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Timber Deconstructed
Skip to: Audio/Video Overview Song Structure Momentum/Tension/Intensity (MTI) Music/Instrumentation/Vocal Delivery Lead Vocal Melody Lyrics Benchmarking A&R Hit Factors Highlights & Takeaways
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At a Glance Back to Top
Artist: Pitbull featuring Ke$ha Song/Album: Timber / Meltdown Songwriters: Errico, Gottwald, Isaac, K. Oskar, L. Oskar, Perez, Renea, Sanderson, K. Sebert, P. Sebert, Walter Genre: Pop Sub Genres: Dance, Hip Hop/Rap, Country Length: 3:24 Structure (Form): B-VB-A-B-VB-A-B-VB Tempo: 130 bpm First Chorus: 0:08 / 4% into the song Intro Length: 0:08
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Outro Length: n/a Electric vs. Acoustic: Combo Primary Instrumentation: Combo Lyrical Themes: Partying/Clubbing, Hooking Up, Boasting Title Occurrences: Timber occurs 24 times within the song Primary Lyrical P.O.V: 1st, 2nd, & 3rd person
Overview Back to Top
Want to know the secret to writing a #1 hit that tops the charts in 31 countries throughout the world?
Allocate 28% of your entire composition to ultra-infectious “whoooo’s!”
Ok, so there might be a bit more involved, but that’s one of the core characteristics that enabled Timber to connect and resonate on such a massive scale.
Inspired by Avicii’s success with Wake Me Up, Pitbull, Ke$ha and an all-star team of hitmakers including Dr. Luke, Cirkut and Sermstyle set out to repeat the magic by putting their own unique spin on Dance/Country fusion.
As you’ll see within the report, there were many factors that contributed to Timber’s overall success, including the meticulous fusion of multiple sub-genres, clever lyrics, multiple hooks and the incorporation of original, and not so original elements to name just a few of many.
But most importantly, Timber contains a wealth of hit songwriting characteristics and techniques that when studied will undoubtedly help take your songwriting and producing skills to the next level.
Song Structure Back to Top
TIMELINE (Shows when each section hits within the timeline of the song)
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Form
Key: A=Verse B=Chorus C=Bridge PC=Pre-Chorus I=Intro
If you’ve been reading our reports for a while, you by now know that the most popular Pop song structure from quarter to quarter has historically been the A-B-A-B-C-B (Verse – Chorus – Verse – Chorus – Bridge – Chorus) form.
Timber, however, along with the 4 other primarily Dance songs that landed in the Pop songs top 10 last quarter DOES NOT follow the form. Instead, it possesses the following structure:
I-B-VB-A-PC-B-VB-A-PC-B-VB
Note the following:
Following the intro, Timber goes into the chorus as opposed to the verse
It features a pre-chorus which follows verses 1 and 2 and precedes each subsequent chorus
It features Ke$ha’s “whoo” vocal breaks which follow each chorus occurrence within the song, and conclude the song as well.
SECTION LENGTH & COUNT (Length of each individual section within the song)
V=Verse, PC=Pre-Chorus, CHR=Chorus, VB=Vocal Break
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Section Count
Timber contains 11 full sections within its framework as follows:
1 intro
2 verses
2 pre-choruses
3 choruses
3 vocal breaks
Notice that Timber DOES NOT contain a bridge or an outro.
Section Length
As you can see in the graph above, the majority of Timber’s full sections are quite short in length, landing between 0:08 and 0:15. Their short nature helps to ensure that the listener is kept engaged throughout the song with new elements (sections) entering the mix frequently. Bottom line – the listener doesn’t have a chance to get bored or have their attention start to wander.
There are a few sections, however, that are significantly longer in length. Note the breakdown below:
Very Short
0:08 intro
Moderately Short
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0:14 vocal break 1
0:14 vocal break 2
0:15 verse 1
0:15 verse 2
0:15 pre-chorus 1
0:15 pre-chorus 2
0:15 chorus 1
Moderately long
0:30 chorus 2
0:30 chorus 3
0:29 vocal break 3
As you can see, the moderately long sections above are double the length of their counterparts earlier within the song. Essentially, they’re repeating twice coupled with new elements being introduced the second time around (i.e. shifts in instrumentation, background vocals, etc…) which ensures that the listener is kept engaged while the repetition gets these ultra- infectious sections completely engrained within the listener’s head. More on this soon…
TOTAL SECTION BREAKDOWN (The total time consumed by each section and its percentage of the total song)
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As you would expect, the majority of time within Timber was allocated to the chorus (i.e. the “payoff”), accounting for 37% of its total composition. This is due to 2 primary factors:
Along with the vocal break, it contains the most occurrences within the song at 3.
Besides the first occurrence which is just 0:15 in length, the 2 subsequent choruses are
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the longest sections within the song, each landing at 0:30.
Now, typically you would expect the next highest amount of time within the song to be allocated to the verse, but this ISN’T the case with Timber. Instead, Ke$ha’s ultra-infectious vocal breaks get second billing, accounting for 28% of the song’s total composition.
Pitbull’s verse and pre-chorus sections follow at 15% each, and the intro not surprisingly possesses the least amount of time allocation at just 4% of the total song.
MTI (Momentum/Tension/Intensity) Back to Top
(Evaluation of the intensity of each section within the song timeline on a scale of 1 – 10, 10 being the most intense)
CHR=Chorus, VB=Vocal Break, V=Verse, PC=Pre-Chorus, SV=Solo Vocal, P=Pause
When we talk about a song’s MTI level, we’re referring to how fluctuations in momentum, tension and intensity levels are utilized within each section of the song.
As you can see in the graph above, there is A LOT of MTI level fluctuation going on within Timber. But unlike a lot of other songs where a specific MTI level will define a full individual section (i.e. verse, chorus, etc…), here we find peaks and valleys within individual sections primarily brought about via rapid fire shifts in the nature of the backing music (that’s what all of those frequent up/down squiggly lines are – more on that soon).
Despite these shifts, the overall MTI level of the song is kept at a heightened state, which makes sense considering that Timber is first and foremost a Dance song. This is indicative of the verse, pre-chorus as well as the second and third vocal break sections primarily due to the Club nature of the backing music.
The listener is then provided with a respite from all of that club natured intensity within the chorus sections via the shift over to a more Country natured vibe.
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It’s the combination of the cross-sectional MTI level variation coupled with the in-section interspersed peaks and valleys which makes for a very engaging listening experience.
MTI Level Play By Play
Intro
Timber kicks off with a low/moderate MTI level via its laid back Country vibe. Notice that there aren’t any drums or claps within the mix.
Chorus 1
The chorus that follows kicks the MTI level up a couple of notches via the introduction of the lead vocal, quarter note clap beat and additional instrumentation into the mix. This increases the overall intensity of the section relative to the intro as well as starts to get the momentum moving. The overall level remains constant throughout the section.
Vocal Break 1
The MTI level is then further increased within the “whoo” vocal break section that follows primarily due to the shift in the nature of the vocal (i.e. the “whoo’s”) as well as the shift from the low-level clap beat within the chorus over to what sounds to be a snare/clap hybrid which kicks the intensity up a notch.
Additionally, Pitbull’s whispered “it’s goin’ down / timber” vocals coupled with the synth swell that occurs toward the tail end provides the section with an underlying tension and intensity that will ultimately culminate in the verse that follows.
Verse 1
Following the synth swell that occurs at the end of the vocal break which helps to take the tension to a climax (i.e. it’s signaling to the listener that “something” is coming), the tension is released within the verse that follows via the leap into full-on club territory.
The backing music is pulsing, the beat has shifted over to an intense “full club” 4 on the floor beat, and the nature of Pitbull’s vocal delivery take both the intensity and momentum of the song to its first apex.
Notice that the MTI level remains pretty much constant throughout the first stanza. At the tail end, however, and intermittently throughout the second stanza as well, notice that a few brief MTI level lull/peak shifts take place in the highlighted locations:
End of the first stanza:
Line 4: Twerkin’ in their bras and thongs, timber
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Second stanza:
Line 1: Face down, booty up, timber
Line 2: That’s the way we like to–what?–timber
Line 3: I’m slicker than an oil spill
Line 4: She say she won’t, but I bet she will, timber
At the end of all of the lines except for line 3 in the second stanza, notice that the backing music is pulled out from under the title lyric Timber, which briefly downshifts the MTI level followed by kicking it right back up on the line that follows. Not only does this provide the title lyric with increased emphasis, but it also provides an engaging and unexpected flow to the section as well.
Pre-Chorus 1
The MTI level is then kicked up a bit within the pre-chorus that follows, primarily due to the more constant driving nature of Pitbull’s vocal delivery. Notice that the backing music remains relatively constant.
A synth swell then enters into the mix toward the tail end of the section, taking the tension to a climax in anticipation of the release that follows within the second chorus.
Chorus 2
The first stanza of the second chorus brings the MTI level back down via the reversion back to the “Country” vibe that defined the first chorus within the song. Notice however that the MTI level is higher than it was the first time around due the additional instrumentation within the mix coupled with the shift over to the higher level snare/clap hybrid relative to the low level claps in the first chorus.
The second stanza, which is essentially a repeat of the first, further increases the MTI level via the following:
The “bass explosion” at the onset of the stanza heightens the overall intensity level.
The additional Ke$ha vocals also acts to increase the intensity level as well.
The synth swell starts out early on at a relatively low level, providing the second stanza with an increased underlying intensity relative to the first. Notice that it increases in level throughout, taking the tension and intensity to a climax along with the additional drums and Ke$ha’s “you won’t forget!” proclamation at the tail end of the section.
Vocal Break 2
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In contrast to the first vocal break which increased the tension and intensity levels leading to a release within the full-club nature of the first verse that followed, vocal break 2 instead provides the tension relief from that which was building within the preceding chorus by hitting with the club backing music right out of the gate which instantly kicks the MTI level back up to an apex.
The level remains relatively constant up until the tail end where after the last “whooa” the backing music is briefly pulled out from under a mid-level high pitched “whooooo!” This acts to instantly and significantly decrease the MTI level by providing what is essentially a full-stop to the music.
Notice that this was vital in order to break up 2 sections which possess virtually the same backing music. If that pause wasn’t employed, the constant barrage of the high MTI level backing music for 2 sections in a row would have caused listening fatigue to set in.
Verse 2
Following the brief lull as described above, the MTI level is once again shot back up to an apex at the onset of the second verse. Notice that the full club nature of the song is in full effect, as was the case within the preceding vocal break section.
Additionally, notice that the section possesses both MTI level similarities and differences compared to the first verse within the song:
Similarities
Notice that the MTI level remains pretty much constant throughout the first stanza as it did in the first verse. At the tail end and then intermittently throughout the second stanza, we once again have the MTI level lull/peak shifts taking place via the backing music being pulled as follows:
First Stanza
Line 4: Blessed to say, money ain’t a thing
Second Stanza
Line 1: Club jumping like LeBron now, Voli
Line 2: Order me another round, homie
Line 3: We about to clown. Why?
Line 4: ‘Cause it’s / about / to go / down
Notice on line 4 in the first stanza as well as lines 1 and 2 in the second that the backing music
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Differences
On line 4, however, a staccato effect takes place where everything comes to a split second pause (i.e. sixteenth rest) after the lyrics/syllables “it’s,” “-bout,” and “go.” This did not occur within the first verse of the song.
Additionally, notice that the overall levels are running hotter and additional instrumentation has been layered into the mix which provides it with a more intense vibe relative to the first time around.
Pre-Chorus 2
The second pre-chorus once again brings the MTI level back up to a peak, this time at a level higher than the first pre-chorus due to the higher overall levels as well as the additional multi- tracked vocals and instrumentation that have been added into the mix.
The overall level remains constant throughout, until the synth swell is reinstituted at the tail end which brings the tension level to an apex. Notice, however, that the backing music is pulled at the tail end, which brings the MTI level back down a notch going into the chorus that follows.
Chorus 3
The third and final chorus of the song initially brings the MTI level back down following the club nature of pre-chorus 2 that preceded it, just as was the case during chorus 2. Notice that the overall levels are running a bit hotter than they were during the second chorus, which provides it with a slightly more intense vibe. Also notice that the additional passionate Ke$ha vocals that occur at the end of the first stanza also act to increase the overall intensity of the section as well.
The primary difference, however, occurs during the second stanza. Note the following:
Following the “bass explosion” that kicks the stanza off, notice that the synth pad/swell enters the mix right at the onset at a higher level that it did during the second chorus within the song. This provides for an increased underlying tension and intensity level.
The additional drums that enter the mix toward the tail end of the section are also at a higher and more powerful level than they were during the second chorus.
Combined, these 2 characteristics along with Ke$ha’s high register passionate “you won’t forget!” vocal takes the tension and intensity levels to a climax until the backing music is pulled for a split second out from under “for-g” in “for-get.” This provides a brief downshift in the MTI level that sets up the final vocal break section for maximum impact when it hits.
Vocal Break 3
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The third and final vocal break section within the song is a double, initially kicking the MTI level all the way back up to a peak and keeping it there throughout its first run-through.
Notice at the tail end the drums are then briefly pulled from the mix which acts to set up its second run-through. The overall MTI level remains constant throughout the balance of the section until a false ending is employed to bring the song to an abrupt conclusion.
Waveform
Looking at the waveform graphic above, you can easily see how sonic levels and the use of compression vary throughout the song.
Notice that the overall levels are pushed to the max throughout the majority of Timber in order to maximize its Dance/Club nature. However, dynamic shifts are employed in order to maximize the engagement factor for the listener as well.
What follows is a breakdown of the sonic levels that define each section within the song – lowest to highest.
Lowest Sonic Levels
Transitional pauses / solo vocals
The intro
Moderate Sonic Levels
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Chorus 1
Chorus 2, part A
Vocal Break 1
Highest Sonic Levels
Chorus 3 part A
Chorus 2 and 3 part B
Verses 1 and 2
Pre-choruses 1 and 2
Vocal Break 2
*Vocal Break 3
* Indicates the sonic level peak within the song.
Music/Instrumentation/Vocal Delivery Back to Top
SUB-GENRES
If you’ve been reading our reports for a while, you by now know that the vast majority chart- topping Pop hits possess a fusion of sub-genre influences that work in tandem within one another in shaping a song’s sound. This is one of the core elements that provides them with a unique identity which enables them to stand out amongst their contemporaries.
Timber is a perfect case in point, blending the following sub-genres throughout the song:
Country
Dance/Club
Hip Hop/Rap
Straight-Up Pop
Timber’s Primary Sub-Genre Breakdown
As you’ve by now noticed, most of the sections within Timber have more than one Sub-Genre
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We’re going to go into depth as to how all of these sub-genres influence each section of the song below, but for now we’re going to look at the weight that each sub-genre possesses within Timber’s overall framework:
*Note: The percentages in the graph above do not total 100% due to the “fusion” splits as detailed below.
Primary Influences
Country
As you can see, the vast majority of the song (55%) possesses a Country natured vibe. It’s the dominant sub-genre within all of the chorus sections within the song.
Dance/Club
Dance/Club is an element within 37% of the entire song. Note however that it isn’t the dominant sub-genre within any one specific section (i.e. it’s always fused with another primary
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Hip Hop/Rap
Hip Hop/rap is an element within 29% of the entire song. Also note that along with Dance/Club it isn’t the dominant sub-genre within any particular section.
Straight-Up Pop
Straight-Up Pop is a primary influence within 15% of the entire song, specifically via the nature of Ke$ha’s “whoo” vocal within the vocal break sections. It’s featured in conjunction with another primary sub-genre (Dance/Club) during vocal breaks 1 and 2, but is dominant within vocal break 1.
Fusion (Equal Splits Of The Sub-Genres Above)
In regard to the sections within the song that feature an equal balance of 2 or more sub- genres, note the following:
Verse 1 and verse 2 feature an equal split of Dance (backing music) and Hip Hop/Rap (vocal).
