the one that got away deconstructed

Hit Songs DeconstructedDeconstructing Today's Hits for Songwriting Successhttp://reports.hitsongsdeconstructed.com

The One That Got Away Deconstructed

Skip to: Audio/Video General InformationAt a GlanceStructural AnalysisSectional AnalysisWaveformPrimary Instrumentation, Tone & MixBenchmark AnalysisOverall AssessmentHit Factor AssessmentConclusionWhy it’s a HitSongwriter/Producer Take Aways

Audio/Video Back to Top

General Information Back to Top

Artist: Katy PerrySong/Album: The One That Got Away / Teenage DreamSongwriter(s): Katy Perry, Lukasz Gottwald, Max MartinProducer(s): Lukasz Gottwald, Max MartinGenre: PopSub Genre: Teen Pop/ Dance

At a Glance Back to Top

Length: 3:47Structure (Form): A-B-A-B-C-BTempo: Mid to Mid/Up (138 bpm)

1 / 41


First Chorus: 0:32 (14% into the song)Intro Length: 0:03Outro Length: n/aElectric vs. Acoustic: ComboPrimary Instrumentation: Bass, upfront drums, piano, synth, stringsLyrical Theme: Love / RelationshipsTitle Occurrences: The title The One That Got Away occurs 10 times within the song – twice inchoruses 1 & 4 and three times in choruses 2 & 3, at the end of each sectionLyrical P.O.V: 1st and 2nd

Structural Analysis Back to Top

At-a-Glance

Section Length (Length of each individual section within the song)

With the exception of the short three second intro and one second turn-around, each sectionof the song lands at 0:29 or just about half that at 0:14. The two verses and bridge land at 0:29, as do the first parts of choruses 1, 2 & 3. The second part of the chorus (i.e. the o-o-o-o-ne section) is just about half the length of the first, landing at 0:14. The fourth chorus consistsonly of part 1, but is half the length of the other part 1’s, landing at 0:14. The ring out is just thetime that it takes from the last note being hit to the time that the song comes to a complete end. This lasts for 0:07.

Structure Timeline (Shows when each section hits within the timeline of the song)

2 / 41


Total Section Analysis (Total time consumed by each section and its percentage of the totalsong)

By looking at the graph above, it’s easy to see where the primary focus of The One That GotAway resides. The four chorus sections account for 57% of the song’s total compositionfollowed the two verse sections, comprising 26% of the total song. The bridge accounts for 13%, followed by the intro at just 1% of the song.

It’s obvious that Katy, Max and Dr. Luke felt that the real strength of the song lies within thatsuper-infectious chorus, particularly in the sense that they didn’t even “waste time” by putting apre-chorus in there (I don’t mean that in a negative sense – the song just didn’t need one). They wanted to get the listener right into the chorus – and with good reason.

Additionally, it’s interesting to note that The One That Got Away has more time devoted to itschorus than any other Katy Perry hit from Teenage Dream. Last Friday Night was the closestat 55%, followed by E.T. at 51%. All of the others are in the 40% range.

3 / 41


Momentum/Intensity/Tension Factor (Evaluation of the intensity of each section within the songtimeline on a scale of 1 – 10, 10 being the most intense)

Summary:The One That Got Away doesn’t possess any tremendous shifts in momentum, intensity andtension between sections as some other current Pop hits do. Instead, The upfront drumsprovide a consistent backbeat for the song with the transitions (music being pulled from the mixcoupled with Katy’s solo In another life vocal) providing the chorus sections that follow withmore impact when they hit (specifically during the 2nd and 3rd choruses).

Overall, it’s the nature of the upfront bass coupled with Katy’s vocal delivery that has thegreatest impact on momentum levels, while the synth and strings are there to provide increasedtension and emotion to specific sections of the song (i.e. the chorus).

Play By Play:The One That Got Away kicks off in a mid to mid/up tempo fashion characterized by the upfrontsolo drum pattern that defines every section of the song. At 0:03 the momentum level is kickedup a notch as we enter into the first verse where we see the piano, bass and Katy’s vocalsentering the mix. The overall level remains constant throughout the duration of the section untilwe hit the first chorus.

Once we hit the first chorus at 0:32, the momentum and intensity levels are increased over thepreceding verse primarily due to the nature of the driving bass working in conjunction with theshaker, piano pattern and Katy’s vocal delivery, while the synth adds increased tension andemotion to the overall section. The momentum established at the onset of the chorus continuesthroughout until coming to the turn-around at 1:01, where the momentum is brought back downwith the reversion back to the solo drums that defined the intro of the song.

At 1:02 we enter into the first stanza of the 2nd verse where we see the overallmomentum/intensity levels raised a notch above that of the 1st verse primarily due to the moreup-front, driving delivery of the bass coupled with the electric guitar “stabs” that accentuate thesection in the back of the mix. At 1:17 we enter into the second stanza of the section wherethe intensity/tension levels are once again increased a notch via the addition of the backgroundvocals coupled with the strings. The overall momentum level remains constant until hitting thenext transition point at 1:29, where the backing music is pulled from the mix and Katy Perrysings the solo In another life line that ushers in the second chorus.

At 1:31 we hit the second chorus where we see the overall intensity raised a notch above that

4 / 41


of the preceding chorus specifically due to the addition of strings entering the mix coupled withthe vocal harmonies that provide the section a slightly more intense, urgent, and soaring vibe. Notice that the bass is also a notch above that which defined the 1st chorus (it now possessesthe “driving” nature that was established in the second verse,) providing the second chorus withquite a bit more propulsion than the first. The overall momentum remains constant as we hit thesecond part of the chorus at 2:00, which is defined by the change-up in Katy’s vocal delivery(i.e. “the o-o-o-o-o-one,”) coupled with the soaring background vocals.

At 2:14 we enter into the bridge where the overall feel that defined the song up until this point iscompletely changed up. The first thing that you’ll notice is that the driving bass that propelledthe chorus has been pulled from the mix. It’s this fact alone that causes the overall momentumlevel that defined the preceding chorus to now drop off a bit. Otherwise, its Katy’s vocaldelivery coupled with the nature of the string arrangement plus the addition of the cymbalsduring the second half that propels the section along.

