旋律性
歌曲的曲调是否清晰易记,是否遵循了明确的音乐模式。旋律性强的歌曲一般具有清晰、令人难忘的器乐或声线。
不插电
衡量一首歌曲对不插电乐器(例如钢琴、吉他、小提琴、鼓、萨克斯)而非电子或数字合成的依赖程度
Valence
通过歌曲的和声和节奏成分,传达的音乐积极性或情感基调。高情感值与幸福、兴奋和愉悦的感觉相对应,而低情感值则与悲伤、愤怒或忧郁有关。
舞蹈性
综合各种因素,包括节奏的稳定性、节奏模式和节拍重点,来确定一首歌曲是否适合跳舞。一首“适合跳舞”的歌曲可能具有稳定的节奏、重复的音乐结构和强烈的重拍。
能量
曲目的感知强度,可能受节奏、动态和音乐紧凑程度的影响。一首高能量的歌曲可能节奏欢快、乐器编配丰富,而一首低能量的歌曲则可能音乐编配简洁、节奏较慢。
BPM88
歌词
Woah, hey
You think you can fuck with me?
It's no games
When I run the beat
My full pace you can't fuckin' see
I always get first place
No matter what the speed
I gotta eat
Rappers with this cutlery
Lyrical custody
Of like all your bars
Cuz when you stuck on my line, man, ya'll always call
I'm evergreen man you'll always fall
Forever me
I was always tall
Leather seats with a gorgeous broad
The mezzanine isn't all I want
2nd floor singing all my songs
My crew at beck and call
Eleven seats in like all my cars
Don't tread on me unless you wanting stars
A puff of weed is how I talk to god
Don't believe disciple until something wrong
I'd egg him on and beat it before this humpty would fall
Got a whole crew around me but they running off scorn
I'm all about serenity
Eventually I won't be the pawn
To get stuck in the mix when a piece would be drawn
I'm tryna draw out the peace but no pieces will drop
Jesus pieces are tattooed like all on their arms
But feasibly their reasoning is that they're screwed from the start
Left in a cycle that would end with the rifle
I'm telling them life full of meaning
But rightful impeding
Their sight full of reaping
The benefits from those who are insightful and leaving
No chance for recovery
This night is deceiving
You're saying love is so brotherly
While you light up the region
Every drug is for the company not the stipend you seeking
So when something's up no loving me my lights become weakened
Woah, hey
You think you can fuck with me?
It's no games
When I run the beat
My full pace you can't fuckin' see
I always get first place
No matter what the speed
Am I something seen?
Or just obscene
I fiend for Munster cheese
That's how the hustlers be
I'm just machine
So please, please don't fuck with me
I'll give you a knuckle sandwich here's my lunch for free
Here we go again
I'm focusing on showmanship
And opening my soul again
But unholy men are tryna control my sin
I told them then
I need to open it
Succumb to doper pen
Fuck up a doper mix with homies that will always know their shit
But holy shit I need to scold the kid
Cuz even novices
Know I'm what's poppin' with
This new generation of problem kids
I'm generating veneration from seven nations separating myself from those forever hating
Segregated gotta prove myself beyond that fuckin' point I'll make it
So it doesn't matter what's beyond that point I'll take it
But just know I be coming for that top spot
And once I grab it I'll have ya bitch on this hot rod
Perfectly placed but if she's a person who fervently brakes
I'll send her ass to the chop shop
I don't need her no more
I'm where I wanna be
Got beat bouncing like kangaroo
She just a wallaby
She probably want all of me
But Hollywood is calling me
So follow me for godly tweets
I don't even use Twitter
Man I hardly speak
And once I do it makes all y'all think
That everything you ever put out has always been weak
I've always been sleek
I'd shoulder my team
To dodge where the posers would be
I knew this
But it's so hard holding down a fuckin' scene
While I'm picking out the Judas
Floating down the stream
But I made a choice impetuous
I never thought they'd aim at me
When all my homies' shooters
They were all the phony movers
Only tryna prove it
Until police caught a clue
And now exposing is the movement
I wish I'd hold him to it
Those promises accruin'
I was fond of them pursuin'
Till I'm the target they ruined
I'll keep attacking the mic
Till I'm regarded as ruthless
Till I'm exalted as Snoop is
Till I'm as high as the roof is
Till I can sigh when I sign on the dot for my music
I always wanted to sell out shows
Now I see what the colors of a sell out shows
I wish I was rich in the stu and just sell outro's
But I love it for my craft I won't sell out, yo
Written by: Nicolas Scholtes, Simon Peter Lezaja

