Jump to content

'Medellin': A detailed musical analysis


Recommended Posts

Check this article out: https://www.classicfm.com/discover-music/music-theory/madonna-medellin-song-analysis/

Such a good musical analysis of the song! This woman is truly gifted, and is an absolute genius as a musician, as an artist, and as a performer. No one comes even close.

Any trolls that might call the song basic reggaeton, just show them this article and educate them.

 

Link to comment
Share on other sites

1 hour ago, headonfire said:

Check this article out: https://www.classicfm.com/discover-music/music-theory/madonna-medellin-song-analysis/

Such a good musical analysis of the song! This woman is truly gifted, and is an absolute genius as a musician, as an artist, and as a performer. No one comes even close.

Any trolls that might call the song basic reggaeton, just show them this article and educate them.

 

Love it! It’s so true! 

Link to comment
Share on other sites

Thanks for sharing! I love this kind of stuff. Also, the little tibit on how she sent Mirwais a guitar riff and he responded by sending back a whole structure (808s and stuff). Seems like there aren't many more olutlets on which to discuss the musicality of the Madame X project. How I miss those long magazine interviews back whencMusic and ROL were out,in which she would expand on little details about songs and the album's concept.

Back to the article, I noticed the simplicity in the song, as many others did. Many mentioned the laidback, sort of breezy feeling to Medellin. Despite Maluma, the song is a far cry from the typical reggaeton music sturcture. It is more Madonna's, more pop. The song never explodes, nor does it have to. There is no particular climax, yet when I am done listening to Medellin I feel like I want to keep dancing, so the song does build up without ever actually dropping. 

Link to comment
Share on other sites

Wonderful article!!

1 hour ago, Icykiller said:

Thanks for sharing! I love this kind of stuff. Also, the little tibit on how she sent Mirwais a guitar riff and he responded by sending back a whole structure (808s and stuff). Seems like there aren't many more olutlets on which to discuss the musicality of the Madame X project. How I miss those long magazine interviews back whencMusic and ROL were out,in which she would expand on little details about songs and the album's concept.

Back to the article, I noticed the simplicity in the song, as many others did. Many mentioned the laidback, sort of breezy feeling to Medellin. Despite Maluma, the song is a far cry from the typical reggaeton music sturcture. It is more Madonna's, more pop. The song never explodes, nor does it have to. There is no particular climax, yet when I am done listening to Medellin I feel like I want to keep dancing, so the song does build up without ever actually dropping. 

Well said. It leaves me wanting to dance more afterwards too. I love that.

 

Link to comment
Share on other sites

Hmmm Interesting. 

I don’t think her vocal is ‘simple’ at all. The part where she sings “with yooouu” in the second verse and the pitch falls is a moment of sheer indelible beauty in the song. Actually so much vocal control. 

As for always singing the same way, has he heard rescue me? Or anything from I’m breathless? Or Evita? (Ok maybe they’re not pop songs)

Nevwrtheless, a pretty good and insightful article. Thank god there’s journalists who still write about the music!!!

Link to comment
Share on other sites

2 hours ago, Paul said:

Hmmm Interesting. 

I don’t think her vocal is ‘simple’ at all. The part where she sings “with yooouu” in the second verse and the pitch falls is a moment of sheer indelible beauty in the song. Actually so much vocal control. 

As for always singing the same way, has he heard rescue me? Or anything from I’m breathless? Or Evita? (Ok maybe they’re not pop songs)

Nevwrtheless, a pretty good and insightful article. Thank god there’s journalists who still write about the music!!!

Madonna's voice is very emotional and far more interesting that other praised voices but the article talks about technique. Madonna needs a comfortable place in every song.

Link to comment
Share on other sites

3 hours ago, Paul said:

The part where she sings “with yooouu” in the second verse and the pitch falls is a moment of sheer indelible beauty in the song.

Yes, I absolutely love that part. It's just so beautiful.

 

Link to comment
Share on other sites

As much as I love the song I have to admit that the praise from all corners actually surprises me a lot. But it makes me really happy. No one deserves it more :clap:

Link to comment
Share on other sites

21 minutes ago, madmex said:

🙄😏

I am always the first to lash out at any forum member who posted a negative (or even just slightly negative) comment on Madonna, but what Icykiller said there is FINE. I totally get what he tried to say and clearly it's not a diss at all. 

Link to comment
Share on other sites

I really like how she sings on Medellín. It reminded me of Ray Of Light and that’s her top vocal era - for me of course. Plus she is such an emotional singer, easily conveying whatever feeling she wants to convey.

Link to comment
Share on other sites

8 hours ago, Paul said:

Hmmm Interesting. 

I don’t think her vocal is ‘simple’ at all. The part where she sings “with yooouu” in the second verse and the pitch falls is a moment of sheer indelible beauty in the song. Actually so much vocal control. 

I was writing a friend on this part this morning. Pure heaven. So beautiful. 

Link to comment
Share on other sites

Medellín is more seamless than AL which was like 3 different songs. Mirwais nailed it this time! 

Link to comment
Share on other sites

1 hour ago, Crystal Coffin said:

I am always the first to lash out at any forum member who posted a negative (or even just slightly negative) comment on Madonna, but what Icykiller said there is FINE. I totally get what he tried to say and clearly it's not a diss at all. 

But how is that Medellin never explodes? The chorus is there, the bridge is there.

Link to comment
Share on other sites

8 hours ago, Crystal Coffin said:

I am always the first to lash out at any forum member who posted a negative (or even just slightly negative) comment on Madonna, but what Icykiller said there is FINE. I totally get what he tried to say and clearly it's not a diss at all. 

Thanks @Crystal Coffin, yes, I am not dissing, but actually praising the song. I think M did great with this one. @madmex  I think Medellin never explodes because it keeps up the same tempo throughout, there's no ups and downs, or a particular point in which she belts or breaks with the song's flow (think Rol's scream at the end, or the raising chorus at the end of Living for love, or the flamenco break in Deeper and deeper, right when she sings: never gonna hide it agaaaain....). My personal take on the song though. 

Link to comment
Share on other sites

I love reading about the musicality of the song. Its structure is so unique, it doesn't really fit the chorus-verse-bridge format of most pop songs. It's more like there are verses ("I took a pill,") a pre-chorus ("ven conmigo") and I guess what you could call the real chorus ("si te enamora,") plus an interlude ("one, two, cha-cha-cha.") What I like especially is that the song builds up from the start and gives us the verse and pre-chorus twice before we even get to the main chorus. Then we get the cha-cha dance break and Madonna's killer solo third verse ("i took a trip, it set me free, forgave myself for being me") before it builds up again to a repeat of the fabulous chorus. It breaks all the rules and makes for such a great musical payoff!

Link to comment
Share on other sites

6 minutes ago, Priceless said:

I love reading about the musicality of the song. Its structure is so unique, it doesn't really fit the chorus-verse-bridge format of most pop songs. It's more like there are verses ("I took a pill,") a pre-chorus ("ven conmigo") and I guess what you could call the real chorus ("si te enamora,") plus an interlude ("one, two, cha-cha-cha.") What I like especially is that the song builds up from the start and gives us the verse and pre-chorus twice before we even get to the main chorus. Then we get the cha-cha dance break and Madonna's killer solo third verse ("i took a trip, it set me free, forgave myself for being me") before it builds up again to a repeat of the fabulous chorus. It breaks all the rules and makes for such a great musical payoff!

Absolutely. ❌🔥❌🔥

Link to comment
Share on other sites

 Share

×
×
  • Create New...