Pre-chorus 1 & pre-chorus 2 feature a 3-way split of Dance (backing music), Hip Hop/Rap (vocal) and Country (the “hoedown” element within Pitbull’s delivery).
Vocal break 2 & vocal break 3 feature an equal split of Dance (backing music) and Straight-Up Pop (the nature of Ke$ha’s “Whoo” vocal). Additionally, note that the “whoo” vocal possesses a hint of R&B as well (remember – this song was initially intended for Rihanna).
Full Sub-Genre Breakdown
Here we’re going to look at how each particular sub-genre influences individual sections within the song, either in a primary or secondary manner:
Hip Hop/Rap
Brought about in the nature of Pitbull’s delivery within the following sections:
Verse 1
Pre-Chorus 1 (rapped with a Country vibe)
Verse 2
Pre-Chorus 2 (rapped with a Country vibe)
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Dance/Club
Brought about via the nature of the backing music within the following sections
Verse 1
Pre-Chorus 1
Verse 2
Pre-Chorus 2
Vocal Break 2
Vocal Break 3
Country
The Country vibe is brought about via a few different elements throughout the song in different degrees of prominence as follows. Regardless, the influence is felt throughout the ENTIRE song.
Intro: It’s all Country via the nature of the backing music
Chorus 1: Primarily Country via the nature of the backing music and vocal style in addition to Straight-Up Pop
Vocal Break 1: Moderately Country via the nature of the backing music
Verse 1: The sole Country element is the harmonica
Pre-Chorus1: The harmonica plus the “hoedown” nature of Pitbull’s delivery
Chorus 2: Country via the nature of the backing music and elements within the vocal style coupled with a greater Pop influence (see below)
Vocal Break 2: The sole Country element is the harmonica
Verse 2: The sole Country element is the harmonica
Pre-Chorus 2: The harmonica plus the “hoedown” nature of Pitbull’s delivery
Chorus 3: Moderately Country via the nature of the backing music and vocal style. It’s a lot more straight-up Pop than the preceding chorus sections, however.
Vocal Break 3: The sole Country element is the harmonica
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Straight-Up Pop
The overall nature of the entire song possesses a mainstream Pop vibe. That being said, there are particular elements within certain sections that are overtly Straight-Up Pop in contrast to Dance, Hip Hop/Rap or Country:
The nature of Ke$ha’s lead vocal within the chorus sections is a combination of Straight-Up Pop and Country.
Ke$ha’s background vocals throughout the song (e.g. where she repeats specific lyrics) are primarily Straight-Up Pop in nature.
Ke$ha’s “whoo’s” within the vocal break sections are predominantly Straight-Up Pop with a hint of R&B as well.
The nature of the G#m – B – F# – E progression throughout the song has a distinct Straight-Up Pop vibe about it.
The nature of the drums within choruses 2 and 3 possess more of a Straight-Up Pop characteristic than the claps that defined chorus 1, which accentuate the more “pure” Country vibe.
PRIMARY ELEMENTS
Core Progression
You want to talk about straight forward, simplistic and infectious? The ENTIRE SONG follows a repetitive G#m – B – F# – E progression brought about via the guitar and piano. This provides a consistent backdrop for both Ke$ha’s and Pitbull’s vocals to shine as well as serving as a repetitive key hook that completely gets engrained within the listener’s head.
Considering that the progression remains the same throughout, it’s the nature of the rhythm that fluctuates between sections to provide engaging contrast. Note the following:
Rhythmic Variation 1 (Country)
Eighth - – – Eighth –
This rhythm defines the following “Country” sections within the song:
Choruses 1 & 2. It’s also the case within chorus 3 as well, but it’s not as pronounced with all of the other backing music in effect.
Vocal Break 1
Rhythmic Variation 2 (Dance/Club)
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Eighth – – Eighth –
This rhythm defines the following “club” sections of the song:
Verses 1 & 2
Pre-Choruses 1 & 2
Vocal Breaks 2 & 3
Harmonica
It goes without saying that Timber’s defining factor and primary hook resides in the nature of Paul Harrington’s harmonica. Significantly influenced by Lee Oskar’s San Francisco Bay (it’s pretty much a direct lift), it provides the song with a unique nature that enables it to stand out its mainstream Pop & Dance contemporaries.
The general framework of the ultra-infectious & memorable progression can be broken down into 3 segments, which makes it very easy for the listener to get engrained within their head (just like a really engaging vocal melody):
Segment 1
This is the lead in to the entire run.
Melody: G# – B – B – B – G# – F#
Rhythm: Eighth – Sixteenth – Dotted Eighth – Dotted Eighth – Sixteenth – Eighth
Segmentation Method: Quarter Rest
Segment 2
Melody: F# – D# – C# – B – D# – F#
Rhythm: Eighth – Sixteenth – Sixteenth – Eighth – Eighth – Half + Eighth
Segmentation Method: Quarter Rest
This is the run that jibes with the nature of Ke$ha’s “I’m yell-in’ tim-ber” vocal within the chorus.
Segment 3
Melody: F# – D# – C# – B – G# – B
Rhythm: Dotted Half – Sixteenth – Sixteenth – Eighth – Eighth – Dotted Quarter
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Segmentation Method: Eighth Rest
Now, to completely get it reinforced within the listener’s head, notice how and where it occurs throughout the song:
Intro (up-front within the mix)
Chorus 1 (starts out at a mid/upper level and then decreases to mid during the second half)
Vocal Break 1 (Starts out mid level within the mix and then gradually fades to a point where it completely disappears at the tail end).
Verse 1 (low/mid level within the mix)
Pre-Chorus1 (low/mid level within the mix)
Chorus 2 (low/mid level during part A, low level during part B)
Vocal Break 2 (low/mid level throughout the entire section)
Verse 2 (low/mid level within the mix)
Pre-Chorus 2 (low/mid level within the mix)
Chorus 3 (low level during part A, barely audible during part B)
Vocal Break 3 (low level throughout the entire section)
As you can see, the harmonica run occurs within EVERY SECTION of the song, at differing degrees of prominence. THIS is how you get a primary hook reinforced within the listener’s head without wearing out its welcome. If it remained at the same level throughout, it would have eventually lost its impact and ultimately become annoying.
VOCALS
Note: Specifics regarding the vocal melody are discussed within the vocal melody section of the report.
The Duet
As you’ve by now noticed, Timber is a duet featuring Pitbull and Ke$ha. At the time of this writing, some of the most successful songs in the U.S and throughout the world are duets, including The Monster (Eminem & Rihanna), Dark Horse (Katy Perry & Juicy J), and Say Something (A Great Big World featuring Christina Aguilera).
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Why are duets so successful? 2 key reasons:
They provide the song at hand with increased depth. Each artist can be assigned with a lyrical perspective so that the overall storyline resonates with the listener on a more profound level. Additionally, differing vocal styles throughout specific sections within the song also act to increase the engagement value for the listener as well.
Duets provide cross-genre pollination and maximize the potential reach of the song.
Ke$ha & Pitbull
Here we have 2 artists that possess very distinct vocal styles which ultimately provides the song with a strong unique identity. There’s no mistaking Ke$ha and Pitbull for anyone else!
Ke$ha does a fantastic job of bringing the Pop/Country vibe of the song to life, while Pitbull does what he does best, providing cocky Latin favored Rap in a style that’s all his own.
Additionally, as previously mentioned, Timber was originally slated to be a duet featuring Rihanna and Pitbull, not Ke$ha. Personally I think that this song is much more suited for Ke$ha than Rihanna.
Rihanna wouldn’t have been able to pull off the “Country” vibe as successfully as Ke$ha, although she would have excelled within the “whoo” vocal break sections, which seem to have been custom tailored for her. That being said, Ke$ha still did a great job in pulling it off.
Vocal Assignments & Characteristics
Let’s now see how the nature of the duet as well as the background vocals were utilized to maximum effect throughout the song:
Intro
No vocal
Chorus 1 (Ke$ha & Pitbull)
Lead Vocal
Ke$ha (up-front and center – ample underlying delay + reverb)
Secondary Vocal
Pitbull (low level in the mix, panned out l/r)
Vocal Break 1 (Ke$ha & Pitbull)
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Lead Vocal
Ke$ha (up-front and center – subtle underlying delay + reverb)
Secondary Vocal #1
Pitbull (mid-level, “whispered,” “timber” and “it’s goin’ down” vocals. Traverses the entire mix with the primary placement panned around 10:00 / 2:00)
Secondary Vocal #2
An additional higher register “whoo” (not part of Ke$ha’s “whoo”) which occurs at the transition point between the vocal break and verse that follows. The first one starts out panned around 2:00 within the mix, while a second one then enters around 10:00 toward the tail end.
Verse 1 (Pitbull)
Lead Vocal
Pitbull (up-front and center – subtle underlying delay + reverb)
Secondary Vocal #1
Pitbull (low-level whispered “timber” vocal that occurs after lines 1 and 2. Traverses the entire mix with the primary placement panned around 10:00 / 2:00)
Secondary Vocal #2
Pitbull (up-front full “timber” vocals that occur at the end of lines 4, 5, 6 and 8. Traverses the entire mix with the primary placement panned around 10:00 / 2:00)
Pre-Chorus 1 (Pitbull & Ke$ha)
Lead Vocal
Pitbull (up-front and center – subtle underlying delay + reverb)
Secondary Vocal #1
Ke$ha (up-front “ohh-oh-oh” vocal panned around 12:00 within the mix that occurs mid way through the first line of the second stanza and carries over into the second line as well).
Chorus 2 (Ke$ha & Pitbull)
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The second chorus features the same breakdown as the first chorus (i.e. Ke$ha lead, Pitbull secondary) with the following additions that take place during the second go-around of the section (it’s a double chorus compared to the first):
Secondary Vocal
Ke$ha (up-front and center, repeats the following lyrics with a changed up vocal characteristic from the lead: “it’s goin’ down,” “you better move,” “you better dance,” and a final “you won’t forget” soaring vocal that leads into the vocal break section that follows).
Vocal Break 2 (Pitbull)
This is essentially a repeat of the vocal assignments and qualities that defined the first vocal break section within the song with the primary difference being that instead of singing “Whooo’s” as was the case during vocal break 1, she’s now singing “Whooah’s” here in vocal break 2. As subtle as the contrast is, it does a great job in heightening the overall engagement value for the listener.
Verse 2 (Pitbull)
As was the case within the first verse, the second verse is all Pitbull. The primary difference resides in the combination of solo and background vocals utilized throughout the section which both increases the engagement value for the listener as well as provides certain lines and lyrics with increased emphasis. The line by line breakdown is as follows:
Primary Lead Vocal: Straight-up the middle
Secondary Background Vocals: Primary around 9:00 / 3:00 but bleeds inward as well
Key
Blue Font: Solo Pitbull Vocal Green Font: Includes Background Vocal
First Stanza
Line 1: Look up in the sky, it’s a bird, it’s a plane Line 2: Nah, it’s just me, ain’t a damn thing changed Line 3: Live in hotels, swing on planes Line 4: Blessed to say, money ain’t a thing
Second Stanza
Line 5: Club jumping like LeBron now, Voli Line 6: Order me another round, homie
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Line 7: We about to clown. Why? Line 8: ‘Cause it’s about to go down
Pre-Chorus 2 (Pitbull & Ke$ha)
Vocally this is essentially a repeat of the first pre-chorus with the primary difference being that Ke$ha is also featured within the section, singing at a lower level than Pitbull panned around 10:00/2:00 within the mix.
Chorus 3 (Ke$ha & Pitbull)
The third and final chorus of the song possesses the same general vocal characteristics and assignments as the second chorus, with the primary difference being that there are some additional background vocals from Ke$ha within the mix.
This acts to both heighten the engagement factor via the contrast from the preceding choruses as well as helping to kick the overall excitement level up a notch.
Vocal Break 3 (Ke$ha & Pitbull)
Here in the final section of the song we have the same story that we saw in the preceding chorus section. The general vocal framework remains on par with that of the second vocal break, but there are additional background vocals within the mix which heightens the engagement and excitement level for the listener.
INSTRUMENTATION & BACKING MUSIC: SECTION BY SECTION Note: Pan is represented on a scale from 9:00 to 3:00 (i.e. left to right, with 12:00 being right up the middle). Keep in mind that in most cases an instrument will bleed throughout the entire mix, but the pan depicted here represents its primary placement in the mix (i.e. where the level is most pronounced).
Intro (0:00 – 0:08)
Vocals & Primary Instrumentation Featured In The Mix
Harmonica (Up front within the mix ) Primary around 12:00
Piano (Acoustic in nature – up front within the mix ) Primary between 12:00 – 2:00
Electric Guitar (Bright, trebly and primarily clean in nature – mid level within the mix) Primary around 9:00
Bass (Low level in the mix under the piano ) Primary around 12:00
Effect (Vinyl crackle – low level within the mix) Primary around 12:00 but spans the entire mix
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Scene setter (Patron chatter in what we can assume is a Country bar setting – low level within the mix) Primary around 12:00 but spans the entire mix
Timber’s intro is very effective on 3 key levels:
It instantly sets the scene and establishes the Country vibe for the listener. This is elicited via the nature of the backing music and instrumentation utilized within the mix.
It acts as a “unique identifier” for the song. What this means is that the second you hear that harmonica, the song is instantly recognizable as being Timber and as a result cuts through the airwave clutter and grabs the listener’s attention.
It’s short. Clocking in at just 0:08, it achieves the 2 key points detailed above in a very short amount of time. The result is that it instantly grabs the listener’s attention, hooks them in, and before they know it they’re already within the ultra-infectious chorus that seals the deal.
***Clever Element***
What really helps to put the section over the top is the use of the background chatter. The instrumentation and background music does a great job of putting the Country vibe into effect, but it’s the background chatter that elicits stringent detail and imagery which enables the listener to FEEL like they’re actually in a Country bar.
In other words, it adds an increased degree of realism to the song which ultimately heightens the engagement value for the listener.
Transition Point – Intro into Chorus 1: At the tail end of the intro, the chord progression shifts from E to F# encompassing a quarter – eighth rhythm which includes the first 2 lyrics/3 syllables of the chorus “It’s go-in’ down.” This lead in is then followed by G# at the onset of the chorus. Additionally, notice that there is a low-level synth effect employed at the transition point as well.
Chorus-1 (0:08 – 0:23)
Primary Instrumentation Featured In The Mix
Harmonica (Up front within the mix ) Primary around 12:00
Piano (Acoustic in nature – up front within the mix ) Primary between 12:00 – 2:00
Electric Guitars (Bright, trebly and primarily clean in nature – mid level within the mix) Primary around 9:00
Bass (Low level in the mix under the piano ) Primary around 12:00
Claps (“Group” claps – moderate reverb – low to mid level in the mix) Primary around
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12:00
In addition to the vocals entering the mix, the 2 primary differences between the intro and the first chorus are as follows:
First and foremost, we now have claps within the mix which kicks up the intensity and gets the momentum moving as mentioned earlier within the report.
The “tight picked” arpeggio nature of the bright electric guitar from the intro is now more “loose” in nature, and the electric guitar “stabs” are a bit higher up within the mix.
Overall, the first chorus keeps in line with the Country vibe established within the intro while “getting the Dance party started” via the addition of the claps.
Additionally, notice that the nature of Ke$ha’s vocal both accentuates the Country vibe as well as adds a sexy Pop flair to the mix as well.
Transition Point – Chorus 1 into Vocal Break 1: Same transition as the intro into chorus 1 minus the synth effect.
Vocal Break-1 (0:23 – 0:37)
The first vocal break section within the song essentially utilizes the backing music that defined the preceding verse with the following change-ups and additions:
Drums (Bright snare/clap “hybrid” moderate reverb – mid/up within the mix) Primary around 12:00
Piano (Takes on a more “driving” nature than it had within the preceding chorus)
Electric Guitar 2 (Clean, not as bright and shrill as the electric guitar that’s panned left within the mix – low/mid level) Primary around 2:00
Synth Swell (“Airy” in nature – enters into the mix at a low level during the onset of the second “whoo” go-around and builds in intensity with a peak occurring at the tail end of the section) Primary around 12:00 but spans the entire mix
Other Instrumentation (Higher overall levels within the mix compared to the preceding chorus)
The first vocal break section within the song provides the link from the more Country natured vibe of the preceding intro and chorus into the overtly Dance/Club & Hip Hop/Rap verse that follows.
