A four-piece rock band that sings with life-sized and catchy lyrics on beats that incorporate funk and soul rhythms, and a series by guitarist Masamichi Torii, a triple fire music brain, “Moyamoya Rhythm Thoughts-Ants in Pants” Looking for. ” Following on from the previous discussion of the beats of trap music songs, the 18th will consider how to capture the mysterious back beats and front beats of Rufus “Tell Me Something Good”.
If you think it’s getting cold, the temperature suddenly becomes like spring, or it gets cold again, and you have no idea what to wear. That said, there are definitely more opportunities to wear a sweater. I always wear a sweater with the front and back reversed once a season. I felt uncomfortable on the go, and when I turned the neck over, I could see the tag as expected. In such a case, the usual pattern is to casually enter the bathroom, correct the front and back, and return with a cool face. It’s embarrassing to have a good age.
Related article: Is it the time when half-time is in control?Masamichi Torii thoroughly considers the beat of the trap
Recently, I had a similar experience listening to a certain music. Hey hey. Do you ever listen to music with the front and back reversed? Those who have a keen understanding will have noticed. Yes, I was listening to the back beat and the front beat interpreted upside down.
It happened while listening to Rufus’s “Tell Me Something Good.” Rufus is a familiar band with Chaka Khan as vocalist. This time, I would like to take up this song and think about tricky rhythm techniques that use “back and front”.
It is no exaggeration to say that “Tell Me Something Good” is their masterpiece and is a representative song of 70’s funk. The wah-wah clavinet sound heard from the intro impresses this song. People will probably play “Superstition” in front of the clavinet. That is inevitable. Needless to say, “Superstition” is Stevie Wonder’s masterpiece, but Stevie has many other masterpieces and performances using the clavinet. For example, “Shoo-Be-Doo-Be-Doo-Da-Day”, “We Can Work it Out”, “Higher Ground”, “Tuesday Heartbreak”.
Rufus’s “Tell Me Something Good” is a song provided by Clavi’s master Stevie. Looking at the credits, he doesn’t seem to play it. Speaking of clavinet, it is a paradiddle playing method. Clavi’s paradiddle playing method is to play separately without hitting the left hand of the bass part and the right hand of the treble part at the same time. When written in “LR”, it becomes something like “LRLLRRLRLRRLRLRL”. Jack Stratton’s performance in Vulfpeck’s “It Gets Funkier IV (feat. Louis Cole)” is exactly the paradiddle playing method, and I think he just said “exaggerated paradiddle playing method”.
Let’s listen again from the intro. Clavi plays a rhythm pattern that is often seen in country and rockabilly called “buncha, buncha”. This is not a paradiddle playing style, but the left and right hands are not hit at the same time, and the bass and treble are played alternately like a ping-pong rally or a comic-style bokeh and tsukkomi.
At the end of “The Ghetto” from Donny Hathaway’s masterpiece “Live”, a female customer sings “Talk in bout the ghetto” and a male customer returns “The ghetto” by Danny’s conduct. There is a part. I think that this kind of exchange takes place everywhere in every song, and they come together to form a piece of music. For example, a drum kick and snare, or a kick and hat, a snare and a hat. Besides, bass and guitar, or bass and treble of clavi like this song. My theory is that the whole song is formed by such call and response.
There are back beats and front beats in rhythm, but I think that this is also a kind of call and response relationship. Speaking of back beats and front beats in English, the former is upbeat and the latter is downbeat. In other words, the back and front, or the up and down, have a relationship similar to the blur and tsukkomi in the manzai.
When people are interested in rhythm, they always read Tony Tea, Seiichiro Shichikin, “The Secret of Black Rhythm”, and I remember that rhythm is captured by muscle tension and relaxation. This means that the front beat = downbeat relaxes the muscles, the back beat = upbeat tensions, and the rhythm is captured as a wave of tension and relaxation. In other words, it’s like catching the rhythm as a call and response of tension and relaxation.
Ever since Tony Tea gave me this idea, when I heard the rhythm, I had a rally in which I relaxed my neck with the front beat and pushed my head forward, and with the back beat I tensioned the trapezius muscle and retracted my head back. I have a habit of taking rhythm while continuing.
As usual, I shook my head back and forth and listened to “Tell Me Something Good,” and when I approached the rust, I felt that the front and back were upside down. Normally, the front and back do not turn over in the middle of a 4/4 time signature song. What the hell happened?
Let’s explain step by step. First, I listened to the rhythm of “Buncha, Buncha” in the intro and interpreted “Bun” as the front beat and “Cha” as the back beat. I will listen to the verse in this state. After that, we will plunge into a drum break colored with a male chorus that creates a jungle atmosphere. At this point, I feel uncomfortable with the length of the bar and rush into the rust. I’m sure the front and back are upside down at this time.
After that, after correcting the front and back with chorus and listening to the second verse, it becomes vaguely clear that the part that I thought was the front in the first is the back.
