The Song Doesn’t Need to Continually Build to an End Climax
A lot of songs produced nowadays reach a climax close to the end of the song, then fall off and end pretty much like it started (see my previous posting for “We Are Young” for an example). “Titanium” doesn’t do that.
This song works, and is different, because the song continually builds and falls, from verse to chorus and back.
True, the final pre-chorus/chorus part is even MORE climactic than the others, but the song hits like a Mack truck at 1:16. This effect is emphasized by the keyed compression on the synth track, giving the synthesizer a pulsating rhythm opposite of the kick. This climax happens again at 2:32 and 3:33. There’s no need to continually build throughout the song here, the rising and falling of the track provide an enormous amount of movement for the song.
Give the Song a Break and Give the Song Somewhere to Climax To
Related to the previous concept, you have to come down from the climax of the song at some point. If that climax comes early in the song (as it does here), you have to do something to give the listener’s ears a break. At 1:32, the song returns to the same “level” as it was in verse one. It just falls off, and you’re right back into another verse. It happens again at 2:48, but this time leads right into the bridge. The next fall off, at 3:49, is a hard stop that fades into reverb.
This tune would not work if the intensity level had remained continuous after it reached the first climax at 1:16. The listener needs a break! That much intensity for that long would provide no contrasting dynamics, and the result is that the song would sound “flat” for the rest of the tune.
Similarly, don’t feel the need to go for the knockout punch in the first thirty seconds of the song either. This song doesn’t reach any real climax until 1:16, but that also means that it spends from 0:46 to 1:16 building up to that climax. That’s thirty seconds of build. That’s a long time, in popular music terms, spent leading the listener to that climax. It’s not an automatic increase from the verse, it’s a process of increasing the intensity from low to high.
There’s No Need to Have Continuous Percussion
To help build the climax, Guetta relies on the judicious use of percussion instrumentation in “Titanium”. He doesn’t feel the need to continually use any single piece of percussion, and sometimes drops the percussion altogether (0:46 to 1:01, for example) to help create different levels of intensity and emotion. Same at 2:02 and 2:47. I dare say this song is percusisonless for maybe 25% of the song, and very little percussion for maybe 33% of the tune.
Do NOT feel like you always must have a percussion element keeping the beat in the song.
It’s simply not true, and removing elements of the percussion aids in creating different levels of dynamics and raising or lowering them by adding or subtracting them.