#16
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Both have their place. Just make sure your proper ending is well thought through and rehearsed!
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------ AJ Lucas Pavilion Sweep fan fret Santa Cruz OM/E (European Pre War) Martin J40 |
#17
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I think there are three kinds of endings, not two:
fade out - where a phrase/measure/etc repeats over and over as the volume decreases abrupt ending - where the song goes out with a bang, with or without resolution. I think this is more about how the volume goes to zero "instantly" resolved ending - this is where a song resolves then "hangs" there briefly before going quiet.
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Fazool "The wand chooses the wizard, Mr. Potter" 000-15 / GC7 / GA3-12 / SB2-C / SB2-Cp / AVC-11MHx / AC-240 |
#18
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Don't forget the ending of "destroy all your instruments in a wild and crazy tantrum" a la The Who.
~Bob |
#19
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Songs I've written tend to end in various ways, but never a fade-out, mainly because I don't record much to apply a fade-out. However, I'm working on a song right now that a fade-out played by gradually playing quieter until barely heard may be appropriate, which got me thinking about this thread which I read some days ago.
Back when fade-outs were common, is it possible that an element for use of the technique was/is because it may tend to create stronger "ear worms" where the catchy part of the song keeps on playing in the listener's head as opposed to a non-fade-out that more terminates the song, ultimately to generate more sales? Any sense to this thinking?
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Tom '21 Martin D-18 Standard | '02 Taylor 814c | '18 Taylor 214ceDLX | '18 Taylor 150e-12 | '78 Ibanez Dread (First acoustic) | '08 CA Cargo | '02 Fender Strat American '57 RI My original songs |
#20
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Well it is a fact that some of the guitarist/writers of the period were writing catchy codas in rondo form to finish out songs. I'm talking about separate ending sections here. I was listening to Joe Walsh on The Smoker You Drink the Player You Get and So What? and back in the James Gang days. His coda and fade sections were so often a twist or a development on the original theme that added some interest to the song, as opposed to vamping on the chorus and fading out. On "Walk Away" he fiddled with all kinds of wacky sounds from his guitar and was credited with "guitar, vocals, and train wreck" in the credits. The fade out became an art form, if you will. I remember disk jockeys waiting for the end before talking on songs that had an interesting fade out but talking over the boring ones. I also remember using my stereo's volume control to fight the fade out and hearing so much interesting stuff tucked into the fade out.
Of course, these days people don't do that. Bob
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"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website) |
#21
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I'll take a nice ending every time over a fade.
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I don't have a bunch of guitars because they all sound just like me. 1984 Carvin LB-40 bass 1986 Carvin DC-125 two humbucker 1996 Taylor 412 La Patrie Concert 2012 American Standard Telecaster 1981 Carvin DC 100 Harley Benton LP JR DC Bushman Delta Frost & Suzuki harmonicas Artley flute Six-plus decade old vocal apparatus |