Since the age of 3, Notes was raised around Baby and Slim of Cash Money Records and has been exposed to that lifestyle ever since. Naturally, he grew a love for it. But as he got older, he would soon find out that that love was deeper than he had realized. He had a passion for music.
In 2007, he visited Atlanta with producer London On Da Track, who was recently ranked at #6 in Fader Magazine’s Top 10 Producers of 2012, and spit on one of his tracks. This track gained the attention of Grammy nominated producer Craig A. King who told him that he saw greatness in him and that he should start taking his music career seriously. The rest is history.
Notes went back to New Orleans with a plan, with one goal on his mind. To take over the rap game. He soon started recording, networking, and performing at various events around the city. He released his first mixtape, entitled “New Orleans Mindstate”, in 2009 on DatPiff.com and received a 4-star rating! The mixtape caught like fire and the word was out. Notes then began travelling and performing his hits in cities such as Lafayette,La., Mobile,Al., and Memphis,Tn.
In late 2010, Notes knew that it was time to make a move. He headed to Orlando, Fl. to hook back up with London On Da Track and the game hasn’t been the same since. The two quickly made a name for themselves in Florida and hooked up with Michael “CEO” Rape and Randy Jenkins of ExecPromo, one of the biggest promotional and events agencies in Orlando. In 2011, the team dropped Notes’ 1st official mixtape, “Take Notes”, which received a 5-star rating on DatPiff and catapulted them to the top of the Orlando music scene.
Notes was featured in Talk of Orlando Magazine and their associated website TalkOfOrlando.com. Notes had arrived!
In December of 2012, Notes released his latest mixtape, “Scriptures”, on Datpiff.com and received another 5-star rating! Scriptures can be found on iTunes and Notes’ You Tube channel (cnotestv), which has garnered over 23 thousand views. Notes’ hit debut single and video “Salute”, produced by London on da Track and Cash Clay, can also be viewed on his YouTube channel.
Do What It Do
Notes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
What do you do, when you're all alone?
When it seems like the weight of the world
Is bearing down on your shoulders
Remind yourself, you were created divine
Filled with love, flowing over
Let nothing and no one, rob you of your truth
Believe and see, the light in you
That's where you go, when you're feeling low
That's what you do, when you're all alone
When you shine your light on the world
You share the love that lives within you
Despite what you, despite what you may go through
Trust that love will see you through
Let nothing and no one
Rob you of your truth
Believe and see the light in you
So you can boldly speak your truth
Where do you go, when you're feeling low?
What do you do, when you're all alone?
Love's where you go, when you're feeling low
Love is what you do, when you're all alone
Search deep inside and you will find the secrets that will free your mind
Believe it's true, believe that you will make it through the answer is in you
Love's where you go, when you're feeling low
Love is what you do, when you're all alone
Notes's song "Do What It Do" highlights the longing for the city of New Orleans and the feelings of nostalgia associated with it. The lyrics reveal the artist's emotional attachment to the city, as he describes the feeling of missing it day and night. The longer he stays away, the stronger this feeling becomes. The imagery used in the song is evocative of the city's quintessential features, such as the moss-covered vines, tall sugar pines, and the sounds of the mockingbirds. The artist laments the fact that he cannot see the old Mississippi, and hear the Creole tunes that fill the air, which are merely a dream for him now.
The song's climax comes in the form of the line "Do you know what it means to miss New Orleans, When that's where you left your heart." This line emphasizes the power of the city on the artist and the deep connection he feels towards it. The artist then reveals that it is not just the place that he misses; it is also the person he cares for. The emotional attachment that the artist feels for the city is anchored in the memories and relationships he has built there.
Overall, "Do What It Do" is a love letter to the city of New Orleans and showcases the power that it can hold over an individual. The song's emotional impact is a testament to the city's rich history, culture, and unique atmosphere.
Line by Line Meaning
Do you know what it means to miss New Orleans
Do you understand the nostalgic longing that comes from being away from New Orleans?
And miss it each night and day
This feeling of nostalgia is constant, both during the day and night.
I know I'm not wrong, the feeling's getting stronger
This feeling is only increasing, and the singer is sure that it's not a mistaken or temporary feeling.
The longer I stay away
This feeling intensifies the longer the singer is away from New Orleans.
Miss the moss-covered vines, tall sugar pines
The singer misses the unique nature that characterizes Louisiana's landscape. Particularly the moss-covered vines and tall sugar pines.
Where mockingbirds used to sing
These elements are where mockingbirds, another iconic symbol of New Orleans, used to sing.
I'd love to see that old lazy Mississippi
The singer would love to see the slow, winding Mississippi River again.
Hurrying into Spring
The river hurries during Springtime in particular.
The moonlight on the bayou
The singer misses seeing the moonlight shining over the bayou, another important Louisiana symbol.
A Creole tune that fills the air
In addition to the scenery, the singer misses the unique Creole music that permeates the air in New Orleans.
I dream about magnolias in bloom
The singer dreams of seeing magnolias blooming again, as these are another symbolic element of Louisiana's nature.
And I'm wishing' I was there
This nostalgia is so intense that the singer wants to be in New Orleans again.
When that's where you left your heart
New Orleans is where the singer's heart was last.
And there's one thing more, I miss the one I care for
In addition to the city and its elements, the singer misses a specific person who is important to them.
More than I miss New Orleans
This person is even more missed than New Orleans itself.