The overall momentum level of the bridge continues until we hit the transition point once againat 2:41 where Katy’s solo, harmonized vocal proclaims In another life, launching us back intothe chorus at 2:43.

The momentum level that defines the entire third chorus is on par with that which defined thesecond chorus, and the overall level remains constant as we move into the 4th chorusat 3:26 (notice that it’s only the first part of the chorus – “the o-o-o-o-o-one” part is omittedhere).

The song comes to an end at 3:40 when the final notes are hit, followed by the “ring out” thatlasts for 0:07 before bringing us to a final conclusion at 3:47.

Sectional Analysis Back to Top

Intro: 8/10Although technically it’s not a “fully developed” intro, the solo drum beat does its job on thefollowing fronts:

It immediately hooks and locks the listener into the upfront beat that defines the vastmajority of the song.

Even though it’s just drums, the beat acts as a unique “identifier” for the song – thesecond you hear it you pretty much know what song it is right off the bat, especially inthe sense that the vast majority of other current hit Pop songs don’t kick right off withthe drums (the only exceptions in 2011 top 10 Pop hits were I Wanna Go, The LazySong and Good Life).

Since the beat defines the verse section that follows, it provides for a seamlesstransition between sections.

Key:

5 / 41


Blue Diamond: Quarter noteGreen Diamond: Eighth Note

GRAPHICAL REPRESENTATION OF DRUM PATTERN THAT DEFINES THE INTROSECTION OF THE SONG (listen to the section while you look at this):

The drum pattern consists of a quarter note value kick-snare-kickprogression followed by an eighth note snare-kick. This overall pattern is repeatedthroughout the entire song.

Verses: 9/10

THE MUSIC This section takes a look at the backing music that defines the Verse sections of the song.

First Verse:Overall, the music does a great job of eliciting a “High School Teen” vibe that is reflective innature coupled with a hint of young innocence that jibes perfectly with the nature of the lyrics.

The music is defined by the repetitive quarter note piano pattern (see graph below for details),the tied whole note E-G#-C#-A bass line and the same drum pattern that defined the introsection of the song.

Second Verse:In contrast to the first verse, the first half of the second verse kicks the momentum and intensityup a notch specifically due to the bass changing over to a quarter/eighth note delivery coupledwith an increased level over that of the first verse. During the second half of the section, stringsare added to the mix coupled with background vocals and the electric guitar “stabs” (all ofwhich did not occur during the first verse) that do a great job of giving the section a more“urgent” vibe plus increased “drama” and emotion over that of the first verse.

Key:Red Diamond: Notes longer than a quarter note & restsBlue Diamond: Quarter noteGreen Diamond: Eighth Note

GRAPHICAL REPRESENTATION OF DRUM PATTERN THAT DEFINES THE VERSESECTIONS OF THE SONG (listen to the section while you look at this):

6 / 41


GRAPHICAL REPRESENTATION OF THE PIANO PATTERN THAT DEFINES THE VERSESECTIONS OF THE SONG (listen to the section while you look at this):

The overall pattern is quite simplistic and does a great job of providing the song with that“reflective teen” nature as mentioned earlier. The chord changes are depictedby the red squares in the graph (E-G#m-C#m-A).

GRAPHICAL REPRESENTATION OF THE BASS PATTERN THAT DEFINES THE VERSESECTIONS OF THE SONG (listen to the section while you look at this):

1st Verse

Each note above is a tied whole note (eight beats) and works in tandem with the chordchanges. This specific delivery only occurs during the first verse of the song.

2nd Verse

7 / 41


The bass line in the second verse follows the same overall progression that defined thefirst verse (E-G#-C#-A), but now encompasses a quarter note delivery on the first threenotes in each phrase, followed by two eighth notes.

Notice that the first eighth note in each phrase is the same note as the preceding three,but then changes on the last note of the phrase. The first is E to B, the second is G#to D#, the third is C# to G# and the fourth is A to E.

This bass line provides the song with increased “propulsion” and will define eachsection of the song moving forward (except for the bridge).

*Note that each individual phrase is repeated twice in a row (i.e. E-E-E-E-B twice, etc…). It’snot depicted in the graph due to placement limitations.

THE LYRICS & HARMONIC PROGRESSIONThis section provides you with detailed lyrical analysis and harmonic progression for both versesections of the song. Reference the Lyric Section in the Overall Assessment Section of thereport for details regarding the overall storyline flow and meaning.

VERSE 1

Key:Red font = rhyming lyrics in the same stanzaGreen font = rhyming lyrics between stanzasBlue font = indicates on which lyric the chord change takes place

1st StanzaE Summer after high school, when we first met G#m We’d make out in your Mustang, to RadioheadC#m / AAnd on my 18th birthday, we got matching tattoos

2nd StanzaE Used to steal your parent’s liquor, and climb to the roofG#mTalk about our future, like we had a clueC#m / ANever planned that one day, I’d be losing you

Syllable & Word Count: 1st Verse

8 / 41


1ST StanzaLine 1: 8 words / 10 syllablesLine 2: 8 words / 12 syllablesLine 3: 9 words / 13 syllables

2nd StanzaLine 1: 11 words / 13 syllablesLine 2: 9 words / 11 syllablesLine 3: 9 words / 11 syllables

IMAGERY, PLACE & TIME BASED LYRICS & PHRASES IN THE FIRST VERSE:

Summer High School Mustang Tattoos Liquor Roof

EMOTIONAL BASED LYRICS AND PHRASES IN THE FIRST VERSE:

Talk about our future, like we had a clue Never planned that one day, I’d be losing you

ACTION BASED LYRICS & PHRASES IN THE FIRST VERSE:

Make out Climb to the roof Talk

CHARACTER/PERSON BASED LYRICS & PHRASES IN THE FIRST VERSE (INCLUDINGPRONOUNS):

Radiohead We We’d My Parents Our I’d You

RHYMING PATTERNS IN THE FIRST VERSE:

1st Stanza – Line 1 & Line 2: The last syllable on the first line (met) rhymes with the lastsyllable on the second line (head).

9 / 41


2nd Stanza – Line 1 & Line 2: The last syllable on the first line (roof) rhymes with the lastsyllable on the second line (clue).

