A Quote by Jack White
A riff can take on the aspect of a chorus in a listener's psyche.
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When the Beatles wrote 'Paperback Writer,' it couldn't have been the same old thing. You can hear so many influences in it, from the blues to Bach, and it's not just verse, chorus, verse, chorus, bridge chorus. They start off singing a cappella, almost like a Bach chorale, and the song goes into this bluesy guitar riff.
I think often times if a guitar riff is centered around the chorus or if it follows the chorus, then it often times turns into the actual hook.
Jung even asserted that he would have no objection to regarding the psyche as a quality of matter and matter as a concrete aspect of the psyche, provided that the psyche was understood to be the collective unconscious.
I sleep music. I wake up, and there's a riff in my head. Every step I take, there's a riff, a beat, or something.
One of my main problems with music is that the basic formula is always the same: verse, chorus, verse, chorus, bridge, verse, chorus, chorus, chorus, end. One of the bands that changed that was The Beatles. If you listen to 'Everybody's Got Something to Hide Except Me and My Monkey.' It's three verses, bridge, end.
Normally you'll have a structure to a song. You'll have an intro to a verse to a pre-chorus to a chorus, kinda repeat that, maybe there's a bridge, then you'll go out on a chorus - that's the quintessential song structure - sometimes you might do a fake-out, re-do a pre-chorus but the chorus doesn't come until later, but for the most part you follow these tried and true structures.
If you take the riff from the song 'Cowboys From Hell' and really break it down, it's almost a hillbilly guitar riff: dekka dekka dekka dekka dekka dekka dekka dek.
When I write a song, it's all about the riff - the riff first, then the words come later.
Technical knowledge has now become an integral aspect of the Iranian psyche.
The thing is, the way we write is all jams and bits and pieces that get pieced together and sometimes things are written with intentions of being a song, and then all of a sudden the main riff of this song, six months later turns into a verse or a chorus of another song.
'The Cabin at the End of the World' is my riff on the 'home invasion' subgenre of horror/suspense. Hopefully it's a big, loud, dark riff.
To me, the hook of the riff is what makes a great guitar recording. It's the backbone of the whole song. When you have a strong riff, it's the rocket fuel for the track.
When I speak of the gifted listener, I am thinking of the nonmusician primarily, of the listener who intends to retain his amateur status. It is the thought of just such a listener that excites the composer in me.
You can have the best riff in the world, but if the drums behind it just ain't vibing it, it's not gonna be the greatest riff, right? So you've gotta have someone there that can really bring that to life.
If you have a good riff with a vocal as well, then it becomes a devastating song. That's why people love riff-rock: it's the ultimate air guitar music.
If you listen to the first, second, and third chorus of a song, they don't sound the same. It's the same melody and all that, but what really happens is that the energy changes. It's all about getting the listener to keep his or her concentration.
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