It achieves this primarily via the nature of the Straight-Up Pop / R&B tinged “whoo” vocal melody coupled with the more prominent nature of the beat elicited by the snare/clap hybrid.
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The synth swell that enters the mix during the second half of the section then provides the icing on the cake, signaling that Ke$ha Country time is over, enter Pitbull Electro Dance Hip Hop/Rap!
Also notice that the nature of Ke$ha’s “whoo” vocal coupled with Pitbull’s whispered “timber,” “it’s goin’ down” vocal takes the evocative/sex nature of the song to the next level.
Transition Point – Vocal Break 1 into Verse 1: The synth swell peaks at the tail end of the vocal break and then drops down in level along with the snare/clap hybrid being pulled from the mix at the transition point which enables the high register “whooo-ooo” vocal to shine front and center. The swell then reverts back to its peak level and dissipates into the verse that follows.
Verse-1 (0:37 – 0:52)
Vocals & Primary Instrumentation Featured In The Mix
Drums (“Club” kick, snare & hats – up front within the mix) Primary around 12:00 but bleeds out a bit l/r.
Electric & Acoustic Guitars (Clean – up front within the mix) Primary around 10:00 / 2:00 but essentially spans the entire mix
Bass (Deep, working in conjunction with the kick – primary around 12:00 but spans the entire mix
Harmonica (Low/mid level within the mix)
Here in the first verse is where the song completely, (well, almost completely,) transitions over to full Dance/Club territory.
The nature of the 4 on the floor beat coupled with the primary guitar progression and associated rhythm as discussed earlier gets the party into full gear while providing the perfect backdrop for Pitbull’s Rap to shine. A few key points to note:
The nature of Pitbull’s delivery coupled the lyrics provides the section with a “cocky,” “arrogant” vibe which is signature Pitbull through and through. He sums it up the best within the second verse where he proclaims “look up in the sky…ain’t a damn thing changed.” That’s for sure!
The acoustic guitar within the mix provides infectious contrast against the otherwise “typical” club nature of the section. Someone has been paying close attention to Avicii!
Keeping the harmonica within the mix acts to both keep the Country vibe of the song in effect while at the same time getting that infectious hook fully engrained within the listener’s head.
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Transition Point – Verse 1 into Pre-Chorus 1: The backing music is once again pulled out from under the final “timber” which is followed by an “airy” synth explosion hitting at the onset of the pre-chorus and dissipating on in.
Pre-Chorus 1 (0:52 – 1:07)
The nature of the backing music that defines the pre-chorus is almost identical to that of the preceding verse. The key differences are as follows:
The overall levels within the section are higher than that of the preceding verse.
The nature of the snare has been changed up. Notice that the “clap” component is at a higher level compared to the verse, which provides the section with a more intense rhythm.
What sounds to be a driving open hat is put into effect throughout the entire section at a relatively low level within the mix. This acts to both fill out the sonic landscape as well as to accentuate the driving nature of the section.
Combined, the characteristics and elements detailed above provide the section with a “heavier” nature than that of the preceding verse while at the same time heightening the engagement factor via the contrast.
As for the nature of Pitbull’s vocal which is discussed in-depth within other sections of the report (the vocal melody section as well as the duet section above), it achieves the following:]
It reintroduces the Country vibe back into the mix via the “hoedown” nature of the delivery coupled with the “swing your partner…” lyrics. Notice how this provides the section with a very infectious Club/Hoedown fusion vibe ala Rednex 1994 version of Cotton Eye Joe.
Despite the Hoedown nature of the delivery and lyrics, notice that Pitbull still retains his cocksure attitude throughout, which is imperative to the overall success of the section and the song for that matter. If he attempted to Rap with a Country accent, for example, the section would have lost all of its impact considering that no one would have bought into it. In other words, he would have lost his authentic nature.
It kicks the momentum up a notch via the nature of the rhythm. The result is that it takes the Dance vibe to the next level.
Transition Point – Pre-chorus 1 into Chorus 2: An “airy” synth swell enters the mix toward the tail end of the section followed by the backing music being pulled out from under Pitbull’s vocal. Pitbull and Ke$ha then overlap when Ke$ha sings “it’s goin’” at the tail end of the pre- chorus, followed by a “booming bass/airy synth” explosion at the onset of the chorus which dissipates early on in.
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Chorus 2 (1:07- 1:37)
The first thing to note about the second chorus is that it’s double the length of the first. It’s essentially repeating twice, with some key differences as you’ll soon see.
Note that we’re going to refer them as parts A & B moving forward.
Part A essentially reverts back to the nature of chorus 1, albeit at a more intense and driving level. Note the following:
The overall levels are running hotter.
The claps are bigger, more widespread and prominent within the mix. They also increase in level as the section progresses.
The snare acts to accentuate the impact of the claps.
There’s more guitar within the mix
The bass adds an increased weight to the section that was not indicative of the first go- around.
Part B then makes its appearance via another “bass boom,” which finds the overall levels increasing even further relative to part A.
Aside from the increase in level, the key differential factors between both section resides in the following:
The addition of the repetitive Ke$ha background vocals that weren’t present the first time around.
The addition of the synth pad early on which increases in intensity throughout until melding with the “airy” synth swell and others at the tail end which brings the section to a crescendo and leads into the vocal break section that follows.
The diversity (contrast) between parts A and B as well as the first chorus occurrence acts to heighten the engagement value for the listener, while the repetition between all 3 gets it completely engrained within their head.
Overall, parts A and B do a great job of reintroducing the Country theme while at the same time keeping the “Club” vibe simmering so that the listener is kept moving!
Transition Point – Chorus 2 into Vocal Break 2: The “super synth swell” leads directly into the vocal break section that follows.
Vocal Break-2 (1:37 – 1:51)
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There are 2 primary differences between vocal breaks 1 and 2 as follows:
The most stringent difference is that vocal break 2 utilizes the full “Club” backing music that defined pre-chorus 1 in contrast to vocal break 1 which was more “Country” in nature, which jibes with the preceding chorus.
This is effective for the following reasons:
It provides infectious contrast which heightens the overall engagement value for the listener as opposed to if it just repeated in the same exact manner.
It gets the listener right back into full Club dance mode. This is important because they already had a taste of it within the preceding verse and pre-chorus sections, and chances are they’re missing it at this point. If the writers didn’t give them the opportunity at this point to completely “let loose,” the song would have begun to lose its impact within its intended environment.
The second difference resides within the nature of Ke$ha’s vocal as mentioned earlier. The melody remains the same which heightens the memorability factor, but she shifts from “whoo” to “whoa.” As subtle as this is, this contrast adds increased “coloring” to the song as well as heightens the overall engagement value for the listener.
Additionally, even though the nature of the backing music between both occurrences is different, it DOES possess virtually the same Club qualities as the preceding verse and pre- chorus, which reinforces that specific element within the listener’s head as well. This was a clever move by the writers.
Transition Point – Vocal Break 2 into Verse 2: It’s the same type of transition that defined the first occurrence within the song with the primary difference being that the backing music is pulled at the transition point. Notice that this was necessary in order to provide segmentation between 2 sections that utilize virtually the same backing music.
Verse-2 (1:51 – 2:06)
Essentially the Club nature of the backing music that defines the second verse is identical to that of the preceding vocal break with the primary difference being that the harmonica is relegated more toward the back of the mix during the first half of the section. It comes into increased prominence during the second half, however.
***Show Stopper***
As we saw within the MTI section of the report, an exceptionally infectious “show stopping” moment takes place on the last line of the section where the backing music is briefly pulled in between the lyrics “’cause it’s / a-bout / to go / down.”
Not only does this provide “unexpected” infectious contrast in relation to the rest of the song,
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It’s the same deal as the transition between the “likeness” of vocal break 2 and verse 2. Without that break, listening fatigue would surely start to set in.
Transition Point – Verse 2 into Pre-Chorus 2: The “airy” synth hits at the transition point and then dissipates into the pre-chorus that follows.
Pre-Chorus-2 (2:06– 2:21)
The second pre-chorus possesses most of the same characteristics as the first pre-chorus coupled with the following differences which ultimately heightens the engagement value for the listener:
There’s an additional mid-level synth that’s panned around 2:00 within the mix which provides an infectious melodic accompaniment that was not present the first time around (or within any other section, for that matter).
The additional vocals within the mix as discussed earlier provides infectious contrast relative to the other sections within the song as well.
Chorus-3 (2:21 – 2:51)
Aside from higher overall levels and subtle changes in regard to the nature of Ke$ha’s backing vocals, chorus 3 is pretty much identical to the nature of chorus 2.
Transition Point – Chorus 3 into Vocal Break 3: The transition is basically the same as the transition from chorus 2 into vocal break 2 EXCEPT for the fact that the backing music is briefly pulled out from under the “for” in “for-get.” Notice how this enables the vocal break to slam in with increased impact.
Vocal Break-3 (2:51 – 3:20)
As was the case with the preceding chorus, the general nature of vocal break 3 is pretty much the same as vocal break 2 except for the following:
The section is double the length of the 2 preceding vocal break sections.
The overall levels are running a bit hotter.
There are subtle changes regarding the background vocals.
Other than that, it’s full-on infectious club right through the end of the song.
Ending
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As is the case with many of today’s chart-topping Dance/Pop songs, Timber employs a “false ending” which concludes the song in a very abrupt manner.
As “jarring” as this is, it serves its purpose by leaving the listener wanting more by not providing a full resolve to the song. In other words, the listener is left “hanging,” which will entice them to go back for a repeat listen in order to get their fill. It’s all psychological!
Lead Vocal Melody Back to Top
KEY Red: Rest Grey: Half & Dotted Half Blue: Quarter & Dotted Quarter Green: Eighth & Dotted Eighth Magenta (Line) & Yellow (Graph): Sixteenth Note
VERSE
Verse-1
First Stanza
Group 1
Line 1: The big-ger they are, the hard-er they fall Line 2: These big-idd-y boys, are dig-gid-y dogs
Group 2
Line 3: I have ‘em like Mi-ley Cy-rus clothes off Line 4: Twerk-in’ in their bras and thongs tim-ber
Second Stanza
Group 3
Line 5: Face down, boo-ty up tim-ber Line 6: That’s the way, we like to what? tim-ber
Group 4
Line 7: I’m slick-er than an oi-l spill
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Line 8: She say she won’t but I bet she will tim-ber
FIRST STANZA
Group 1 (Lines 1 & 2)
LINE LENGTH & SEGMENTATION METHODS
Line 1 (Full): The big-ger they are / the hard-er they fall
Word/Syllable Count: 8 words / 10 syllables
Phrase/Segment 1: The big-ger they are
Word/Syllable Count: 4 words / 5 syllables
Segmentation Method: The last lyric is an eighth note
Phrase/Segment 2: the hard-er they fall
Word/Syllable Count: 4 words / 5 syllables
Segmentation Method: The last lyric is a dotted eighth note followed by an eighth rest
Notice that the lyric “are” functions in the manner of a comma via its prolonged eighth note value in relation to the sixteenth notes that both precede and follow it.
This, as subtle as it is, manages to break the line up into two 5 syllable segments which ultimately makes it easier for the listener to digest and remember.
Notice that this is also the case with the last lyric on the line, “fall,” as well. That, along with the eighth rest that follows provides the prolonged segmentation between lines 1 and line 2, allowing the line as a whole to sink in and resonate.
Line 2 (Full): These big-idd-y boys / are dig-gid-y dogs
Word/Syllable Count: 6 words / 10 syllables
Phrase/Segment 1: These big-idd-y boys
Word/Syllable Count: 3 words / 5 syllables
Segmentation Method: The last lyric is an eighth note
Phrase/Segment 2: are dig-gid-y dogs
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Word/Syllable Count: 3 words / 5 syllables
Segmentation Method: The last lyric is a dotted eighth followed by a dotted eighth rest
As was the case with line 1, notice that line 2 consists of 10 syllables as well and is broken into 2 individual segments, each consisting of 5 syllables. Additionally, notice that the segmentation method is the same as well, via the eighth note value on the lyric “boys.”
Line 2 then concludes in virtually the same manner as line 1, via the last lyric consisting of a dotted eighth value and followed by a dotted eighth rest.
RHYTHM
Notice that both lines essentially possess the same rhythmic qualities. They both consist of a primarily sixteenth note delivery and have the segmentation occurring within the same place as well (after the fifth syllable on each line). The only minor difference is that the first lyric, “these,” on line 2 possesses an eighth note value as opposed to the sixteenth note that kicked off line 1.
Overall, the rapid fire delivery on both lines coupled with the shift in the nature of the backing music does a great job of taking the intensity of the song to the next level as well as providing contrast to the chorus and vocal break sections that preceded it.
Group 2 (Lines 3 & 4)
LINE LENGTH, SEGMENTATION
Line 3 (Full): I have ‘em like Mi-ley Cy-rus clothes off
Word/Syllable Count: 8 words / 10 syllables
Segmentation Method: Eighth rest at the end of the line
First, notice that line 3 consists of 10 syllables, which was the case on lines 1 and 2 that preceded it.
Second, notice that in contrast to lines 1 and 2 where the 10 syllable run was split into two 5 syllable segments, line 3 runs straight through and concludes with an eighth rest which provides brief segmentation between it and line 4 that follows.
Line 4 (Full): Twerk-in’ in their bras and thongs / tim-ber
Word/Syllable Count: 7 words / 9 syllables
Phrase/Segment 1: Twerk-in’ in their bras and thongs
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Word/Syllable Count: 6 words / 7 syllables
Segmentation Method: The last lyric is a quarter note
Phrase/Segment 2: tim-ber
Word/Syllable Count: 1 word / 2 syllables
Segmentation Method: The last syllable is an eighth note
Line 4 consists of 9 syllables (just 1 syllable shy of the preceding 3 lines) and runs straight through up until the last lyric, “timber,” which is segmented from the rest of the line via the quarter note that precedes it on the lyric “thongs.”
Notice however that there isn’t a rest following the last syllable on the line, “-ber” in “tim-ber.” It instead flows straight into line 5 that follows with its eighth note value providing brief segmentation.
RHYTHM
Line 3
In contrast to lines 1 and 2 which follow a primarily sixteenth note rhythm and implement eighth note segmentation half way through, line 3 provides infectious diversity via the combination of eighth and sixteenth notes throughout.
Additionally, notice what’s going on when he raps the lyrics “Mi-ley Cy-rus.” The first syllable in each is an eighth note, while the second is a sixteenth. Not only does this create an infectious, memorable back-to-back rhythm, but it also provides these key lyrics with increased emphasis in relation to the others.
Line 4
As opposed to lines 1 and 2 (group 1) which possess virtually the same rhythmic qualities, line 4 differs from the nature of line 3 that preceded it.
Notice that line 4 initially possesses a similar type of rhythmic flow that defined lines 1 and 2:
It kicks off with a sixteenth note run on the first 4 syllables.
It’s followed by an eighth note which provides brief segmentation (but not in the manner of phrase segmentation which defined lines 1 and 2).
It then picks up speed again via the sixteenth note that follows.
A note of longer duration (in this case a quarter note on the lyric “thongs”) follows.
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The key differentiating factor (besides the abbreviated sixteenth note run in the second segment compared to lines 1 and 2) occurs at the tail end of the line. Following the prolonged lyric “thongs,” we have a title lyric appearance (i.e. “tim-ber”) which consists of 2 eighth notes.
What’s important to note is the manner in which its set up. When you hear the prolonged quarter note nature of the lyric “thongs,” you’re led to believe that it’s the conclusion of the line. The listener is then “surprised” to hear “tim-ber” that follows for the following reasons:
They thought that the line had already concluded.
