompaniment and vocal delivery, empowerment, perse‐
verance and veiled threat lyrics.
Chorus: Driving accompaniment, icy vocal delivery, cryptic title lyrics – “look what you made me
do”
Bridge 1: Features the orchestral instrumentation from the intro which provides an “enchanted
fantasy” vibe, while the lyrical content provides the fantasy with a dark spin.
Bridge 2: Dark, excited, tension-laden accompaniment; dark, processed sung chorus vocal and
subdued lead.
Narrative In-A-Nutshell
Verse 1: The first verse sets the scene – the protagonist was wronged by the antagonist and
doesn’t like them.
Pre-Chorus: The pre-chorus turns things around – the protagonist becomes empowered, perse‐
veres, and makes a veiled threat that there will be a consequence for the antagonist’s adversarial 
behavior.
Chorus: The chorus provides the summation/payoff – the protagonist took some type of action in
response to the antagonist’s adversarial behavior, which is communicated by the song title “look
what you made me do.”
Verse 2: The first stanza provides additional examples of why the protagonist doesn’t like the an‐
tagonist, while the second stanza revolves around the premise of “what comes around goes
around.”
Bridge 1: The first bridge provides a lyrical twist by bringing mutual distrust into the equation as
well as expounding on the threat/revenge theme in a clever, fantasy-themed manner.
Bridge 2: The second bridge recycles chorus lyrics and includes new, song-defining lyrics that
substantiate in a powerful manner what had been alluded to throughout the entire song – the “old”
Taylor Swift is no more.
Outro: The outro features the same lyrical content as the chorus sections.
Narrative Structure: At-A-Glance
Verse 1
The first verse consists of two stanzas and is conveyed in the first and second person P.O.V. Utilizing
an effective combination of detail, imagery, action and emotion-themed lyrics, it sets the scene and es‐
tablishes the reasons for the protagonist’s perseverance and empowerment depicted in the pre-chorus
and the “look what you made me do” summation in the chorus. Simply put, the protagonist was
wronged by an unspecified antagonist and as a result doesn’t like anything about them.
There are three aspects about the antagonist that the protagonist doesn’t like, which are detailed
throughout the section. However, they, as well as WHO the protagonist (Taylor Swift) is referring to, is
cryptic. This cleverly imparts intrigue that heightens engagement within the section.
The main lyrical thread throughout the section is the lyrics “don’t like,” which are utilized or implied on
all lines except for line 7. This provides the section with an engaging spin and heightens memorability in
the process.
Stanza 1
Line 1: I don’t like your little games

Line 2: Don’t like your tilted stage
Lines 1 and 2 in the first stanza detail qualities about the antagonist that the protagonist doesn’t like:
Line 1: “I don’t like your little games”
Line 2: “I don’t like your tilted stage”
However, the reason WHY the protagonist is venting about the antagonist is not yet established. This is
brought to light on lines 3 and 4 that follow:
Line 3: “The role you made me play”
Line 4: “Of the fool”
The last phrase in the stanza sums up the protagonist’s feelings about the antagonist as a person – “no
I don’t like you.”
Stanza 2
Line 5: I don’t like your perfect crime

Line 8: Isn’t cool, no I don’t like you (uh)
The second stanza begins in the same manner as the first, detailing additional qualities about the an‐
tagonist that the protagonist doesn’t like:
Line 5: “I don’t like your perfect crime” 

Line 6: “How you laugh when you lie”
Line 7 provides an engaging twist in the narrative by detailing a specific situation that transpired be‐
tween the protagonist and antagonist:
“You said the gun was mine”
Note that this is the first and only time in the section that the protagonist details something specific that
the antagonist actually did (“said”) about the antagonist. Additionally, take note of statement’s power
due the use of the lyric “gun.” However, as is the case with other lines in the section, its connotation is
cryptic.
Line 8, which is the last line in the stanza, consists of two phrases – a commonality shared with the last
line in the first stanza:
Phrase 1 – “Isn’t cool”: Sums up the protagonist’s dissatisfaction about the “gun” statement on line
7.
Phrase 2 – “no I don’t like you”: Reiterates the protagonist’s distaste for the antagonist as a per‐
son. Note that this is the same phrase that brings the first stanza to a conclusion, and heightens
memorability as a result.
Pre-Chorus 1
Pre-chorus 1 consists of one stanza and is conveyed in the first and second person P.O.V. Utilizing an
effective blend of detail, imagery, action and state of mind/emotion, it advances the narrative on two
fronts:
Lines 1 & 2: The protagonist becomes empowered and perseveres over the negativity/adversity
depicted in the first verse.
Lines 3 & 4: The protagonist stands up to the antagonist, classifies them as an enemy, and makes
a veiled threat.
The veiled threat on lines 3 and 4 essentially functions to set up the summation/payoff that follows in
the chorus.
Line 1: But I got smarter, I got harder in the nick of time

