Whats That Sound 10-13_5.0
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WHAT’S THAT SOUND?
532
LISTENING GUIDE
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MUSIC
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Britney Spears, “. . . Baby One More Time”
Words and music by Max Martin, produced by Max Martin and Rami. Single rose to
#1 in the United States in 1998; from the album . . . Baby One More Time, which rose
to #1 in the United States.
FORM: Contrasting verse-chorus. The first two verses are built on a repeating 4-bar
progression, played three times through to create a 12-bar section. The first 4 bars of
the chorus are built on the same pattern, but the second 4 bars break off and introduce new material. The first two verses and the choruses that follow are almost identical except for the lyrics, and the second chorus is followed by an instrumental 4-bar
interlude that is repeated from the introduction. The formal interest in the song
arises in the third verse, which introduces fresh material, and the chorus that immediately follows it, which works from this new, varied structure to rework the chorus
lyrics. This varied verse-chorus pair is then followed by a return to the chorus as it
was presented earlier, and that form of the chorus occurs twice before the song ends
on a strong downbeat. The varied verse and chorus introduce contrast into the song
to make the return of the chorus fresh, and function much as a bridge or guitar solo
might in another song, though here remaining well within the constraints of a contrasting verse-chorus design.
TIME SIGNATURE: 4/4 throughout, with a strong dance-tempo feel and clearly articulated beat.
INSTRUMENTATION: Wah-wah guitar, bass, synthesizers, piano, drums, percussion,
lead and backup vocals.
0:00–0:12
Introduction, 4 mm.
A simple riff over a drumbeat that establishes the rhythmic feel. Spears interjects
“Oh baby baby” twice.
0:12–0:43
Verse 1, 16 mm.
The first 8 bars remain quiet and focus on
solo lead vocal, while the last 4 measures
add backup vocals and build toward chorus.
“Oh baby baby . . .”
Whats That Sound 10-13_5.0
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CONCLUSION
0:43–1:03
Chorus, 8 mm.
Harmony vocals enter along with synthesizer, much bigger sounding to create
emphasis on this section. Note clever transition to next verse. “My loneliness . . .”
1:03–1:34
Verse 2, 12 mm.
1:34–1:55
Chorus, 8 mm.
Mostly as before, with backup vocals now
added to entire section, and more emphasis
on wah-wah guitar in the accompaniment.
“Oh baby . . .”
Big, as before, but almost identical. “My
loneliness . . .”
1:55–2:06
Interlude, 4 mm.
2:06–2:26
Verse variation, 8 mm.
2:26–2:47
2:47–3:07
3:07–3:29
As in introduction, with lead vocal improvising in dialogue with guitar.
The first four bars repeat the verse as before,
but the next four bars introduce new music
not heard previously in the song. Note the
use of a quiet, quasi-classical texture, with
emphasis on acoustic piano and soft orchestral strings and a build to next section. “Oh
baby . . .”
Chorus variation, 8 mm. Begins as if it could be a regular chorus, but
then picks up the chords from the second 4
bars of the varied verse. “I must confess . . .”
Chorus, 8 mm.
As heard after verses 1 and 2. “My loneliness
. . .”
Chorus, 9 mm.
Repeat with added lead vocal part drawn
from chorus variation over backup vocals.
Note how the ending employs the final crash
to reinforce the catchy refrain “Hit me baby
one more time.”