lirik lagu canibus - rtj ii n finity intro (track 0 layer 0)
[intro: canibus & howard goodall sample]
track 0, layer 0
man’s relationship with music is rooted in nature and goes back over 40,000 years to the time when our cave dwelling ancestors first began making musical sound
he found them by dividing pieces of metal by two~thirds
if you carry on dividing by two~thirds again and again, you create an infinite sequence
gradually man started to create a musical scale by arranging notes into some kind of natural pattern..
this man is playing the bamboo flute
[verse]
welcome to infinity composition theory
all content will be communicated clearly
i spit a billions bars nearly, don’t dare me
i’m about to show you why they fear me
you see the air in sumer, it’s ripe with grief and despair
i sacrifice trimmings of hair
i place them on the top of the gold ox
pick up the gold ankh, you know i got soul, but where from
the rap juggernaut, hip~hop dilettante
hip~hop savant, a poor man’s hip~hop god
while you rhyme lazy as f~ck, like you just got your d~ck sucked
i rhyme like i’ma self~destruct
metamorphing metaphors, the formula transforms
forever raw to the floor, raw like reservoir dogs
(bar war, bar war, bar war, bar war)
you don’t want none of this, either or
(that’s why it’s called bar war)
layer to layer i’ll slay ya
rip the jacker ii infinity, yayeah
[outro: howard goodall sample]
now if you take a piece of metal exactly half the size of the original, it will produce at its main note that light red
and if you play the two together, they make a sound almost like one note
an octave therefore is a totally natural distance between notes
this is the same sound, only a higher version of that
but if you strike a piece of metal exactly two~thirds the size of the original, you’ve actually created a new note, call it yellow
unlike all other composers, he started to break the rules
not content with the simple fourths and fifths that other composers used dunstable started to experiment with those saucy and impure thirds and sixths that had hitherto been so frowned upon by religious musical theorists
to make these new harmonies work he kept well away from keyboards whose tuning was already fixed and flexible
he experimented instead with..
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