{"id":37320,"date":"2025-08-21T16:06:41","date_gmt":"2025-08-21T20:06:41","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=37320"},"modified":"2025-08-21T16:06:44","modified_gmt":"2025-08-21T20:06:44","slug":"what-is-funk-music","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/what-is-funk-music\/","title":{"rendered":"What is funk? How two James Brown classics define the genre"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">What is funk?<\/h2>\n\n\n\n<p>The truth is, defining funk as just a genre is not only difficult, but does a disservice in defining what it truly is.<\/p>\n\n\n\n<p>Funk as a philosophy existed before funk as a genre existed. It\u2019s a creative spirit that goes beyond <a href=\"https:\/\/splice.com\/blog\/music-modes-mixolydian\/\" target=\"_blank\" rel=\"noreferrer noopener\">the Mixolydian mode,<\/a> syncopation, or 16th notes. It\u2019s not defined by dominant 9th chords on the guitar. Funk is a commitment to the feel and the groove above all else.<\/p>\n\n\n\n<p>James Brown was funky, but Michael Jackson was also funky. Parliament was funky, but Fela Kuti was also funky. Zapp &amp; Roger was funky, but so were artists like Jamiroquai and DJ Quik.<\/p>\n\n\n\n<p>I can keep going, as it would be a crime to leave out artists like Prince, D\u2019Angelo, Sly and the Family Stone, Pleasure, Rick James, Graham Central Station, Kool &amp; the Gang, and many, many others.<\/p>\n\n\n\n<p>Funk is all about making you, the listener, move. It\u2019s about making you dance above all else. There\u2019s no doubt that music has an ability to put us in a trance state, and funk is about locking into that state for as long as possible, whether you\u2019re the creator or the listener. It\u2019s quite hypnotic.<\/p>\n\n\n\n<p>Now, funk as a genre is simply defined by a few sonic characteristics that pioneering music artists of the genre in the late \u201860s, \u201870s, and \u201880s had in common\u2014and we can\u2019t dive into these characteristics and the history of funk without paying homage to <a href=\"https:\/\/splice.com\/blog\/what-is-soul-music\/#:~:text=1950s%3A%20James%20Brown%2C%20Ray%20Charles%2C%20and%20Sam%20Cooke\" target=\"_blank\" rel=\"noreferrer noopener\">the \u201cGodfather of Soul,\u201d<\/a> James Brown.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">How James Brown pioneered the sound of funk<\/h2>\n\n\n\n<p>According to the James Brown biopic (a must-watch for any music creator), he treated every instrument as a drum. Saxophones, guitars, and bass\u2014they were all drums, coming together and hitting different notes at different times, syncopating on upbeats and always emphasizing the downbeat to create a harmony of funk and groove.<\/p>\n\n\n\n<p>My favorite way that James Brown would create this effect was through a technique called \u201cquestion and answer\u201d or \u201ccall and response.\u201d It\u2019s a powerful songwriting device, and once you master it, you can create memorable grooves with ease.<\/p>\n\n\n\n<p>Below, let\u2019s analyze a childhood favorite of mine, \u201cThe Payback\u201d by James Brown.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"James Brown - The Payback\" width=\"370\" height=\"208\" src=\"https:\/\/www.youtube.com\/embed\/1cBZcpSeiFc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Breaking down \u201cThe Payback\u201d (1973)<\/h2>\n\n\n\n<p>From the very first downbeat, you\u2019re thrust into the world of James Brown. The bassline, panned center, drops in the key of B\u266d minor, right on the one. We then hear an electric guitar panned right playing a B\u266dmin chord with a wah effect on the two-and beat. This is already creating a question and answer effect. Meanwhile, a simple drumbeat with a shaker holds down the groove steadily.<\/p>\n\n\n\n<p>Immediately following the wah guitar on two-and, we hear a muted guitar playing a riff on beat four. No note is haplessly placed, and we can hear every element sitting in its own sonic space as far as frequency and time (I\u2019ll just make a quick note that arranging like this will 100% make it easier for you to <a href=\"https:\/\/splice.com\/blog\/an-introduction-to-mixing\/\" target=\"_blank\" rel=\"noreferrer noopener\">mix your music,<\/a> since you aren\u2019t fighting to carve out space in a wall of sound).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">James Brown\u2019s vocal techniques<\/h3>\n\n\n\n<p>Once the horns play those long tones and the fabulous female background vocals come in, it\u2019s time for the icing on the cake. James Brown is doing his signature grunted style of vocal; to the untrained ear it could sound like nonsense, but James Brown\u2019s vocal is directing everything that happens in the song, creating a literal call and response.