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acapella version of black eyed peas album "elephunk" |
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found on the tubes. but that's one of the tracks i'm least excited to hear like this then i find and you can see where i'm going with this. you need bass, some light beatboxing but it would sound even better than shut up a capella |
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, paydirt. recording is shit though |
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it's more or less what i wanted but the bassline is not nearly represented enuf |
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What sort of need gets satisfied by an acapella version of Elephunk? In which context does such a wish emerge? |
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i was actually just chatting to myself about, like, how did i get here, anyways? i'll transcribe it. i got a new phone a while back and for ages i was just using my old phone as a music player, because i hadn't had time to transfer mp3s. a couple weeks ago, i copied a whole bunch over. just browsing my mp3s and copying stuff over until i ran out of steam and fell asleep. i'd descended into the "hip-hop" folder and copied a bunch of stuff, just going through, saying... yes, yes, sure... why not... and i hadn't listened to Elephunk in ages, but it made the cut. i haven't actually listened to it on my phone, yet. but i've seen it repeatedly as i scrolled by, enqueuing on the train, and so it began to lurk in my latent memory. tonight, it had gathered enough neuronal steam that i spontaneously decided to put Elephunk on. i'm listening to the vocal harmonies and i go into a daydream about doing an a capella version of "let's get retarded" with my cow orkers. this is not as out-of-nowhere as you might think. one of my cow orkers will sing songs, absentmindedly, if the song comes up in conversation. once, i sang a little bit after she trailed off, and it really stoked the flames. she kept going for quite a while after that before all this i'd been reading that article on labiodentals and making mouth noises to myself; primed the pump. while i'm not particularly set on starting an a capella group at work, once i snapped out of that daydream, i said: hey! i actually want to hear a capella covers of these songs. properly arranged, that would be dope bootnote: i grew up watching "where in the world is carmen san diego" featuring rockapella ideally, rockapella would cover this album. does rockapella post to xltronic? |
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further context: i tried to learn bass guitar in college, and one of the few things i learned to play was the bassline from "let's get retarded." so, the bassline is burned into my brain, and that probably added to the momentum that resulted in this concept i didn't bother with bass guitar again for another decade, but i've gotten a bit less horrible at it after some lessons from a roommate a bit over a year ago. |
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so, yes, i do believe i can clarify my request: i want rockapella to cover elephunk. whoever represents rockapella on xltronic, please step up |
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their |
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when i was six, i loved this . one of the first other CDs i had, year or two later, was by Clannad. That was also when i discovered The Beatles. a lot of my musical psyche is rooted in vocal harmony. |
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when i was, oh, about eight... the flute solo in the opening track of Dulaman spoke words to me... ~workin' my way back to youuu, babe~ |
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the implied lyrics to the second track are more like "words can hurt" |
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meanwhile -- "two sisters" needs no explanation. |
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the galtee hunt ~ hot be soup, hot pea soup cold, hot pea soup when it's a month old then the harmonies kick in. |
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*pea instead of be |
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if you don't appreciate , please kindly step aside from electronic music |
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@welt i hope that answers ur qstation. |
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Yes, thanks, it answers my question to a large extent. However, at least some questions remain. Why would a musical psyche be "rooted in vocal harmony"? It's surely not just a random accident. A psyche might as well be drawn to harmonic drum-patterns or to disharmonic patterns. .. It's probably not just random that Renaissance composers composed polyphonic harmonious vocal-music and that 20th century composers created 12-tone atonal piano pieces. .. Is it random that Persian classical music has quarter-tones? Probably not, it probably answers some need. Which need is it? |
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i like to listen to pussyfart dolls instead |
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An annoyingly long and relevant copypasta from David Byrne's book How Music Works: Percussive music carries well outdoors, where people might be both dancing and milling about. The extremely intricate and layered rhythms that are typical of this music don’t get sonically mashed together as they would in, say, a school gymnasium. Who would invent, play, or persevere with such rhythms if they sounded terrible? No one. Not for a minute. This music doesn’t need amplification, either—though that did come along later. The North American musicologist Alan Lomax argued in his book Folk Song Style and Culture that the structure of this music and others of its type—essentially leaderless ensembles—emanates from and mirrors egalitarian societies, but suffice it to say that’s a whole other level of context. I love his theory that music and dance styles are metaphors for the social and sexual mores of the societies they emerge from, but that’s not the story I aim to focus on in this book. Some say that the instruments being played in the photo at the top of the next page were all derived from easily available local materials, and therefore it was convenience (with a sly implication of unsophistication) that determined the nature of the music. This assessment implies that these instruments and this music were the best this culture could do given the circumstances. But I would argue that the instruments were carefully fashioned, selected, tailored, and played to best suit the physical, acoustic, and social situation. The music perfectly fits the place where it is heard, sonically and structurally. It is absolutely ideally suited for this situation—the music, a living thing, evolved to fit the available niche. |
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That same music would turn into sonic mush in a cathedral. Western music in the Middle Ages was performed in these stone-walled gothic cathedrals, and in architecturally similar monasteries and cloisters. The reverberation time in those spaces is very long—more than four seconds in most cases—so a note sung a few seconds ago hangs in the air and becomes part of the present sonic landscape. A composition with shifting musical keys would inevitably invite dissonance as notes overlapped and clashed—a real sonic pileup. So what evolved, what sounds best in this kind of space, is modal in structure—often using very long notes. Slowly evolving melodies that eschew key changes work beautifully and reinforce the otherworldly ambience. Not only does this kind of music work well acoustically, it helps establish what we have come to think of as a spiritual aura. Africans, whose spiritual music is often rhythmically complex, may not associate the music that originates in these spaces with spirituality; they may simply hear it as being blurry and indistinct. Mythologist Joseph Campbell, however, thought that the temple and cathedral are attractive because they spatially and acoustically recreate the cave, where early humans first expressed their spiritual yearnings. Or at least that’s where we think they primarily expressed these feelings, as almost all traces of such activities have disappeared. It’s usually assumed that much Western medieval music was harmonically “simple” (having few key changes) because composers hadn’t yet evolved the use of complex harmonies. In this context there would be no need or desire to include complex harmonies, as they would have sounded horrible in such spaces. Creatively they did exactly the right thing. Presuming that there is such a thing as “progress” when it comes to music, and that music is “better” now than it used to be, is typical of the high self-regard of those who live in the present. It is a myth. Creativity doesn’t “improve.” |
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(I don't think he's entirely correct about the reasons for eschewing modulation - it had as much to do with how earlier tuning systems produced dissonance when modulating) (also regarding progress, it may be true that "creativity" doesn't improve but cultural accumulation and transmission gives more recent creators an embarassment of riches to draw from, which wasn't available to, say, 12th century musicians) |
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Why would a musical psyche be "rooted in vocal harmony"? It's surely not just a random accident. A psyche might as well be drawn to harmonic drum patterns or to disharmonic patterns what i really meant was, "growing up, the first couple bands and styles i got into were all known for vocal harmony," but i wrote it the way i did because it was much punchier. you've run away with it, but it's for the best, because tony posted something that seems interesting. now i have to just read it |
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admitting not to read, that's grit guys |
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