1st & 2nd Stanza’s – Last Line: The last syllable in the first phrase in the first stanza (day in birthday) rhymes with the last syllable in the first phrase in the second stanza (day). The lastsyllable in the second phrase in the first stanza (oos in tattoos) rhymes with the last syllable inthe second phrase in the second stanza (you). This rhyming scheme between stanzas does agreat job of enhancing the memorabliltiy factor of the section (i.e. the flow is familiar).

LINE ARRANGEMENT IN THE FIRST VERSENotice how each line is broken up into two short phrases, making it easier for the listener tograsp onto and remember.

1st Stanza:Line 1: Summer after high school, when we first metLine 2: We’d make out in your Mustang, to RadioheadLine 3: And on my 18th birthday, we got matching tattoos

2nd Stanza:Line 1: Used to steal your parent’s liquor, and climb to the roofLine 2: Talk about our future, like we had a clueLine 3: Never planned that one day, I’d be losing you

VERSE 2

Key:Red font = rhyming lyrics in the same stanzaGreen font = rhyming lyrics between stanzasBlue font = indicates on which lyric the chord change takes place

1st StanzaEI was June and you were, my Johnny CashG#mNever one without the other, we made a pactC#m / ASometimes when I miss you, I put those records on, whoa

2nd StanzaESomeone said you had your tattoo removedG#mSaw you downtown, singing the bluesC#m / AIt’s time to face the music; I’m no longer your muse

10 / 41


Syllable & Word Count: 2nd Verse

1ST StanzaLine 1: 9 words / 10 syllablesLine 2: 9 words / 12 syllablesLine 3: 11 words / 14 syllables

2nd StanzaLine 1: 7 words / 10 syllablesLine 2: 6 words / 8 syllablesLine 3: 11 words / 13 syllables

IMAGERY, PLACE & TIME BASED LYRICS & PHRASES IN THE FIRST VERSE:

Records Tattoo Downtown

EMOTIONAL BASED LYRICS AND PHRASES IN THE FIRST VERSE:

We made a pact Miss you Time to face the music I’m no longer your muse

ACTION BASED LYRICS & PHRASES IN THE FIRST VERSE:

I put those records on Singing

CHARACTER/PERSON BASED LYRICS & PHRASES IN THE FIRST VERSE (INCLUDINGPRONOUNS):

June Johnny Cash One Other We I’m Muse

RHYMING PATTERNS IN THE SECOND VERSE:

1st Stanza – Line 1 & Line 2: The last syllable on the first line (Cash) rhymes with the lastsyllable on the second line (pact).

11 / 41


2nd Stanza – Line 1 & Line 2: The last syllable on the first line (oved in removed) rhymes withthe last syllable on the second line (muse).

LINE ARRANGEMENT IN THE SECOND VERSENotice how once again each line is broken up into two short phrases, making it easier for thelistener to grasp onto and remember.

1st Stanza:Line 1: I was June and you were, my Johnny CashLine 2: Never one without the other, we made a pactLine 3: Sometimes when I miss you, I put those records on, whoa

2nd Stanza:Line 1: Someone said you had your, tattoo removedLine 2: Saw you downtown, singing the bluesLine 3: It’s time to face the music, I’m no longer your muse

THE VOCAL MELODY This section provides you with a detailed look at the vocal melody that defines the versesections of the song.

Lines 1 & 2: Both Stanzas / Both Verses

Each line is broken into two phrases. The result is that it makes it easier for the listenerto process and connect, increasing the overall memorability of the section.

The overall melody pattern is virtually identical on lines 1 & 2 in both stanzas of thefirst and second verses, with some minor differences (see the melody graphs below fordetails).

The vocal range on lines 1 & 2 in both stanzas of both verse sections basically justfluctuates between E & F#. Overall it’s not very difficult to sing, and as a resultincreases the connection potential with the listener (i.e. if they can sing it, it will getfurther engrained in their head). The only variation that occurs is when Katy goes downto a B at the beginning of some of the lines and phrases (see graphs below for details).

The first two lines in each stanza of each verse basically consist of an eighth notedelivery with the phrases broken up by a quarter note or a rest.

There’s only one lyric which has a quarter note value that doesn’t end a phrase. Thisoccurs on the first line of verse one, stanza one on the lyric first.

Line 3: Both Stanzas / Both Verses

The overall melody pattern is virtually the same on line 3 in both stanzas of the firstand second verses with some minor differences (see melody graphs below for details).

12 / 41


The first phrase on line three in both stanzas of both verse sections follows the samegeneral pattern as the first phrase of lines 1 & 2 in the corresponding sections : E-F#-F#-F#-F#-E.

The primary difference between line 3 and lines 1 & 2 occurs during the secondphrase, which possesses a declining G#-F#-E-D#-C# progression primarily consisting ofa quarter note delivery (the exception is the 2nd to last lyric on each phrase which is aneighth note).

The descending progression mentioned above does a great job of setting up thechorus that follows since it naturally brings the section to a conclusion, giving the chorusmore power when it hits (the verse ends on C# and the chorus starts up at A). Additionally, the descending progression provides good contrast to the first two lineswhich are virtually identical in nature.

Key:Red Diamond: Notes longer in duration than a quarter note and restsBlue Diamond: Quarter noteGreen Diamond: Eighth note

GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE FIRSTVERSE (listen to the section while you look at this):

1st Verse / 1st Stanza

Lines 1 & 2

Line 3

1st Verse / 2nd Stanza

Lines 1 & 2

13 / 41


Line 3

2nd Verse / 1st Staza

Lines 1 & 2

Line 3

2nd Verse / 2nd Stanza

Lines 1 & 2

14 / 41


Line 3

Chorus: 9/10

THE MUSIC This section takes a look at the backing music that defines the Chorus sections of the song.

First Part (Chorus 1, 2, 3 & 4):Considering that the drum beat and piano pattern remain virtually the same throughout theentire song, the chorus gets its “lift” primarily from the addition of the background strings andsynth, which gives it its “soaring” nature. The propulsion of each chorus section stems from theupfront bass, coupled with the background percussion (shaker) and electric guitar that’s addedto the mix during the 3rd and 4th choruses. Additionally, the bells do a great job of furtheraccentuating the “teen” vibe. Additional points to note:

The bass is more upfront in the mix during the 2nd, 3rd and 4th chorus sections than itis in the first.