Line 2: Honey, I rose up from the dead, I do it all the time
Line 3: I’ve got a list of names and yours is in red, underlined
Line 1 conveys empowerment. It depicts two important transformations that took place in the protago‐
nist in response to the negativity/adversity dished out by the antagonist:
“I got smarter” (i.e. the protagonist learned how to deal with this type of situation)
“I got harder” (i.e. the protagonist developed a thick skin; can take what’s dished out by haters and
i i b k)
give it back)

Note that the urgency of these transformations is communicated at the end of line 2 by the lyrics “in the
nick of time.” This provides the narrative with a heightened degree of potency.
Line 2 conveys perseverance:
“Honey, I rose up from the dead, I do it all the time”
Communicated by the protagonist directly to the antagonist, this powerful line essentially states that the
protagonist has been counted down and out before, but has always come back and persevered.
Lines 3 and 4 advance the narrative by the protagonist taking a stance against the antagonist, which is
a result of the empowering transformations that transpired on line 1 (i.e. the protagonist becoming
“smarter” and “harder”). The following can be inferred through the powerful and descriptive lyrics:
The protagonist has been wronged by more than a few people (i.e. “I got a list of names”)
The antagonist is at or near the top of the list (i.e. “yours is in red, underlined”)
The protagonist stresses the antagonist’s ranking on the list (i.e. “I check it once, then I check it
twice”)
Note that WHAT this list is specifically for is not made apparent. However, it can be construed as a “hit
list,” conveying a veiled threat to the antagonist that there will be a consequence for their actions. This
effectively sets up the chorus payoff/summation that follows.
Chorus 1
The chorus is composed of two stanzas and is communicated in the first and second person P.O.V. It
features one core action-based line that repeats throughout the entire section.
Stanza 1

Stanza 2

The chorus provides the payoff/summation of all that has transpired in the preceding verse and pre-
chorus sections:
Verse 1: The protagonist was wronged by the antagonist and doesn’t like them.
Pre-chorus 1: The protagonist became empowered, persevered, and made a veiled threat that
p g p ,p ,
there will be a consequence for the antagonist’s adversarial behavior.

Payoff/Summation
The payoff/summation is the action that the protagonist took in response to the antagonist’s adversarial
behavior, which is communicated by the song title:
“Look what you made me do”
As is the case with many of the other lines in the song, the connotation of this line is cryptic. Exactly
WHAT the protagonist did is not made apparent. This creates additional intrigue, which further engross‐
es the listener in the narrative.
However, when taken into account with all that has transpired thus far in the song, the following can be
surmised:
The protagonist transformed from being a trusting individual (see bridge) who was prone to being
stepped on into a “smarter,” “harder” individual that won’t stand for it and will dish it back.
The protagonist (specifically Taylor Swift) took action to publicly vent about an unspecified antago‐
nist in this particular song.
The protagonist (specifically Taylor Swift) changed her image and artistry/sound as a result of the
antagonist’s actions.
Note that the above actions and qualities are in stark contrast to the “Pop/Country sweetheart” percep‐
tion that many people may have had about her in the past.
Verse 2
Like the first verse, verse 2 consists of two stanzas, is communicated primarily in the first and second
person P.O.V., and utilizes an effective blend of detail, action and state of mind-themed lyrics. While the
first stanza possesses both similarities and differences with its verse 1 counterpart, the second stanza
provides an engaging twist by expounding on the veiled threats made in the pre-chorus, showcasing a
now hardened, vengeful protagonist.
Stanza 1
Line 1: I don’t like your kingdom keys