<\/p>\n\n\n\n<p>Not only that, but James Brown&#8217;s vocal acts like a drum here, coming in on certain beats and staying out of the way of others.<\/p>\n\n\n\n<p><a href=\"https:\/\/youtu.be\/1cBZcpSeiFc?si=zBtXOnO-6cZGhoKA&amp;t=40\" target=\"_blank\" rel=\"noreferrer noopener\">40 seconds into the track,<\/a> the main groove of the song drops. We find more call and response between the two guitars, while the drums, percussion, and bass hold down the downbeats with precision and purpose.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Call and response between the electric guitar and vocals<\/h3>\n\n\n\n<p>An electric guitar panned left holds down some double stop chords (<a href=\"https:\/\/splice.com\/blog\/tritone-the-devils-interval\/\" target=\"_blank\" rel=\"noreferrer noopener\">a tritone<\/a> of D\u266d and G moving chromatically up to a tritone of D and A\u266d, and then back down chromatically to D\u266d and G) as the \u201cquestion\u201d part of the arrangement. The wah guitar panned right plays a phrase off of a B\u266dmin7 double stop chord, coming in on the third downbeat, as the \u201canswer\u201d of the arrangement.<\/p>\n\n\n\n<p>This happens for the rest of the song\u2019s duration, but notice James Brown\u2019s vocals almost never get in the way of the third downbeat during the wah guitar\u2019s answer. Now, the wah guitar adds emphasis and embellishment on every lyric that James Brown sings, giving it space to play its role. This helps tell the story of the song (<a href=\"https:\/\/youtu.be\/1cBZcpSeiFc?si=7s-NFKMKb2s_FqDc&amp;t=115\" target=\"_blank\" rel=\"noreferrer noopener\">here\u2019s an example<\/a>).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cThe Payback\u201d interpolated in Kendrick Lamar\u2019s \u201cKing Kunta\u201d<\/h3>\n\n\n\n<p>A quote so iconic it was interpolated by Kendrick Lamar on \u201cKing Kunta\u201d:<\/p>\n\n\n\n<p><em>I can dig rappin.. (wah guitar)<br>I\u2019m ready, I can dig scrappin (wah guitar)<br>But I can\u2019t, dig that, backstabbin (Oh no!)<\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Kendrick Lamar - King Kunta\" width=\"370\" height=\"208\" src=\"https:\/\/www.youtube.com\/embed\/hRK7PVJFbS8?start=43&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Call and response gives every note a meaning and a purpose, with each falling into place. The background vocals are responding to the lead vocalist, the second rhythm guitar is responding to the lead vocalist and to the first rhythm guitar, and the first rhythm guitar is creating interest by starting the \u201ccall,\u201d or asking the question. Clock the track in at about 97 BPM, and you\u2019ve got yourself some serious funk.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">The characteristics of funk (as heard in \u201cThe Payback\u201d)<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">Clean, bright guitar tones<\/h3>\n\n\n\n<p>But what about that signature sound of funk? You can find it here in \u201cThe Payback.\u201d<\/p>\n\n\n\n<p>As a guitarist, I\u2019m always first captivated by the bright and simplistic nature of these guitar tones. Jimmy Nolen (James Brown\u2019s guitarist) could be seen rocking a hollowbody guitar into a Fender Twin with the cleanest and jangliest tones you\u2019ll ever hear.<\/p>\n\n\n\n<p>If you want to have an easier time playing some funky passages, leave off the distortion or excessive saturation. These kinds of effects smear transients, taking away from the percussive nature that Jimmy Nolen\u2019s signature guitar riffs are known for\u2014again, everything is a drum.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Fat bass tones and flatwound strings<\/h3>\n\n\n\n<p>For bass tones and techniques, it can get a little varied. Performed by Fred Thomas, the sound of \u201cThe Payback\u201d is that old-school, thuddy, flatwound, heavy low end sound and it truly carries the groove. If you\u2019re chasing the sound of James Brown, by all means, grab a P bass or even a J bass, throw on some La Bella flats, and get funkin\u2019. That said, roundwound strings can have a brighter, funky sound as well.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Tight, punchy drums<\/h3>\n\n\n\n<p>As far as the drums, they are tuned tight, and the snare has that signature ring and pop to it. There\u2019s a theme here, if you haven\u2019t picked it up: tight and defined transients. Finally, lay on the horns, with their blaring and tight delivery that\u2019s always blended seamlessly in tone and rhythm.