The bass line that defines the 2nd, 3rd and 4th choruses is the same bass line that wasestablished during the second verse of the song. The bass line in the 1st verse doesn’thave that change on the last two notes of each phrase as mentioned earlier in thereport.

Notice that the piano is much lower in the mix in the chorus than it was in the versesections of the song (especially in the 2nd, 3rd and 4th choruses). The piano is addingto the foundation of the sound where the bass is pretty much upfront and defining thesection.

Note that the additional strings that are added to the mix during the 2nd, 3rd and 4thchoruses (panned 9:00-10:00) further accentuate the dramatic nature of the section. Also note that they increase in level during each successive chorus section (i.e. theybecome more upfront in the mix as the song progresses).

Second Part (Chorus 2 & 3):The second part of the chorus (i.e. the o-o-o-o-one section) occurs twice in the song (during the2nd and 3rd choruses) and retains the primary characteristics of the first part of the chorus thatpreceded it. The only real difference is that the string “accentuations” which are panned leftare a little further up in the mix than during the first part of the chorus.

15 / 41



GRAPHICAL REPRESENTATION OF DRUM PATTERN THAT DEFINES THE CHORUSSECTIONS OF THE SONG (listen to the section while you look at this):

Note that this is the same drum pattern that defined the intro and verse sections of the song.

GRAPHICAL REPRESENTATION OF THE PIANO PATTERN THAT DEFINES THE CHORUSSECTIONS OF THE SONG (listen to the section while you look at this):

This is the same piano pattern that defined the verse sections of the song. The primarydifference is that its lower in the mix in the chorus.

GRAPHICAL REPRESENTATION OF THE BASS PATTERN THAT DEFINES THE CHORUSSECTIONS OF THE SONG (listen to the section while you look at this):

Note that the pattern above defines the 2nd, 3rd and 4th choruses. The 1ST chorus is similarin nature except for the fact that there is no change on the last note of each phrase.

THE LYRICS & HARMONIC PROGRESSION

16 / 41


This section provides you with detailed lyrical analysis and harmonic progression for the chorussections of the song. Reference the Lyric Section in the Overall Assessment Section of thereport for details regarding the overall storyline flow and meaning.

Key: Red font = rhyming lyricsBlue font = indicates on which lyric the chord change takes place(Parenthesis) = carry-over chord from previous line

Chorus Part 1 (occurs in each chorus section)(A) / E / G#mIn another life, I would be your girl(G#m) / C#m / AWe’d keep all our promises, be us against the world(A) / E / G#mIn another life, I would make you stay(G#m) / C#m / ASo I don’t have to say you were the one that got away(A)The one that got away

*Note: The 2nd chorus kicks off with the lyric “But.” This is the only place in the song wherethis occurs.

Chorus Part 2 (occurs in each chorus section except for the first & last)EThe o-o-o-o-o-o-o-neG#mThe o-o-o-o-o-o-o-neC#mThe o-o-o-o-o-o-o-neAThe one that got away

*Note that in the first chorus part each chord change occurs on the last syllable in each phrase.

*Note that in the second chorus part the chord change occurs at the beginning of the measure(4 beats) BEFORE the lyrics kick in.

Syllable & Word Count: Chorus Part 1Line 1: 8 words / 10 syllablesLine 2: 10 words / 13 syllablesLine 3: 8 words / 10 syllablesLine 4: 13 words / 14 syllablesLine 5: 5 words / 6 syllables

17 / 41


Syllable & Word Count: Chorus Part 2Line 1: 2 words / 9 syllablesLine 2: 2 words / 9 syllablesLine 3: 2 words / 9 syllablesLine 4: 5 words / 6 syllables

IMAGERY, TIME & PLACE BASED LYRICS & PHRASES IN THE CHORUS:

Another lifeWorld

EMOTIONAL BASED LYRICS AND PHRASES IN THE CHORUS:

In another life I would be your girlWe’d keep all our promisesBe us against the worldI would make you staySo I don’t have to say you were the one that got away

ACTION BASED LYRICS & PHRASES IN THE CHORUS:

None

CHARACTER/PERSON BASED LYRICS & PHRASES IN THE CHORUS (INCLUDINGPRONOUNS):

IGirlWe’dOurUsWorld (the reference also alludes to people in the world)YouThe one

RHYMING PATTERNS IN THE CHORUS:

Line 1 & Line 2: The last syllable on the first line (girl) rhymes with the last syllable on thesecond line (world).

Line 3 & Line 4: The last syllable on the third line (stay) rhymes with the last syllable on thefourth line (way in away).

LINE ARRANGEMENT IN THE CHORUSNotice once again how each line (except for the last two) is broken up into two phrases, makingit easier for the listener to grasp onto and remember.

18 / 41


Line 1: In another life, I would be your girlLine 2: We’d keep all our promises, be us against the worldLine 3: In another life, I would make you stayLine 4: So I don’t have to say you were the one that got awayLine 5: The one that got away

*Notice how the fourth line is broken into four segments instead of two.

THE VOCAL MELODY This section provides you with a detailed look at the vocal melody that defines the chorussections of the song.


GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE CHORUS(listen to the section while you look at this):

Chorus-Part 1:

Lines 1 & 2

Key Points:

As you can see in the graph above, the overall melody is basically “creeping” down inpitch, starting on A in the first phrase and working its way down to C# at the end of thefourth phrase.

The first three phrases above all begin with a monotone delivery on A (the first threesyllables – eighth / quarter / quarter note).

The first two phrases follow the same melodic flow except for the fact that the firststarts on A and ends on G#, and the second phrase starts on A, proceeds to G# andthen ends on F# (look at the graph above and note that the last two syllables in the firstphrase are in G#. The last two syllables in the second phrase are G# & F).

The third phrase starts out in the same manner as the previous two (A to G#,) then

19 / 41


proceeds down to another G# followed by an F# (as was the case in the second phrase)and then goes one further step down to E.

The fourth phrase differs from the previous three in the sense that it starts out ascending before turning around to follow a descending pattern to conclude the line. (F#-G#-F#-E-D#-C#).

