Alright

by Kendrick Lamar
A musical analysis by Max Bladel
Opening Thoughts
Alright is the 7th track on Kendrick Lamar's critically acclaimed 2015, 16 track album To Pimp a
Butterfly, it was also released as a single. The song plays a pivotal role in the albums conceptual
narrative, marking the moment where Kendrick shifts his attention from his own personal turmoil
and meteoric rise to fame, back to the ‘hood’ and reconnecting with his community. It is a song of
reflection, frustration, but most of all hope (we gon be alright!). The album is highly afrocentric
drawing on a rich tapestry of african american musical heritage from the last century, and
presenting them together in a way that feels authentic, not necessarily to genre tropes, but to the
unifying lineage of african american creativity and grit in the face of opression. Alright is no
exception, invoking trap, jazz, doo wap and gospel.

The track, produced by Pharell Williams, is built around a sample of a rich doo wap style vocal
harmony, which is overtly programmed to sound very much like it is being played ‘machine gun’
style on a sampler keyboard. This is a celebration of both old and new black music. The collective
humanity of the many voices manifested in the sample, is warm and enveloping, yet the staccato
repetitive sample speaks to the hip hop generation. The subtle implication here is a sense of
kendrick’s return to the embrace of his community, an acknowledgment of his place in a
longstanding tradition and a nod to the collective values of the older generation, whilst firmly in the
context of a fresh new ‘jump up and down’ trap anthem for the kids (you know how we do).

The live saxophone riffing through large sections of the track, gives the music a hectic primal
energy, and directly echoes Kendrick’s wild creativity and spiritual freedom. It also draws parallels
between hip hop and jazz as both highly sophisticated black art forms.

On the surface the drums are standard ‘southern style’ 808 fare, but this belies the brilliant sense
of minimalist proportion in the programming. There are four samples used, kick, snare, clap and
cymbal. Every hit is sensitively placed and relates symbiotically with the other elements of the
track.

Other than these key elements, there are two small complimentary electric piano motifs that fill out
the upper register and add atmosphere, tension and momentum to the loop.

The different elements together form an overall 8 bar loop. Form is primarily achieved through the
lyrics which are very purposefully sculpted and highly dynamic, as well as tasteful subtraction of
musical elements by section, facilitating Kendrick’s vocal tour de force.

Kendrick’s delivery on this track is a masterful display of lyricism, rhythmic contouring and
dynamics as well as melodic ingenuity. Rappers are traditionally analysed lyrically, or at most in
relation to rhythmic ‘flow’, with pitch content often being regarded as arbitrary. ‘Rappers’ are quick
to distinguish themselves from ‘singers’, and melody is not usually the lens through which we take
in an MCs delivery. However, closer analysis shows this is in fact a large part of why Kendrick
Lamar is so compelling a musician. He may not be perfectly in tune, but his instinct for melody is
finely tuned. Transcribing his flow onto a stave reveals that has a highly purposeful and sensitive
melodic language, which draws fluently on musical scales and intervals. His voice behaves
somewhat like a riffing blues guitarist. His highly mobile inflection scoops into notes and wails like
fingers on a fretboard, deliberately hitting chromatic tensions and resolving them.
Intro [0:00]
The first thing we hear is 1 bar of abrupt vocal sample stabs pitched up by 1 semitone. This is a
call for the listener to sit up and pay attention and marks the start of the intro.

The sample resolves down by a semitone, a motif that is repeated every 4 bars, and forms
the primary harmonic vamp of the song. The pitch content of the sample is of a Minor9 chord
with the third omitted. The lack of third gives the upper triad an ambiguous relationship to the
root note, which could also be potentially be analysed as its 11th (ie. slash chord Dm/G). The
lion’s share of Kendrick’s delivery rocks back and forth between precisely the G2 and D3 of
this chord, so there is every chance the 3rd was omitted at least partly for the very reason that it
creates a perfect ‘lane’ for Kendrick's vocal to occupy.

The chord/scale implied most frequently throughout the track is D minor (aeolian), but the Strong G
pedal in the bass means that the modal quality really being drawn on most powerfully is G dorian.
The lack of third however and Kendrick’s penchant for chromaticism means that this modality is
strained and tugged at quite often, for instance when Kendrick hits a B natural or Eb (as he does
often).

