Slow Jams Pack Beatmaking Jewels

In Soulful Slow Tunes, Plenty Lessons for Beatmakers

By Amir Said (Sa'id)

Some of my deepest musical understanding has come from what I've been able to extract from soulful slow jams. Although slow jams carry tempos that are much slower than even the slowest beats, I would argue that it is precisely because of this "slowness" that you can more closely examine all of the elements of a song, and get a better idea for how each element is woven into a structure. Indeed, I've found that not only do slow jams typically give off an obvious "good feeling," they also often yield much information about music creation. Oh, to be certain, slow jams have had a rather profound effect on my musical process. So below, I want to share a number areas in which I've learned a great deal from studying slow jams.

Regarding Arrangement, Tempo, and Movement

Soulful slow jams offer great instruction on what effective, engaging core grooves sound like. For me, the concept of arrangement used to be difficult. But slow jams helped me develop a stronger understanding for how to create independent musical sections and then blend them into one cohesive audio composite. Moreover, slow jams specifically gave me cues on when, where, and how to add secondary musical events to the core groove. For instance, it was through my study of slow jams that I learned how even the most subtle strokes of sound could make a huge difference in the feel and movement of a beat.

Thus, in addition to helping me to better identify the ways in which beats can be arranged (programmed), slow jams have taught me a great deal about the movement of musical parts. Commonly, many beatmakers think that the programmed tempo is exact and "precise." Well, that's technically true. Fact is though: No two songs of the same tempo ever move the exact same way. In other words, songs of the same tempo can actually move and feel slower than one another, depending upon the specific elements of the song. Because of this understanding, whenever I make a beat, I go with the tempo that feels right rather than the one that simply sounds right.

Regarding Individual Sound Design

Among soulful slow jams you will find some of the most beautifully rich tones and audio "colors" in recorded music. Slow jams, which are delicate audio affairs indeed, require great care to pull off. Because the vocalist is called upon to do more carrying of the song than in the case of faster tempo tunes, the instrumental pallet of slow jams usually calls for softer sonic impressions, which each instrumentalist obliges, (being ever careful to stay out of the way of the vocalist). This is one of the main reasons that slow jams sound so incredibly smooth. But remember, these are soulful slow jams; and thus, the instrumentalists who play on these songs typically render some slight embellishments—and it is these boldly-soft and impromptu embellishments that make for some of the most magnificent sound colors.

Because most musical parts in slow jams are less deliberate and much more subtle, it's easier to make out the individual sounds. Through my study of soulful slow jams, I was inspired to create short harp phrases and unique organ-sound-stabs (truncated and sustained). Furthermore, I developed ways for dissolving horn-stabs into an array of different sounds, making brand new sound textures from otherwise opposing sounds.

Finally, with regards to sound design, I should point out that the harmonizing of backup singers on most soulful slow jams has also improved my musical understanding. The harmonizing of backup singers on slow jams is always warm; it glides and fades in and out, often cradling the song with even more emotional feeling, a nuance I strive to add—in some way—to every beat that I make.

Regarding Drum Frameworks

As for the drums, soulful slow jams have taught me to commit to the core drum framework, and to avoid trying to get too fancy or complex with the drumwork. Indeed, I've learned to just anchor the groove and make sure the drum framework keeps the rhythm steady rockin', no matter the tempo. Even when I add in heavier syncopation to my drum frameworks, I NEVER get caught up in the trend of adding useless "snare repeats." Instead, I only use the snare as it fits with the general scheme of the kick and the movement of the other musical elements of the beat.

---
The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

For educational purposes...

Major Harris (former member of The Delfonics) - "Love Won't Let Me Wait"