The first two phrases start with an eighth note followed by three quarter notes andends on a dotted half / eighth tie.

Interestingly, the third phrase also follows the same pattern as the first two until thesyllable prom (in promises) which is an eighth/quarter tie followed by an eighth andthen another eighth/quarter tie.

The fourth phrase starts out on an eighth followed by an eighth/quarter tie, eighth,eighth/quarter tie,eighth, and concluding on a dotted half/eighth tie followed by a rest.

The primary vocal harmony occurs on the the first phrase (in another life), which isthree C#’s followed by two B’s (working in tandem with the lead vocal – three A’sfollowed by two G#’s).

Lines 3 & 4

Lines 3 & 4 basically follow the same melodic flow as lines 1 and 2 with a few differences:

The second phrase above (I would make you stay) starts out on B as opposed to it’scounterpart on the first line that started out on A. By going to B, it gives the sectionincreased emotion and diversity from the first, ultimately taking the section to the nextlevel.

The third phrase starts out with an extra syllable (so) in the key of E before proceedingback up to A (as was the case at the beginning of the second phrase on line two).

The vocal harmony follows the same overall characteristics as the first phrase on lineone except in two areas: The second phrase lead vocal is in B with the harmony in E(giving it even more of a dramatic lift) and the harmony on the last two syllables of thefourth phrase a-way break from the pre-established pattern and follow an E lead vocal / G# harmony and a D# lead vocal A harmony.

20 / 41


The first part of the chorus concludes with the extra line The one that got away, whichfollows a B-C#-C#-B-B progression.

Chorus Part 2:

The second part of the chorus only occurs during the 2nd and 3rd chorus sections and directlyfollows the first part of the chorus (i.e. there isn’t a transition between the sections).

First three phrases (i.e. the o-o-o-o-o-o-ne)

The lyric the starts on E, and is followed by an extended one that follows an alternating B-G# progression.

Each phrase consists solely of eighth notes and concludes on a rest.

The fourth phrase is exactly the same as the phrase that concluded the first part of the chorus(the one that got away).

Bridge: 9/10

THE MUSIC This section takes a look at the backing music that defines the Bridge section of the song.

The music in the bridge provides a strong departure from what was defining the song up untilthis point. Note the following:

This is the only section of the song that starts in a key other than E. The bridge kicks offin the key of B and progresses through C#m and F#m. This alone instantly creates adeparture from the rest of the song.

Notice that the bass is barely audible in the mix.

21 / 41


Strings now define the entire section and follow the same rhythmic pattern as thedrums.

The overall drum pattern remains the same as it had been for the entire song but nowincludes hats (during the second half of the section) and what sounds to be a shaker togive the section more of a propulsive nature.

This is the only section of the song where the piano pattern is changed up from whatwas defining the verse and chorus sections. Here it’s basically just playing the chordchanges (whole notes).


GRAPHICAL REPRESENTATION OF DRUM PATTERN THAT DEFINES THE BRIDGESECTION OF THE SONG (listen to the section while you look at this):

GRAPHICAL REPRESENTATION OF THE BASS PATTERN THAT DEFINES THE BRIDGESECTION OF THE SONG (listen to the section while you look at this):

THE LYRICS & HARMONIC PROGRESSION This section provides you with detailed lyrical analysis and harmonic progression for the bridgesection of the song. Reference the Lyric Section in the Overall Assessment Section of thereport for details regarding the overall storyline flow and meaning.

Key: Red font = rhyming lyricsBlue font = rhyming lyrics (no and whoa)

22 / 41


B / C#m / F#mAll this money can’t buy me a time machine, noB / C#m / F#mCan’t replace you with a million rings, no B / C#m / F#mI should’ve told you what you meant to me, whoa B / B7Cause now I’ve paid the price

Chord Change Positioning:Line 1: The B hits three beats before “All,” C#m hits on “time,” and F#m occurs right after“machine.”Line 2: The B hits three beats before “Can’t,” C#m hits on “million,” and F#m occurs right after“rings.”Line 3: The B hits three beats before “I,” C#m hits on “meant,” and F#m occurs right after“me.”Line 4: The B hits three beats before “cause” and B7 occurs right after “price.”

Syllable & Word CountLine 1: 10 words / 14 syllablesLine 2: 8 words / 14 syllablesLine 3: 11 words / 14 syllablesLine 4: 6 words / 6 syllables


MoneyTime machineRings

EMOTIONAL BASED LYRICS & PHRASES IN THE BRIDGE:

All this money can’t buy me a time machineCan’t replace you with a million ringsI should have told you what you meant to meNow I’ve paid the price

ACTION BASED LYRICS & PHRASES IN THE BRIDGE:

None

CHARACTER/PERSON BASED LYRICS & PHRASES IN THE BRIDGE (INCLUDINGPRONOUNS):

MeYou

23 / 41


I

RHYMING PATTERNS IN THE BRIDGE:Line 1, 2 & 3: The last syllable on each line (before the no’s and whoa) rhymes with oneanother – ine in machine (line 1,) ring (line 2) and me (line 3). Additionally, the no’s and whoathat conclude each line rhyme with one another as well.

LINE ARRANGEMENT IN THE BRIDGENotice once again how each line (except for the last) is broken into two phrases, making iteasier for the listener to grasp onto and remember.

Line 1: All this money can’t buy me a time machineLine 2: Can’t replace you with a million ringsLine 3: I should have told you what you meant to meLine 4: Cause now I’ve paid the price

THE VOCAL MELODY This section provides you with a detailed look at the vocal melody that defines the bridgesection of the song.


GRAPHICAL REPRESENTATION OF THE VOCAL MELODY PRESENT IN THE BRIDGE (listen to the section while you look at this):

Line 1

Line 2

24 / 41


Line 3

Line 4

Lines 1 and 2 follow a very similar progression (fluctuating between F# and E) andconclude with a descending of the last three syllables that follow a G#-E-C#progression.

The primary difference between lines 1 and 2 (besides the word & syllable count)resides in the no that ends the line. Line 1 stretches no into three syllables that followsa G#-F#-G# progression. Line 2 stretches no into five syllables that follows a B-A-G#-F#-G# progression.