These chords pound out an insistent 2 bar rhythmic pattern, hitting the 1, 4 and 2 beats. This is a
musical palindrome (3+2+3) and rhythmically displaces the downbeat shifting it onto the offbeat
until the 1 comes back around every second bar. This is probably the biggest guiding musical idea
of the whole song as we shall discover when the chorus comes in.

Kendrick comes in almost immediately at a high intensity, (All my life I had to fight!) setting the
scene of human struggle and making biblical references, (Bad trips like GOD!.. Nazareth!) adding
to the gospel feel.

Melodically he starts this section leaning upward into his natural D3 from C#3 (ie. the ‘blue note’,
and a leading tone) and starts spiralling out chromatically, down to C3(Like) and up to Eb3(God!)
and then the E natural(God!). As his phrase gathers momentum, still leaning up from the C#(I’m)
into the D(fucked up) he starts rolling down to the Bb via B natural (Ho-mie). Over the G9 chord,
this is like a blues player using both the major and minor thirds. Finally Kendrick delivers the first
taste of the hook, inflecting a descending G minor triad D(Us) Bb(Then) D(we) G(gon) D(be)
A(all…) D(RIGHT!).

The end of the verse is foreshadowed by a reverse reverb swell, which bursts like a bubble
delivering an emphatic drum fill.

Chorus [0:19]
We are hit with an instantly singable chorus and fat 808s. You immediately want to jump up and
join the brigade, but surrounding it all is an impressive wall of sound that feels calm yet chaotic, all
enveloping but in no way lacking clarity or punch. There are comfortingly solid foundations as well
things that shimmer and sizzle and glide away dreamily. The emphatic down beat of the vocal is is
pulled at from every direction by hefty off beats that trip you forward. The whole beast seems to
heave and sigh in a Bitches Brew kinda way.

The chorus is 8 bars long, and dynamically the loudest section, with all musical elements present.
The way in which all these musical elements fit together is a master class in both satisfying and
subverting expectation, creating something that feels both comfortable and unusual, and
generating the illusion of complexity through cleverly integrated simple forms.

I’ve transcribed whats happening here so its easier to see how the elements line up.
CHOIR/VOCAL SAMPLE
The vocal harmony is mixed slightly lower for this section and acts almost as glue. The syncopated
rhythmic pattern (1,4,2) is mimicked by the kick drum which hits (1,4,2,4).

DRUMS
There is an insistent open cymbal with a soft attack on every beat, which is stylistically very ‘trap’
and generates a consistent pulse.There is a Clap on the 3 of every bar, which anchors the whole
pattern in a half time feel. The Lyric locks into and uses it to boot off each phrase (We). The Kick
only hits the 1 every second bar, and then hits syncopated off beats creating a floating displaced
pulse. Most of these off beats are preceded by an 8th note, which fills the gap between the 3 and 4
mimics the rhythm of the lyric (Gon’ Be). There is a marching snare pattern which fills out the
sparse first half of each bar and dances around the 2. This is the only element of the beat that has
16th note divisions. This also mimics the lyrics and the quicker elements of the phrase (ni-gga),
tend to fall on the snare hits. Every fourth bar the density of the lyric increases and includes more
16ths, this is accompanied by an additional snare roll, (do ya hear me? do ya feel me?)

BASSLINE
The kick drum has very little low end boom for an 808 style kit, but is mimicked literally by the sub
bass which fills out the bottom end. Rhythmically it follows the kick exactly, landing emphatically on
off beats and displacing the meter. Harmonically it pedals the root notes of Ab and G, using the
kick pattern’s 8th note anticipations to pivot between octaves via the 5 (D). The bass line uses
register to create variation and double the form from 4 bars to 8 bars in length. Doing so ‘out of
phase’ with the natural resolution of the loop increases perceived complexity and ‘sows’ the two
halves together. Bars 1,2, 7 and 8 of the loop privilege the lower octave while Bars 3,4,5 and 6
dwell in the upper octave. The undulating turnaround device at the end of bar 8 delivers us back to
the Ab from above rather than below, the falling tritone interval feels like a disruption of a cadential
journey which prolongs the resolution and makes the low G taste slightly sweeter.

KEYBOARD 1
The first keyboard line is a short melodic flourish which loops around every 4 bars. This adds
shimmer and movement to the upper register. It also extends the harmony creating a new complex
of tertian relationships, incl. b9/semitone clashes which serve as a tension and release mechanism
at the end of each phrase, assisting movement towards the turnaround.

