The concept of a "magic number" is prevalent in various fields of study, ranging from mathematics to physics. One such example is the "magic number de la sol" in music. In music theory, the "magic number de la sol" refers to the chord progression I - IV - V - I in the key of G major. This chord progression is commonly used in many popular songs and is considered to have a pleasing and harmonious sound. In the key of G major, the I - IV - V - I progression consists of the chords G, C, D, and G, respectively. This progression is often referred to as the "magic number de la sol" due to its frequent use and its ability to create a sense of resolution and musical satisfaction.
This progression is often referred to as the "magic number de la sol" due to its frequent use and its ability to create a sense of resolution and musical satisfaction. The I - IV - V - I progression is widely used in various genres of music, including rock, pop, and blues. It provides a solid foundation for melodies and allows for the incorporation of catchy hooks and memorable lyrics.
The Magic Number: De La Soul at Twenty-five
When De La Soul’s début album, “3 Feet High and Rising,” came out, in 1989, everything about it felt fresh. Even its cover was startling—a bright-yellow background dotted with cartoon flowers and a peace sign, three slightly nerdy guys looking skeptically at the camera, heads together and bodies angled out, like petals. It begins with a skit—something we’d never heard before—that takes the form of a fake game show (“My name is Plug One; I like Twizzlers”). And then the first song effortlessly blows your mind. A catchy tune plays, with bass and a beat that make you dance. Someone yells, “Got to have soul!” Then a guy starts singing—not rapping, yet—a riff on “The Magic Number,” from “Schoolhouse Rock”:
Three, that’s the magic number
Yes it is, it’s the magic number
Somewhere in this hip-hop soul community
Was born three Mace, Dove, and Me
And that’s the magic number
The song manages to celebrate individualism and togetherness equally, introduce the concept of the D.A.I.S.Y. age (Da Inner Sound, Y’All), and sample not only Johnny Cash’s “Five Feet High and Rising” but James Brown’s “Funky Drummer” and Eddie Murphy asking, “Anybody in the audience ever get hit by a car?” The effect of this fat, bouncy sound, these freewheeling guys slaying us with words coming fast and furious, was near-delirious happiness. Surprises were everywhere: in wordplay and with in-jokes, in their mixture of singing and rapping and games, and, especially, in the sampling, the melodies and the bits of music you could hear weaving in and out of a song—or forming its very foundation, like “Eye Know,” built boldly and hilariously on “Peg,” by Steely Dan. (“I know I love you better!”) With their producer, Prince Paul, De La Soul sampled everything. The album had an incredible freedom, a we-can-do-anything feel. They were proud to be who they were and to love what they loved, and they invited you to join in. Many albums are beloved, but only a few feel like a revelation; “3 Feet High and Rising” is one of them.
For De La Soul, the all-embracing, life-is-a-feast D.A.I.S.Y. age vibe didn’t last long. They resented being thought of as peace-loving hippies; the Turtles sued them over the use of a sample. They named their next album “De La Soul Is Dead,” put a knocked-over flowerpot on the cover, and had darker, grumpier skits and lyrics. But despite “Bitties in the BK Lounge” and “Millie Pulled a Pistol on Santa” and so on, songs like “Oodles of O’s,” “Let Let Me In,” “Fanatic of the B Word,” and the jubilant “A Roller Skating Jam Named Saturdays” were just as funky, funny, and spirited as the songs on the first record. Even “My Brother Is a Basehead” was danceable.
De La Soul kept putting out decent records every few years, even after they parted ways with Prince Paul. Though they’ve always enjoyed respect and good will and have stayed interesting—working with Gorillaz and Handsome Boy Modeling School, for example—they haven’t repeated the success of “3 Feet High and Rising,” and have seemed burdened by the album and its legacy.