Line 3 stands out from the first two in the sense that it immediately jumps an octavefrom B to B and then follows a B-A-A-G#-G# progression before proceeding into adescending A-G#-E progression on the lyrics meant to me.

In regard to the descending progression on all three lines (time m-achine, mil-lionrings and meant to me,) notice that they all possess the same note values. The first twosyllables are a quarter/eighth tie, followed by a half/quarter tie on the third syllable. This delivery enables each phrase to stand out, provide diversity from the phrase thatpreceded it and increase the overall memorability of the section.

Instead of using no on the third line, Katy sings whoa and follows a C#-D#-E-D#progression to conclude the line.

Take note of the vocal harmony that sits under the lead vocal. It resides primarily inthe key of D.

Line 4 follows a B-F#-F#-F#-E-D# progression. This progression coupled with Katy’svocal delivery provides the line with a more “somber” tone than the other lines and

25 / 41


really accentuates the lyrics Cause now I paid the price.

Waveform Back to Top

Like the vast majority of current Pop hits, The One That Got Away is immensely compressedfor maximum sonic impact.

Primary Instrumentation, Tone & Mix Back to Top

26 / 41


27 / 41


28 / 41


Benchmark Analysis Back to Top

Compares The One That Got Away to all songs that have entered the Billboard Pop top 10during Q4-2011.

29 / 41


The key elements present in The One That Got Away are in-line with all Q4-2011 top 10 Pophits EXCEPT:

The song length is 0:12 shorter than the average top 10 Pop hit.

The intro length is 0:11 shorter than the average top 10 Pop hit.

30 / 41


The first chorus occurs 0:09 (3%) earlier in the song than the average top 10 Pop hit.

The song contains a combination of acoustic and electric based instrumentationwhere the majority of top 10 Pop hits are all electric in nature.

The song prominently features piano, strings, bass and drums where the majority oftop 10 Pop hits feature a synth.

The One That Got Away is sung by a female where a small majority of top 10 Pop hitsare sung by men.

The One That Got Away and the majority of top 10 hit Pop songs both feature a Dancesub-genre influence, though The One That Got Away isn’t as “Electro” in nature as themajority are.

Overall Assessment Back to Top

Structure: 9.5/10Does the song flow in a cohesive manner and keep the listener engaged? When yoursongwriting team consists of Katy Perry, Dr. Luke and Max Martin, you can rest assured thatthe song at hand is going to be structured for maximum engagement, effectiveness andimpact. The One That Got Away exhibits all of the structural “hit qualities” that you wouldexpect from such a songwriting team, including:

A very short unique intro that piques your interest, hooks you right into the song andtransitions seamlessly into the first verse.

Symmetrical section lengths that keep the song in balance (i.e. when you expect atransition into another section, it happens).

Changing up instrumentation, lead vocal and harmony qualities between sectionsto aid in keeping the listener engaged (i.e. even the subtle changes keep the song frombecoming monotonous and boring to the listener).

The song follows the most popular and proven song structure (form) of them all inPop: A-B-A-B-C-B (verse-chorus-verse-chorus-bridge-chorus).

The additional the o-o-o-o-ne section that occurs during the 2nd and 3rd chorussections takes an already infectious, memorable chorus to the next level.

Additionally, it pays to take a look at how each section transitions in and out of each otherthroughout the song:

Intro to Verse 1: The intro drum pattern leads directly into verse 1.

Verse 1 to Chorus 1: Katy’s In another life vocal in conjunction verse 1 music.

31 / 41


Chorus 1 to Verse 2: One second of the solo drum pattern.

Verse 2 to Chorus 2: Solo Katy Perry In another life vocal.

Chorus 2 to Bridge: It changes over on a dime – no transition.

Bridge to Chorus 3: Solo Katy Perry In another life vocal + string build.

Chorus 3 to Chorus 4: No transition – flows directly from one into the other.

Production: 9/10How does the production stand up in maximizing the songs impact? The One That Got Away isfairly unique in the current Pop genre in the sense that its primary sub-genre influence isbasically split between straight-up teen Pop and Dance, with a slight edge going to Danceconsidering the nature of the chorus. The overall production values do a fantastic job ofbringing both influences to life, including the strategic placement of the instruments in the mix,lead and harmony vocal blend, overall levels and use of compression (remember – this is alsoDance influenced and needs to be primed for the floor).

Instrumentation/Tone: 9/10Does the instrumentation and sound maximize the vibe of the song? All of the instrumentationand their associated tones do a phenomenal job of bringing this “teen” oriented Pop/Dancesong to life:

Piano: Does a great job of giving the song its “young, reflective” nature. It jibesperfectly with the nature of Katy’s vocal and lyrical content in the verse sections, whiletaking on more of a “textural” role during the chorus and providing chord changes in thebridge.

Bass: The upfront, electric bass is what gives the song its propulsion and intensity. Without it, the song wouldn’t have nearly as much impact.

Strings & Synth: They do a great job of adding texture to the sonic landscape in thechorus and also are responsible for giving the section its “soaring” nature. The stringsare also the prominent instrument featured in the bridge, giving it its unique vibe anddeparture from the rest of the song.

Drums: Last but certainly not least, the drums are the driving factor and backbonethroughout the entire song. The beat never really changes throughout, and its upfrontnature works in perfect tandem with the bass in establishing that p rhythm section.

Lyrics: 9/10Are the lyrics strong, fresh and original? Do they serve the song and jibe with the vibe of themusic? Even though The One That Got Away possesses a tried and true teen oriented love/relationship lyrical theme, it does a fantastic job in the storytelling, from setting thescene for us in the past (i.e. informing us about the relationship between the two characters) all

32 / 41


the way up to what could have been had they stayed together. The general flow of the storygoes like this:

Verse 1 / Stanza 1: (The Past)

All three lines give us the history and the bond between the characters.

Verse 1 / Stanza 2: (Past, Future, Consequences)

The first line gives us more of what they did together. The second line shows that they were talking about their future together. The third line lets us know that they weren’t going to last.

Chorus: (The what If we didn’t split up scenario)

The first line tells us that in another life they would be together. The second line tells us that they would be unified. The third line tells of the woman in the story not letting the guy go. The fourth and fifth lines bring the story back to reality – he got away.