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Music modes and chord theory<\/h3>\n\n\n\n<p>Harmonically, \u201cThe Payback\u201d is based around B\u266dmin, and more specifically B\u266d Dorian (the minor scale with a raised 6th); you\u2019ll find that many funk songs are based in <a href=\"https:\/\/splice.com\/blog\/music-modes-dorian\/\" target=\"_blank\" rel=\"noreferrer noopener\">the Dorian mode.<\/a><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-blog-splice wp-block-embed-blog-splice\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"3vWaaZbplE\"><a href=\"https:\/\/splice.com\/blog\/music-modes-dorian\/\">The Dorian mode: A comprehensive guide<\/a><\/blockquote><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;The Dorian mode: A comprehensive guide&#8221; &#8212; Blog | Splice\" src=\"https:\/\/splice.com\/blog\/music-modes-dorian\/embed\/#?secret=GGfHBTe0TF#?secret=3vWaaZbplE\" data-secret=\"3vWaaZbplE\" width=\"370\" height=\"209\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Funk isn\u2019t solely relegated to minor keys, though (as you\u2019ll see later when we break down one of the most sampled James Brown tunes ever). Many funk songs will also utilize dominant chords and the Mixolydian mode to communicate an overall funky aura, with some even moving between the Mixolydian and Dorian modes, as Jimmy Nolen does here in \u201cThe Payback.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-blog-splice wp-block-embed-blog-splice\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"bWvQjom6mT\"><a href=\"https:\/\/splice.com\/blog\/music-modes-mixolydian\/\">The Mixolydian mode: A comprehensive guide<\/a><\/blockquote><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;The Mixolydian mode: A comprehensive guide&#8221; &#8212; Blog | Splice\" src=\"https:\/\/splice.com\/blog\/music-modes-mixolydian\/embed\/#?secret=VmyzRtmdiI#?secret=bWvQjom6mT\" data-secret=\"bWvQjom6mT\" width=\"370\" height=\"209\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Chicken scratch guitar technique<\/h3>\n\n\n\n<p>Again, funk as a genre cannot be defined by just a few modes or scales, because at the end of the day, the spirit of the music will make the tune sound funky\u2014not just the chords that are being played.<\/p>\n\n\n\n<p>With that being said, as we analyze the main guitar riff (panned left), we hear a common theme that appears not just in James Brown&#8217;s music, but in funk across many decades. Jimmy Nolen plays the aforementioned D\u266d and G double stop chords, creating a minor 6th chord on top of the B\u266d root being played by the bass. Using his \u201cchicken scratch method,\u201d where the strings are muted to create a tight and scratchy sound, Nolen plays these chords in a 16th-note strumming pattern, releasing the strings on some beats and muting them on others.<\/p>\n\n\n\n<p>He then moves the chord up one half step, to a D and A\u266d double stop chord, creating a B\u266d dominant 7th on top of the B\u266d root being played by the bass while strumming the same 16th-note pattern with his \u201cchicken scratch\u201d muting method. This incorporates both the Mixolydian sound (dominant) and Dorian (minor) sound of funk, creating a complex harmonic palette for the other musicians to play off of.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Breaking down \u201cFunky Drummer\u201d (1970)<\/h2>\n\n\n\n<p><a href=\"https:\/\/www.whosampled.com\/James-Brown\/Funky-Drummer\/\" target=\"_blank\" rel=\"noreferrer noopener\">According to WhoSampled,<\/a> \u201cFunky Drummer\u201d by James Brown has been sampled 1,995 times (as of August 2025). We owe this mostly to the infamous \u201cFunky Drummer Break\u201d (played by drummer Clyde Stubblefield) that comes in at around the 5:20 mark.<\/p>\n\n\n\n<p>But before you jump to that timestamp and cue up your multisampler, let\u2019s take some time to break down the groove as a whole, as there are even more call and response techniques and funky methods to be learned from \u201cFunky Drummer.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Funky Drummer (Pt. 1 &amp; 2)\" width=\"370\" height=\"278\" src=\"https:\/\/www.youtube.com\/embed\/QXw6YZltKJk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Music theory<\/h3>\n\n\n\n<p>From the moment the needle drops, we get a funky <a href=\"https:\/\/splice.com\/blog\/pentatonic-scale-music-theory\/\" target=\"_blank\" rel=\"noreferrer noopener\">pentatonic<\/a> line in the key of D from the band in unison. From there, they shift down into C, where the song falls into a pocket of bouncing between Fdom9 and C13 for next three minutes.