They’re probably used to title lyrics primarily occurring within the chorus of hit songs. You’re not typically expecting to hear it in the verse.
Lyrically it technically doesn’t fit into the flow of the line that preceded it.
Bottom line – the method in which “timber” is set up provides it with increased impact and emphasis, enabling it to stand out and resonate to a greater degree with the listener.
Overall, the similarities of line 4 to lines 1 and 2 concludes the stanza on a familiar (repetitive) note which gets it engrained within the listener’s head, while the diversity (i.e. the manner in which it concludes) reinforces the title lyric within the listener’s head and functions to bring the stanza as a whole to a conclusion.
SECOND STANZA
Group 3: (Lines 5 & 6)
LINE LENGTH, SEGMENTATION
Line 5 (Full): Face down boo-ty up / tim-ber
Word/Syllable Count: 5 words / 7 syllables
Phrase/Segment 1: Face down boo-ty up
Word/Syllable Count: 4 words / 5 syllables
Segmentation Method: The last lyric is a dotted eighth
Phrase/Segment 2: tim-ber
Word/Syllable Count: 1 word / 2 syllables
Segmentation Method: Flows continuously into the line that follows
First, notice that line 5 differs from the first 4 lines that preceded it due to the fact that it only
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Second, note that the lyric “up” possesses a dotted eighth value which provides brief segmentation from the title lyric “timber” that follows.
Line 6 (Full): That’s the way we like to what? / tim-ber
Word/Syllable Count: 8 words / 9 syllables
Phrase/Segment 1: That’s the way we like to what?
Word/Syllable Count: 7 words / 7 syllables
Segmentation Method: The last lyric is a quarter note
Phrase/Segment 2: tim-ber
Word/Syllable Count: 1 word / 2 syllables
Segmentation Method: Flows continuously into the line that follows
Line 6 is slightly longer than line 5, consisting 9 syllables. Notice that the segmentation that occurs at the end is slightly more pronounced on line 6, with the lyric “what” consisting of a quarter note value.
RHYTHM
The first thing to take note of is that they rhythmic nature that defines group 3 (i.e. lines 5 and 6) differs from that which defined groups 1 and 2 in the first stanza. This keeps the overall nature of the section fresh and engaging for the listener.
Second, as you’ll see, both lines possess characteristics that are both similar and different in nature to one another as well. The repetition helps to get the “group” engrained within the listener’s head, while the diversity (contrast) keeps it fresh and engaging.
Line 5
Each full lyric consists of a dotted eighth value. Notice though that the lyric “boo-ty” is the only one that consists of 2 syllables. As a result, it possesses an eighth-sixteenth rhythm, respectively.
The dotted eighth value of the lyric “up” provides that split second to set up the title lyric “tim- ber” in a similar manner to how “thongs” did it on line 4. The fact that “tim-ber” consists of 2 eighth notes provides the contrast that enables it to further stand out and resonate.
Line 6
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The primary difference between line 6 and line 5 occurs during the first half of both lines. Where line 5 kicks off with 2 consecutive dotted eighth notes, line 6 kicks off with an eighth – sixteenth alternation that continues up until the tail end of the line. Once again, this diversity keeps things fresh and engaging for the listener.
On the flip side, notice that both lines conclude in the same manner, with the repetition helping to get the “group” engrained within the listener’s head:
Line 5: “boo-ty up, tim-ber” (eighth – sixteenth – dotted eighth – eighth – eighth)
Line 6: “like to what, tim-ber” (eighth – sixteenth – dotted eighth – eighth – eighth)
Group 4: (Lines 7 & 8)
LINE LENGTH, SEGMENTATION
Line 7 (Full): I’m slick-er than an oi-l spill
Word/Syllable Count: 6 words / 8 syllables
Segmentation Method: Flows continuously into the line that follows
Notice that this line runs all the way through without a pause and flows directly into line 8 that follows.
Line 8 (Full): She say she won’t / but I bet she will / tim-ber
Word/Syllable Count: 10 words / 11 syllables
Phrase/Segment 1: She say she won’t
Word/Syllable Count: 4 words / 4 syllables
Segmentation Method: Eighth rest
Phrase/Segment 2: but I bet she will
Word/Syllable Count: 5 words / 5 syllables
Segmentation Method: Quarter rest
Phrase/Segment 3: tim-ber
Word/Syllable Count: 1 words / 2 syllables
The first thing to take note of regarding line 8 (which is the last line of the first verse) is that it’s
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3 syllables longer than line 7 that preceded it.
Second, notice that the line is broken into 3 distinct segments, each of which is separated by a rest.
RHYTHM
As you can see (and hear for that matter), both lines possess a different rhythm in relation to one another. Note the following:
Line 7
Essentially what’s happening is the lyric “I’m” that begins the line as well as the lyrics “oil spill” which conclude sandwich the rapid-fire sixteenth note delivery of the lyrics “slicker than an” that occur in the middle via their primarily eighth note value, with the one exception being the “l” in “oi-l”.
Notice that the sixteenth notes enable the “key” lyrics of the line to further stand out and resonate via their prolonged nature in relation (“I’m” and “oil spill”). Also notice that by rapping “slicker than a” in this rapid fire manner also provides it with a “slick” type of vocal delivery.
Line 8
The first thing to take note of is that the majority of the line except for 2 lyrics consist of a sixteenth note delivery. This is important in how it enables the following lyrics to stand out on the line:
“say” (dotted eighth)
“bet” (eighth)
By having these prolonged lyrics stand out in relation to the sixteenth notes, it not only provides an infectious nature to the overall rhythm, but it also emphasizes the key lyrical premise of the line as well:
“She SAY she won’t”
“But I BET she will”
Also notice the manner in which Pitbull raps the lyric “won’t.” His inflection goes up which does a fantastic job of setting up the “punch line” “but I bet she will”.
The second thing to take note of is the segmentation (rests) that are implemented twice on the line:
The eighth rest that follows the lyric “won’t” provides a brief pause that sets up the
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“punch line” for maximum impact.
The quarter rest that follows the lyric “will” sets up the title lyric, “tim-ber” that follows.
Additionally, notice how the use of the rests also contribute to the overall infectious nature of the line.
Verse 2
Line 1: Look up in the sky, it’s a bird, it’s a plane Line 2: Nah, it’s just me, ain’t a damn thing changed
Line 3: Live in ho-tels, swing on planes Line 4: Blessed to say money ain’t a thing
Line 5: Club jump-in’ like Le-Bron now Vo-li Line 6: Or-der me an-oth-er round hom-ie
Line 7: We a-bout to clown. Why? Line 8: ‘Cause it’s a-bout to go down
FIRST STANZA
Group 1: (Lines 1 & 2)
LINE LENGTH, SEGMENTATION
Line 1 (Full): Look up in the sky / it’s a bird / it’s a plane
Word/Syllable Count: 11 words / 11 syllables
Phrase/Segment 1: Look up in the sky
Word/Syllable Count: 5 words / 5 syllables
Segmentation Method: The last lyric is an eighth note
Phrase/Segment 2: it’s a bird
Word/Syllable Count: 3 words / 3 syllables
Segmentation Method: The last lyric is an eighth note
Phrase/Segment 3: it’s a plane
Word/Syllable Count: 3 words / 3 syllables
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Segmentation Method: The last lyric is an eighth note followed by an eighth rest
Just as was the case with group 1 in the first verse, here in the second verse we once again have a moderately long line broken into shorter, easier to digest segments. Notice that the lyric “sky” and “bird” each possess an eighth note value which enables them to act in the manner of a comma against the sixteenth notes on the line.
Additionally, notice that the last lyric on the line, “plane,” is also an eighth note and is followed by an eighth rest which segments line 1 from line 2 that follows.
Line 2 (Full): Nah it’s just me / ain’t a damn thing changed
Word/Syllable Count: 9 words / 9 syllables
Phrase/Segment 1: Nah it’s just me
Word/Syllable Count: 4 words / 4 syllables
Segmentation Method: The last lyric is an eighth note
Phrase/Segment 2: ain’t a damn thing changed
Word/Syllable Count: 5 words / 5 syllables
Segmentation Method: The last lyric is an eighth note followed by an eighth rest
Here we have a line that consists of 9 syllables which is broken into 2 individual segments, each consisting of 4 and 5 syllables, respectively. Notice that this is once again achieved via an eighth note acting in the manner of a comma in relation to the sixteenth notes that both precede and follow it.
RHYTHM
In contrast to the first verse where lines 1 and 2 possess virtually the same rhythmic qualities, here in the second verse both lines differ from one another as follows:
Line 1 is broken into 3 individual segments, while line 2 consists of 2.
Line 1?s segment syllable count consists of 5 / 3 / 3 respectively, while line 2 consists of 4 and 5.
Line 1 consists of a very infectious sixteenth note run with the last syllable possessing an eighth note value. Line 2 leans heavier on the eighth notes, particularly within the second segment.
Group 2: (Lines 3 & 4)
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LINE LENGTH, SEGMENTATION
Line 3 (Full): Live in ho-tels / swing on planes
Word/Syllable Count: 6 words / 7 syllables
Phrase/Segment 1: Live in ho-tels
Word/Syllable Count: 3 words / 4 syllables
Segmentation Method: The last syllable is a quarter note
Phrase/Segment 2: swing on planes
Word/Syllable Count: 3 words / 3 syllables
Segmentation Method: The last lyric is a dotted eighth followed by an eighth rest
Here we have the segmentation between these 2 short phrases being brought about via the quarter note timing on the syllable “-tels” in “ho-tels.” Its impact is accentuated due to the fact that the full lyric “hotels” is both preceded and followed by lyrics that possess a sixteenth note value.
Line 4 (Full): Blessed to say / mon-ey ain’t a thing
Word/Syllable Count: 7 words / 8 syllables
Phrase/Segment 1: Blessed to say
Word/Syllable Count: 3 words / 3 syllables
Segmentation Method: The last lyric is a dotted eighth followed by an eighth rest
Phrase/Segment 2: mon-ey ain’t a thing
Word/Syllable Count: 4 words / 5 syllables
Segmentation Method: Flows continuously into the next line
Similar to line 3 that preceded it, line 4 is also broken into 2 short phrases as well. The key difference is that the “segmentor” on line 4 is an eighth rest as opposed to the quarter note on line 3.
RHYTHM
As a full “group,” lines 3 and 4 possess a very infectious and memorable rhythm.
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First, notice that out of the 4 segments within the group, the first 3 possess a very similar flow, which basically amounts to Quick – Slower – Slower:
Segment 1: Sixteenth – Sixteenth – Eighth – Quarter
Segment 2: Sixteenth – Eighth – Dotted Eighth
Segment 3: Sixteenth – Eighth – Dotted Eighth
As you can see, all are similar, but segments 2 and 3 are identical in nature from a rhythmic standpoint. This repetition as you know helps to get the group engrained within the listener’s head.
Now, notice what happens on the fourth and last segment of the group/stanza. The nature of the rhythm is changed up from that which defined the preceding 3, providing infectious contrast for the listener to sink their teeth into.
As opposed to the Quick – Slower – Slower rhythm that defined the first 3 segments, segment 4 consists of a rapid-fire sixteenth note flurry on the first 4 syllables (“mon-ey ain’t a”) and then concludes on an eighth note on the lyric “thing.”
Not only does this end the stanza on a highly infectious and memorable note, but notice how the flurry also provides that important phrase with increased emphasis via its contrasting nature.
Essentially, the 3 preceding segments are acting to “set up” the listener for the group “punchine,” “money ain’t a thing.”
SECOND STANZA
Group 3: (Lines 5 & 6)
LINE LENGTH, SEGMENTATION
Line 5 (Full): Club jump-in’ like Le-Bron now / Vo-li
Word/Syllable Count: 6 words / 9 syllables
Phrase/Segment 1: Club jump-in’ like Le-Bron now
Word/Syllable Count: 5 words / 7 syllables
Segmentation Method: The last lyric is dotted eighth note followed by an eighth rest
Phrase/Segment 2: Vo-li
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Word/Syllable Count: 1 word / 2 syllables
Segmentation Method: The last lyric is an eighth note and flows continuously into the line that follows
Notice that the first 7 syllables of the line run straight through, with the last lyric, “now,” possessing a quarter/sixteenth value in relation to the dotted eighth and sixteenth notes that preceded it in order to provide the segmentation from the final lyric of the section, “Voli.”
Line 6 (Full): Or-der me an-oth-er round / hom-ie
Word/Syllable Count: 5 words / 9 syllables
Phrase/Segment 1: Or-der me an-oth-er round
Word/Syllable Count: 4 words / 7 syllables
Segmentation Method: The last lyric is a dotted eighth followed by an eighth rest
Phrase/Segment 2: hom-ie
Word/Syllable Count: 1 word / 2 syllables
Segmentation Method: The last lyric is an eighth note and flows directly into the line that follows
Notice that line 6 possesses the same syllable count and segmentation location/method as line 5 that preceded it.
RHYTHM
As you can see (and hear), both lines possess a similar type of infectious flow as follows:
With the exception of the lyric “club” at the onset of line 5, both lines kick off with a a 4 syllable sixteenth note flurry.
With the exception of the syllable “-er” in “an-oth-er” on line 6, both lines conclude on a slowed down pace via dotted eighth notes.
Both lines possess an eighth rest that sets up the “focal point” lyrics “Vo-li” and “hom- ie,” both of which consist of 2 eighth notes. Not only does this take the infectious nature of the section to the next level, but the contrast that it provides to the lines that preceded it also does a great job of heightening the engagement factor for the listener as well, as opposed to if it was just rapped with a similar type of rhythm.
Group 4: (Lines 7 & 8)
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LINE LENGTH, SEGMENTATION
Line 7 (Full): We a-bout to clown / Why?
Word/Syllable Count: 5 words / 6 syllables
Phrase/Segment 1: We a-bout to clown
Word/Syllable Count: 4 words / 5 syllables
Segmentation Method: Quarter rest
Phrase/Segment 2: Why?
Word/Syllable Count: 1 word / 1 syllable
Segmentation Method: The lyric possesses a dotted eighth value
Even though line 7 possesses a shorter syllable count than lines 5 and 6 that preceded it (7 vs. 9), notice that the nature of the segmentation remains constant between all three lines, occurring prior to the final lyric on the line. In this case, the lyric “why” is segmented from the rest of the line via a quarter rest.
Line 8 (Full): ‘Cause it’s / a-bout / to go / down
Word/Syllable Count: 10 words / 11 syllables
Phrase/Segment 1: ‘Cause it’s
Word/Syllable Count: 2 words / 2 syllables
Segmentation Method: Eighth note followed by a sixteenth rest
Phrase/Segment 2: a-bout
Word/Syllable Count: 1 word / 2 syllables
Segmentation Method: Eighth note followed by a sixteenth rest
Phrase/Segment 3: to go
Word/Syllable Count: 2 words / 2 syllables
Segmentation Method: Eighth note followed by an eighth rest
Phrase/Segment 4: down
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Word/Syllable Count: 1 word / 1 syllable
Segmentation Method: The last lyric within the section possesses a quarter note value
The first thing to take note of is that this line is longer than all of the other lines within the stanza, consisting of 11 syllables.
Second, notice that it’s broken into 4 individual segments, each consisting of just 2 syllables (except for the last lyric on the line, “down”). The segmentation is elicited via the second syllable in each segment possessing an eighth note value (relative to the sixteenth that precedes it) followed by a sixteenth rest.
RHYTHM
Both of these lines possess an infectious and memorable rhythm, but it’s line 8 that acts as the “show stopper” as you’ll see below.
Line 7 initially flows with an alternating eighth – sixteenth rhythm on the lyrics/syllables “we a- bout to clown” up until the tail end, where a quarter rest is implemented to accentuate the impact of the line 8 “show stopper” set-up question “why,” which possesses a dotted eighth value.
