Music Discussion

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nlazski
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Music Discussion

Post by nlazski »

Hi guy!!!



What first attracts you to a piece of music?



The lyrics? The beat? The melody? The timbre?



The beat,that is my opinion



how about you?????
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Last edited by nlazski on Tue Dec 22, 2020 4:12 am, edited 1 time in total.
Hymie
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Re: Music Discussion

Post by Hymie »

Certainly not the lyrics for me. The beat, the counter melody, the bass line, the emotion expressed in the vocal, the makeup of the instruments (I prefer piano and sax to guitars).
Jirin
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Re: Music Discussion

Post by Jirin »

Any of the above if it's the song's strongest feature.
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Madzong
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Re: Music Discussion

Post by Madzong »

Generally melody for me (in all its forms).

Plus ‘catchiness’ - I know that is very subjective though.
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Holden
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Re: Music Discussion

Post by Holden »

It’s really different for each song. Some artists are really strong lyrically and strong enough instrumentally to keep me listening and intrigued (see Idles’s album Brutalism), while some just are so catchy (see Mrs. Robinson in its many forms) and some the instrumentals are absolutely astounding, such as in Fetch the Bolt Cutters.
I find I value lyrics and vocals more strongly in pop music, production in rock, and instrumentals in hip hop are make or break for me.
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Live in Phoenix
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Re: Music Discussion

Post by Live in Phoenix »

Melody, generally speaking.
Jirin
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Re: Music Discussion

Post by Jirin »

The melody is the one you remember the most but not necessarily what draws you in. When the opening line of a song is "Mother, I've taken LSD", it's the lyric that hooks you. Other times, within a few seconds there's an immediately awesome beat. For "I Could Never Take The Place Of Your Man" the instrumental melody immediately hooks you. Some songs it's the harmony and dynamics.

There's no single rule, whatever the song's strength is, that's what hooks you.
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Re: Music Discussion

Post by Henry »

1) I believe that I am frequently taken in by hooks. Here are some of the typical hooks discussed at https://www.secretsofsongwriting.com/20 ... song-hook/

Chorus Hook: Think Carefully About the Rhythm of the Words. A chorus hook will often make the song’s title a central point of focus. “Born in the U.S.A”, “Billie Jean”, “Happy”, “Rumour Has It”… these are all great chorus hooks where the rhythm of the words are possibly the most enticing part. They often involve some sort of syncopation (displaced beat) that make the words pop.

Intro Hook: Grab Attention Right Away. A good intro hook makes it hard to turn the song off. There’s no build up here – an intro hook will wave an immediate flag and get listeners hooked. It can be simple, like the guitar in The Rolling Stones’ “Satisfaction“, or something more complex and riff-like, perhaps like Dire Straits’ “Money For Nothing.”

Instrumental Hook: It’s a Groove. Something in the intro can continue through the song, forming the foundation for everything that happens. It usually comes across as a kind of groove, like the clavinet in Stevie Wonder’s “Superstition”. With an instrumental hook, the rhythm and chords form the most important components, with the melodic feature often taking a back seat to stay out of the way of any other eventual melodies.

A Sound Effect Hook: Short & Sweet: Back in the 60s, audiences were amused but entranced by that quirky voice on The Champ’s “Tequila.” A good sound effect hook pulls listeners in with a very short, often unexpected word or other effect. It often adds to the fun factor of the song, but doesn’t need to sound weird, as we notice with The Lumineers’ “Ho Hey.“

Hooks Can Be Layered. The Champs’ “Tequila” is a good example of this. You get a catchy rhythmic riff that starts the song, and it’s a hook in the sense that it’s short, repetitive, built over a simple chord progression. The sax plays what could easily be thought of as a strong melodic hook, and then you get the spoken word “tequila”. Several hooks, some stronger than others, all layered together to produce a hit song.

2) I also enjoy metric modulation - changing time signatures and other clever transitions within a song, e.g., "Take Me Out" by Franz Ferdinand.
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