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Tying your motifs together in musical phrases also allows you to link with lyrical phrases.  If a four line verse has a rhyming pattern like AABB — the first two lines’ ends rhyme with each other and the second two lines rhyme differently but again with each other — then making your melody do something similar can really lock in the idea for an audience.

From a South American dance to a romantically rubato performance piece, Bach’s Violin Partita in D minor has some funky rhythms and bizarre chromaticism!

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The bass blends well in this mix and grooves solidly throughout the whole song. But one recurring motif that sticks out, perhaps because of the space created by the choppy, Kinks-esque guitar riff, is the simple walk-up to the fifth (an E over the A chord) via the major third and perfect fourth. It happens after the first four chords (which, on their own, actually sound like a rewrite of “You Really Got Me”), and tucks nicely into place as the short D and A guitar chords follow it and carry the end of the measure into the G and C chords of bars 3 and 4. The pattern is repeated over these bars, and basically everywhere else in the song involving the main guitar riff, though East varies it almost every single time with masterful subtlety.

Notice how over the Dm7 chord we play the 5, 6, ♭7, and ♭3. It’s not uncommon to omit the root note when soloing over chord changes, or at least delay the arrival back to the root until the end of the solo for maximum resolution!

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