I regained my mind and listened to it from the intro again, but when I heard “Buncha”, I would recognize it as “Bun” = front and “Cha” = back. Especially with regard to “cha”, it seems to be only a backing pattern of reggae and ska. I have a habit of thinking that it is the other side when I come to “chat”. Therefore, even if you listen to the intro of Chuck Berry’s cover “Memphis” by The Ventures and “Shes A Woman” by The Beatles, you can be confident that “this guitar notch is behind the scenes”.
However, in the case of “Tell Me Something Good”, “cha” is the front and “bun” is the back. As the performance starts from the back beat, it gets more and more confusing. And perhaps this doesn’t feel like it’s intentionally confusing.
There is a song called “African Soldier” in Seun Kuti & Egypt 80. The song starts with a guitar riff, but when the band comes in, the back and front of the riff turn over. It may be more accurate to say that it was upside down, or that it was actually the back side, even though it looked like the front side. This seems to be deliberately designed to induce misleading. By the way, the same technique is used for the intro of XTC’s “Wake Up”. In other words, the pattern is actually the back, even though it seems to be the front. The intro of “I want to hug you” is also famous for being tricky. It’s more like getting lost in the beat rather than making the front and back unclear. I think it makes sense to interpret that the performance starts on the 4th beat.
In these intros, the material is broken after the band enters, but in the case of “Tell Me Something Good”, it is difficult because it goes to the rust without the material. Trying to count the beats as “one-two-three-four” while being careful not to turn them upside down creates the intro-like confusion of “I want to hug you.” I feel like I’m lost. However, that’s not the case at all. Of course, you can dance because it’s funky. It’s safe to say that it underpins the lewd charm of this song.
Finally, let’s focus on the drums. If you take out only the kick and snare, you can see that it is a very simple pattern called “Dontan Dontan”. However, when this is combined with Clavi’s “Buncha”, it feels like a half-beat shift pattern. In other words, “Dontsutsutantsutsu” can be heard as “Tsutsudontsutsutan”. If you listened to the drums alone, you wouldn’t interpret them upside down. However, when I listen to it at the same time as the clubbi, I hear an irregular beat called “tsutsudontsutsutan”. It doesn’t mean that there is something wrong with it. Does this mean that Clavi’s “Bunchat” exerts more control over the place than the drum “Dontsutsutantsutsu”? Maybe it’s because Afrobeat, rare groove from Central and South America, or Niagara Funk from New Orleans and Fuku have been accustomed to irregular drum patterns. Anyway, one thing I can say is that the song has a very simple and orthodox beat pattern that sounds strange.
By the way, the first song “You Got The Love” of “Rugs To Rufus” containing “Tell Me Something Good” is also a song with a rather racy rhythm. Also, I recently noticed that Andrew Gold’s hit song “Lonely Boy” has a rhythm that can’t be instantly judged. I hope you will be confused by listening to this as well.
It was early winter when I learned that music, unlike sweaters, can be unexpectedly established even if you listen to it upside down.
Born in 1987. He is a guitarist of “Triple Fire” and composes many songs of the band. In addition to band activities, he also participates in recordings and live performances by other artists, provides music, remixes, selects songs / DJs, contributes to music media, and appears in talk events. Twitter: @mushitoka / @TRIPLE_FIRE
◾️ Back number
Vol.1 “Khruangbin is a set meal restaurant with delicious rice !? Triple Fire Masamichi Torii talks about the mystery of the rhythm”
Vol.2 “A highway junction-like structure, Masamichi Torii unravels the funk monument”
Vol.3 “Haruomi Hosono” CHOO-CHOO Gatagoto “is an uncle’s rhythm outpost? Masamichi Torii thoroughly analyzes “
Vol.4 “Funk is a thrilling exchange between players? Masamichi Torii reveals Vulfpeck”
Vol.5 “Masamichi Torii thoroughly dissects the mechanism of the pleasant rhythm of Jingo” Fever “”
Vol.6 “Afrobeat with no punctuation marks, unlike funk? Masamichi Torii thoroughly dissected”
Vol.7 “Thorough consideration of Masamichi Torii, David T. Walker’s sensual guitar that redefined sensuality”
Vol.8 “What is Honey Rhythm? Masamichi Torii thoroughly dissects Carpenters’ masterpieces”
Vol.9 “A thorough study of Masamichi Torii, a faint Latin residual scent in the rhythm of American pop in the 1960s”
Vol.10 “A thorough consideration by Masamichi Torii, a” small groove “that expresses the dynamic feeling that rhythm originally has”
Vol.11 “Thorough consideration of Vulfpeck’s” Cory Wong “enjoying the” play “of performance”
Vol.12 JB’s funk Masamichi Torii discovered from Kraftwerk “Calculator” thoroughly considers
Vol.13 A thorough consideration of Masamichi Torii, an example riff that appears in Nirvana’s “Smells Like Teen Spirit”
Vol.14 Masamichi Torii’s thorough consideration of modern rhythms from the drums of Stones and Kang
Vol.15 What is the enjoyment that music brings? “Blow your mind feeling” that Masamichi Torii feels in JB
Vol.16 Rhythm development set in “that song” of Rage Against the Machine Masamichi Torii considers
Vol.17 Is it the time when half-time is in control?Masamichi Torii thoroughly considers the beat of the trap