I’m continuing to gather materials for my upcoming ISMIR 2016 presentation on Why Hip-Hop Is Interesting. One of my big themes is the melodic content of rap. Emcees are deliberate in their use of pitch, whether they’re singing or rapping or some combination of the two. In the post, I’ll analyze segments of three great emcees’ flow. I made the graphics by loading acapella tracks into Melodyne, and then added the lyric annotations by hand using Omnigraffle. The selection of these tracks represents the intersection of “songs that I like” and “acapellas that are available to me.”
Eric B and Rakim – “Follow The Leader”
Emcee: Rakim Allah
Rakim Allah stands out among eighties rappers for the complexity and subtlety of his flow. Here’s an excerpt from verse one:
In a previous post, I used the Groove Pizza to visualize some classic hip-hop beats. But the kids are all about trap beats right now, which work differently from the funk-based boom-bap of my era.
The hippest music teachers help their students create original music. But what exactly does that mean? What even is composition? In this post, I take a look at two innovators in music education and try to arrive at an answer.
Matt McLean is the founder of the amazing Young Composers and Improvisers Workshop. He teaches his students composition using a combination of Noteflight, an online notation editor, and the MusEDLab‘s own aQWERTYon, a web app that turns your regular computer keyboard into an intuitive musical interface.
The Ed Sullivan Fellows program is an initiative by the NYU MusEDLab connecting up-and-coming hip-hop musicians to mentors, studio time, and creative and technical guidance. Our session this past Saturday got off to an intense start, talking about the role of young musicians of color in a world of the police brutality and Black Lives Matter. The Fellows are looking to Kendrick Lamar and Chance The Rapper to speak social and emotional truths through music. It’s a brave and difficult job they’ve taken on.
Eventually, we moved from heavy conversation into working on the Fellows’ projects, which this week involved branding and image. I was at kind of a loose end in this context, so I set up the MusEDLab’s Push controller and started playing around with it. Rohan, one of the Fellows, immediately gravitated to it, and understandably so.
The same Disquiet Junto project that spawned this wildly recursive remix also involved a few more people remixing my remix. Here’s a family tree of the three first generation source tracks, the seven second generation remixes of those tracks, and the three third generation remixes of the second generation remixes.
You can hear the three third-generation metaremixes below.
Here’s a strange and interesting thing that happened to me. The assignment for Disquiet Junto project 233 was to remix three tracks. The assignment for Junto project 234 was to metaremix one of the remixes from project 233. One of the people whose remix I metaremixed was listening to my track and accidentally had it playing in two different browser tabs simultaneously. He liked how it sounded, so he did a metametaremix with two copies of my metaremix offset by a few beats. It came out amazing!
My youngest private music production student is a kid named Ilan. He makes moody trip-hop and deep house using Ableton Live. For our session today, Ilan came in with a downtempo, jazzy hip-hop instrumental. I helped him refine and polish it, and then we talked about his ideas for what kind of vocal might work on top. He wanted an emcee to flow over it, so I gave him my folder of hip-hop acapellas I’ve collected. The first one he tried was “Fu-Gee-La [Refugee Camp Remix]” by the Fugees.
I had it all warped out already, so all he had to do was drag and drop it into his session and press play. It sounded great, so he ran with it. Here’s what he ended up with:
We created the Groove Pizza to make it easier to both see and hear rhythms. The next step is to create learning experiences around it. In this post, I’ll use the Pizza to explain the structure of some quintessential funk and hip-hop beats. You can click each one in the Groove Pizza, where you can customize or alter it as you see fit. I’ve also included Noteflight transcriptions of the beats.
View in Noteflight
This simple pattern is the basis of just about all rock and roll: kicks on beats one and three (north and south), and snares on beats two and four (east and west.) It’s boring, but it’s a solid foundation that you can build more musical-sounding grooves on top of.
View in Noteflight
This Billy Squier classic is Number nine on WhoSampled’s list of Top Ten Most Sampled Breakbeats. There are only two embellishments to the backbeat cross: the snare drum hit to the east is anticipated by a kick a sixteenth note (one slice) earlier, and the kick drum to the south is anticipated by a kick an eighth note (two slices) earlier. It isn’t much, but together with some light swing, it’s enough to make for a compelling rhythm. The groove is interestingly close to being symmetrical on the right side of the circle, and there’s an antisymmetry with the kick-free left side. That balance between symmetry and asymmetry is what makes for satisfying music. Continue reading
I’m currently working with the Ed Sullivan Fellows program, an initiative of the NYU MusEDLab where we mentor up and coming rappers and producers. Many of them are working with beats they got from YouTube or SoundCloud. That’s fine for working out ideas, but to get to the next level, the Fellows need to be making their own beats. Partially this is for intellectual property reasons, and partially it’s because the quality of mp3s you get from YouTube is not so good. Here’s a collection of resources and ideas I collected for them, and that you might find useful too.