Ultimate goal is to become a rapper (Ear training & song composition?)

Drange

Drange

Artist
MY ultimate goal is to become a rapper that creates songs.

I am an emcee. I Everyday I do breathe control excercises, freestyle, and write. My goal is to start putting out mixtapes.
This past week I have also taken up ear training to obtain perfect relative pitch and perfect pitch. Although, I am focusing more on perfect relative pitch.

1. Will learning perfect relative pitch help with my rapping? (If I plan to sing on the chorus, etc. would it be useful?)

2. Do all the instruments and my voice need to be in the same key when I create a song? Currently, I have a producer partner that makes beats for me and all I have to work with is the mp3 of the beat, however, I could get all the individual tracks upon request.

3. Do mainstream rappers (Examples: Mac Miller, Drake, Lil Wayne, Chris Brown, etc.) all rap in the same key as their instrumentals and do you think they have perfect relative pitch?

I just want to create songs already that are commercially viable, however, I want to know if rappers pay attention to the pitch of their voice according to the chords and key of the instrumental, etc.

When mac miller put out this mixtape: Mac Miller - The Jukebox: Prelude To Class Clown Hosted by DJ Haze & DJ Capcom // Free Mixtape @ DatPiff.com
Did his have music theory under his belt?

I am willing to take any steps necessary and commit any amount of time to bring my dream to life. I simply want to make beautiful music and would appreciate advice.
 
I have input when my producer makes a beat. Haha. I guess I'm just really going to focus on the rap more and just do my pitch training daily. I really just wanted to know if songs I made would have to be in a key, etc. Can I start putting out songs now as long as they sound good? (I'm sure the answer to that is a "yes.") Perfect relative pitch is just a relative pitch mastered.---------- Post added 12-25-2012 at 10:47 PM ---------- Previous post was 12-20-2012 at 02:25 PM ----------

So I've been doing all my daily routine as usual, and I have seem a dramatic improvement in my freestyle / songwriting ability, however, I have a question.

I was browsing the "RJD2" forum and saw a forum regarding getting vocal samples "in tune."
https://www.futureproducers.com/for...how-get-all-samples-tune-342332/#post48925290

Rjd2 said,
"younguns: the only way to REALLY do this is to have at least a rudimentary knowledge of music theory. sorry. just is. there are alot of times where samples arent technically in the SAME key in my songs, but they are in a key that coincides w/ the key of the song, due to the harmonic content or intervals used.best place to start would be to realize that every sample is in a key of some sort. start by finding the root of the "main" chord, or the note that sounds like "home" if you will. do it with a bassline."
Click to expand...

I KNEW THERE WAS A METHOD TO MATCHING VOX WITH INSTRUMENTALS REGARDING KEY / MUSIC THEORY!!! Honestly, someone PLEASE elaborate on this. Please dear god I beg you.
This is tied to my questions I mentioned on my first post.

I was working on my first mixtape song to this instrumental my producer produced (I would like feedback on his instrumental too PLEASE) He has been creating music for a while, here is his soundcloud.

I had an idea like, "Hip hop isn't dead." Here's just some prototype lyrics I was fooling around with that are all subject to change:
And they said, hip hop was dead,
and they said, hip hop was dead,
and they said, hip hop was dead,
and they said, hip hop was dead,

Brand new artist, but i'm found on the mound,
try to paint the pitcher, paintbrush is the sound,
baseball a swisher as we pass it around,
if you're hatin' like a b1tch, then it's hound to the pound.

If you don't like it pause this vid, bakin', always positive,
Breakin' all the laws that have - said I couldn't do it.
Flow so expensive, knot free, I shampoo it.
Lost in the sea, not me, I swam through it.

Hand me my paradise, I'm tryna' take some chances,
Over this life, and under circumstances,
that demand finances become more expansive.
Understand the fans choose "he who advances.

"Haters bring views, gather round' the masses.
Underneath the wrapper, I'm sweet like molasses.
I, I, I, four I's, no glasses.
Amazing while grazing, we all know grass is,

Good for the soul, Great for the head,
All toll free, somebody told me,
a hip-hop head, that hip-hops dead,
Instead I disagree, rap is what I said.

Good for the soul, Great for the head,
All toll free, somebody told me,
a hip-hop head, that hip-hops dead,
Instead I disagree, rap is what I said.
Click to expand...
Or the chorus can be something like... (show off time. :P)
Hip-hop isn't dead, hip-hop's undercover,
And Maybe with an open mind you'll find your just a lover.
Take time, discover what defined your as another,
Fan. But know I have plenty, fanned. And. I'd like to add twenty, grand.
Click to expand...

