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V. Observations and Analysis of Funk Music Process
Thousands of bands have added tremendously to the now
seemingly infinite funk vocabulary. Some have sought to preserve the
tradition more rigidly than others. Those who expand funk possibilities
and therefore its definition, embody the notion of funk as a feel that
transcends any direct musical culture.1 Then there are bands, like
Brooklyn New York’s Lettuce and the artists who comprise the Royal
Family Record Label that have been a catalyst for a funk revival in the
current decade. Producing one funk classic after another, Lettuce has
captured the essence of the funk sound. A defining example of their style
would be “Reunion” from the Live at Blue Note Tokyo recording2. I have
chosen several excerpts from the song to deconstruct the dense
structure of the funk ensemble and demonstrate what ingredients are
needed to make funk music.
1. [STAFF 1, RHYTHM GUITAR] Reunion begins with the ostinato
provided by the rhythm guitar. An ostinato in music is a short
musical idea cycled repeatedly throughout the song or section of 1 “George Clinton Foreward”, Rickey Vincent, Funk: The Music, The People, and The Rhythm of the One, 2 Lettuce, Live At Blue Note Tokyo, Kufala Recordings, 2003.
it.3 The idea of a rhythm guitar may seem redundant by the fact
that rhythm is integral to making all music, but the term is reserved
for guitarists who emphasize repeated cycles of rhythm rather then
technical virtuosity. He rarely deviates from this pattern and when
he does its subtle, in fact in this excerpt of the song he exercises no
deviation. The rhythm guitar part is the most rhythmically dense in
“Reunion”, in that he fills in the most space during the cycle.
A critical rhythm is heard happening around beat four of the
rhythm guitar. He accents a sixteenth note before and after beat 4.
By playing just ahead and behind beat 4, the ostinato has more
rhythmic intensity and contrast.
Fig. 5 Analysis of Rhythm Guitar Ostinato, Section A
2. [STAFF 2, Trumpet, Alto/Tenor Sax]
Horn arrangements in funk utilize a more percussive dictation of
rhythm that in their original orchestral context.4 The two phrases
shared by trumpet, alto saxophone, and tenor saxophone are
examples is remarkably angular and sparse. The two bar theme
produced receives no variation in this excerpt. Key off beat accents
occur in the 1st bar where the horns begin the theme a sixteenth
note before beat 3. 2nd bar of the theme repeats this idea when the
descending line begins a sixteenth note before beat 3. This is one
of the many ways in which funk musicians play around the beat.
The horns give weight to a rhythm right before the beginning of the
next beat, which creates a counter-‐pulse that pulls against the
organizing rhythm or original pulse.
Fig 6. Analysis of Horn Motif, Section A m.1
4 Rickey Vincent, Funk: The Music, It’s People, and The Rhythm of The One
Fig 6. Analysis of Horn Motif, Section A m.2
3. The bass’s purpose, as in many styles of music, gives the
song ground with which to work on. Linking the harmony and
rhythm, the bass’s role is pivotal in a funk groove.
Fig 7. Analysis of Bass Line, Section A M. 1-‐2
The bass line, an eight note chromatic line lasting two beats [see
figure 7] is given considerable variation in measures 3-‐8 One could
argue that the bass line not provide enough repetition to be
considered a definitive musical idea. Despite variation, he always
retains the call and response structure. In all 8 measures, the bass
line leads into the horn melody, allowing them to make a musical
statement, and subsequently fills in beat 4 where the horns lay out.
A number of his fills play around the beat, in particular the first
beat. Sometimes the bass will be right on one, other times as in
measures 3 and 7 he works around it, implying it’s presence (see
figure 8).
Fig. 8 Rhythmic Analysis of Bass Line (m.2 beat 4 – m.3 beat 1)
Fig. 9 Rhythmic Analysis of Bass Line (m.6 beat 4 – m.7 beat 1)
4. [2nd Guitar] provides a contrasting guitar part in the Reunion
groove. In this excerpt of the song, the lead guitar role is stunningly
reserved, he lays out a considerable duration of the section (m. 1-‐
4), but measures 5-‐8 are unique for the space he utilizes. Much like
the horns, his rhythmic accents are short, punctual, and are place
on the off beats. In this short span of musical duration, he provides
an example of how funk musicians create a unified dialogue in
motion.5
Fig 10.
