Rap Music Analysis - Kendrick Lamar - Rigamortis, Pt. 2

*This article is a continuation of the first part of how to listen to "Rigamortis," which you can read here. You can hear the Kendrick Lamar song here.

As I mentioned in the first article, these exact lines below — what I'll call Refrain 1 — occur at 0:21, 0:59, 1:26, 1:36, 2:31, and 2:42, and last 4 bars:

[got me breathing with dragons] [i’ll /

crack the egg in your basket, you /

bastard] [i’m marilyn manson, don’t /

ask for your favorite rapper]


Below is the second refrain, Refrain 2. These exact lines occur at 1:31, 1:42, and 2:36, and also last 4 bars:


[he dead] /

[amen] /

[he dead] /

[amen] /


When you combine these 2 refrains, the entire 12-bar chorus that happens at 1:26 and 2:42 is this. It's Refrain 2 + Refrain 1 + Refrain 2.


[he dead] /

[amen] /

[he dead] /

[amen] /

[got me breathing with dragons] [i’ll /

crack the egg in your basket, you /

bastard] [i’m marilyn manson] [don’t /

ask for your favorite rapper] /

[he dead] /

[amen] /

[he dead] /

[amen] /

However, there's a mismatch here. Refrain 2 happens at 0:59, but the chorus (which, again, should mention both Refrain 1 and Refrain 2) happens only at 1:26 and 2:42. How is this possible?

Just like what we see in part 1 of this article, the answer is in how Kendrick manipulates the musical material that he already has placed in the chorus. At 0:59, he raps only the first 2 bars of Refrain 2, so that “amen, he’s dead,” is repeated only once. Right after, at 1:01, he cuts right back into his proper verse rap by continuing the thread of semantic meaning from the refrain into the verse. He does this by extending the sentence of “amen, he’s dead” in explaining who it is exactly that’s telling him his rap adversaries are deceased.

The astute reader will also have noticed that a Refrain 1, at 1:42, was also left out in the cold. It doesn’t appear to be part of any chorus, or at the least, it appears to be an extra Refrain 1 on the end of a chorus. How is this to be interpreted?

Here, Kendrick once again demonstrates an unfailing lack of the means by which a rapper creates semantic and musical meaning. That’s because when he starts the completely new material of his second verse at 1:47, he continues a rhyme on the final vowel pattern of the last word of Refrain 1. He takes the word “rapper,” from Refrain 1, and rhymes it on “casper,” “nasa,” and so on.


[got me breathing with dragons] [i’ll /

crack the egg in your basket, you /

bastard] [i’m marilyn manson] [don’t /

ask for your favorite rapper] [i /

wrapped him and made him casper] [i /

captured the likes of nasa] / …

Not only are the rhymes from Refrain 1 continued into this new musical section, but they are also the same types of rhymes musically. That’s because they also all happen at the end of bars.

This strong similarity means that instead of interpreting the chorus at 1:26 as the real chorus that lasts 16 bars, and the ending chorus at 2:42 as a shortened chorus of only 12 bars, I interpret the real chorus as lasting 12 bars, and this addition of another Refrain 1 as an elision into the verse. Thus, the Refrain 1 at 1:42 is really part of both the verse and chorus. On the one hand, it’s material from the chorus that we’ve heard before, but on the other, it’s part of the verse because Kendrick goes on to rhyme off its words. Kendrick has blurred the lines between what a chorus is and what a verse is. And without an aid from the production, such as a distinct musical idea that separates the verse from the chorus, we’re left answering that this section is both.

You're welcome.

Love,

Martin

P.S. If I'm Internet-famous enough to have what I think they call "haters," please click here.

Rap Music Analysis - Kendrick Lamar - "Rigamortis"

All of the rappers in my own personal Top 10 are unique and special in their own way, just like their mamas always told ‘em. However, there are also certain overlaps between their artistic oeuvres. For instance, André 3000 and Nas have both utilized metric transference, which stands as a good measuring stick for just how technically complex a rapper is. But Kendrick Lamar, along with Eminem, is one of those few rappers about who it can truly be said that they’ve made certain songs in rap music that have never been done before, and have never been imitated since, even poorly.

“Rigamortis” is one of those songs.

The title of the song alone bespeaks some sort of consciousness of the history of rap or its poetic themes, as it recalls his West Coast godfather Dr. Dre and his lines about turtles dying from the 1987 N.W.A song “Express Yourself.” Poetic? Not the most. Rhyming? Yep, and that’s often good enough for Dre when he isn’t using a ghostwriter.

That, of course, is not true when we talk about Kendrick’s lines. As I say over and over in my articles — I should really get it tattooed somewhere  — we can only appreciate rappers' musical abilities when we understand the musical conventions that they’re working on top of. The important convention in “Rigamortis” is how choruses (also called hooks) are written in rap. This knowledge will allow us to see how Kendrick cleverly deviates from what used to be unquestioned musical commandments in order to make something knew. To see this, we need just the tiniest bit of music theory. Rappers brag by saying, "I got bars, I got bars." Well, what the hell's a bar?