This is immediately followed by what is hands down the most entertaining and attention grabbing line within all of the verse sections “’cause it’s a-bout to go down.”
Notice that the first 3 segments consist of 2 syllables/lyrics and possess sixteenth – eighth note rhythm as follows:
“’cause it’s”
“a-bout”
“to go”
Now – in order to really accentuate the nature of this already infectious rhythm, a brief sixteenth rest is implemented after each segment in order to enact a staccato effect. Notice that this effect is also accentuated via the shift in the nature of the backing music as well as discussed earlier.
The final segment of the section, “down,” possesses a quarter note value which then leads into the pre-chorus.
PRE-CHORUS
Line 1: Swing your part-ner ’round and ‘round
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Line 2: End of the night it’s go-in’ down
Line 3: One more shot an-oth-er round Line 4: End of the night it’s go-in’ down
In contrast to the verse sections where for the most part Pitbull is varying the nature of his rap from line to line and group to group, here within the pre-chorus we find things getting very simple, very repetitive, and most of all, very infectious.
Notice that we once again have 2 consecutive lines functioning as 1 individual group, with lines 1 & 2 encompassing group 1, and lines 3 & 4 encompassing group 2.
LINE LENGTH & SEGMENTATION
Group 1 (Lines 1 & 2)
Line 1 (Full): Swing your part-ner ’round and ‘round
Word/Syllable Count: 6 words / 7 syllables
Segmentation Method: The last lyric on the line possesses a quarter note value
Line 2 (Full): End of the night it’s go-in’ down
Word/Syllable Count: 7 words / 8 syllables
Segmentation Method: The last lyric on the line possesses a quarter note value
As you can see, each line runs straight through without a pause, with the segmentation being implemented at the tail end where the last lyric on both lines consists of a quarter note value in relation to the primarily eighth notes that preceded it.
Additionally, notice that the syllable count of these 2 lines are slightly less than the majority of lines within both verse sections.
Group 2 (Lines 3 & 4)
Line 3 (Full): One more shot an-oth-er round
Word/Syllable Count: 6 words / 7 syllables
Segmentation Method: The last lyric on the line possesses a quarter note value
Line 4 (Full): End of the night it’s go-in’ down
Word/Syllable Count: 7 words / 8 syllables
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Segmentation Method: The last lyric on the line possesses a quarter note value
Notice that group 2 is a carbon copy of group 1 in terms of its syllable count and segmentation methods.
RHYTHM
As you’ve by now noticed, all of the lines within the section are very similar in nature to one another with just some minor differences. Note the following:
Lines 1 & 3: Eighth Note Run / Quarter Note End
Lines 1 and 3 (the beginning of each group) possess a straight through eighth note rhythm up until the tail end, where the final note is a quarter as previously mentioned.
Lines 2 & 4: Sixteenth Note Flourish
Lines 2 and 4 (the end of each group) provide contrast by assigning the second and third lyrics (“of the”) with sixteenth note values. As subtle as this is, it does a fantastic job of providing infectious contrast against the preceding line via the “roll of your tongue flourish.”
KEY ATTRIBUTES
Hoedown Accentuator
Where the nature of the rhythm really succeeds is the manner in which it accentuates the “hoedown” nature of the lyrics. When Pitbull is rapping the lyrics “swing your partner round and round…,” the straight-ahead nature of the rhythm elicits a hoedown type of vibe. If he instead utilized a more complex rhythmic structure, it would have lost all of its relevant effect and impact.
REPETITION & DIVERSITY
Memorability
The repetitive, simplistic nature of the rhythm within the section as a whole allows it to easily get engrained within the listener’s head.
Engagement
The diversity (contrast) provided via the sixteenth note flourish on lines 2 and 4 prevents the section from becoming overly monotonous and losing its engaging impact.
Additionally, notice that the entire line is not completely rapped with a monotone natured delivery as was indicative of the verse sections. The section kicks off with a G# – G# – D# – D#
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PRE-CHORUS = PRE-PAYOFF
Ultimately what this pre-chorus achieves is to act in the manner of an additional “payoff” / key hook for the listener to sink their teeth into in addition to the primary payoff that follows within the chorus.
Put yourself for a moment in the environment where this song will really have its greatest impact – in a club or party atmosphere. The verse will certainly engage and get the excitement factor up there, but when the pre-chorus hits, THIS is where the audience will be fully engaged via its unique (by mainstream standards), fun and easy to sing along to hoedown nature as described earlier.
CHORUS
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Line Reference
Line 1: It’s goin’ down, I’m yellin’ timber Line 2: You better move, you better dance Line 3: Let’s make a night, you won’t remember Line 4: I’ll be the one, you won’t forget
Vocal Range
High: F# Low: G#
LINE LENGTH & SEGMENTATION
As you’ll see below, each full line within the chorus consists of 8 to 9 syllables and is broken into 2 individual segments consisting of 4 to 5 syllables each, making it very easy for the listener to process and remember.
Note that each segment is segmented from one another by a rest, ranging from an eighth up to a dotted quarter.
Line 1 (Full): It’s go-in’ down / I’m yell-in’ tim-ber
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Word/Syllable Count: 6 words / 9 syllables
Phrase/Segment 1: It’s go-in’ down
Word/Syllable Count: 3 words / 4 syllables
Segmentation Method: Quarter rest
Phrase/Segment 2: I’m yell-in’ tim-ber
Word/Syllable Count: 3 words / 5 syllables
Segmentation Method: Eighth rest
Line 2 (Full): You bet-ter move / you bet-ter dance
Word/Syllable Count: 6 words / 8 syllables
Phrase/Segment 1: You bet-ter move
Word/Syllable Count: 3 words / 4 syllables
Segmentation Method: Quarter rest
Phrase/Segment 2: you bet-ter dance
Word/Syllable Count: 3 words / 4 syllables
Segmentation Method: Quarter rest
Line 3 (Full): Let’s make a night / you won’t re-mem-ber
Word/Syllable Count: 7 words / 9 syllables
Phrase/Segment 1: Let’s make a night
Word/Syllable Count: 4 words / 4 syllables
Segmentation Method: Dotted quarter rest
Phrase/Segment 2: you won’t re-mem-ber
Word/Syllable Count: 3 word / 5 syllables
Segmentation Method: Eighth rest
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Line 4 (Full): I’ll be the one / you won’t for-get
Word/Syllable Count: 7 words / 8 syllables
Phrase/Segment 1: I’ll be the one
Word/Syllable Count: 4 words / 4 syllables
Segmentation Method: Quarter rest
Phrase/Segment 2: you won’t for-get
Word/Syllable Count: 3 word / 4 syllables
Segmentation Method: Dotted quarter rest
PROGRESSION & RHYTHM
Just as was the case with the pre-chorus, the name of the game here in the chorus is infectious simplicity. The key difference between the 2 is that there is more melodic “coloring” going on here in comparison.
As you can see in the vocal melody graphs and notation above, we once again have 2 line “groupings” (i.e. lines 1 & 2, lines 3 & 4) which are almost identical in nature from both a rhythmic and melodic standpoint. Let’s now take a look at the similar lines within each group, lines 1 & 3 and lines 2 & 4:
Lines 1 & 3
Segment 1
Line 1: “It’s go-in’ do-wn”
Line 3: “Let’s make a night”
The first thing to take note of is that both of these lines initially kick off with a downward eighth note whole step progression followed by a leveling off in segment 1 via D# – C# – B – B:
Line 1: “It’s go-in do-”
Line 3: “Let’s make a night”
Now as you can see, we still have 1 more syllable to go on line 1 – the “-wn” in the “stretched” nature of the lyric “down.” Instead of leveling off on B as line 3 did with the lyric “night,” the “wn” in “do-wn” then descends even further to G# to conclude.
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Notice how this cleverly jibes with and accentuates the meaning of the lyric “down.”
Segment 2
Line 1: “I’m yell-in’ tim-ber”
Line 3: “you won’t re-mem-ber”
First, notice that the second segment on both lines kick off with a leap back up to D# and then follows the same eighth note whole step downward progression on the 2 syllables that follow via C# – B in the same manner as segment 1:
Line 1: “I’m yell-in’”
Line 3: “you won’t re-”
Now, here is where segments 1 and 2 part ways. Instead of leveling off on B or descending further down to G# as was the case on the first line, the next 2 syllables climb via D# – F#:
Line 1: “Tim-ber”
Line 3: “-mem-ber”
***LYRICAL PAYOFF ALERT***
Here’s where the melody, rhythm and lyrics all work in perfect tandem with one another in creating a “WOW” factor that enables the payoff to PAY OFF in a big way. Note the following:
The Progression
Notice that these are the points within the entire section that possess the most stringent melodic leap and reach the highest register as well. The result is that both “Tim-ber” and “-mem-ber” stand out and resonate more than any other lyric within entire the section.
The Rhythm
As a whole, “tim-ber” and “-mem-ber” possess the longest duration of any lyric within the section, with the first syllable in each possessing an eighth note value and the second possessing a dotted quarter, which also happens to be the longest syllable in the entire section as well.
The “Timbeeeeeer” Effect
The true magic of the section occurs on line 1 where the progression, rhythm and meaning of the title lyric come together as a whole. When you think of someone yelling “timbeeeeer!” in a forest, this is the exact manner in which they would yell it (ok – chances are that it won’t sound
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The Payoff “Reminder”
A clever characteristic of the section occurs on line 3. Even though the lyric “tim-ber” is not repeated a second time around, the syllables “-mem-ber” in “re-mem-ber” are sung in the same exact manner. So, even though you technically don’t get the title reinforcement again, you get it’s melodic and rhythmic nature, which ultimately serves the same purpose.
And remember, the title lyric “Timber” occurs a massive 24 times throughout the entire song, so not including it again on line 3 doesn’t really preclude anyone from remembering the song’s name!
Lines 2 & 4
Segment 1
Line 2: “You bet-ter move”
Line 4: “I’ll be the one”
Directly following the “payoff” at the end of lines 1 and 3, line 2 kicks off in the same exact manner as the preceding segments 1 & 2 via a D# – C# – B progression & eighth note timing on the following lyrics/syllables:
Line 2: “You bet-ter”
Line 4: “I’ll be the”
Notice that the last lyric of the segment is where things get changed up:
Line 2: “m-ove”
Line 4: “o-ne”
As you can see in the graphs and notation above, the lyrics “move” and “one” are stretched past their normal syllable count via B – C# with sixteenth – quarter/sixteenth timing. This does a great job of providing contrast against the 2 segments that preceded it as well as acting in the manner of a “cliffhanger” in the sense that it keeps you hanging until the next segment takes over (i.e. it doesn’t provide a resolve).
Segment 2
Line 2: “you bet-ter dance”
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Line 4: “you won’t for-get”
As with all the other segments within the section, segment 2 on lines 2 & 4 kick off in the same manner via D# – C# – B – B.
Notice that line 2 then concludes just as it began with the last syllable dropping down to a G# quarter note to bring the first “group” to a resolve. The last lyric (and syllable) on line 4 differs as follows:
“Forget” is stretched past its normal syllable count via “for-ge-et” via B – B – C# / eighth – eighth – dotted quarter timing.
Notice that the last syllable climbs up to a C# instead of dropping down to G# as was the case at the end of line 2. This acts once again in the manner of a “cliffhanger” as was the case in the segment that preceded it which keeps the listener at a heightened state of engagement leading into the “whoo…” vocal break that follows.
REPETITION
Every segment within the section kicks off with a descending D# – C# – B progression utilizing all eighth note timing.
Segment 1 on line 1 and segment 2 on line 2 (i.e. the beginning and ending of the entire 2 line group) are identical in nature from a melodic and rhythmic standpoint.
Segment 2 on line 1 and segment 2 on line 3 (the “payoff” segments) are identical in nature from both a rhythmic and melodic standpoint.
Segment 1 on lines 2 and 4 are also identical in nature from both a rhythmic and melodic standpoint.
Both segments on line 4 conclude in the same manner.
DIVERSIFYING FACTORS
Segment 1 in line 1 concludes by dropping down to a G#. Segment 1 in line 3 concludes on a B.
Group 1 (i.e. the end of line 2) concludes by dropping down to a G#. Group 2 (i.e. the end of line 4) concludes by ascending up to C#.
CLEVER ELEMENTS & WOW FACTORS (Is there anything about the nature of the vocal melody which puts the section, and the song over the top?)
The Payoff Impact Accentuator
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Notice the manner in which the downward D# – C# – B progression that precedes the upward D# – F# “timber” / “-mem-ber” payoff progressions provides them with increased impact and emphasis when they hit (i.e. down vs. up).
Lyrical Accentuators
The manner in which “timber” is sung perfectly jibes with and accentuates its meaning (reference the “lyrical payoff alert” section for details.
The manner in which the lyric “do-wn” is stretched past it’s normal syllable count via B – G# accentuates the meaning and impact of “down.”
The manner in which other lyrics were stretched in a creative way past their normal syllable count including “m-ove,” “da-nce,” “o-ne” and “for-ge-et.”
VOCAL BREAK
Line Reference
Line 1: Wooooah (timber), wooooah (timber), wooooah (it’s goin’ down) Line 2: Wooooah (timber), wooooah (timber), wooooah (it’s goin’ down)
Vocal Range
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High: B Low: B
Here we’re going to look at each of the 3 individual “whoo” or “whoa” segments (depending on which section of the song you’re in).
Segment 1
“Whoo” Count: 4
Segmentation Method: Eighth rest
Length
The first segment is the shortest one in the entire section, consisting of just 4 “whoo’s.” Now, take a moment to think about why that is so important…
Imagine for a second that the section started off with the third segment, which consists of 15 syllables. It would have almost been impossible to hold the listener’s attention because it would have been too overwhelming with too much to process right off the bat. By keeping it as a short 4 syllable vocal “riff,” so to speak, it successfully hooks them in until the next segment takes over.
The segment then concludes with an eighth rest, which gives the listener that split second to process and remember what they just heard.
Melody
As you can see, the melody jumps nearly on octave from the end of the chorus that preceded it, kicking off on a B. The contrast does a great job in enabling it to really jump out and grab the listener’s attention.
It then follows a simplistic, infectious run via G# – F# – G# for the duration of the segment.
Rhythm
Rhythmically it’s just as straight forward and infectious. It kicks off with a dotted quarter on B, is followed by a faster run on G# – F# via an eighth – quarter combo, and then concludes with another prolonged dotted quarter on G# to conclude.
Also take note of how the nature of the rhythm provides solid contrast to the nature of the chorus that preceded it, heightening the engagement value for the listener.
Segment 2
“Whoo” Count: 5
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Segmentation Method: Dotted quarter rest
Length
As you can see, the second segment consists of 1 additional “whoo” compared to segment 1 that preceded it. Even though it’s just 1 longer, it does subconsciously help to prep them for the “whoo” barrage that follows in segment 3.
The section concludes with a dotted quarter rest, giving the listener a bit more time to ready themselves to receive the “whoo” run that follows compared to the first segment of the section.
Melody
What’s interesting here is that we have essentially have repetition of the same melodic structure that defined segment 1, just at a lower register and with one additional note.
Segment 1: B – G# – F# – G#
Segment 2: F# – D# – C# – B – C#
So instead of starting out on B as was the case with segment 1, segment 2 kicks off on F# which not only was the lowest register of segment 1, but it also keeps the G# – F# – G# – F# flow intact which ultimately ties both segments together.
Rhythm
Besides the lower register, this is where the 2 segments really part ways. In contrast to segment 1 which consists of dotted quarter, quarter and eighth notes, segment 2 speeds things up via a more rapid-fire eighth – sixteenth – sixteenth – eighth – quarter delivery. The contrast helps to take the engagement factor for the listener to the next level, while the melodic structure similarity helps to keep the memorability factor in effect.
Segment 3
“Whoo” Count: 15
Segmentation Method: Eighth rest
At first glance, the third and last segment of the section seems long and complex in relation to the 2 segments that precede it. When you break it down, however, you’ll see that it’s just as simple, straight forward, infectious and memorable.
