4.6 • 2.7K Ratings
🗓️ 15 May 2015
⏱️ 5 minutes
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0:00.0 | Welcome to a mini episode of Switched On Pop. |
0:13.7 | Miniature because only one of us is here today and that's me Nate Sloan. |
0:18.7 | Hi everyone. |
0:20.0 | And I want to address a phenomena that's occurring before our very ears that no one so far |
0:26.3 | as I know has addressed. |
0:28.4 | It doesn't have a name as such but we might call it the final dropout. |
0:36.3 | Everyone is doing it from Taylor Swift to one republic to one direction to Rihanna |
0:51.6 | and many many more who can't be listed here. |
0:54.9 | And basically it's the technique of when you reach the final lyric of a song. |
1:00.0 | Instead of ending as you might expect most songs to end, certainly classical composers |
1:05.8 | have been ending songs for a few centuries with the biggest fullest possible texture, |
1:13.4 | Tuti, every instrument sounding at once announcing yes you have definitively reached the end |
1:19.7 | of this song. |
1:23.9 | This technique does something quite the opposite. |
1:27.1 | It reduces the texture to a single voice. |
1:32.0 | The pop star alone in the wilderness surrounded not by the orchestral forces but silence. |
1:44.6 | For a moment you're in your car at work, at the pool, in surgery, wherever you're listening |
1:56.1 | to Swift, Gaga, 1D. |
2:01.0 | And then all of a sudden it's like you're alone with them. |
2:07.2 | This is a very intimate moment. |
2:10.0 | And why is this happening? |
2:11.7 | Why does Taylor Swift end a song like Trouble with just her voice? |
... |
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