A bar is the base unit for the musical system of time, just like a second is the base unit for a chronological system of time. Musicians use bars though, and not seconds, because seconds always last the same amount of time, while music can be either fast, like Macklemore's "Can't Hold Us," or slow, like The Roots' "Boom!". Hence, bars can come at different speeds, because they don't always have to last the same amount of time. The use of a bar, and not a second, expresses this difference. But just like seconds, bars are repeated over and over in order to make up longer lengths of times, like a whole musical section of a verse or a chorus. About 99.99% of the time, those bars are added up in groups of 4 to make those larger sections. For instance, verses usually last 16 bars, and choruses usually last 8, although there are small, differing exceptions sometimes.

The chorus of “Rigamortis" seems at first to be no different, because it lasts for 12 bars. What Kendrick innovates here in a way few other musicians have before is in just how his rap over those 12 bars interacts with the musical accompaniment behind it. That's because this song's actual chorus of 12 bars occurs only twice, while material from the chorus as a whole is mentioned at least 5 times in the song. How is this mismatch possible?

In order to keep track of all of these moving parts, we’ll consider the following lines to be the first refrain, called Refrain 1, and say that multiple refrains add up to 1 full, 12-bar chorus during this song. You can hear "Rigamortis" here. In the below transcription, brackets [ ] surround the start and end of sentences, and the slashes / indicate where each succeeding bar stops before the next one begins.

These exact lines below occur at 0:21, 0:59, 1:26, 1:36, 2:31, and 2:42, and last 4 bars:

[got me breathing with dragons] [i’ll /

crack the egg in your basket, you /

bastard] [i’m marilyn manson, don’t /

ask for your favorite rapper]


Below is the second refrain, Refrain 2. These exact lines occur at 1:31, 1:42, and 2:36, and also last 4 bars:


[he dead] /

[amen] /

[he dead] /

[amen] /


When you combine these 2 refrains, the entire 12-bar chorus that happens at 1:26 and 2:42 is this. It's Refrain 2 + Refrain 1 + Refrain 2.

[he dead] /

[amen] /

[he dead] /

[amen] /

[got me breathing with dragons] [i’ll /

crack the egg in your basket, you /

bastard] [i’m marilyn manson] [don’t /

ask for your favorite rapper] /

[he dead] /

[amen] /

[he dead] /

[amen] /

However, the real chorus doesn’t appear until an unusually long time into the song, at 1:26. That’s because the first time the listener hears these lines it is in a far different musical structure than that more traditional, 12-bar chorus chorus. The first time a listener hears Refrain 1, it is in the varied form of what we can call Refrain 1B, at 0:13:


[got me breathing with dragons] [i’ll /

crack the egg in your basket you /

bastard] [i’m marilyn manson with /

madness] [now just imagine the /

magic i light to asses] [don’t /

ask for your favorite rapper]


Kendrick has now inserted a new line in the middle of Refrain 1. He’s added, “…with madness, now just imagine the magic I light to asses.” This makes refrain 1 not 4 bars long, but 6 bars long. Why did Kendrick do this? Put another way, why does this new refrain not just work, but work well?

The key is that those opening 6 bars just quoted start 10 bars into the song.

“But wait!”

Yes?

“Neither those 6 bars or 10 bars are a multiple of 4 bars that you said every rap section is made out of!”

Ah! You’ve got me. But what’s 6 bars plus 10 bars?

“Enough happy hours to put Bobby McFerrin out of business!”

Yes! But also…16 bars. Which is a multiple of four.

On the one hand, Kendrick could have repeated Refrain 1 in the exactly correct way so that it lasted only 4 bars. But that would have left his rap ending at bar 14. This is a problem because the musical loop behind him — made up of those melodically spiraling jazz instruments — is 4 bars long, so he would’ve ended the opening of the song halfway through his loop, which would sound awkward without some kind of explicit support (like a beat drop) from the musical accompaniment.

On the other hand, Kendrick could’ve again repeated Refrain 1 exactly and started at bar 8 or 12, which would line up the end of his opening with the end of his rap. But this would have been really, really boring, because that's what 99.99% of other musicians do. So he decided to do what was on the other-other hand, and balance the 16 bars into 10 bars of an instrumental intro, plus the 6 bars of a slightly modulated Refrain 1. This is so musically groundbreaking that if all of my dozens of articles could be summarized in short, I would need only those 16 bars.

That relationship that’s just been described — the one between the lines of Kendrick’s verse and the lines of his chorus — is what drives this entire song, in a way that previously seemed impossible in rap. This is the core musical game that Kendrick is playing throughout this entire song. 

If you want to hear how, check out part 2 of this article here.

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