Line 2: They once belonged to me
Line 3: You asked me for a place to sleep
The first stanza begins in the same manner as both stanzas in verse 1 by detailing something specific
that the protagonist doesn’t like about an unspecified antagonist. As is the case elsewhere in the song,
the line is cryptic and heightens engagement due the intrigue it creates:
“I don’t like your kingdom keys”
Line 2 breaks from the “don’t like” theme featured in the first verse by providing additional detail regard‐
i li ’ “ki d k ”
ing line 1’s “kingdom keys”:
“They once belonged to me” 
This development provides even more intrigue as the listener learns that the antagonist now possesses
something – be it tangible or metaphorical – that was/is seemingly important to the protagonist.
Lines 3 and 4 also break from the “don’t like” theme of the first verse. Instead, they detail specific sce‐
narios – literal and/or metaphorical – that involved both the protagonist and antagonist:
“You asked me for a place to sleep”
“Locked me out and threw a feast (what?)”
The listener can deduce the following:
The protagonist and antagonist were once friends (inferred by “asked me for a place to sleep”)
The antagonist “locked” the antagonist out of their life (inferred by “locked me out”)
The last phrase on line 4 is especially cryptic – “threw a feast.” One possible interpretation is that it, and
the stanza, pertains to Katy Perry, whom Swift used to be friends with but had a falling out. The “feast”
could possibly relate to Perry’s recent single, “Bon Appetit.”
Stanza 2
Line 5: The world moves on, another day, another drama, drama
Line 6: But not for me, not for me, all I think about is karma
Line 8: Maybe I got mine, but you’ll all get yours
The second stanza breaks from the narrative that defines stanza 1 as well as both stanzas in the first
verse. It features a revenge theme that pertains to ALL of the people that have wronged the protago‐
nist, not just a specific antagonist as depicted in the other verse stanzas. Note that this ties in with the
“list of names” statement as featured in the pre-chorus.
Line 5: Suggests that “drama” continuously occurs in society, and that people (i.e. the “world”)
move on with their lives after experiencing it (i.e. they let it go). Note that this statement effectively
sets up the protagonist’s view on drama as depicted in line 6 that follows.
Line 6: This important line establishes that while the world moves on, the protagonist DOESN’T,
and believes in “karma” (i.e. what comes around goes around). Note that this ties in with the
“smarter” and “harder” qualities that the protagonist now possesses as well as the veiled threats as
depicted in the pre-chorus.
Line 7: Reiterates the first part of line 5, and sets up line 8 that follows by the lyrics, “and one
thing’s for sure.”
Line 8: Brings the section to a powerful conclusion by expounding on the veiled threat that was
made in the pre-chorus, “I’ve got a list of names and yours is in red, underlined,” with “maybe I got
mine, but you’ll all get yours.”
The mentality of the protagonist in this section is a direct result of the transformation that took place in
the first pre-chorus, where she got “smarter,” “harder,” and put an antagonist at the top of the inferred
the first pre chorus, where she got smarter, harder, and put an antagonist at the top of the inferred
enemies list, as well as the chorus where the protagonist took some type of action.

Pre-Chorus 2
Pre-chorus 2 features the same lyrical content as pre-chorus 1.
Chorus 2
Chorus 2 features the same lyrical content as chorus 1.
Bridge 1
Bridge 1 consists of two stanzas that feature the same lyrics and is communicated in the first, second,
and third person P.O.V. Note that this is the only section in the song that utilizes the third person save
for the “they” reference that pertains to “kingdom keys” in the second verse.
Consisting of just two lines that utilize an effective blend of detail and state of mind- themed lyrics, the
section provides a lyrical twist by bringing “trust” into the equation as well as expounding on the
threat/revenge theme in a clever, fantasy-themed manner.
Stanza 1
Line 1: I don’t trust nobody and nobody trusts me

Line 2: I’ll be the actress starrin’ in your bad dreams
Stanza 2

Odd numbered lines: “I don’t trust nobody and nobody trusts me”
This line is conveyed in the first and third person P.O.V. and conveys the symbiotic distrust between the
protagonist and other unspecified people. While the protagonist’s distrust of people is qualified through
the antagonist’s actions as well as the unspecified people on the “list” as depicted in the pre-chorus, the
reason why people would distrust the protagonist is not made apparent. This creates further intrigue
and heightens engagement value as a result.
Even numbered lines: “I’ll be the actress starrin’ in your bad dreams”
This line is conveyed in the first and second person P.O.V. and builds on the threat/revenge theme that
is intimated in the pre-chorus, chorus and second stanza of verse 2. It is communicated in a fantasy-
type manner by the lyrics “actress starrin’ in your bad dreams,” with the impact being heightened by the
equally fantasy-inspired accompaniment.
equally fantasy inspired accompaniment.

