Chords for The Making Of Drake's "The Motto" With T-Minus | Deconstructed
Tempo:
101.2 bpm
Chords used:
D
C#
F#
B
G#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
It was nearing the end of Take Care, [D] the making of the album.
[G#] When Drake had contacted me, he said he wanted something up-tempo and something simple.
So it was a really last-minute process, [F#] and I put together [C#] something really simple.
[D] It took me maybe 30, [C#] 45 minutes to make the [F#m] beat, sent it to him.
[B] He ended up writing the record, [C#] recording it.
The day after, he said the song was already done.
You can [D] do a lot with just four [C#] sounds, five sounds.
It's all about [B] putting everything together and everything just kind of meshing and molding.
[C#] [D] [C#] [F#]
[F#m]
In my mind, I'm thinking bass is probably the most important factor of a simple track.
For me, the 808, the way the progression was of the 808 was really important, and I find
that's what everybody remembers.
It sticks to them.
I came up with this 808 pattern right here.
[B] [D] [C#]
[F#] A lot of distortion came out of [D] the 808.
[F#] [B] I [D] have a bass slide in [C#] this pattern right here.
[D] And then [F#] I had this [B] snare going.
[D] [C#] Really simple pattern, just straight from the point.
[D] I actually got a [F#] clap from one [B] of Boy Wonder's old records.
[D] It's called Bill Gates.
He [C#] produced that for Lil Wayne.
I threw that in the [D] mix.
We actually share sound.
[F#] We actually share all of our sounds.
We have this producer named Jazz Fousey.
He used to collect a lot of sounds for us.
Between the three of us, we all share all the same sounds.
The open [C#] hat is from [D] Bill Gates as well.
Those two sounds.
[F#] [C#] [D]
That's the second open hat that [F#] I threw into the mix.
[C#] [D]
[F#] The last, pretty [D#] much the last group of [D] sounds is this clap loop that I found.
[F#] I just put together.
[C#] [D]
[F#] [C#] [D]
[F#] Pretty much everything on the beat has no [C#] effects.
I just use the [D] raw sound, the raw quality.
[F#] Other than the 808, I just [C#] added some distortion to [D] get hit a little bit harder.
[F#] [C#] Whatever I hear, the moment [D] I hear it, if it doesn't sound right or [F#] if I feel a little
off about it, I'm [C#] changing it.
Making [D] sure things aren't too loud, everything [F#] sits well.
There's space [C#] for the artist to come in [D] and sing or rap.
[D] [B] [C#] When the record came out, Hyphy Music, it was on the rise.
I think the model really helped gear all that [F#] music to rise as well [C#m] with Rack City, [Dm] DJ Mustard
coming on the scene and just killing it.
[G#] 808, that influence, that's [F#] what I was inspired by.
[C#] It works.
[D] [F#] [B]
[G#] When Drake had contacted me, he said he wanted something up-tempo and something simple.
So it was a really last-minute process, [F#] and I put together [C#] something really simple.
[D] It took me maybe 30, [C#] 45 minutes to make the [F#m] beat, sent it to him.
[B] He ended up writing the record, [C#] recording it.
The day after, he said the song was already done.
You can [D] do a lot with just four [C#] sounds, five sounds.
It's all about [B] putting everything together and everything just kind of meshing and molding.
[C#] [D] [C#] [F#]
[F#m]
In my mind, I'm thinking bass is probably the most important factor of a simple track.
For me, the 808, the way the progression was of the 808 was really important, and I find
that's what everybody remembers.
It sticks to them.
I came up with this 808 pattern right here.
[B] [D] [C#]
[F#] A lot of distortion came out of [D] the 808.
[F#] [B] I [D] have a bass slide in [C#] this pattern right here.
[D] And then [F#] I had this [B] snare going.
[D] [C#] Really simple pattern, just straight from the point.
[D] I actually got a [F#] clap from one [B] of Boy Wonder's old records.
[D] It's called Bill Gates.
He [C#] produced that for Lil Wayne.
I threw that in the [D] mix.
We actually share sound.
[F#] We actually share all of our sounds.
We have this producer named Jazz Fousey.
He used to collect a lot of sounds for us.
Between the three of us, we all share all the same sounds.
The open [C#] hat is from [D] Bill Gates as well.
Those two sounds.
[F#] [C#] [D]
That's the second open hat that [F#] I threw into the mix.
[C#] [D]
[F#] The last, pretty [D#] much the last group of [D] sounds is this clap loop that I found.
[F#] I just put together.
[C#] [D]
[F#] [C#] [D]
[F#] Pretty much everything on the beat has no [C#] effects.
I just use the [D] raw sound, the raw quality.
[F#] Other than the 808, I just [C#] added some distortion to [D] get hit a little bit harder.
[F#] [C#] Whatever I hear, the moment [D] I hear it, if it doesn't sound right or [F#] if I feel a little
off about it, I'm [C#] changing it.
Making [D] sure things aren't too loud, everything [F#] sits well.
There's space [C#] for the artist to come in [D] and sing or rap.
[D] [B] [C#] When the record came out, Hyphy Music, it was on the rise.
I think the model really helped gear all that [F#] music to rise as well [C#m] with Rack City, [Dm] DJ Mustard
coming on the scene and just killing it.
[G#] 808, that influence, that's [F#] what I was inspired by.
[C#] It works.
[D] [F#] [B]
Key:
D
C#
F#
B
G#
D
C#
F#
It was nearing the end of Take Care, [D] the making of the album.
[G#] When Drake had contacted me, he said he wanted something up-tempo and something simple.
So it was a really last-minute process, [F#] and I put together [C#] something really simple.
[D] It took me maybe 30, [C#] 45 minutes to make the [F#m] beat, sent it to him.