On a side note -I have been slacking a bit on ear training, and I think it may actually be one of the most vital things I can develop as a rapper, so i'll be sure to start picking that up again. I've just really been into freestyling / songwriting because I love seeing progress, i'm in love with the instant results. However, I don't doubt the power or ear training / relative pitch and I am hoping it leads me to answering my previous question.
 
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Your thinking this over too much man, just focus on the craft. Study the greats.

No I don't think they mind the pitch of the beat, that's only relevant when you're singing. It has to be in your key if you want to able to sing it, depends on the range of the singer.
 
Drange said:
So I've been doing all my daily routine as usual, and I have seem a dramatic improvement in my freestyle / songwriting ability, however, I have a question.

I was browsing the "RJD2" forum and saw a forum regarding getting vocal samples "in tune."
https://www.futureproducers.com/for...how-get-all-samples-tune-342332/#post48925290

Rjd2 said,
younguns: the only way to REALLY do this is to have at least a rudimentary knowledge of music theory. sorry. just is. there are alot of times where samples arent technically in the SAME key in my songs, but they are in a key that coincides w/ the key of the song, due to the harmonic content or intervals used.best place to start would be to realize that every sample is in a key of some sort. start by finding the root of the "main" chord, or the note that sounds like "home" if you will. do it with a bassline."
Click to expand...
I KNEW THERE WAS A METHOD TO MATCHING VOX WITH INSTRUMENTALS REGARDING KEY / MUSIC THEORY!!! Honestly, someone PLEASE elaborate on this.
Click to expand...

So, the short answer is you need to identify the pitch of the root and the tonality of the chord, if there is one.

What is being said by rjd2 is that he may pinch a sample from a song that is in a related key to the one he is actually working, but because he knows he can use that pitch/chord in his current key because of the relationships inside his key: similar pitch/tonalities but in different positions in the key.

A concrete example in words:

I have decided to write something in the key of B[sup]b[/sup] major.

My chords in B[sup]b[/sup] major are

B[sup]b[/sup]-Cm-Dm-E[sup]b[/sup]-F-Gm-Am[sup]b5[/sup]

I've found a sample that is taken from the Key of F major: the chords are F-Dm-Gm-B[sup]b[/sup].

Because all of these chords are also found in B[sup]b[/sup] major, I do not have any problems using the sample in the key I have decided on using


An abstract example in Roman numerals, followed by a concrete example

In any major key, I have the following chords: I-ii-iii-IV-V-vi-vii[sup]b5[/sup]

The major key starting on the pitch of chord V has related chords: V-vi-vii-I-II-iii-[sup]#[/sup]iv[sup]b5[/sup]

the major Key starting on the pitch of chord IV has related chords: IV-v-vi-[sup]b[/sup]VII-I-ii-iii[sup]b5[/sup]

Putting this into a table we can see the immediate relationships

IVvvi[sup]b[/sup]VIIIiiiii[sup]b5[/sup]
IiiiiiIVVvivii[sup]b5[/sup]
VviviiIIIiii[sup]#[/sup]iv[sup]b5[/sup]

now consider my earlier example of B[sup]b[/sup] major; here is the above table made concrete for B[sup]b[/sup] major:

E[sup]b[/sup]FmGmA[sup]b[/sup]B[sup]b[/sup]CmDm[sup]b5[/sup]
B[sup]b[/sup]CmDmE[sup]b[/sup]FGmAm[sup]b5[/sup]
FGmAmB[sup]b[/sup]CDmEm[sup]b5[/sup]

From this we see that these three key areas E[sup]b[/sup], B[sup]b[/sup] and F share the following chords:

E[sup]b[/sup]/B[sup]b[/sup]
E[sup]b[/sup] - Gm - B[sup]b[/sup] - Cm
B[sup]b[/sup] - Cm - E[sup]b[/sup] - Gm

B[sup]b[/sup]/F
B[sup]b[/sup] - Dm - F - Gm
F - Gm - B[sup]b[/sup] - Dm

E[sup]b[/sup]/B[sup]b[/sup]/F
B[sup]b[/sup] - Gm

Careful investigation will show that there are relationships to be found between B[sup]b[/sup] and A[sup]b[/sup] (Cm) and B[sup]b[/sup] and C (Dm), This can be done for any 5 keys that sit next to each other in the Circle of 5ths
 
Alright. Yeah, that's a concept that wasn't too far from my grasp. I see that keys have overlapping chords / notes and because of that you can do things like that. I'll be sure to brush up on my "Circle of 5ths." Thank you again bandcoach. :) Always to my rescue man. Haha!
 
bandcoach said:
So, the short answer is you need to identify the pitch of the root and the tonality of the chord, if there is one.