Bridge 2
Bridge 2 is unique in the scope of the song in that it both recycles lyrical content from another section
and introduces new content as well.
Recycled Lyrical Content
The chorus lyrics are utilized, but are now conveyed as background vocals (i.e. they are lower in the
mix and effect-processed, playing a supportive role rather than being the focal point of the section).
Their inclusion reiterates that the protagonist has taken some form of action in response to the
antagonist.
Background Vocals

Line 3: (Look what you just made me do)
New Lyrical Content
The focal point of the section is Swift’s newly introduced spoken vocals. Cleverly conveyed in a tele‐
phone/answering machine-type manner, they substantiate what had been alluded to throughout the en‐
tire song – the “old” Taylor is no more, and in her place the new “smarter,” “harder” Taylor Swift has
emerged. Note that this is one of the possible interpretations of the cryptic chorus summation/payoff
lyrics, “look what you made me do.”
Lead Vocals
I’m sorry, the old Taylor can’t come to the phone right now
Why?
Oh, ’cause she’s dead!” (oh!)
Additional points to note:
This is the ONLY section in the entire song that mentions a SPECIFIC person (i.e. “Taylor”).
Take note of the clever and suspenseful manner that the powerful “’cause she’s dead” punchline of
the section is set up, which provides it with a heightened degree of impact.
Chorus 3
Chorus 3 features the same lyrical content as choruses 1 and 2.
Outro
Outro
The outro features the same lyrical content as the chorus sections. 
Benchmark
This section compares Look What You Made Me Do to the 23 songs that landed in the Billboard Hot
100 Top 10 during Q3-2017.
“D” Section: The sum of bridge and bridge surrogates that provide a pronounced departure around

two-thirds of the way into a song.
Familiarity Factors
Look What You Made Me Do shares the following compositional characteristics that were most popular
among the 23 songs that charted in the Hot 100 Top 10 during Q3-2017. The commonalities make it
easier for a mainstream audience to connect with the song, especially in an airplay environment due to
the familiarity they impart (i.e. the song isn’t coming out of left field which would cause the listener to
have to work at connecting with the song).
Top Characteristics
Look What You Made Me Do being in-line with the most popular (#1) characteristics of Q3-2017’s Top
10 charting hits:
Credited Songwriters: 5+ (5 credited songwriters – including the writers of I’m Too Sexy)
Primary Genre: Pop
Influence: Hip Hop/Rap
Lyrical Theme: Love/Relationships
Song Title Placement: Chorus
Prominent Instruments: Drums/Percussion (The song also features synth bass and an assortment
of other synths, which are the #2 and #3 most popular, respectively)
Key: Minor
First Section: Intro
Last Section: Outro
Outro Length Range: 0:10 – 0:19 (0:15)
First Chorus Occurrence (Percent into song): 20% – 29% range (29% into the song)
Contains a Post Chorus: Yes
Contains a “D” (Departure) Section: Yes
Contains an Instrumental Break: No
Contains a Vocal Break: No
Standout Factors
The following characteristics help Look What You Made Me Do to stand out among its mainstream
contemporaries:
Influence (Fantasy)
While Dance/Club Electropop Hip Hop/Rap and Retro are popular influences found in the Top 10 of
While Dance/Club, Electropop, Hip Hop/Rap and Retro are popular influences found in the Top 10 of
the Hot 100, Fantasy is not. Put into effect by the orchestral instrumentation, harmony, and melodies in
the intro and bridge 2, this influence helps Look What You Made Me Do to stand out and get noticed. 
Influence (I’m Too Sexy)
The chorus vocal is heavily inspired by Right Said Fred’s 1991 hit, I’m Too Sexy – so much so that
those writers were credited. While the similarities between them heightens familiarity, the fact that Look
What You Made Me Do utilizes this particular vocal influence sets it apart from all other songs that
don’t.
Instruments (Orchestra / String Section)
The use of orchestral instrumentation in the Top 10 is quite rare – especially when defining the sound of
an entire section as is the case with Look What You Made Me Do (intro and bridge 2). During the first
three quarters of 2017, only 15% of songs featured a string section in their framework, and none in the
Fantasy style manner of Look What You Made Me Do.
Vocals (Gender & Delivery)
Solo female lead vocals, which Look What You Made Me Do features, are not particularly popular in the
Top 10 of the Hot 100 as of late. During the first three quarters of 2017, only 22% of Top 10 hits fea‐
tured a solo female lead, which was the least popular behind solo male (44%) and duet/group (34%).
Additionally, the wide array of cross-sectional vocal styles including sung, rapped, spoken and hybrid
deliveries is also quite atypical. Only around one-quarter of Top 10 hits during this time period featured
all of these vocal styles in one song.
Artistic Shift (Taylor Swift)


