Classic FM have done an in-depth musical analysis of Zayn Malik’s ‘PILLOWTALK’

Here at MP! Towers, we are pros when it comes to music (which is because of our  incredible taste, ofcourse)


We’re good, to the point where we can differentiate which member of a group sings which part without having to google lyrics, to see who sings what. Amazing, right?


Unfortunately for us, this isn’t regarded as a professional job. Apparently, you need to know a difference between a C-Flat and a D-sharp, to be able to get into some sort of music career.


However, there is some genius over at Classic FM who know his difference between the notes and decided to do what they’re calling an ‘in-depth music theory analysis’ of Zayn Malik’s smashing single ‘PILLOWTALK’.


Yes he is! Daniel Ross, the guy who’s blessing us all with this, says: “The vocal melody in the verses is almost purely pentatonic, clinging desperately to those black notes and very rarely stepping beyond. It means that, in keeping with making this a simple song to sing, all he has to do is variously rattle up and down that pentatonic scale to achieve an impressive sound.”


What about his ad-libs? Well, Daniel reckons that “Zayn’s ad-libs become super-playful. Listen to how he sings ‘Nobody but you, ‘body but me, ‘body but us, bodies together’: he makes it skip with triplets against the prevailing tempo, reigning them in beautifully and hypnotically.”

“Inventive, memorable, and precisely the kind of hook that makes a song sink into your head without you realising it.”

What about the vocal range?

Daniel thinks: “The vocal range of the whole song is A flat up to that top B, just a smidge over a single octave. There’s nothing wrong with that, particularly, but wouldn’t it have been nice to hear Zayn really opening up his instrument? While it’s a fine performance, it’s not exactly Mariah. Or even Miguel, actually, with whom Zayn is going to have to compete in the vocal stakes as more singles trickle out.”



Let us know what you think of all this over at @maximumpop.

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