After all, don’t lose sight of the fact that this is mainstream Pop music! The more you complicate, the more your ability to easily connect with the listener connect down.
Length
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At 15 “Whoo’s,” segment 3 is ~4 times as long segment 1 and 3 times longer than segment 2. As you’ll see, however, the nature of the progression and rhythm actually create individual runs or “vocal riffs” which are short in nature and as a result make it easy to get engaged and remember:
Vocal Riff 1: B – G# – B – G# – F# (5 “Whoo’s”)
Vocal Riff 2: D# – C# – B (3 “Whoo’s”)
Vocal Riff 3: C# – D# – F (3 “Whoo’s”)
Vocal Riff 4: D# – C# – B – C# (4 “Whoo’s”)
Additionally, note that the first “whoo” run is segmented from the second via an eighth rest.
Melody
As you’ll see below, following the first vocal riff each subsequent riff utilizes the same general flow, either in an downward or upward direction.
Vocal Riff 1: B – G# – B – G# – F# (5 “Whoo’s”)
The first thing that you need to take note of here is how this vocal riff is set up. Remember, segments 1 and 2 progress downward, starting off on B and eventually descending down an octave to B before progressing a step upward to C# to conclude.
Segment 3 then kicks off by leaping all the way back up almost on octave to B. Notice how this leap provides the section with infectious coloring and also instantly demands your attention via the contrast that it provides.
It then embarks on a very simplistic yet highly infectious and memorable G# – B – G# – F# run for the duration. Essentially this vocal riff stands out as the “payoff” of the section due to the manner in which it sticks out coupled with its infectious nature.
Vocal Riffs 2 – 4:
For the duration of the section the nature of the progression takes on the characteristic of running up and down hills so to speak. The overall flow of each is very straight forward and simplistic, and when you combine all of them together, it winds up making for a very infectious and memorable progression for the listener.
Vocal Riff 2: D# – C# – B (3 “Whoo’s”)
Progresses downward via whole steps.
Vocal Riff 3: C# – D# – F (3 “Whoo’s”)
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Reverses course and progresses upward via a whole step followed by a step and a half. Notice that this is the same interval that preceded vocal riff 2 (downward from F# to D).
Vocal Riff 4: D# – C# – B – C# (4 “Whoo’s”)
Reverses course once again to follow a descending whole step progression. Notice that this is the same exact progression as vocal riff 2 EXCEPT for the fact that it climbs 1 whole step to C# to conclude at the end.
Rhythm
As you can see, riff 2 is defined by an all eighth note delivery. The uniformity of the rhythm coupled with the repetitive nature of the melody takes the infectious, memorable nature of the riff to the next level.
Riffs 2 – 4 on the other hand all possess the same rhythm via a sixteenth – sixteenth – eighth delivery up until the very last “whoo,” which is a quarter note which concludes the full run.
When you put that sixteenth / eighth combo into motion coupled with the nature of the melodic progression, you wind up with an exceptionally infectious vocal delivery that rolls right off your tongue.
Lyrics Back to Top
LYRIC TYPES This section highlights the types of lyrics and phrases used throughout each section of the song. Notice that some of the lyrics and phrases appear in more than one category.
Detail/Imagery Lyrics & Phrases (These lyrics “paint a picture” in your mind and provide detail as to what’s happening within the story, literally, metaphorically, or both)
Examples include:
Verse 1
The bigger they are, the harder they fall (metaphorically)
These big-iddy boys are dig-gidy dogs (detailing specific people)
I have ‘em like Miley Cyrus, clothes off
Twerkin’ in their bras and thongs
Face down, booty up
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That’s the way we like to–what? (I think you can infer the answer)
I’m slicker than an oil spill
Verse 2
Look up in the sky, it’s a bird, it’s a plane
Live in hotels, swing on planes
Blessed to say, money ain’t a thing (detail regarding Pitbull’s financial status)
Club jumping like LeBron now, Voli
Order me another round, homie
We about to clown. Why? ‘Cause it’s about to go down
Pre-Chorus
Swing your partner round and round
End of the night, it’s goin’ down (you can infer what “goin’ down means)
One more shot, another round
Chorus
It’s goin’ down, I’m yellin’ timber
You better move, you better dance
Place & Time Lyrics & Phrases (These lyrics reflect places and the timeline within the story)
Examples include:
Verse 1
None
Verse 2
Look up in the sky, it’s a bird, it’s a plane (place)
Live in hotels, swing on planes (place)
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Club jumping like LeBron now, Voli (place)
We about to clown. Why? ‘Cause it’s about to go down (time)
Pre-Chorus
End of the night, it’s goin’ down (time)
Chorus
Let’s make a night you won’t remember (time)
Emotional/State Of Mind Based Lyrics and Phrases (These lyrics and phrases shed light on the character’s state of mind and convey emotion –either directly or indirectly- enabling you to connect with what the characters are feeling or going through on an emotional level within the story)
Examples include:
Verse 1
The bigger they are, the harder they fall
These big-iddy boys are dig-gidy dogs
She say she won’t, but I bet she will
Verse 2
Blessed to say, money ain’t a thing
Pre-Chorus
None
Chorus
Let’s make a night you won’t remember (lack of of mind!)
I’ll be the one you won’t forget
Action Based Lyrics & Phrases (These lyrics get you into what the characters within the story have done, are doing or will do – literally or metaphorically)
Verse 1
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The bigger they are, the harder they fall
Twerkin’ in their bras and thongs
She say she won’t, but I bet she will (implies future action)
Verse 2
Look up in the sky, it’s a bird, it’s a plane
Live in hotels, swing on planes
Club jumping like LeBron now, Voli
Order me another round, homie
We about to clown. Why? ‘Cause it’s about to go down
Pre-Chorus
Swing your partner round and round
End of the night, it’s goin’ down
One more shot, another round (implies the action of doing a shot/ordering a round)
Chorus
It’s goin’ down, I’m yellin’ timber
You better move, you better dance
Character Lyrics & Phrases (These lyrics show how all of the characters within the story are defined)
Red Font: 1st Person Blue Font: 2nd Person Green Font: 3rd Person Bold Black: Specific
Here’s the breakdown of how each section of the song is communicated:
Verse 1
Primarily in the third person, as well as the second person and use of specific references as
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Verse 2
First person plus a couple of specific references.
Pre-Chorus
Second person plus a specific reference. Notice that there is just one of each within the entire section.
Chorus
First and second person.
What follows is the list of specific references that appear within each section of the song:
Boys (verse 1) Dogs - not in reference to the animal (verse 1) *Miley Cyrus (verse 1) *LeBron (verse 2) Homie (verse 2) Partner (pre-chorus)
Lyrical Breakdown
Verse 1
The bigger they are, the harder they fall These big-iddy boys are dig-gidy dogs I have ‘em like Miley Cyrus, clothes off Twerkin’ in their bras and thongs, timber
Face down, booty up, timber That’s the way we like to–what? timber I’m slicker than an oil spill She say she won’t, but I bet she will, timber
Verse 2
Look up in the sky, it’s a bird, it’s a plane Nah, it’s just me, ain’t a damn thing changed Live in hotels, swing on planes Blessed to say, money ain’t a thing
Club jumping like LeBron now, Voli
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Order me another round, homie We about to clown. Why? ‘Cause it’s about to go down
Pre-Chorus
Swing your partner round and round End of the night, it’s goin’ down One more shot, another round End of the night, it’s goin’ down
Chorus
It’s goin’ down, I’m yellin’ timber You better move, you better dance Let’s make a night you won’t remember I’ll be the one you won’t forget
RHYMING & REPETITIVE LYRICS The highlighted lyric indicates the “rhymer.” In some cases it’s a full lyric, and in other cases it may be just one letter or syllable or the manner in which a lyric is sung.
Key Red Font: Cross-line rhyming Purple Font: Cross-sectional rhyming Blue Font: In-line rhyming Green Font: Repetitive lyrics
Verse 1
Line 1: The big-ger they are, the hard-er they fall Line 2: These big-idd-y boys are dig-gid-y dogs
Line 3: I have ‘em like Mi-ley Cy-rus, clothes off Line 4: Twerk-in’ in their bras and thongs, tim-ber
Line 5: Face down, boo-ty up, tim-ber Line 6: That’s the way we like to what? tim-ber
Line 7: I’m slick-er than an oi-l spill Line 8: She say she won’t, but I bet she will, timber
Here in the first verse we have a combination of cross-line and cross-group rhyming as well as repetitive lyrics.
Cross-Line Rhyming
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The rhyme occurs on the last lyric within each of the four 2-line groupings. Pay attention to how the rhyme is put into effect within each group. Sometimes it’s clear cut (i.e. “spill“ and “will“) while other times it’s due to the manner in which Pitbull raps specific lyrics (i.e. “up“ and “what“).
Group 1
Notice that the “a“ and the “o“ are sung in a similar manner (i.e. “dogs” is sung like “dAHgs”)
Line 1: “fall”
Line 2: “dogs”
Group 2
Pitbull sings the “o“ within each lyric in a similar manner
Line 3: “off”
Line 4: “thongs”
Group 3
Here he’s singing “up” and the “at“ portion of “what“ in a similar manner (i.e “whUt“)
Line 5: “up“
Line 6: “what“
Group 4
“ill“ is the rhymer within both lyrics below.
Line 7: “spill“
Line 8: “will“
Cross-Group Rhyming
Notice that “fall” and “dogs” in group 1 (lines 1 & 2) rhyme with “off” and “thongs” in group 2 (lines 3 & 4).
Repetitive Lyrics
Notice that lines 4, 5, 6 and 8 all conclude with the title lyric, “Timber.”
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Verse 2
Line 1: Look up in the sky, it’s a bird, it’s a plane Line 2: Nah, it’s just me, ain’t a damn thing changed
Line 3: Live in ho-tels, swing on planes Line 4: Blessed to say, money ain’t a thing
Line 5: Club jump-in’ like Le-Bron now, Vo-li Line 6: Or-der me an-oth-er round, hom-ie
Line 7: We a-bout to clown. Why? Line 8: ‘Cause it’s a-bout to go down
Here in the second verse we have a similar rhyming scheme as was indicative of the first verse. The primary differences are as follows:
The repetition of the title lyric, “Timber,” is not included within the section
There are 2 sets of cross-line rhymes taking place on lines 5 and 6.
Cross-Line Rhyming
Group 1
The “an(e)“ in “plane” and “changed” is the rhymer.
Line 1: “plane“
Line 2: “changed”
Group 2
Pitbull raps the “in“ in “thing” in a similar manner to “ane“ in “planes” via “thANg.”
Line 3: “planes”
Line 4: “thing”
Group 3
Here we have 2 sets of rhymes taking place across lines 5 and 6 as follows:
Line 5 – second to last lyric: “now“
Line 6 – second to last lyric “round”
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Line 5 – last lyric: “Voli“
Line 6 – last lyric “homie“
Notice that “Voli” and “homie” really stand out via the manner in which they’re rapped coupled with the backing music being pulled out from under the vocal.
Group 4
The “own” is the rhymer within both lyrics.
Line 7: “clown“
Line 8: “down“
Cross-Group Rhyming
“Plane“ and “changed” in group 1 (lines 1 & 2) rhyme with “planes” and “thing” in group 2 (lines 3 & 4).
Additionally, “now“ and “round” in group 3 (lines 5 & 6) rhyme with “clown” and “down” in group 4 (lines 7 & 8).
Pre-Chorus
Line 1: Swing your part-ner ’round and ‘round Line 2: End of the night, it’s go-in’ down Line 3: One more shot, an-oth-er round Line 4: End of the night, it’s go-in’ down
Here in the pre-chorus we have a combination of cross-line rhyming as well as repetitive lyrics.
Cross-Line Rhyming
Notice that the entire pre-chorus functions as one “group,” where the last lyric on each line rhymes with the next as follows:
Line 1: “‘round”
Line 2: “down“
Line 3: “round”
Line 4: “down“
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Repetitive Lyrics
As you can see, there is quite a bit of lyrical repetition going on within the section. Note the following:
The lyric “’round” occurs twice on line 1 and concludes line 3 as well. Notice that on line one it’s related to the word “around,” but on line 3 it relates to a “round” of drinks.
Lines 2 and 4 repeat in the same exact manner.
Chorus
Line 1: It’s go-in’ down, I’m yell-in’ tim-ber Line 2: You bet-ter move, you bet-ter dance Line 3: Let’s make a night you won’t re-mem-ber Line 4: I’ll be the one you won’t for-get
Here in the chorus we have a combination of cross-line rhyming, cross-sectional rhyming and repetitive lyrics as well.
Cross-Line Rhyming
The only cross-line rhyming that takes within the section occurs at the end of lines 1 and 3 as follows:
Line 1: “tim-ber“
Line 3: re-mem-ber“
Cross-Sectional Rhyming
Notice that the first phrase of the section which is sung by Ke$ha, “it’s goin’ down,” directly follows the same phrase which concluded the pre-chorus, which is sung by Pitbull. Additionally, remember that the phrase also occurs on line 2 of the pre-chorus as well.
Repetitive Lyrics
The lyrics “you better” occur twice on line 2, and the lyrics “you won’t” occur in the same relative position on lines 3 and 4.
Rhyme Accentuator
Notice that the syllables on line 2 “-mem-ber” in “re-mem-ber” are sung in the same manner as “tim-ber” on line 1 which accentuates the impact of the rhyme. More on this within the vocal melody section of the report.
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SONG TITLE
When gauging the effectiveness of a song’s title, there are a number of factors that you need to consider:
Is it unique/clever/powerful or “run-of-the-mill?”
Does it pique your interest enough to take a listen to the song?
Is it memorable?
How does it work within the lyrical framework of the song?
Is it unique/clever/powerful or “run-of-the-mill?”
During the fourth quarter of the year, chart-topping Pop song titles fell into 1 of 2 categories – those that are unique, clever and or powerful (e.g. Summertime Sadness, Wrecking Ball, Royals), and those that are more universal/generic in nature (e.g. I Need Your Love, Do What U Want, Still Into You).
Timber certainly falls into the first category due to its unique and clever nature which enables it to stand out amongst its mainstream Pop contemporaries.
Does it pique your interest to take a listen?
Absolutely. As a standalone title without being viewed in context with the lyrics, the prospective listener has no idea what “timber” actually relates to. As a result, it piques their interest to check out the song to find out what it’s all about.
Is it memorable?
There are 3 key factors which make Timber a very memorable title:
It’s just 1 word.
It’s unique.
The manner & frequency in which it’s used within the song (see below)
How does it work within the framework of the song?
It’s the primary lyrical hook, being utilized within a particular line (e.g. “I’m yellin’ Timber”), and outside as well (e.g. Pitbull’s usage at the end of certain lines – “face down, booty up – timber”).
Title Occurrences:
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Timber occurs a massive 24 times within the song within the verse, chorus and vocal break sections as follows:
Chorus 1: It’s the last lyric on line 1.
Vocal Break 1: Occurs 4 times within the section after the first 2 “whooah’s” on each line.
Verse 1: Occurs at the end of lines 4, 5, 6 and 8.
Chorus 2: It occurs twice within the section as the last lyric on line 1 within both stanzas.
Vocal Break 2: Occurs 4 times within the section after the first 2 “whooah’s” on each line.
Chorus 3: It occurs twice within the section as the last lyric on line 1 within both stanzas.
Vocal Break 3: Occurs 7 times within the section. The first 4 times are the same as VB’s 1 and 2, while the last 3 occur after the first “whoooah” on each line as well as after the final one that concludes the song.