KEYBOARD 2
Quarter note octaves at the start of each 4 bar phrase. The bottom note of the line is in perfect
unison with the vocal harmony glueing the texture together, the top note is an octave above that,
extending the reach of the texture up further into the more delicate higher frequency range.
The first instance of these follows the top note of the vocal sample’s chords as they shift
downward, in contrary motion to the bass lines upward trajectory. The second instance Approaches
the bottom note of the upper triad (D) chromatically from underneath, this time in contrary motion to
the bass line, as well as the vocal sample’s downward trajectory. This makes the whole 8 bars feel
like it contracts inward at the middle and then breaths back out for the last 2 bars.

SAXOPHONE
The sax weaves through the upper structures of the thick chordal texture, animating the block
chords and adding an expressive ‘human’ element to the programmed arrangement. He plays
mainly in D minor (G dorian? I’ll leave that one for the jazz illuminati), getting further ‘outside’ the
harmony toward the end of the chorus.

VOCAL/LYRIC
The vocal melody moves in a staggered leap - step - leap from D down to G, and then scoops
dramatically back up to D. (ie. D(we) Bb(Gon) C(Be) G(al…) D(Right!) the hook is sung by
Sounwave of Digi+Phonics who gives a very animated performance, embellished by some fairly
gnarly scooping and bending into and out of notes.

FX
Some choice use of stereo delay on the vocals adds to the intoxicating milieu, and a swell effect
made of frozen reverb from kendrick’s voice emerges from the depths to pull us out the other side
into the first verse.

First Verse [0:36]

We’ve just been delivered headfirst into the song in a pretty no nonsense way, The audience
should be grooving and excited to keep grooving. A high dynamic level is maintained here, the
strong drum and bass groove in full effect. All eyes are on Kendrick. In terms of instrumentation the
first verse is a slightly stripped back version of the chorus, most elements are present, some mixed
a little lower to privilege the rap vocal. Saxophone is absent, Octaves are only used half the time in
the ascending configuration. Various elements drop out at key points to augment the drama in
Kendrick’s delivery.

Kendrick’s verse is as much a musical journey as it is a lyrical one. He delineates form with clear
consistent rhythmic and melodic patterns. The verse can be broken into 4x 4 bar ‘stanzas’ (I’ll call
them stanzas).

The first stanza starts acapella, and kendrick asserts himself with a grunt (UH!), before firing off a
strong 2 syllable 8th note cadence, strung together with reams of 16th notes (and when I wake
up… I recognise your lookin at me for the pay cut). He trills back and forth between C# and C,
occasionally running his lines down to B… i.e. C#(me) C(for) B(the) D(pay cut) or Bb i.e. D(boom)
C(with) Bb(the) before landing his cadences emphatically back on D(bass down!). Bar 4 ends with
a punctuated shout leaping up to F#(schemin!)

The second stanza builds on the devices of the first, with a subtle shit up in register and more
mobility in his tone. He starts the stanza with a flourish in the upper register around F#, (now let me
tell you bout my life!)…, He takes to running his 16ths in little downward steps, and he hits the
emphatic D more frequently (pain killers only put me in the twi-light). It ends the way it started
with a high flourish, (thats what I like! lord knows!).

The third stanza is the the apex of the verse, it is the most insistent and belligerent, and consists of
a string of 16th notes almost from end to end without a single breath. It starts high on the E and
ever so slightly deflates toward the end as though he is running out of air (but not out of attitude).
Having hammered his message home pretty hard during the first three stanzas the fourth and final
stanza is a sing song self reflection on his own afflicted mental state, and he acknowledges his
own weakness. It’s melodramatic, forlorn and comical. He outlines a descending second inversion
minor triad interspersed with chromatic approach tones, F(Tell) C#(the) D(world) Bb(I) A(know its
too late). The reach for the high F is the dramatic equivalent of throwing his hands in the air, and
letting the line settle down into the less powerful low A feels somewhat resigned and despairing.

Breakdown / Pre-chorus [1:11]

The next section functions as a breakdown and a ‘pre-chorus’ as its repeated before each chorus.
Energetically and thematically this is a gathering of strength, kendrick is picking himself up after the
struggles and turmoil expressed during the verse, in order to propel us toward the chorus which is
an affirmation of solidarity and hope (We gon’ be alright!). Its very reminiscent of the intro.

