"When the music was new and had no rules" -LUNA C
"My purpose was simple: to catch the feel, the pulse of rock, as I had lived through it... What I was after was guts, and flash, and energy, and speed" - NIK COHN
Saturday, February 10, 2018
Robert Haigh explains the hardcore piano vamp
SR: In rave anthems like Landlord's “I Like It (Blow Out Dub)”or Outlander's “The Vamp” or your old pals 2 Bad Mice's beyond-classic remix of Blame's "Music Takes You" - specifically at the break at 3.52 - what is happening on the piano? The effect is very
euphoric and UP!! – is that due to the kind of intervals used (they seem very simple, major chord-y), or just the rattling-along
propulsive nature of the riffs? Sometimes I hear what sounds like a
double-chording, like the same chord being played very quickly in
succession. The timbre is also part of the bright optimistic feeling. They also have something of the quality of the player
piano about them.
Robert Haigh: In
each case here the piano is a sample of a chord. That sample/chord is then laid
out across the keyboard and triggered (simply with one finger) at various
positions (so it’s always the same chord but played at various pitches.)
Landlord, we have a sample of a minor chord which is triggered at four points
giving us the effect of G+m - D+m - F+m then C+minor.
With "Vamp", which sounds like the very same sample (maybe eq’d a little differently),
the sample is triggered at five points giving the effect of C+m - D+m - Em -
F+m then G+minor.
sound (which I agree is wonderful) appears to be doubled up and highly
compressed and clipped - I suspect all this was in the original sampled chord
(probably from a Deep House or Techno track - it’s got a bit of a Kevin
deal with 2 Bad Mice. This sounds like a maj 7 chord and again the
sample been laid across the keyboard and triggered at various pitches.
it’s the artificially quantised nature of the notes/chords which give it the
player piano quality. ^^^^^^^^^^^^ Sadmanbarty from Dissensus offers a further thought:
are only 3 minor chords in any key, so the fact that these vamps have 4 or 5
minor chords means that they’re modulating (changing key).
pop, modulations tend to be used in choruses or at the end of the song to reach
a climax. They’re euphoric and up lifting.
fact that in hardcore these modulations are constantly happening lends itself
to your idea of hardcore as a non-narrative, endless succession of NOWs. It
contrasts with the way pop uses them sparingly to delineate structure."