Verse 2 / Stanza 1: (Past and Present)

The first two lines tell of their strong bond and that they “made a pact” to be together. The third line tells of the woman reminiscing about him.

Verse 2 / Stanza 2: (Present)

The first two lines tell of the present and how the guy has moved on with his life. The third line tells of the woman coming to the realization that the guy has moved onand that she’s “no longer his muse.”

Bridge: (Present)

The first line tells of the woman wishing that she could go back in time. The second line tells how the guy was “the one” and that nothing could replace him. The third line tells of the woman’s guilt in letting the guy get away – she should havebeen straight-up with him. The fourth line tells of the consequence and finality of it all – “’cause now I’ve paidthe price.”

Additionally, the lyrics make great use of imagery, emotion, action and characters throughoutthe story, resulting in a deeper engagement level for the listener.

Vocal Delivery: 9/10Does the tonality and phrasing of the vocals maximize the songs impact? As with all of hersongs, Katy’s unique vocal delivery perfectly suits the nature of the lyrics and the song at

33 / 41


hand. She exudes that “teen” vibe essence that her audience connects with. Additionally, theuse of vocal harmony throughout the song does a fantastic job of further accentuating theemotion and overall sonic landscape of the song.

Hit Factor Assessment Back to Top

Memorability: 9/10How easy is it to remember this song after you hear it once? Overall, every section within TheOne That Got Away is quite memorable, specifically due to the use of repetition in both thevocal melody and instrumentation (i.e. the bass, drums and piano) coupled with each vocal lineof the song being broken into two phrases which makes it very easy for the listener to grasponto and connect.

All in all, it’s the overall nature of the super-infectious chorus that puts the memorabiltiy factorof the song over the top, and the fact that it comprises 57% of the song’s total compositionensures that it gets deeply engrained in your head.

Originality: 9/10Does this song have its own unique vibe when compared to other songs/artists in the genre? As a whole, there’s nothing overtly original or unique about The One That Got Away. It doesn’treinvent the wheel, and with this type of song, there’s no need to. There is one key elementthat does separate this song from the rest of the Pop pack, however. Let’s call it the “KatyPerry Factor.” As soon as she touches a song, it becomes hers. Katy and her co-writers knowhow to take a “typical” (no negative connotation intended) Pop song and turn it into a KatyPerry tune that stands out amongst all others. In that sense, the song does come across asbeing original and unique in the current Pop genre.

Payoff: 9.5/10Does the song provide the listener with a strong payoff (i.e. a hot chorus)? The super-infectious, soaring chorus provides the listener with a sonic, melodic and a lyrical payoff. Overall it’s exceptionally engaging and memorable, and the lyrics perfectly top off what thestory had been building toward in the verse sections of the song. Additionally, the second partof the chorus (the o-o-o-o-o-one part) takes the overall impact of the section to the next levelduring the 2nd and 3rd choruses.

Longevity: 8/10 (Artist), 6/10 (Overall genre Genre)Does this song have what it takes to stand the test of time? Will it become a staple of theartist’s repertoire? In regard to Katy Perry’s catalog, The One That Got Away is quite strong,but isn’t as unique and powerful as some of her other previous hits, such as California Gurlsand Firework. That being said, I would imagine that The One That Got Away will still befeatured in her live set for some time to come (probably her entire career), but its longevityamongst fans will be determined by how many other stellar hits she cranks out in the course ofher career, causing this one to fade into the background. In regard to the Pop genre as awhole, I wouldn’t say that it’s a “classic” hit, but I’m sure it will find a home on Popcompilations of the time period as well as licensing opportunities for whenever “teen/dance”music is needed.

34 / 41


Conclusion: 9/10 Back to Top

Song Strengths:

The overall storyline has a great flow to it, making great use of imagery, emotion, actionand character identification. The result is that it’s easy for the listener to get engaged inthe story.

The “Katy Perry Factor” enabled the song to come across as original and unique in thecurrent Pop genre, standing out amongst all others.

The listener is provided with a strong payoff in the chorus, and receives a “doublepayoff” in the 2nd and 3rd choruses with the addition of the o-o-o-o-o-ne part.

The song is very well structured, further accentuating the engagement factor for thelistener.

Katy’s solo In another life vocal transition into the 2nd and 3rd choruses provides thesection with increased impact when it hits.

The short (0:03) drum intro instantly engages the listener and acts as a unique“identifier” amongst a myriad of other current Pop hits (remember, in 2011 there wereonly three other songs that kicked off with solo drums).

The backing music (specifically the piano and bells) did a great job of establishing andaccentuating the “reflective teen vibe” of the song.

Overall, the music perfectly jibed with and accentuated the nature of the lyrics.

The strings, synth and background vocals did a great job of providing with the choruswith its soaring, evocative nature. Additionally, the upfront bass was instrumental inproviding the song with its propulsion and drive.

The nature of Katy’s vocal delivery coupled with pretty much every line being split intotwo phrases made it easy for the listener to connect with the song, resulting in increasedengagement and memorability.

The bridge provided an engaging departure both musically and lyrically from what wasdefining the song up until that point (like any good bridge should).

The overall production values coupled with the instrumentation and their associatedtones did a great job of bringing both the “teen” and “dance” nature of the song to life.

Song Weaknesses:

None

35 / 41


Why it’s a Hit Back to Top

There were a couple of primary factors that worked together to help propel The One That GotAway to the top of the charts:

1. The Music: What do you get when Katy Perry, Dr. Luke and Max Martin team up towrite a song? A hit. As mentioned throughout this report, this stellar team of today’shit makers crafted a song that is strong on all fronts, perfectly fusing straight-up teenPop with a Dance sub-genre influence to create an infectious song with an exceptionallymemorable nature. Not surprisingly, this core songwriting team was also responsiblefor four other #1 hits from Teenage Dream including the title song, Last Friday Night(T.G.I.F.), California Gurls and E.T.

2. Katy Perry & The Quest For The Record: In addition to the strength of the song, wealso need to take into account the hype and promotion surrounding this song with thehopes that it surpasses Michael Jackson’s chart record of five #1 hit singles off of asingle album. Katy Perry is currently tied with Jackson with five #1 hits including LastFriday Night, E.T., California Gurls, Teenage Dream and Firework. Will the buzz help topropel the song to #1 and launch Katy into a super class all her own? We’ll soon findout!