Chorus (times 2 in the second and third choruses)
Line 1: It’s goin’ down, I’m yellin’ timber Line 2: You better move, you better dance Line 3: Let’s make a night you won’t remember Line 4: I’ll be the one you won’t forget
Verse 1
First Stanza
Line 1: The bigger they are, the harder they fall Line 2: These big-iddy boys are dig-gidy dogs Line 3: I have ‘em like Miley Cyrus, clothes off Line 4: Twerkin’ in their bras and thongs, timber
Second Stanza
Line 5: Face down, booty up, timber Line 6: That’s the way we like to–what?–timber Line 7: I’m slicker than an oil spill Line 8: She say she won’t, but I bet she will, timber
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Vocal Break 1 & 2
Line 1: Wooooah (timber), wooooah (timber), wooooah (it’s goin’ down) Line 2: Wooooah (timber), wooooah (timber), wooooah (it’s goin’ down)
Vocal Break 3 (In addition to lines 1 & 2 above)
Line 1: Wooooah (timber), wooooah (timber), (hey), wooooah (it’s goin’ down) Line 2: Wooooah (timber), wooooah (timber), wooooah (it’s goin’ down) Line 3: Wooooah (timber), wooooah (c’mon), wooooah (it’s goin’ down x 2) Line 4: Wooooah (timber), wooooah (you won’t forget), wooooah (timber)
Title Characteristics
As you’ve by now noticed, the manner in which Timber is sung and by whom varies throughout the song as follows:
Chorus
Sung by Ke$ha with a “Country” type of vibe via the D# – F# / Eighth – Dotted Quarter progression.
Verse 1
Conveyed by Pitbull in a rapped manner at the end of lines as detailed above.
Vocal Break
It’s conveyed in a whispered type manner by Pitbull in vocal break sections 1 and 2. It’s the same case on the first 2 lines within vocal break section 3, but reverts to the rapped nature as it appeared within verse 1 during the first occurrence on lines 3 and 4. To conclude the song, it reverts back to a whispered delivery.
WORD CLOUD
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As you can see above, the 3 lyrics that occur most frequently within the song are:
Timber (verse, chorus and vocal break sections)
Whooa (vocal break)
Goin’ (pre-chorus and chorus)
They were followed by “round” and “night,” which occur within the pre-chorus, as well as “better,” which occurs within the chorus.
STORY FLOW & MEANING
***Lyrics need to jibe with the overall vibe of a song and resonate with its core target audience in its intended environment***
What type of song is Timber?
A FUN hybrid of Dance, Country and Hip Hop/Rap.
What environment is Timber suited to best succeed in?
A party/dance atmosphere.
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When people are out for a good time and looking to let loose, do they want to hear deep, thought provoking, emotional draining lyrics, or do they want light, shallow, clever lyrics that take the party to the next level? I think the answer is obvious.
So when people slam lyrics like those that appear within Timber and songs of the like, they’re missing the point.
Timber’s lyrics are SUPPOSED to be “shallow.” They’re SUPPOSED to be “simplistic.” Why? because they serve the NATURE of the song. It’s ENTERTAINMENT, nothing more, nothing less.
Timber is not intended to be a cryptic statement relating to man’s inhumanity against man. Timber is about going out, drinking, partying and “Timbering” at the end of the night, which completely jibes with and accentuates the nature of the backing music.
If you’re a writer looking to score a hit in the mainstream Dance/Pop arena, this is something that you need to keep in mind. Be clever, but serve the audience and atmosphere accordingly.
In other words - dumb it down (I know a lot of your are cringing right now – but let’s face it – it’s reality)
On that note, before we get into the “play by play” of the story, there are a couple of key points that you need to note:
The meaning of “Timber”
Timber is the code word for “hooking up.” How do we know this? Because aside from occurring within the “whoo” vocal breaks which don’t have any particular lyrical meaning (or maybe they do??????), Timber follows the following “sexual” lines within the song:
Verse 1 (Pitbull)
Line 4: Twerkin’ in their bras and thongs, timber Line 5: Face down, booty up, timber Line 6: That’s the way we like to–what?–timber Line 8: She say she won’t, but I bet she will, timber
Chorus (Ke$ha)
Line 1: *It’s goin’ down, I’m yellin’ timber
*Note that “it’s goin’ down” relates to “end of the night it’s goin’ down” within the pre-chorus. I think it’s fairly obvious just what will be goin’ down at the end of the night!
“Lifted” Lyrics
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There are 2 lines within the song that were “lifted” from other songs:
“Face down, booty up, that’s the way we like to what?” in Timber was directly inspired by 2 Live Crew’s “Face down, ass up, that’s the way we like to f*ck!”
“Look up in the sky, it’s a bird, it’s a plane, nah, it’s just me, ain’t a damn thing changed” in Timber was inspired by Pitbull’s line within the David rush song Shooting Star: “Look up in the sky, it’s a bird, it’s a plane, nah baby girl that’s a shooting star with your name.”
Now, onto Timber’s lyrical flow and meaning:
Verse-1
Lyrical Group 1: Slamming On Egos
Line 1: The bigger they are, the harder they fall Line 2: These big-iddy boys are dig-gidy dogs
This first lyrical group is pretty much straight forward, universal in nature and can be applied to anyone with a huge ego and social status. Summed up – there’s not much substance behind huge egos, and when they crash, they crash hard.
Stand Out/Clever Lyrics:
“bigiddy”
“diggitdy”
Lyrical Group 2: Pitbull Boasting About His Sexual Prowess
Line 3: I have ‘em like Miley Cyrus, clothes off Line 4: Twerkin’ in their bras and thongs, timber Line 5: Face down, booty up, timber Line 6: That’s the way we like to–what?–timber
The second lyrical group doesn’t really need any explaining. The first 2 lines relate to Pitbull’s ability to get women “performing” for him, while the last 2 relate to the way he likes to…what?
Stand Out/Clever Lyrics:
“Miley Cyrus”
The “Miley Cyrus” reference instantly sets the scene and paints a picture within your head. It’s so much so that it renders line 4 that follows basically unnecessary!
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“What?”
In order to keep the song more toward the PG side, Pitbull obviously couldn’t say the word that rhymes with “up” on line 6. Instead, he raps the lyric “what” via “whUt,” which cleverly gets the job done.
“Face down, booty up.” That’s the way we like to what?”
See above for the 2 Live Crew reference.
“Timber”
As previously mentioned, “Timber” is the code word for hooking up. This was a clever way to get the point across without the need to blatantly and literarily state the obvious.
Lyrical Group 3: More Boasting
Line 7: I’m slicker than an oil spill Line 8: She say she won’t, but I bet she will, timber
Continuing on with the theme that defined group 2, here on lines 7 and 8 Pitbull reaffirms his way with the ladies in a sexual manner – nothing more, nothing less.
Stand Out/Clever Lyrics:
It’s basically cliché, but Pitbull referring to himself as being “slicker than an oil spill.”
Pre-Chorus
Lyrical Group 1: Dancing / Hooking Up
Line 1: Swing your partner round and round Line 2: End of the night, it’s goin’ down
Lyrical Group 2: Drinking / Hooking Up
Line 3: One more shot, another round Line 4: End of the night, it’s goin’ down
As you can see, lines 1 and 3 within both lyrical groups fall under the partying/clubbing umbrella via dancing and drinking, while lines 2 and 4 relate to the hooking up theme.
Now, you might say that the line “end of the night it’s goin’ down” is subject to interpretation considering that it doesn’t mention anything specific. But when you put it into context with Pitbull’s lines from the verse and pre-chorus, it’s safe to assume that “the way they like to what?” as stated in the first verse is exactly what’s going to go down at the end of the night
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In other words, “Timber!”
Stand Out/Clever Lyrics:
Notice how the first line of the section “swing your partner round and round” does a fantastic job of accentuating the Country nature of the song via its “hoedown/square dance” themed content and delivery.
Chorus
Lyrical Group 1: Hooking Up, Dancing
Line 1: It’s goin’ down, I’m yellin’ timber Line 2: You better move, you better dance
The first line of the section finds the woman within the story reiterating what Pitbull conveyed on the last line of the pre-chorus, the fact that “it’s goin’ down,” (i.e. “Timbering”), presumably at the end of the night. In order to get to that point, however, the partying must ensue, which is depicted on line 2 via “moving and dancing.”
Lyrical Group 2: Drinking / Hooking Up
Line 3: Let’s make a night you won’t remember Line 4: I’ll be the one you won’t forget
Just as line 2 above tied in with the dancing on line 1 of the pre-chorus, we have a similar story here within lyrical group 2, this time around with drinking. “Let’s make a night you won’t remember” ties directly into line 3 of the pre-chorus “one more shot, another round.” Meaning – they’re going to party HARD.
As for line 4, here we find the woman within the story doing some boasting of her own. Pitbull may get them twerking like Miley Cyrus, but she’s going to one up him by making “Timbering” at “the end of the night” so memorable that the “shot” induced blackout won’t even be able to erase!
Stand Out/Clever Lyrics:
Lines 3 & 4
It was very clever to infer “how good” she’s going to be at the end of the night by stating basically no matter how screwed up you get, you’re not going to forget me!
Verse-2
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Lyrical Group 1: Pitbull Boasting – Business As Usual
Line 1: Look up in the sky, it’s a bird, it’s a plane Line 2: Nah, it’s just me, ain’t a damn thing changed
Line 1 relates to Pitbull putting himself on a pedestal (i.e. you need to “look up” to see him), while line 2 lets the listener know that it’s business as usual for Pitbull. He’s “sticking to the formula.”‘
Stand Out/Clever Lyrics:
The “It’s a bird, it’s a plane…” line influenced by Pitbull’s appearance within David Rush’s Shooting star as mentioned earlier.
Lyrical Group 2: A Look At Pitbull’s Extravagant Lifestyle
Line 3: Live in hotels, swing on planes Line 4: Blessed to say, money ain’t a thing Line 5: Club jumping like LeBron now, Voli Line 6: Order me another round, homie
There’s really not much to interpret here – it’s all pretty much cut and dry. Pitbull leads an extravagant lifestyle, money is no object, and he likes to go to the clubs and drink Voli.
Stand Out/Clever Lyrics:
Notice that there are 2 non-universal lyrics within this section – the reference to the vodka Voli, and LeBron James (the basketball player) and his “club jump” from the Cavaliers to the Heat back in 2010. Notice how this cleverly ties in with “club jumping” as it relates to an actual club with drinking (Voli) and his “homie” ordering him another round.
Lyrical Group 3: The “Timbering” Is About To Begin
Line 7: We about to clown. Why? Line 8: ‘Cause it’s about to go down
I actually don’t know what Pitbull means by “we about to clown,” but it obviously has something to do with the “Timbering” that is “about to go down.”
Lyrical Theme/Story Flow Recap:
Verse 1
Slamming on people with egos (group 1)
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Pitbull boasting about his sexual prowess (group 2)
More Pitbull boasting about his way with the ladies (group 3)
Pre-Chorus
Dancing and hooking up (group 1)
Drinking and hooking up (group 2)
Chorus
Hooking up, dancing (group 1)
Drinking, hooking up (group 2)
Verse 2
Pitbull boasting, and he’s sticking to the “formula” (group 1)
A look at Pitbull’s extravagant lifestyle – money is no object (group 2)
The “Timbering” is about to go down.
Benchmarking Back to Top
TOP 10 COMPARISON – ALL SONGS
This section explores how Timber compositionally compares to the 23 songs that landed in the Billboard Pop Songs top 10 during Q4-2013. The aim is to spotlight the similarities which makes it easy for people to connect with the song, as well as the core differences which enables it to stand out from the pack.
Section Length
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*Note: The section length for the verse, chorus and vocal break sections are the average of all occurrences.
Timber being in-line or close to in-line with top 10 Pop hit averages
Its pre-chorus is just 0:02 (12%) shorter than the average
Its average chorus length is identical to the top 10 average
Its average vocal break length (i.e. “whooah”) is just 0:02 (12%) longer than the vocal/instrumental break average
Timber NOT being in-line or close to in-line with top 10 Pop hit averages
Its intro length is 0:05 (38%) shorter than the average
Its average verse length is 0:09 (38%) shorter than the top 10 average
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SECTION COUNT
Timber contains the same section count as the majority of Q4?s top 10 Pop hits EXCEPT in regard to the bridge and break sections. Timber doesn’t contain a bridge but possesses 1 additional vocal break section compared to the majority.
*Note that it was a close split between the top 10 hits that contain 2 or 3 breaks within their framework. 5 songs contain 3, while 4 songs contain 2.
TOTAL SECTION BREAKDOWN
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Timber being in-line or close to in-line with top 10 Pop hit averages
Timber allocates 2% less time to the intro compared to the top 10 average
Timber allocates 2% less time to the pre-chorus compared to the top 10 average
Timber allocates 4% less time to the chorus compared to the top 10 average
Timber NOT being in-line or close to in-line with top 10 Pop hit averages
Timber allocates 10% less time to the verse compared to the top 10 average
Timber allocates 13% more time to the vocal break compared to the top 10 average
ADDITIONAL COMPOSITIONAL CHARACTERISTICS
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Timber being in-line or close to in-line with top 10 Pop hit averages
The inclusion of an intro and pre-chorus within its framework
The exclusion of an outro and solo
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Timber features a combination of primary instrumentation within the mix
Timber features a fusion of multiple sub-genres that shape it’s sound.
Timber NOT being in-line or close to in-line with top 10 Pop hit averages
Timber’s structure differs from the A-B-A-B-C-B for which defines the majority of top 10 Pop hits.
Timber features a vocal break within the mix where the majority of top 10 hits do not (albeit a small majority)
Timber does not contain a bridge within its framework
Timber is 0:27 (12%) shorter than the top 10 average
Timbers’ intro is 0:05 (38%) shorter than the average
Timber’s first chorus hits 0:28 / 12% earlier into the song compared to the average
Timber kicks off with the chorus as opposed to the verse
Timber is 23 BPM slower than the average
Timber features a combination of electric and acoustic based instrumentation within the mix, while the majority of top 10 hits feature primarily electric
Timber features a duet where the majority of top 10 hits feature a female lead vocal
Timber possesses a “fusion” of lyrical themes (i.e. love/relationships & hooking up), where the majority of top 10 hits feature a love/relationship theme.
Even though Timber features a fusion of sub-genre influences, it is primarily Dance in nature, which is a minority within the Pop songs top 10.
TOP 10 COMPARISON – DANCE SONGS
Considering that Timber is first and foremost a Dance song, in this section we’re going to compare its compositional characteristics exclusively to the 5 Dance songs that landed in the Billboard Pop Songs top 10 during Q4-2013.
SECTION LENGTH
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*Note: The section length for the verse, chorus and vocal break sections is the average of all occurrences.
Timber being in-line or close to in-line with top 10 Dance song averages
Its intro length is equal to the Dance song average
Its pre-chorus length is equal to the Dance song average
Its average vocal break length (i.e. “whooah”) is just 0:01 longer than the Dance average
Its average chorus length is 0:04 (19%) longer than the Dance average
Timber NOT being in-line or close to in-line with top 10 Dance song averages
Its average verse length is 0:06 (29%) shorter than the top 10 average
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SECTION COUNT
Timber contains the same section count as the majority of Q4?s top 10 Dance songs EXCEPT in regard to the chorus. Timber contains 3 occurrences, while the majority of Dance songs contain 4. Note that Timber was the only one to contain 3.
*Note that it was a close split between the Dance songs that contain 2 or 3 breaks within their framework. 5 songs contain 3, while 4 songs contain 2.