<\/p>\n\n\n\n<p>Pay attention to the guitar panned left. There\u2019s no chicken scratch \/ 16th-note groove played by the guitar. Instead, Jimmy Nolen is playing a riff bouncing off of the C pentatonic scale.<\/p>\n\n\n\n<p>Despite this guitar pattern lacking the busy, clanking pattern we heard in \u201cThe Payback,\u201d it doesn\u2019t feel like anything is missing. This is why funk is not a formula. It\u2019s about listening to your bandmates and filling the space where needed.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Clyde Stubblefield\u2019s classic drum groove<\/h3>\n\n\n\n<p>The reason why we aren\u2019t missing that funky syncopated feeling here is in the title of the song: the funky drummer. Clyde Stubblefield is laying down one of the most legendary grooves that would change modern music as we know it. Between the 16th notes on the hi-hats, the dynamics of the snare drum and where he\u2019s accenting certain 16th notes, and the kick never quite landing on the one, the rest of the band doesn\u2019t have to play anything too complicated to fall into his pocket.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Organ and saxophone<\/h3>\n\n\n\n<p>The organ and right-panned rhythm guitar comp the chord changes behind the band, while the horns accent the snare hits that happen on two-e-and-a and four-e-and-a, while outlining the chord changes. We also get solos from the organist and saxophonist in this first section of the song.<\/p>\n\n\n\n<p>It\u2019s all a beautiful funky harmony between the entire band, but let\u2019s break down the call and response that happens between the guitar and the rest of the ensemble.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Music theory of the groove<\/h3>\n\n\n\n<p>With the C13 chord being the tonal landing place of the groove, it acts as an answer and resolution to the Fdom9 chord which precedes it. The pentatonic riff played by the guitar panned left is the question, which lands over the F9. The horns which accent the snare hits land on the C13 chord, acting as the answer to the question.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Call and response<\/h3>\n\n\n\n<p>James Brown\u2019s vocal also plays into this question and answer, with his part being the question and the horns answering his vocal phrases.<\/p>\n\n\n\n<p><em>Cut out the lights (horn hits)<br>And call the law (horn hits)<br>Cut out the lights (horn hits)<br>And call the law (horn hits)<br>Standin&#8217; over there (horn hits)<br>The devil\u2019s son in law (horn hits)<\/em><\/p>\n\n\n\n<p>As far as instrumentation, \u201cFunky Drummer\u201d follows the same formula as \u201cThe Payback,\u201d but with an added organ. The organ is such a versatile instrument in funk music, as it can be played quite percussively, padding chords in the background or serving as a nice warm lead for solos like those we hear in \u201cFunky Drummer.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Make your own funk music<\/h2>\n\n\n\n<p>Between \u201cThe Payback\u201d and \u201cFunky Drummer,\u201d there\u2019s a lot to be learned from James Brown about funk\u2014not just as a genre, but as a musical philosophy. Don\u2019t just stop at philosophy though; put it into practice by exploring the sounds of <em><a href=\"https:\/\/splice.com\/sounds\/packs\/soul-surplus\/souls-revenge\/samples\" target=\"_blank\" rel=\"noreferrer noopener\">Soul\u2019s Revenge,<\/a><\/em> a sample pack inspired by the Godfather of Soul, James Brown.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"has-text-align-center\">Incorporate funk samples crafted by top musicians into your own music:<\/p>\n\n\n\n<div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-1 wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/splice.com\/sounds\/genres\/funk\/samples\" target=\"_blank\" rel=\"noreferrer noopener\">Explore the sounds<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Learn about the key characteristics, instrumentation, music theory, and more of funk music, as defined by two James Brown classics.<\/p>\n","protected":false},"author":95,"featured_media":37328,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[1699,1696],"tags":[1075,1386,1254],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>What is Funk? How Two James Brown Classics Define the Genre - Blog | Splice<\/title>\n<meta name=\"description\" content=\"Learn about the key characteristics, instrumentation, music theory, and more of funk music, as defined by two James Brown classics.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/splice.com\/blog\/what-is-funk-music\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What is Funk? 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