Lyrics © DistroKid
Written by: Maestro Curtis
Lyrics Licensed & Provided by LyricFind
Olivier DALET
@Harold L Potts Well, I excluded organs (and accordions fall into this category as well) because their "Human-machine interface" is a keyboard, and this is what prevents the player to reach notes in-between the half tones we know (although in the case of accordions, there are some techniques that allow the player some control over the note pitch), however you are right that organs are basically huges sets of recorders wired to a keyboard (and accordions the same but with harmonicas) ;)
Clarinets are cylindrical bores - that's why they have 12th key instead of an octave one (Oboe and saxophones have a conical bore on the other side and an octave key. Flutes are a strange beast: cylindrical but with an octave key, because the pipe is doubly open and not close/open as for the other instruments). Then the shape of the bore is not what allows one to reach quarter tones more or less easily.
Just found a video with a clarinetist explaining how he's playing oriental scales: https://www.youtube.com/watch?v=OwkZy9CAklA
And then, some hijaz maqam improvisations:
on a clarinet: https://www.youtube.com/watch?v=wgH0Ze3z_X0 or https://www.youtube.com/watch?v=rjNfPuUnEeE
on a saxophone: https://www.youtube.com/watch?v=pg5vL8E3Suw
Zvonimir Tosic
@Donald Bryant The so-called "Fifths", are chromatic distances of 7 semitones. If we look at the frequencies of the notes, "the Fifths" or 7 semitones apart, are 1.5x the frequency rate of the original note. 1.5x is the simplest and most harmonious distance apart from the full octave (which is 2x the frequency).
THAT is why in one music key, we search for its "Fifth", (chromatic note 7 semitones apart) to begin a brand new music key that will have the tonic most harmonious to the original tonic, and in consequence, be the best key to EXTEND the original key.
For example, from the key where the tonic is C, we search for its "Fifth", to begin the next most harmonious key. The "Fifths" happens to be note G, which is used to begin the key of G. that key of G — voila!— contains almost ALL the same notes the key of C has, apart from one; and that one is F#.
Then, inside the key of G, its "Fifth" is note D (as G and D are frequencies 1.5x apart), which will be used as a tonic of a new key of D. The key of D will have almost all the notes of the key of G, plus one more sharp, which is C#. And so on. THAT is how we get "sharps" — through the so-called "circle of Fifths".
What does this mean in REALITY? If we can start composing in one key (say, in the key of C), and EXTEND our music motif in the key of G, it will sound very similar to the key of C (because the key of G has the majority of notes the key of C has) but will provide us one EXTRA note (F#), to have at our disposal.
It allows composing music by gradual shifting the mood and storytelling, (say, shift from the key of C to the key of G), instead of an abrupt shift in mood and overall confusion, which would happen if suddenly many new and unfamiliar notes are used. Say, if we shift from the key of C, which has no "sharps", to the key of F#, which has 6 sharps, the mood and sound shifts abruptly. We would think we are listening to a completely different song.
Gio Giochka
Great video, really helps to understand our tuning system.
Somewhat confusing in this system is the definition of "equal distance" between any two consecutive notes.
If x and y are consecutive notes (eg x=A3 and y=A#3), then
f(y) = 12th√2 × f(x),
where f(x) and f(y) are the frequencies of x and y, and 12th√2 represents the 12th root of 2 (see video at around 13:10).
This is because the frequencies don't increase linearly, but exponentially.
David Bennett Piano
❗ CORRECTION: At 5:41, it should read "For Major Sixth multiply by 1.666, and Minor Sixth multiply by 1.6" but I got them the wrong way around 😅 Thanks to Hans Bakker for spotting this 👍
AFRoSHEEN T3 Arc Michael
@Teddy Dunn I think you don't understand why theres 12 and it's not 12 its 13 because open is one. 22 or anything beyond 13 will never resonate with anyone. It's all about the unison octave perfect 4th and perfect 5th because these perfects create a triangle in the Greek tetracktys from their ratios and sound the most pleasing in harmony. Why try to add more than 13 notes when really all you need is 7 to 8 notes to tell a story. 12 is what you end up with when you divide the octave evenly. I'd like to see the 22 or 24 resolve on other notes that aren't the perfect 4th or 5th or the leading tone type cadence. Not only are they the most pleasant sounding but they all resolve back to the root or octave.
Switzerland
666?!!!
Stephen Arbon
@Latchezar Dimitrov
I think that is a modern day compromise,
baroque and earlier instruments, the fingering on was not necessarily the same between F# and Gb etc, and acheived just a slight difference in tone.
AINIEL YABUT
@David Bennett Piano 8ve more like P8
AINIEL YABUT
@Farahen Den 1.66666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666
Matthew Shaw
Im not "playing the violin badly", I'm just experimenting with microtonality
Skylar Higgs
I feel this in my soul
Zetsuke4
Just make sure you play your perfects right
Olivier DALET
@Harold L Potts Well, I excluded organs (and accordions fall into this category as well) because their "Human-machine interface" is a keyboard, and this is what prevents the player to reach notes in-between the half tones we know (although in the case of accordions, there are some techniques that allow the player some control over the note pitch), however you are right that organs are basically huges sets of recorders wired to a keyboard (and accordions the same but with harmonicas) ;)
Clarinets are cylindrical bores - that's why they have 12th key instead of an octave one (Oboe and saxophones have a conical bore on the other side and an octave key. Flutes are a strange beast: cylindrical but with an octave key, because the pipe is doubly open and not close/open as for the other instruments). Then the shape of the bore is not what allows one to reach quarter tones more or less easily.
Just found a video with a clarinetist explaining how he's playing oriental scales: https://www.youtube.com/watch?v=OwkZy9CAklA
And then, some hijaz maqam improvisations:
on a clarinet: https://www.youtube.com/watch?v=wgH0Ze3z_X0 or https://www.youtube.com/watch?v=rjNfPuUnEeE
on a saxophone: https://www.youtube.com/watch?v=pg5vL8E3Suw