I was startled, therefore, when, a couple of weeks ago, I saw that De La Soul was playing a show at Irving Plaza: a celebration of the twenty-fifth anniversary of “3 Feet High and Rising.” Could it be? At the show, for the first couple of hours after the doors opened, the big crowd—many ages, multiracial, with a strong Native Tongues aesthetic—was cheerful and excited. A woman with dyed crimson hair wore a denim vest with a section of a Tribe Called Quest T-shirt pinned to it that said “Q-TIP PHIFE DAWG ALI SHAHEED & JAROBI.” A woman in an “I ♥ Old-School Hip-Hop” shirt stood toward the front. The bar offered a Me, Myself & I drink special. A guy behind me with a great Q-Tip voice sang along with “Can I Kick It?,” which played on the speakers: “Mr. Dinkins, will you please be my mayor?” Two teen-age girls wore crop tops and rings of flowers around their heads.
By the stage, fans stood shoulder-to-shoulder for an hour and a half, watching a screen present ads for concerts: the Misfits, Jesse McCartney, Living Colour. People kept thinking they saw signs of life: turntables and cords illuminated by a red light behind the screen, movement in wings. Then the screen rose and a kid in a camouflage jacket danced out. “Make some noise! I’m Dillon Cooper! I went to Washington Irving High School. I used to walk down this block saying, ‘I’m gonna perform at Irving Plaza someday. Dreams do come true!’ ” People cheered. “Hands up!” he said. “Say money money money money money money money!”
After his set, the screen came back down: Misfits, Jesse McCartney, Led Zeppelin II. A woman next to me said, “I was so excited. Now I just want to go home!”
“We saw Jarobi in the front!” someone said.
“We met Tribe at Rock the Bells!” someone else said.
People began to chant “De La Soul! De La Soul!”
“I see Maseo!” a man said. “Maseo, what goes on? I see you, Maseo!”
The screen rose. There was Maseo, surrounded by turntables and a laptop. Lights flashed. The crowd screamed. “What’s up, New York!” he said. “Before we present the old stuff, we’re going to have some new stuff!” He introduced Billy Ray, a good-natured, pot-bellied rapper who performed a few songs and said, “I’m ready to lay the fuck down.”
De La Soul kept putting out decent records every few years, even after they parted ways with Prince Paul. Though they’ve always enjoyed respect and good will and have stayed interesting—working with Gorillaz and Handsome Boy Modeling School, for example—they haven’t repeated the success of “3 Feet High and Rising,” and have seemed burdened by the album and its legacy.
The "magic number de la sol" has become an essential component of music theory and composition. Its simple yet effective structure has made it a staple in songwriting and has contributed to the creation of countless memorable tunes. Overall, the "magic number de la sol" in music refers to the I - IV - V - I chord progression in the key of G major. It is a widely used and highly versatile progression that has stood the test of time in the world of music..
Reviews for "The Role of the Magix Number in Personal Transformation"
1. Emily - 2/5 stars
I was really disappointed with "Magix number de la sol". The storyline was confusing and disjointed, making it hard for me to follow and engage with the characters. The acting was also subpar, with many of the performers delivering their lines in a monotonous and unconvincing manner. Additionally, the special effects seemed outdated and lacked the wow factor that I was expecting from a fantasy film. Overall, the movie didn't live up to the hype for me and I wouldn't recommend it to others.
2. David - 1/5 stars
"Magix number de la sol" was a complete waste of time for me. The plot was incredibly cliché and predictable. I could see every twist and turn coming from a mile away, which made the viewing experience extremely boring. The dialogue was cheesy and forced, with the characters lacking depth and development. The visual effects were also underwhelming, leaving me unimpressed. I was hoping for an exciting and innovative fantasy film, but unfortunately, this movie fell flat for me.
3. Sarah - 2/5 stars
I had high expectations for "Magix number de la sol" but was ultimately let down. The pacing of the film felt off, with the story progressing too slowly in some parts and too quickly in others. This made it difficult to fully invest in the characters and their journey. The script also had some weak moments, with several cringe-worthy lines that took me out of the movie. Additionally, the cinematography lacked creativity and failed to capture the grandeur of the fantasy world depicted in the film. Overall, while there were some interesting elements, the movie didn't come together cohesively for me.