To illustrate what makes it “super” in comparison to the other chorus S.I.A.s, we will look at each one individually.
S.I.A. #1 (Pre-Chorus 1 – Chorus 1)
“Cruel Summer’s” first S.I.A. is used to transition pre-chorus 1 into chorus 1. In the last two bars of the pre-chorus, the harmonic progression simplifies to the five (V) chord, which further heightens tension leading toward the chorus. Simultaneously, the rimshot is removed from the mix, which results in a slightly smaller, more contained sound on the backbeat, and a pulsing synth and guitar rise in volume. This culminates in a brief, low-level, white noise riser in the last beat which, along with the crash cymbal on the downbeat of the ensuing chorus, bolsters its impact upon arrival.
S.I.A. #2 (Pre-Chorus 2 – Chorus 2)
“Cruel Summer’s” second S.I.A. is used to transition pre-chorus 2 into chorus 2. Similar to pre-chorus 1, the harmonic progression sustains on the five (V) chord and features the pulsing synth and electric guitar rising in volume, all of which result in a heightened degree of tension. However, this time around the denser pre-chorus 2 arrangement further thins out in the last two beats which, along with the riser at the end and crash on the downbeat of the chorus, notably heightens its impact as the listener is enveloped in the dense chorus arrangement.
S.I.A. #3 (Bridge 1 – Chorus 1)
“Cruel Summer’s” third S.I.A. is the “Last Chorus Super S.I.A.” technique, which is used to transition bridge 1 into chorus 3. What makes this S.I.A. “super” is the extra bar tacked onto the end of the bridge, making it nine bars as opposed to the familiar two, four and eight bars featured in the other song sections.
Following the tension and anticipation-heightening synth swells, drum fill and shouted vocals that culminate in bar eight, the unique ninth bar removes all elements from the mix, leaving only Swift’s unique shouted/sung hybrid lead vocal. This subverts listener expectations and creates an off-kilter moment that notably heightens listener engagement while maximizing the impact of the final chorus along with the reverse synth riser and familiar crash on the downbeat.
Furthermore, note that this brief bar nine lull was well warranted and highly important considering that there are no other sectional energy lulls in the final sectional progression of the song save for the outro (note that the most common place to bring down a song’s energy is in all, or most of, a “D”-departure section, such as a bridge). Albeit brief, without it, the listener would remain in sustained moderate to high energy for numerous sections, reducing the impact of the last chorus and potentially resulting in decreased engagement.
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