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Case 143" is a pop song that incorporates a descending chromatic scale, changes in key signature, intense rap verses and a flexible rhythm. [213] "S-Class" is a hip hop track with elements of boom bap, old school and pop. [214] It was mixed between booming rap, thrumming bass, sultry electro, 1990s hip-hop, sparkling pop and grimy club. [215] "
Atonality in its broadest sense is music that lacks a tonal center, or key. [1] Atonality, in this sense, usually describes compositions written from about the early 20th-century to the present day, where a hierarchy of harmonies focusing on a single, central triad is not used, and the notes of the chromatic scale function independently of one another. [2]
Frédéric Yonnet (born 30 April 1973) is a French musician, producer and recording artist who is best known for his use of the harmonica as a lead in jazz, R&B, funk, gospel and hip-hop influenced music. His ability to play chromatic scales on a diatonic harmonica gives him access to twice as many notes as the instrument is designed to deliver ...
The 1980s were hip-hop’s first full decade as a documented musical genre on record, and from ’80 to ’89, rap grew from single to albums, from party songs to social commentary, from simple ...
No track better exemplifies the disc's ethos of delirious excess than "Candy (Drippin' Like Water)", an insanely catchy candy-coated R&B song with clever nods to hyphy (E-40 and producer Rick Rock) and retro jazz-rap (check out that crazy Digable Planets sample!), plus guest raps from a small army of past-their-prime gangstas. When faced with a ...
On May 13, 2013, the music video for Top Dawg label-mate Kendrick Lamar's single "Bitch, Don't Kill My Vibe", was released.Later that day, the director's cut of the video was released, which included a bonus clip featuring a snippet of a new song by Schoolboy Q. [4] [5] Shortly after the video was released, American production duo Nez & Rio, who previously contributed production on Schoolboy Q ...
Melodies can be based on a diatonic scale and maintain its tonal characteristics but contain many accidentals, up to all twelve tones of the chromatic scale, such as the opening of Henry Purcell's "Thy Hand, Belinda" from Dido and Aeneas (1689) with figured bass), which features eleven of twelve pitches while chromatically descending by half steps, [1] the missing pitch being sung later.
The chromatic scale is a musical scale with twelve pitches, each a semitone, also known as a half-step, above or below its adjacent pitches. As a result, in 12-tone equal temperament (the most common tuning in Western music), the chromatic scale covers all 12 of the available pitches. Thus, there is only one chromatic scale.