Songwriter/Producer Take Aways Back to Top

Below are some of the key attributes that helped to propel The One That Got Away to the top ofthe charts. Incorporating these proven techniques in your own songwriting and producing willundeniably help take your craft to the next level:

Utilizing copious amounts of repetition in your vocal and instrumental melodies is oneof, if not THE most effective way to engage the listener and foster memorability withinyour song. The One That Got Away utilized instrumental repetition most notably in thedrum pattern, bass line and piano pattern in every section of the song except for thebridge. Katy used vocal melody repetition in every single section of the song, and thatcoupled with effective phrasing enabled the melody to get fully engrained in the listenershead.

When composing a song, make sure that the nature of the instrumentation andproduction 100% jibe with and accentuate the intended vibe of the song. This was astrong point within The One That Got Away, where the instrumentation and productionmaximized the song’s overall “reflective teen pop” nature coupled with the dance vibepresent in the chorus.

Breaking up vocal lines into short phrases is a very effective way to engage the listenerand foster memorability. Think of it as trying to remember a telephone number. You’regoing to have a much easier time remembering 212-671-2308 as opposed to2126712308. This was a core attribute within The One That Got Away.

Prosody is an exceptionally important element in successful songwriting. Your lyrics

36 / 41


and vocal delivery need to jibe with the vibe of the music and vice versa. The teenlove/relationship themed lyrics in The One That Got Away were brought to life by thenature of the backing music and Katy’s vocal delivery. As a result, the listener was ableto effortlessly connect with the song (i.e. everything made “total sense.”)Making good use of imagery, emotion, action and character identification in yourlyrics is an exceptionally important factor in engaging the listener in the story at hand. You want them to connect on as deep a level as possible. This was something that TheOne That Got Away pulled off in grand fashion.

Your storyline should possess a strong flow that both makes sense and takes thelistener on a journey, with a lyrical payoff showing up at some point in the song (mostlikely in the chorus). A key strength within The One That Got Away was how it fullyengaged the listener in the storyline, incorporating the past (the first stanza of verse 1)the present ( the entire bridge and 2nd stanza of the 2nd verse) and the “what if”scenario (the payoff in the chorus).

Incorporating a pause or a solo vocal right before the full chorus hits will provide thesection with substantially more impact, especially if the overall momentum and intensitylevels are close to that of the preceding section. The One That Got Away used thistechnique successfully in the transition into both the second and third choruses.

Providing your chorus with an additional “hooky” section will give the song increaseddepth and diversity, and ultimately further the engagement factor for the listener. Thiswas a key factor in The One That Got Away. The first chorus possessed just part one(as mentioned earlier in the report,) while the second and third chorus sectionspossessed part one coupled with the extra the o-o-o-o-o-ne section that took the impactof the chorus to the next level.

Your intro doesn’t always need to be “grandiose” in nature to be effective. Sometimes just a drumbeat can suffice, as was the case in The One That Got Away. Itboth immediately locked the listener into the song and also acted as a unique“identifier”, considering that the vast majority of current Pop hits don’t kick off with asolo drum.

Utilizing the right backing instrumentation and vocals to accentuate a vibe can dowonders in taking a section from good to great. This is what the strings, synth andbackground vocals did to make the chorus soar in The One That Got Away.

THE LYRICS & HARMONIC PROGRESSION

37 / 41


Key:

Red font = rhyming lyrics

Blue font = indicates on which lyric the chord change takes place

Parenthesis = carry-over chord from previous line

Chorus Part 1 (occurs in each chorus section)

(A) / E / G#m

In another life, I would be your girl

(G#m) / C#m / AWe’d keep all our promises, be us against the world

(A) / E / G#mIn another life, I would make you stay

(G#m) / C#m / ASo I don’t have to say you were the one that got away

(A)The one that got away

*Note: The 2nd chorus kicks off with the lyric “But.” This is the only place in the songwhere this occurs.

Chorus Part 2 (occurs in each chorus section except for the first & last)

E

The o-o-o-o-o-o-o-ne

G#m


C#m

38 / 41



A

The one that got away

*Note that in the first chorus part that each chord change occurs on the last syllable in eachphrase.

*Note that in the second chorus part the chord change occurs at the beginning of the measure(4 beats) BEFORE the lyrics kick in.

Syllable & Word Count: 1st Chorus Part

Line 1: 8 words / 10 syllables





Syllable & Word Count: 2nd Chorus Part






• Another life

39 / 41


• World

EMOTIONAL BASED LYRICS AND PHRASES IN THE CHORUS:

• In another life I would be your girl

• We’d keep all our promises

• Be us against the world

• I would make you stay

• So I don’t have to say you were the one that got away

ACTION BASED LYRICS & PHRASES IN THE CHORUS:

• None

CHARACTER/PERSON BASED LYRICS & PHRASES IN THE CHORUS (INCLUDINGPRONOUNS):

• I

• Girl

• We’d

• Our

• Us

• World (the reference also alludes to people in the world)

• You

• The one

RHYMING PATTERNS IN THE CHORUS:

40 / 41


Line 1 & Line 2: The last syllable on the first line (girl) rhymes with the last syllable on thesecond line (world).

Line 3 & Line 4: The last syllable on the third line (stay) rhymes with the last syllable on thefourth line (way in away).

LINE ARRANGEMENT IN THE CHORUS

Notice once again how each line (except for the last) is broken up into two phrases, making iteasier for the listener to grasp onto and remember.

Line 1: In another life, I would be your girl

Line 2: We’d keep all our promises, be us against the world

Line 3: In another life, I would make you stay

Line 4: So I don’t have to say you were the one that got away

Line 5: The one that got away

*Notice on the fourth line how it’s broken into four segments instead of two. This puts greateremphasis here (especially since what the entire chorus had been building toward and alsocontains the song title. You can say that it’s the most important line in the song).

Powered by TCPDF (www.tcpdf.org)

41 / 41

http://www.tcpdf.org

the one that got away deconstructed

Documents