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We all remember this one-when I hear it, all I can picture is a darkened gymnasium full of preteens clasping sweaty hands around each others’ waists and swaying stiffly.
![classical rap beat classical rap beat](https://i.pinimg.com/originals/59/f7/a4/59f7a487c9d038511fc07da265a8661f.jpg)
Hey, gangsta rap thrives on excess, and there’s just no more bombastic piece of music ever written, especially when you pile eight or nine snarling rappers on top of it.
![classical rap beat classical rap beat](https://i.ytimg.com/vi/yqSBIxBIyjE/maxresdefault.jpg)
Bonus points for Kelis’s line “You can fluff my feathers:” a nod to the opera’s two bird characters, Papageno and Papagena, or simply an acknowledgement of the songbird quality of the loop?Ībsolutely, positively the last time “Carmina Burana” will show up on the list, I promise. The song, from the otherwise-unevenKelis Was Here, suspends the most famous section of Mozart’s “Queen of the Night” aria from his opera “The Magic Flute,” a trilling vocal run that hits a stratospheric high F, and loops it endlessly, bringing visions to anyone who’s heard the role sung live visions of a red-faced soprano about to pass out onstage. OK, not strictly hip-hop, but still perhaps the best, cleverest classical-music sample ever done, so it must be included. Ever the minstrel, he plays the Connecticut-Yankee-in-King-Arthur’s-Court angle, spoiling the dignified surroundings with exclamations like “Uh-oh Spaghetti-Ohs!” In such unfamiliar sonic surroundings, Luda doesn’t take the opportunity to stretch much-he offers the same genially corny jokes and dated pop culture references he would over a standard Southern bounce track. The leadoff track from Ludacris’s massive 2001 commercial breakthrough Word of Mouf (“Roll Out,” “Move Bitch,” “Welcome to Atlanta”), “Coming 2 America” nicks from both Mozart’s “Requiem” and the stately last movement of Dvorak’sSymphony No. Once the insane dictator of the Diplomats, Cam’ron takes the same “Burana” sample and sees an opportunity to rhyme “holey holey” with “holy moly.” (And “roly poly.”) Backed by the mortar-round thump of the drums and that tribal chant, already-ridiculous lyrics like “Wanna hit it from the back, she agreed that I’m loony / But proceeded to moon me” hit delirious new heights of absurdity. At the height of his pop stardom, Nas pumps the tune full of panicky swagger and paranoid delusion as Orff’s choirs boom portentously in the background. The Diplomats, at heart a bunch of twelve-year-olds, gleefully vandalize Orff’s “Burana.” Nas, on the other hand, is handed a “Carmina Burana” sample and ends up shooting a video in which he is crucified as a Black Jesus, while Puffy yells a lot into a bullhorn. Half the fun of this song is imagining a tweedy Western Music professor frozen in horror, listening to Gertrude Stein-esque poetry like “I’ve got a ho selection / A whole collection / A whole selection / Of my ho collection” recited over a poorly sped-up orchestral loop of “Burana.” Orff survived centuries of critical disdain and Nazi associations (echoed knowingly here by Juelz Santana with the trenchant line “Kamikaze, Nazi Nazi, cop me, papi?”), but this might have been the one to put him definitively down for the count. Here it undergoes the gravest of all possible indignities, as the gang of Harlem bards known as the Diplomats wipe their muddy shoes all over it.
Classical rap beat movie#
If you’ve ever seen an action movie trailer, you’ve heard Carl Orff’s “Carmina Burana.” It is the most oft-abused piece of classical music ever written. But over the ghostly “Introitus” from the Requiem, his thuggish threats suddenly sound like intimations from the Angel of Death. Young Buck is a forgettable MC he has his gravelly voice, his maniacal conviction, and not much else. There’s a reason that Milos Forman turned the piece on blast in Amadeus when Mozart’s father returns reincarnate: the minor-key progressions of the “Kyrie” section still send shivers down spines. Mozart’s “Requiem” is one of the most monolithically terrifying pieces in the Western classical literature, a feverish and at times oddly ecstatic death mass. “You don’t wanna be my age and can’t read and write / Begging different women for a place to sleep at night,” he advises sagely, as children’s voices “aaahh” in the background.
Classical rap beat tv#
Meanwhile, Nas gives one of the least insufferable basketball-coach-style believe-and-achieve sermons ever, perhaps because it’s aimed at children without an ounce of condescension (well, except maybe for that “You can host a TV like Oprah Winfrey!” line). It’s one of the most instantly recognizable scraps of melody in the world, and here Salaam Remi hooks it up to boom-bap drums. This number swipes the “doodle-doodle-doo” from Beethoven’s Für Elise, which is familiar to anyone who’s ever taken a piano lesson. Here’s a list by Stylus showing the Top Ten Classical -Music samples in Hip Hop. But there are a couple of Hip Hop musicians who have gone the classical route in one form or the other. When we think of Hip Hop we rarely think of classical music. Today i stumbled upon something i would like to share with you all.