It’s 8 bars long and it features only Kendrick, The vocal sample, and saxophone. The doo wap
vocal is mixed loud, warm and enveloping, symbolic of community and humanity. There are
themes of overcoming struggle, it is a ‘we shall overcome’ gospel moment. The saxophone is in the
background joining kendrick on his emotional journey, like an ancestor or old friend looking over
him or perhaps symbolic of his own spirit.

The cadence of kendrick’s lyric plays off the rhythm of the vocal sample. Falling heavily on the off
beats (2,4,2…) with the absence of percussion or other strong rhythmic influence, the 1, primarily
implied by the monodynamic vocal sample is easily lost if you aren’t following closely, as it is
outnumbered by strong off beats all of which Kendrick is asserting in a heavy handed fashion. This
can almost create a faux down beat, or at very least shroud it in ambiguity. When the chorus finally
rolls around, a listener could be forgiven for imagining there was an extra beat added.
Chorus [1:29]
Literal repetition of first chorus.

Second Verse [1:47]

Musically the second verse is stripped back, to highlight Kendrick moving up a gear for a
significantly more intense delivery than the first. The drums are withheld, only the kick is present
until halfway through the verse. The saxophone is present through the whole verse, wailing away
augmenting the energy, mania and wild emotion in kendrick’s flow. The octaves are present in the
same form as the first verse.

The first stanza sets a frenetic pace in the first two bars, with an accent on nearly every beat,
preceding each beat with descending 16ths. The top not shifts upward chromatically while
pedalling on the low A. Bars 3 and 4 are heavier and more emphatic, letting you know he means
business. In bar 3 the reverb swells around Kendrick’s voice, and then drops out abruptly along
with all instruments other than the sax for the whole of bar 4. (motherfucker you can live at the
mall…).

The second stanza sets off in a flurry of 16th notes for 5 bars straight. Here he introduces a
rhythmic figure, consisting of accented groups of 16ths [6,4,6]. This is a diminished imitation of the
larger quarter note [3,2,3] palindrome figure of the vocal sample. melodically these take the form of
descending runs that spiral upward. The Eb in bar 5 lifts to an E natural in Bar 6 and the the Bb
shifts to a B natural in Bar 7. Over the G bass the B natural pulls against the modal ambiguity of
the ‘omit3’ 9th chord, arguably flirting with its dominant qualities.

Bar 9 sees his bottom pedal tones climb and converge on his upper notes as his flow spirals
upward. Bar 10 is the apex of the verse, here he uses a pivoting major third in double 16th groups
followed by an abrupt fall to the low A and a sudden falsetto high C. This is followed by silence as if
a bubble just burst. ie. C#3(in the) E3(pre-sence) C#3(of your) C#3, A2(Chi-co) C4(HA!). Bars 11
and 12 continue to hammer home the spiral phrasing from the second stanza, however up a
semitone this time as he is more worked up at this point. A variation at the start of bar 12 gives a
short AABA form to the last two bars and neatly caps off the idea.
The final stanza is similar to the final stanza from the first verse in that it is a downshift in intensity.
Having proved his point, he wraps up the verse with more playful and novel material. Lyrically he
reflects on the subject matter of the verse and provides nuance and context for the preceding
tirade. These 4 bars employ a 3 over 4 rhythmically displaced chromatically descending series of
major thirds. Musically this has the effect of making him sound dizzy. Bars 15 and 16 continue the
motif from 13 and 14 but the pitch content and accents chop and change like a leaf in the wind.
The instrumentation falls away and he is free… ‘I write till I’m right with God!’…

Breakdown / Pre-chorus [2:21]

Chorus [2:39]
Literal repetition of first breakdown / pre-chorus & chorus.

Outro / Bridge [2:57]

After the last chorus and it’s message of hope, for us all (We gon’ be alright… plural) the full beat
rides on for another 8 bars, but now multiple voices join and break out into a ‘sung’ melodic outro/
bridge section. The first 4 bars travel down a d minor scale punctuating 8th note syncopations. The
last 4 bars rock back and forth between D3 and G2, leaning on Bb2. This is much like a more ‘in
tune’ iteration of kendrick’s natural inflection. The last line drops however to a low F2 (dark nights
in my prayers). This is a wry, slightly foreboding and somewhat abrupt tag ending to the piece,
letting the listener know everything might not be totally ‘Alright’ quite just yet. Its at this point
Kendrick delivers the next instalment of the recurring spoken word poem that serves as the
conceptual spine of the album, hinting among other things that he is going ‘running for answers’, by
heading back home to Compton.