Eric Krasno Communicating Musically in the performance of
“Reunion”
He introduces a two-‐note phrase that hits the upbeats on the
one of measure 7, sharing the rhythm simultaneously with the bass.
Then preceding measure 8, he adds a third note of the phrase after
the downbeat of 4, extending the pattern by one. In this minute
example, Krasno is reflecting and building on a previous musical 5 “Funk thrives on rhythm, and the art of it depends of the level of togetherness between the performers, it is, in essence, togetherness in motion” Howard C. Harris, cited by Vincent in Funk: The Music, Rhythm, and People of The One, 15.
idea. This technique can be utilized on any level within the music
and it could be argued that a universal component of the music
process is the musician’s ability to reflect and interpret what he
hears around him.
5. Keyboard
Pianists performing funk music have come to adopt a particularly
family of analog, acoustic, and digital instruments. Therefore funk
bands found themselves at a disposal of textures depending on
what type of keyboard is used. Neal Evans utilizes Fender Rhodes,
Hammond Organ, and Hohner Clavinet. In the excerpt I transcribed,
he exclusively plays Rhodes because it is the most suitable for
lighter accompaniment. In listening to Evans’ performance, he
organizes his phrases around the melody provided by the horns.
Repeatedly, he provides an attack on the beginning of the horn
phrase in the 2nd measure (see fig 11). In between moments of
unity, he adds improvised responses when the horn’s lay out
Fig. 11 Neal Evans’ Repeated Accent of Horn Melody, m. 2-‐4
Fig. 12 Neal Evans’ Responds where the Horns Rest
The keyboards harmonic capability lends itself to an important in
the texture of the funk band. The keys player can add staccato
phrases in between the beats and ideas of others, as Evans does in
the case of Reunion, or he can provide drawn out chords that will
add more harmonic movement.6
Drums
Drums are often solely responsible for leading the rhythmic
organization of a funk song. They are inherently, the timekeepers
of a funk band. In continuous motion, a drummer is required to
focus on multiple cycles of rhythms. Drums alone provide an
example of multi-‐linear rhythm and I will deconstruct Adam
Deitch’s drum part to examine his musical process
Fig. 13 Anaylsis of Adam Deitch’s Drum Beat, Section A
6
Deitch provides a continuous eight note pattern on the hi-‐
hat cymbal, a piece of the drum kit that is subtle and used in a
repetitive manner. The understatement of the hi-‐hat symbolizes
the rhythmic organization of funk as explained before. The
organizing pulse is understated so the musicians have freedom to
accent in between the beats. The off beat accents are in the bass
drum and snare. Two important off beat accents are performed by
the bass drum a sixteenth note before beat 3 and beat 1 of the
subsequent cycle, reinforcing the horn melody and providing a
counter-‐pulse against these parts of the measure.
Because of the infinite division of rhythms, off beats can
appear in a different levels or durations of rhythm. If a 4/4 bar is
divided into the half note value, then beats 2 and 4 are considered
off beat. (see fig. 14) Multi-‐linear organizations of rhythm occur at
all levels and duration of rhythm.
Fig. 14 Beats 2 and 4 as Off Beat Accents
Summary
From the collection of observations made, it is conclusive that
funk music rests on a high level of group interplay. The analysis
indicates numerous examples of funk as having a “participatory nature”,
because the musicians are required to maintain an active and constant
dialogue amongst each other. Each member must listen to where the
others leave space and understanding the moment to enact a new
musical phrase. In patterns of multi-‐linear rhythm present as in
Reunion, the musicians must be aware of the density in the musical
phrases they present otherwise the music falls into a state that is
stagnant and convoluted. When funk is successfully performed, the band
creates a polyphonic texture based on a careful balance of orchestration
and improvisation, giving weight to defined themes that were pre-‐
composed but also employing a considerable degree of variation and
artistic freedom.
Funk is a musical style that rests on many precarious balances in
order to be successfully performed. We have seen in an example of funk
how musicians hold ground with the original pulse while
simultaneously pulling in new rhythmic directions with extensive use of
off beat accents. The precarious balance therefore observed is a result of
funk’s musical heritage. The next chapter is devoted to discussing the
technique funk has embodied from the musical past to develop its
unique statement within the modern world.