What is being said by rjd2 is that he may pinch a sample from a song that is in a related key to the one he is actually working, but because he knows he can use that pitch/chord in his current key because of the relationships inside his key: similar pitch/tonalities but in different positions in the key.

A concrete example in words:

I have decided to write something in the key of B[SUP]b[/SUP] major.

My chords in B[SUP]b[/SUP] major are

B[SUP]b[/SUP]-Cm-Dm-E[SUP]b[/SUP]-F-Gm-Am[SUP]b5[/SUP]

I've found a sample that is taken from the Key of F major: the chords are F-Dm-Gm-B[SUP]b[/SUP].

Because all of these chords are also found in B[SUP]b[/SUP] major, I do not have any problems using the sample in the key I have decided on using


An abstract example in Roman numerals, followed by a concrete example

In any major key, I have the following chords: I-ii-iii-IV-V-vi-vii[SUP]b5[/SUP]

The major key starting on the pitch of chord V has related chords: V-vi-vii-I-II-iii-[SUP]#[/SUP]iv[SUP]b5[/SUP]

the major Key starting on the pitch of chord IV has related chords: IV-v-vi-[SUP]b[/SUP]VII-I-ii-iii[SUP]b5[/SUP]

Putting this into a table we can see the immediate relationships

IV
v
vi
[SUP]b[/SUP]VII
I
ii
iii[SUP]b5[/SUP]
I
ii
iii
IV
V
vi
vii[SUP]b5[/SUP]
V
vi
vii
I
II
iii
[SUP]#[/SUP]iv[SUP]b5[/SUP]

now consider my earlier example of B[SUP]b[/SUP] major; here is the above table made concrete for B[SUP]b[/SUP] major:

E[SUP]b[/SUP]
Fm
Gm
A[SUP]b[/SUP]
B[SUP]b[/SUP]
Cm
Dm[SUP]b5[/SUP]
B[SUP]b[/SUP]
Cm
Dm
E[SUP]b[/SUP]
F
Gm
Am[SUP]b5[/SUP]
F
Gm
Am
B[SUP]b[/SUP]
C
Dm
Em[SUP]b5[/SUP]

From this we see that these three key areas E[SUP]b[/SUP], B[SUP]b[/SUP] and F share the following chords:

E[SUP]b[/SUP]/B[SUP]b[/SUP]
E[SUP]b[/SUP] - Gm - B[SUP]b[/SUP] - Cm
B[SUP]b[/SUP] - Cm - E[SUP]b[/SUP] - Gm

B[SUP]b[/SUP]/F
B[SUP]b[/SUP] - Dm - F - Gm
F - Gm - B[SUP]b[/SUP] - Dm

E[SUP]b[/SUP]/B[SUP]b[/SUP]/F
B[SUP]b[/SUP] - Gm

Careful investigation will show that there are relationships to be found between B[SUP]b[/SUP] and A[SUP]b[/SUP] (Cm) and B[SUP]b[/SUP] and C (Dm), This can be done for any 5 keys that sit next to each other in the Circle of 5ths
Click to expand...

Bandcoach, you are the man. This is good stuff. I am always trying to learn more and you always give me a new way to look at things. Thank you.
 
Honestly, if all you're doing is rapping I don't see why you need ear training and all that. If you're singing, too, that might be a different story. Otherwise, it wouldn't hurt but it would just be extra shit basically. I would thinking for a rapper learning about rhythms would be much more important.
 
Rhythm more important than pitch for rappers IMO. If you are going to be singing extensively then do some vocal training, but honestly with subtle uses of autotune and related software (which a huge portion of pop and hip hop vocals are put through) you can correct small pitch inaccuracies, so its not worth investing a ton of time into it
 
Work on your groove and rhyhtm. Rap is not about notes, it's about creating a certain groove and vibe. Take the vocal track of any rap song. You can use all kind of chords, progressions, it will never sound out of tune becore it's a spoken voice. But the track will only work if the rap is confident and has groove. Some of the world's greatest rappers don't even know the difference between relative and absolute pitch.
 
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