Whatever the thinking was, it’s a fantastic idea.Chance closes out his verse by singing the whole E section in 12/8, ending with a melismatic run down the C minor pentatonic scale on the word “nine.” He sounds gleefully exhausted, as well he should; it’s exactly how I feel every time I listen. Phrases and ideas come tumbling out in a rush of eighth notes, sixteenth notes, and sixteenth note triplets.

Those … You don’t encounter much 12/8 shuffle in hip-hop, but it’s common in older African-American styles, most notably the blues and gospel (which is what Kanye is evoking … I thought about using slash notation, which is purely rhythmic, but like all rappers, Chance uses pitch in a definite and non-arbitrary way, and I wanted the chart to reflect that.So here’s my transcription. Chance’s first section, labeled A in my chart, is straight ahead gospel singing on the C In the second section, labeled B in the chart, Chance begins rapping in his characteristically verbose and fluid style. Maybe while listening back in the studio and deciding where to cross over from one take to another, Kanye and his co-producers heard both passes through the line, liked the effect, and decided to use both of them instead of whatever phrase was supposed to come next. I'm so sorry.just now i saw this, yeah i dont like my edit so much now looking back at it but the concept was there, glad you improved it!Press J to jump to the feed. I used to think that ultimately he was just misunderstood: that a greater, borderline profound message loomed behind every bold proclamation made at natural disaster telethons, or unscripted interruption of award acceptance speeches. At the very end of the section, Chance switches to staccato eighth notes on “ain’t one gosh darn part”, using them to highlight his punchline–that “gosh darn” is deliberate irony against the backdrop of Chance’s casual profanity elsewhere. (Only … If you listen to ““Ultralight Beam” is different. Noteflight will play it back for you on piano, which I don’t recommend doing because it sounds comically terrible. Ima still try to fix the ending but no promises. I can’t be sure that’s what happened, but it’s the likeliest explanation. You can I’ll refer to each pass through the eight bar loop as a section. This creates a fascinating polyrhythmic tension against the underlying shuffle.

To spare myself a headache, I decided to go ahead and transcribe the verse as if the song were in 4/4, and write triplets in the few places where Chance does actually respect the 12/8 meter.Chance sings parts of his verse, so I was able to notate those parts in the conventional way. 28:36 - Transitioned into a instrumental edit of Ultralight Beam to keep the flow and basically the song going. “Ultralight Beam” is different. This gives the song a time signature of 12/8, known informally as a shuffle.You don’t encounter much 12/8 shuffle in hip-hop, but it’s common in older African-American styles, most notably the blues and gospel (which is what Kanye is evoking here). I already explained why, so moving on....28:36 - Transitioned into a instrumental edit of Ultralight Beam to keep the flow and basically the song going.28:52 - Added the full song of Ultralight Prayer behind the instrumental track as it doesn't have any track playing in the beginning when Kirk Franklin is talking and so I can end the song and removed the original ending as it repeated too much for me and wasn't sonically pleasing in my opinion. emir taha – ultralight beam lyrics : we on an ultralight beam we on an ultralight beam this is a god dream this is a god dream this is everything this is everything deliver us serenity deliver us peace deliver us loving we know we need it now you know we need it you know we need it that’s why we need You don’t need to know any technical music vocabulary to hear the tight pattern of syllables and accents.

You also hear a lot of shuffle in country and rock.Chance complicates the situation in his verse by mostly rapping in 4/4 anyway. And if we do I didn't check cause I didn't feel like it. One of the best guest verses in the history of hip-hop is the one that Chance The Rapper does on Kanye West’s beautiful “Nearly all rap songs are in 4/4 time with a sixteenth note pulse. But for the opening track, "Ultralight Beam," the rapper went in an entirely different direction for the sample -- specifically, a 4-year-old girl's Instagram. Chance is probably the only rapper who would rhyme “Pangaea” with “Zambia.” At the end of the B section, he does some nifty wordplay: “my daughter look just like Sia, you can’t see her.” In the C section, Chance settles into a regular rhythm, a steady stream of sixteenth notes accenting the third-to-last one in each bar (the words “Braille”, “trail”, “hell”, “fail”, etc.)

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