TOTAL SECTION
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Timber being in-line or close to in-line with top 10 Dance song averages
Timber allocates the same amount of time to the intro
Timber allocates just 1% more time to the pre-chorus
Timber allocates just 2% less time to the chorus
Timber allocates 3% less time to the verse
Timber NOT being in-line or close to in-line with top 10 Dance song averages
Timber allocates 6% more time to the vocal break compared to the IB/VB Dance average
ADDITIONAL COMPOSITIONAL CHARACTERISTICS
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Timber being in-line or close to in-line with top 10 Dance song averages
The inclusion of an intro, pre-chorus and break within its framework
The exclusion of a solo and bridge
Its intro length is equal to the Dance song average
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It’s just 3 BPM faster than the Dance average
It features a combination of primary instrumentation within the mix
Its first chorus hits 0:16/7% earlier into the song compared to the average
Timber NOT being in-line or close to in-line with top 10 Dance song averages
It features a structure (form) that is different than the small majority of Dance songs
It’s 0:23 shorter than the average
It doesn’t contain an outro within its framework
It features a combination of electric and acoustic instrumentation within the mix where the majority of Dance songs are primarily electric in nature
Timber features a duet where the majority of Dance songs feature a female lead vocal
Timber features a partying/clubbing, hooking up combo lyrical theme (“lyrical fusion”)where a small majority of top 10 Dance songs feature a love/relationship theme
A&R Hit Factor Assessment Back to Top
Artist Career Factor Does the song have what it takes maintain or grow the artist’s clout within the mainstream?
Considering that Timber is a “world-wide” (pun intended) #1 hit, it obviously takes the stature of all those who were involved with the project to the next level.
In regard to Pitbull specifically, it maintains his position as a deliverer of mostly predictable, infectious, cocky, Dance/Club/Pop/Rap with additional influences thrown in or collaborations ensued in order to keep things fresh.
As for Ke$ha, it gives her a much needed boost back up to the top of the charts after the lackluster performance of singles stemming from her Warrior album (most specifically C’mon and Crazy Kids. Die Young fared better up until the Sandy Hook shooting). Where she goes from here remains to be seen (there is significant creative tension between her and Dr. Luke at the time of this writing).
Originality Factor Does the song possess a unique nature or have you heard it all before? Does it stand out within the Pop mainstream?
The answer to this question is both yes and no.
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For the most part, there really isn’t anything that is overtly original about Timber that you haven’t heard before. This includes:
The use of Lee Oskar’s San Francisco Bay as the backing music basis for the entire song.
Pitbull’s signature style (Dance backing music with a Rapped vocal delivery). For the most part he doesn’t bring anything new to the table within his sections of the song.
The Club nature of the Dance section (i.e 4 on the floor beat, etc…). This has been used a million times before and comes across as predictable.
The overall nature of the lyrics (partying/clubbing, hooking up, boasting).
The “lifting” of specific lyrical lines from 2 Live Crew and David Rush.
The “whoo” vocals. You’ve heard this type of styling many times before (albeit not in that particular manner).
The Avicii Wake Me Up influence of fusing Country (Folk) and Dance.
That being said, within the scope of TODAY’S mainstream Dance/Pop scene, there are a few elements that enable it to stand out amongst its contemporaries in a unique manner. They include:
The Lee Oskar San Francisco Bay influence. The nature of the harmonica provides the song with a unique signature in relation to other Dance/Pop hits.
The manner in which the “timber” lyrical hook is utilized within the song. No other song has used “timber” in that specific context.
The nature of the collaboration between Pitbull and Ke$ha obviously possesses its own unique quality.
The fusion of Dance and Country. Even though Avicii was the first to bring it to the masses via the fusion of Country/Folk and EDM, Timber’s writers put a different spin on it which provided it with a unique signature independent of Avicii (i.e. it wasn’t a direct knock off).
Social, External & Controversy Factors Were there any external, controversy or social factors surrounding the release of the song that could help increase its visibility, reach and success potential?
Aside from hyped Ke$ha collaboration, the music video which has scored 163 million + views and high-profile live performances including the 2013 American Music Awards, The Late Show with David Letterman and American X factor amongst others, there weren’t really any
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“extraordinary” events that led to the widespread visibility and success of the song.
The Demographic Reach / Fan Factor Is this a song that’s pigeonholed in one specific gender/age/genre bracket or does it have mass reach?
Age
Timber was obviously written with a younger demographic in mind. This is clearly evident within the partying/clubbing/hooking up nature of the lyrics as well as the nature of the backing music.
Gender
Timber is one of those songs that easily traverses both a male and female demographic. The Dance vibe will appeal to both sexes, Pitbull’s lyrics and Rap delivery will lean more toward a male demographic, and Ke$ha will reign in her primarily female audience. Combined, they cover all the bases.
Genre
Unlike Avicii’s Wake Me Up which would be more apt to connect with a Country audience via the Country/Folk nature of Blacc’s verse sections in addition to his EDM core fanbase, Timber is pretty much relegated to a Dance/Pop & to a lesser extent Hip Hop/Rap audience due to the overtly mainstream Pop styling of the song as a whole despite the Country influences.
The “Holy Sh*t – You Gotta Hear This NOW” Factor Is this a song where someone would instantly call up their friend and say “drop what you’re doing – you gotta listen to this – NOW!!!”
No. It’s a very strong song, but there is nothing that is so overtly special or amazing about it that would cause someone to drop what they’re doing, call up a friend and say, “holy sh!t!!! You gotta hear this NOW!!!”
The “Multiple Listen” Factor Is this song engaging enough to warrant repeat listens?
As with all songs that are overplayed and milked for all their worth, the law of diminishing returns eventually sets in and you just plain start getting sick of hearing them.
This will certainly happen with Timber, especially in a personal listening environment. It’s a fun song, but it doesn’t possess a tremendous amount of depth that will keep the listener engaged listen after listen.
That being said, I guarantee for quite a while that any time Timber comes on in a party or club environment that it will be met with open arms due to its fun and infectious nature.
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The “Pushing The Envelope” Factor Does this song chart new ground, push genre boundaries and act as a trendsetter within the genre?
Yes and no.
No in regard to the fact that Timber basically picks up where Wake Me Up left off. Wake Me Up was the song that opened the doors and acted as a trendsetter. Timber follows suit and capitalizes on that song’s success.
That being said, the success of Timber could very well act to further open the door for other Country/Dance fusion songs to find success within the mainstream…so long as that particular style of fusion is still in vogue.
The “Human Emotion” Factor Does this song exude a vibe that enables the listener to connect on a deep, emotional, HUMAN level?
When some people hear a song like Timber, they automatically think that it’s devoid of any human emotion. It’s too polished, too processed and too shallow to connect with the listener on a deep level.
These are also the people who will compare this type of song to something like Set Fire To The Rain. Apples and oranges.
Granted that as a composition Timber isn’t the deepest of all songs (and it’s not meant to be), but think about the emotion that it elicits when it comes on at a party or a club. It gets people dancing. It’s gets people to let loose. It gets people to forget about their problems. Most of all, it gets people to HAVE FUN.
So, does Timber exude a vibe that elicits stringent human emotion? ABSOLUTELY.
Longevity Factor – Artist Will this song become a staple of the artist’s repertoire and catalog?
In regard to Pitbull’s overall body of work, Timber will certainly be considered a featured highlight. It blends in with the signature style that he’s known for (Dance, Hip Hop/Rap) while at the same time standing out via its Country influence which provides it with a unique niche amongst all of his other chart-toppers.
Longevity Factor – Genre Does this song have what it takes to stand the test of time and rank amongst the all-time greats?
The answer to this question is both yes and no. The answer is no in regard to the fact that Timber doesn’t possess any overtly special quality about it that would enable it to stand up with
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On the other hand, Timber is certainly strong enough where it should find some sustained longevity in a party/club environment as well as being featured on any dance/party compilation that focuses on this specific era of music.
Highlights & Takeaways Back to Top
Clever Elements & WOW Factors
Background chatter (Intro)
The background “chatter” within the intro makes the listener feel like they’re in that Country bar, which adds an increased degree of realism and as a result heightens the engagement factor.
Ke$ha’s “whoo” vocal
Comprising 28% of the entire song, the “whoo” vocal hook takes Timber’s infectious, memorable nature to the next level. In order to prevent it from “wearing out its welcome,” shifts in the nature of the backing music were employed (i.e. Country vs. Club) as well as a changeover to “whoa” instead of “whoo” during vocal breaks 2 and 3.
The “Show Stopper”
Close your eyes and picture that you’re at a Pitbull concert watching the stage. Now, play the second verse and listen specifically to the line “’cause it’s / a-bout / to go / down” line. You’ll get the picture.
The “Hoedown”
Another one of Timber’s key hooks is the “hoedown” nature of Pitbull’s delivery and lyrics within the pre-chorus. It’s ultra-infectious and memorable nature is primed to succeed in a party/Club environment, as well as adding infectious contrast to the nature of his delivery within the preceding verse.
The “Timber Effect”
One of, if not THE most clever characteristic of the entire song is the manner in which the title lyric, “timber,” is utilized throughout:
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It appears a massive 24 times within the song during the verse, vocal break and chorus sections.
It appears only once within the chorus at the end of the first line. It’s sung Ke$ha in a clever and infectious manner that you would expect to hear someone yelling “tim-ber!!!” in a forest.
It appears within the vocal break sections, “whispered” by Pitbull in between Ke$ha’s ultra-infectious “whoo’s.”
It appears at the end of specific lines within the first verse, rapped by Pitbull. The backing music is pulled out from underneath in order to provide it with increased emphasis.
The syllables “mem-ber” in “re-mem-ber” are sung in the same manner as “tim-ber” within the chorus. So even though you’re not getting the lyrical repetition, the melodic repetition further gets the title payoff melody engrained within the listener’s head.
Timber is a clever “code word” for hooking up. You’re able to figure it out via the context in which it’s used primarily within the first verse of the song.
Form
Keeping in line with the 4 other Dance songs that landed in the Pop songs top 10 last quarter, Timber DOES NOT utilize the historically most popular form in Pop music, A-B-A-B-C-B. Instead, it follows a B-VB-A-PC-B-VB-A-PC-B-VB form. Note that Timber DOES NOT contain a bridge or an outro.
Section Length
The majority of Timber’s sections are short in length, landing between 0:08 and 0:15. This does a great job of keeping the listener engaged throughout by having new elements (sections) entering the mix frequently. Note, however, that the last 2 choruses as well as the final instrumental break within the song are double the length of their earlier counterparts.
Total Section Breakdown
The vast majority of time within the song was allocated to the chorus (payoff) sections. This was followed not by the verse, but by Ke$ha’s vocal break sections which account for a massive 28% of the song’s total composition. Rightfully so considering how infectious they are!
MTI Levels & Dynamics
Overall, Timber is kept at a heightened MTI level state primarily due to the fact that it’s first and foremost a Dance song. It does provide cross-section and in-section respites, however, which ultimately makes for a very engaging, dynamically diverse listening experience.
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Sub-Genres
Timber successfully fuses 4 distinct primary sub-genres into its sound which provides it with its own unique identity: Country, Dance/Club, Hip Hop/Rap and Straight-Up Pop. It also includes a hint of R&B as well within the vocal break sections via the nature of Ke$ha’s “whoo” melody.
Most of the sections within the song have more than 1 sub-genre firing at the same time (albeit at different levels of prominence), with Country being the most prevalent influence throughout.
Sub-genres are represented throughout the song both via the nature of the vocal delivery (e.g. the Country manner in which Ke$ha sings the lyric “tim-ber,” Pitbull’s Hip Hop/Rap natured delivery within the verse sections), as well as the backing music (e.g. the harmonica, the club nature of the verse, etc…).
Backing Music & Instrumentation
The entire song features a repetitive G#m – B – F# – E progression brought about via the guitar and piano which helps to get the song completely engrained within the listener’s head. The nature of its associated rhythm, however, shifts between the “Country” and “Club” sections of the song, providing infectious contrast. This helps keep things fresh and engaging for the listener.
The nature of the harmonica (which was taken from Lee Oskar’s San Francisco Bay as well as the overall progression as detailed above) functions as Timber’s primary infectious hook. Note that it shows up in EVERY SECTION of the song, which gets it completely engrained within the listener’s head. To make sure that it doesn’t become overly monotonous or annoying, it’s level of prominence within the mix varies from section to section.
Vocal Characteristics & Attributes
The fact that Timber is a duet provides the song with increased depth and engagement as well as cross-pollination into each featured artist’s fanbase.
Ke$ha supplies the Country, Straight-Up Pop and R&B tinged vocals (within the vocal break sections), while Pitbull does what he does best, delivering cocky Latin favored Rap.
Their vocal assignments vary throughout the song, with the one constant being Pitbull, who appears within every section.
In the second verse, the variation of Pitbull’s solo and background vocals on certain phrases and lines does a great job of both accentuating the infectious nature of the section as well as providing heightened contrast from the first verse within the song.
Pitbull’s whispered “timber” and “it’s goin’ down” vocals that appear within the Ke$ha’s vocal break sections take the “seductive/sex” aspect of the song to the next level.
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Ke$ha’s varying background vocals that occur within specific sections do a great job of both increasing the overall “coloring” of those sections as well as providing infectious contrast against other “like” sections within the song.
Vocal Melody
Pitbull’s Rap sections utilize a good balance of infectious rhythmic repetition and diversity coupled with effective segmentation methods (i.e. segmenting longer lines into shorter phrases). Combined, they enable the melody to easily get engrained within the listener’s head while at the same time remaining fresh and engaging throughout.
The nature of Ke$ha’s vocal, both within the chorus and vocal break sections, is simplistic, infectious and utilizes an effective combination of repetition and contrast to provide the listener with engaging and memorable melodies that they can sink their teeth into.
Combined, their contrasting styles provide the song as a whole with a tremendous amount of color and variation in a very memorable manner.
Sectional
Timber’s intro is very effective in the following 3 manners:
It instantly sets the scene by establishing the Country vibe of the song
It acts as a “unique identifier” for the song which enables it to cut through the clutter and instantly be recognizable in an airplay environment
It’s short, clocking in at just 0:08. Before the listener ever has a chance for their attention to start to wander, they’re already within the chorus which seals the deal.
The verse sections are full-on Club in nature with a hint of Country brought about via the inclusion of the harmonica. This is where Pitbull has his time to shine.
The pre-choruses are a combination of full on Club and Country, which is elicited via the nature of the Club backing music and Pitbull’s “hoedown” vocals and lyrics (and the harmonica as well).
The chorus sections are more overtly Country in nature than any other section save for the intro. That being said, the Country influence starts to diminish within each subsequent chorus section due to the increased Pop/Dance flavor that it takes on via the nature of the backing music. Additionally, considering that choruses 2 and 3 are doubles, notice that new elements are added into the mix (vocal and instrumentation) that keeps the section as a whole fresh and engaging considering it’s otherwise repetitive nature.
The vocal break sections are arguably the most infectious out of all the sections within the song, even more so than the chorus due to the nature of Ke$ha’s ultra-infectious “whoo” vocal
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melody. The first vocal break leans more on the Country side, while the 2 subsequent occurrences feature full-on Club backing music. Additionally, notice that the first VB effectively bridges the overtly Country nature of the first chorus with the full-on Club nature of the verse that follows (reference the section for details).
Timber employs a “false ending” to conclude the song in an abrupt manner. By not providing a full resolve, it psychologically leaves the listener wanting more.
Lyrics & Rhyming Schemes
Timber utilizes a good amount of imagery, detail and action to deliver the overall storyline in an engaging, vivid manner.
The song is conveyed from both a first, second and third person perspective, with the focus depending on the particular section of the song.
Specific lyrical references are made within the song as well, including Miley Cyrus and LeBron, which diminishes its universal nature.
As a title, “Timber” comes across as being unique and enticing, piquing the listener’s interest to check out the song to find out just exactly what “Timber” is all about. Additionally, “Timber” occurs 24 times throughout the song within the first verse, vocal break and chorus sections. As a result, it gets completely hammered into the listener’s head.
The “shallow” partying/clubbing, hooking up & boasting nature of the storyline PERFECTLY SUITS THE DANCE/PARTYING NATURE OF THE SONG.
The writers “lifted” certain lyrical lines from other songs, including 2 Live Crew’s “Face Down, Ass Up,” as well as David Rush’s “Shooting Star.”
Timber employs a good amount of cross line and gross “group” rhymes as well as repetitive lyrics which aid to get the lyrics and melody engrained within the listener’s head. In a number of cases, a lyric is cleverly sung in a different manner to put the rhyme into effect (e.g. “dogs” vs. “dAHgs”).
alegar
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