[B] He ended up writing the record, [C#] recording it.
The day after, he said the song was already done.
You can [D] do a lot with just four [C#] sounds, five sounds.
It's all about [B] putting everything together and everything just kind of meshing and molding. _ _
_ [C#] _ _ [D] _ _ [C#] _ _ [F#] _
_ _ _ _ _ _ _ [F#m] _
In my mind, I'm thinking bass is probably the most important factor of a simple track.
For me, the 808, the way the progression was of the 808 was really important, and I find
that's what everybody remembers.
It sticks to them.
I came up with this 808 pattern right here.
[B] _ _ _ [D] _ _ [C#] _
_ [F#] A lot of distortion came out of [D] the 808. _ _
[F#] _ _ [B] _ I [D] have a bass slide in [C#] this pattern right here.
_ _ _ _ [D] And then [F#] I had this [B] snare going.
_ _ [D] _ [C#] Really simple pattern, just straight from the point.
_ [D] I actually got a [F#] clap from one [B] of Boy Wonder's old records.
[D] It's called Bill Gates.
He [C#] produced that for Lil Wayne.
I threw that in the [D] mix.
We actually share sound.
[F#] We actually share all of our sounds.
We have this producer named Jazz Fousey.
He used to collect a lot of sounds for us.
Between the three of us, we all share all the same sounds.
_ The open [C#] hat is from [D] Bill Gates as well.
Those two sounds.
[F#] _ _ _ [C#] _ _ [D]
That's the second open hat that [F#] I threw into the mix.
_ [C#] _ _ [D] _
_ [F#] The last, pretty [D#] much the last group of [D] sounds is this clap loop that I found.
[F#] I just put together.
[C#] _ _ [D] _
_ _ [F#] _ _ _ [C#] _ _ [D] _
_ [F#] Pretty much everything on the beat has no [C#] effects.
I just use the [D] raw sound, the raw quality.
[F#] Other than the 808, I just [C#] added some distortion to [D] get hit a little bit harder.
_ [F#] _ _ [C#] Whatever I hear, the moment [D] I hear it, if it doesn't sound right or [F#] if I feel a little
off about it, I'm [C#] changing it.
Making [D] sure things aren't too loud, everything [F#] sits well.
There's space [C#] for the artist to come in [D] and sing or rap.
[D] _ _ [B] _ _ [C#] When the record came out, Hyphy Music, it was on the rise.
I think the model really helped gear all that [F#] music to rise as well [C#m] with Rack City, [Dm] DJ Mustard
coming on the scene and just killing it.
[G#] 808, that influence, that's [F#] what I was inspired by.
_ _ [C#] It works.
[D] _ _ _ [F#] _ _ [B] _ _ _ _
_ _ _ _ _ _ _ _
[G#] When Drake had contacted me, he said he wanted something up-tempo and something simple.
So it was a really last-minute process, [F#] and I put together [C#] something really simple.
[D] It took me maybe 30, [C#] 45 minutes to make the [F#m] beat, sent it to him.
[B] He ended up writing the record, [C#] recording it.
The day after, he said the song was already done.
You can [D] do a lot with just four [C#] sounds, five sounds.
It's all about [B] putting everything together and everything just kind of meshing and molding. _ _
_ [C#] _ _ [D] _ _ [C#] _ _ [F#] _
_ _ _ _ _ _ _ [F#m] _
In my mind, I'm thinking bass is probably the most important factor of a simple track.
For me, the 808, the way the progression was of the 808 was really important, and I find
that's what everybody remembers.
It sticks to them.
I came up with this 808 pattern right here.
[B] _ _ _ [D] _ _ [C#] _
_ [F#] A lot of distortion came out of [D] the 808. _ _
[F#] _ _ [B] _ I [D] have a bass slide in [C#] this pattern right here.
_ _ _ _ [D] And then [F#] I had this [B] snare going.
_ _ [D] _ [C#] Really simple pattern, just straight from the point.
_ [D] I actually got a [F#] clap from one [B] of Boy Wonder's old records.
[D] It's called Bill Gates.
He [C#] produced that for Lil Wayne.
I threw that in the [D] mix.
We actually share sound.
[F#] We actually share all of our sounds.
We have this producer named Jazz Fousey.
He used to collect a lot of sounds for us.
Between the three of us, we all share all the same sounds.
_ The open [C#] hat is from [D] Bill Gates as well.
Those two sounds.
[F#] _ _ _ [C#] _ _ [D]
That's the second open hat that [F#] I threw into the mix.
_ [C#] _ _ [D] _
_ [F#] The last, pretty [D#] much the last group of [D] sounds is this clap loop that I found.
[F#] I just put together.
[C#] _ _ [D] _
_ _ [F#] _ _ _ [C#] _ _ [D] _
_ [F#] Pretty much everything on the beat has no [C#] effects.
I just use the [D] raw sound, the raw quality.
[F#] Other than the 808, I just [C#] added some distortion to [D] get hit a little bit harder.
_ [F#] _ _ [C#] Whatever I hear, the moment [D] I hear it, if it doesn't sound right or [F#] if I feel a little
off about it, I'm [C#] changing it.
Making [D] sure things aren't too loud, everything [F#] sits well.
There's space [C#] for the artist to come in [D] and sing or rap.
[D] _ _ [B] _ _ [C#] When the record came out, Hyphy Music, it was on the rise.
I think the model really helped gear all that [F#] music to rise as well [C#m] with Rack City, [Dm] DJ Mustard
coming on the scene and just killing it.
[G#] 808, that influence, that's [F#] what I was inspired by.
_ _ [C#] It works.
[D] _ _ _ [F#] _ _ [B] _ _ _ _
_ _ _ _ _ _ _ _