Compared to previous Taylor Swift hits such as Shake It Off, Blank Space and Wildest Dreams, Look
What You Made Me Do is musically, vocally and lyrically darker. Swift’s new image contradicts what she
has been known for, and enables the song to further stand out as a result.
Soap Opera Factor
One key quality that many Taylor Swift hits have in common is the “soap opera factor.” She references
events and scenarios that have been featured in the press that pertain to a certain person or persons
without naming names, resulting in a great deal of intrigue that engrosses the listener at a heightened
level. This is a core quality of Look What You Made Me Do. Cryptic references are made throughout,
which heightens speculation as to whom she is referring to. Is it Kanye? Kim? Katy? All of them? Re‐
gardless of who it is, the intrigue heightens the song’s visibility and ability to stand out and get noticed.

Hit Songs Deconstructed Taylor

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9/27/2019 Look What You Made Me Do Deconstructed

Look What You Made Me Do Deconstructed Pro

Section Abbreviation Key

Overview, Highlights & Takeaways

Standout Factors & Connection Accentuators

Effective Prosody / Vibe Shifts

I’m Too Sexy

Highly Effective Intro

The orchestral intro is highly effective on three key fronts:

Three Departure Sections

Bridge 1 (“I don’t trust nobody and nobody trusts me…”)

Chorus 1 into verse 2

Verse 2, stanza 1 into stanza 2

Chorus 2 into bridge 1

Bridge 2 into chorus 3

The “Soap Opera” Factor

Pronounced Artistic Shift

Swift Hit Commonalities

Spoken Moment: Look What You Made Me Do

Taylor Swift - Look What You Made Me Do

Spoken Moment: We Are Never Ever Getting Back Together

Taylor Swift - We Are Never Ever Getting Back Together

Spoken Moment: Shake It Off

Taylor Swift - Shake It Off

Heartbeat: Look What You Made Me Do

Taylor Swift - Look What You Made Me Do

Heartbeat Pattern: Wildest Dreams

Energy & Dynamics: Overview

Wave 1: Intro (I) – Chorus 1 (B-1)

Wave 2: Verse 2 (A 2) Chorus 2 (B 2)

Wave 3: Bridge 1 (C-1) – Outro (O)

At-A-Glance: Energy & Dynamics – Section By Section

Genres & Inﬂuences: Overview

Narrative Flow: In-A-Nutshell

Sectional Melodic Part Structure: At-A-Glance

Chorus & Outro

Sectional Melodic Flow: At-A-Glance

Chorus & Outro

Rhyme Schemes: Overview

Pre-Chorus: AAAA (“time” – “time” – “un-der-lined” – “twice”)

Instrumentation & Arrangement: Overview

Intro & bridge 1 progression: Am – F – E7 (Am: i-VI-V7)

Pre-chorus, bridge 2 & outro progression: Am-C/G-F(/A)-E7(#5)-E7 (Am: i-III6/4-VI(6)-V7(#5)-V7)

Look What You Made Me Do contains 11 sections in its framework:

One intro section

Two verse sections

Two pre-chorus sections

Three chorus sections

*Two bridge sections

**One outro section (post chorus)

Sections are arranged into the following form:

Two Bridge Sections

Post Chorus Section Classiﬁcation

Total Section Breakdown

Energy & Dynamics

Wave 1: Intro (I) – Chorus 1 (B-1)

Wave 2: Verse 2 (A-2) – Chorus 2 (B-2)

Wave 3: Bridge 1 (C-1) – Outro (O)

Wave 1: Intro (I) – Chorus 1 (B-1)

Cross-Section Impact Accentuator #1

Wave 2: Verse 2 (A-2) – Chorus 2 (B-2)

In-Section Impact Accentuator #1

Cross-Section Impact Accentuator #2

Wave 3: Bridge 1 (C-1) – Outro (O)