The late 1990s witnessed the zenith of boy band popularity, with the Backstreet Boys leading the charge. Their staggering record sales of 130 million units solidify their place as arguably the most successful boy band ever. From their groundbreaking album Millennium, which sold over 13 million copies and ranks as the fourth-largest selling album of the SoundScan era, emerged “I Want It That Way.” This iconic track, while not topping the Billboard Hot 100 (it did dominate the Adult Contemporary and Top 40 charts), became the group’s signature song and a global phenomenon, reaching number one in 25 countries. “I Want It That Way” even earned a Grammy nomination for Record of the Year in 2000, underscoring its critical and commercial acclaim.
One of the captivating elements within “I Want It That Way” lies in its musical structure. For those listening closely, the song employs a deceptive cadence at the close of the first chorus, adding an unexpected harmonic twist. Furthermore, a key change elevates the song before the third chorus repetition, injecting a surge of energy.
Analyzing the harmonic progression reveals a familiar pattern in the verses, often utilizing a vi-IV-I or vi-V-I sequence. However, the modulation in “I Want It That Way” diverges from typical pop ballad conventions. Instead of a direct half-step modulation, the song ascends a whole step through a diatonic pivot chord. While the song commences in A major and frequently emphasizes a IV-I cadence in the verses, a subtle nod to the vi chord (F# minor in A major) appears in the melodic contour, notably on phrases like “You are my” and “I want it.” Before the bridge at the 1:51 mark, a chromatic mediant (III chord) emerges, creating a surprising vi-III deceptive cadence at the end of the second chorus. Despite this unexpected shift, the bridge itself remains in the original key, employing a vi-I-IV-ii-V progression. Following the bridge, the instrumentation becomes sparser, revisiting the initial key and melodic themes before another hint of the vi chord.
At 2:30, the E chord acts as a pivot, transitioning from its role as the V chord in A major to the IV chord in the new key of B major. Notably, the E chord at this juncture is an Esus4, briefly reverting to a standard E chord at 2:32. This dramatic whole-step key change firmly establishes B major as the song’s new tonal center for the remainder of the track. The outro in B major unfolds with chord progressions built around IV-V-vi and IV-V-I sequences, bringing the song to its powerful conclusion.
For educators seeking engaging material, “I Want It That Way” remains a relevant and timeless piece. Its enduring popularity, coupled with the absence of offensive lyrics and the effective key change, renders it an excellent tool for music instruction, demonstrating harmonic movement and song structure in a context students readily appreciate.
(Artist Note: It is important to acknowledge that Backstreet Boys member Nick Carter has faced accusations of sexual assault.)
