domenica 4 settembre 2011

Le tesi di Nicholas Payton su su Bebop e Hip-Hop

Il trombettista Nicholas Payton sul suo blog ha pubblicato un interessante post nel quale disserta sull'importanza della ritmica in due delle principali forme di musica nera, il Bebop e l'Hip-Hop.
"The notes in Bebop and the lyrics in Hip-Hop both mean nothing without a syncopated rhythmic cadence.
Syncopation : “a temporary displacement of the regular metrical accent in music caused typically by stressing the weak beat.”
Syncopation is important in Black music because Blacks were strong in areas where they were expected to be weak.
In Hip-Hop, you are not a dope MC if you do not have a strong rhythmic concept to your flow. I don’t care how lyrically brilliant you are.
It’s the same in Bebop. I don’t care how many 8th or 16th notes you can effortlessly string along in your lines. Without a syncopated rhythmic inflection, your lines mean nothing. The “triplet” feel is the driving rhythmic undercurrent in both Bebop and Hip-Hop. Tap into the tribal rhythmic code and you unlock the mystery of the Black American musical aesthetic.
The sounds and voices may have changed over the years, but the DNA of the Black rhythmic code has remained in tact. All music does not have to pay deference to this rhythmic code, just Black American music.
Free Jazz is a misnomer. There is no way for Jazz to be free, for the moment you call it Jazz you’ve already put the music in shackles.
The objective of a loop in Hip-Hop is to isolate a rhythmic pattern and make it recur as to induce the listener to a trance like state.
In Bebop, all of the instrumentalists have an individual linear identity thus forming a constant contrapuntal conversation.
In Hip-Hop, the primary linear voice is the MC who flows atop the rhythm section which typically employs a loop pattern as backdrop."
Si può leggere il post integrale sul blog di Nicholas Payton.

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