History and character
Roots
Italian popular music arises from the meeting of three traditions: melodrama (Verdi, Puccini: the singable melody, bel canto, dramatic emphasis), the Neapolitan song (from the sixteenth-century villanella to the golden age between the nineteenth and twentieth centuries, with Caruso taking it around the world) and regional folk songs. In the early twentieth century the Italian-style song with orchestra took hold, followed by swing and the variety-show song (Trio Lescano, Natalino Otto).
From the postwar years to the 1960s
The Sanremo Festival was born in 1951 (won by Nilla Pizzi with "Grazie dei fiori") and became the stage of Italian song; from 1956 the winner normally represented Italy at Eurovision. In 1958 "Nel blu dipinto di blu" by Domenico Modugno opened the era of the singer-songwriter-performer. Rock and roll and the "urlatori" ("shouters": Adriano Celentano, Mina, Little Tony, Tony Dallara) arrived, along with the canzone d'autore (the term "cantautore" appears in an RCA catalog in 1959 and in an article in 1960), the Genoese school (Gino Paoli, Luigi Tenco, Umberto Bindi, Bruno Lauzi, Fabrizio De André), and beat (Equipe 84, Nomadi, Caterina Caselli).
The 1970s–1990s
Lucio Battisti with Mogol, the singer-songwriters (Guccini, De Gregori, Dalla, Venditti, Battiato, Fossati, Vecchioni), progressive rock (PFM, Banco del Mutuo Soccorso, Le Orme, Area), among the few acts to make a name abroad, Neapolitan song renewed by Pino Daniele, italo disco (Giorgio Moroder as a precursor; Gazebo, Righeira, Ryan Paris, Baltimora) and italo house, the rock of Vasco Rossi, Litfiba, Gianna Nannini, Ligabue, the rap of the posse scene and then of Articolo 31 and Frankie hi-nrg mc, and export pop (Eros Ramazzotti, Laura Pausini, Andrea Bocelli, Zucchero).
The 2000s to today
Tiziano Ferro, Negramaro, Elisa, Giorgia; talent shows; mainstream rap (Fabri Fibra, Club Dogo, Marracash); from 2015 Italian trap (Sfera Ebbasta, Dark Polo Gang, Ghali) and itpop / indie (Calcutta, Thegiornalisti, Gazzelle, Coez, Frah Quintale); Måneskin won Sanremo and Eurovision in 2021 with "Zitti e buoni"; Mahmood ("Soldi", 2019; "Brividi" with Blanco, 2022), Marco Mengoni, Elodie, Angelina Mango, Anna, Lazza and Geolier fill stadiums and top the charts.
Aesthetics
The centrality of singable melody and of the word (lyrics in Italian, often poetic or narrative), the voice up front, harmony that loves modulation and the shift between minor and major, an operatic legacy in the ballads, and a strong regional identity (Naples, Rome, Milan, Bologna, Genoa).
Scales and keys
Italian music mostly uses the major/minor tonal system (an operatic and Neapolitan legacy), with a few characteristic colors.
Major (Ionian)
- Formula: 1 2 3 4 5 6 7 (2-2-1-2-2-2-1).
- Example in C: C D E F G A B.
- Chords: C (I) – Dm (ii) – Em (iii) – F (IV) – G (V) – Am (vi) – Bdim (vii°).
- Use: melodic song, pop, singer-songwriter music; the "C progression" (I–vi–IV–V, C–Am–F–G) is the basis of hundreds of songs from the 1950s–60s.
- Mistakes: melodies that stay entirely on chord tones (they lack the "singability" made of passing notes and appoggiaturas).
Harmonic and melodic minor
- A harmonic minor: A B C D E F G# (1 2 b3 4 5 b6 7; 2-1-2-2-1-3-1).
- A melodic minor (ascending): A B C D E F# G#.
- Chords: Am – Bdim – C+ – Dm – E (V) – F – G#dim.
- Use: Neapolitan song, romanze, dramatic ballads, minor-key singer-songwriter music; the major V (E7) is indispensable.
Neapolitan scale and Neapolitan sixth
- Neapolitan minor: 1 b2 b3 4 5 b6 7 (in A: A Bb C D E F G#), with the b2 and the leading tone.
- Neapolitan major: 1 b2 b3 4 5 6 7 (in A: A Bb C D E F# G#).
- Neapolitan sixth: the major chord on the lowered II, usually in first inversion (in A minor: Bb/D), which prepares the V (E7). It takes its name from the eighteenth-century Neapolitan school and is one of the most "Italian" colors there is, found even in melodic pop.
Phrygian dominant (folk song of the South)
- Formula: 1 b2 3 4 5 b6 b7 (in E: E F G# A B C D).
- Use: melismas of the folk songs of Campania, Puglia and Sicily, "Andalusian" cadences (Am–G–F–E) ending on the major V.
Pentatonic scales and modes (modern pop, rap, indie)
- Minor pentatonic: rap, trap, rock.
- Aeolian and Dorian: rap and trap (natural minor), itpop (major and Mixolydian with simple progressions).
How to choose
| Genre | Scale |
|---|---|
| Melodic song, pop | major, modulations |
| Neapolitan song | harmonic minor, Neapolitan sixth, Phrygian dominant |
| Singer-songwriter | major and harmonic minor, modes |
| Rock | pentatonic, Mixolydian, Aeolian |
| Rap and trap | Aeolian, harmonic minor, Phrygian |
| Italo disco | Aeolian with i–VI–III–VII progressions, and major |
Harmony
Key and cadences
Italian song uses functional harmony: full V–I cadences, secondary dominants, passing diminished chords, a legacy of opera and the romanza.
Typical features
- Verse in minor, chorus in the relative major (or vice versa): the emotional shift typical of Italian song (from Am to C).
- Verse in minor, chorus in the parallel major (from Am to A): typical of Neapolitan song.
- Neapolitan sixth (bII6) before the V in dramatic cadences.
- Modulation by a semitone or a whole tone in the last chorus (the "Sanremo modulation").
- C progression (I–vi–IV–V) and variants (I–iii–IV–V, I–V/7–vi–IV).
- Andalusian cadence (i–VII–VI–V) in the South and in melodic pop.
- Passing diminished chords (C–C#dim–Dm).
- In rap, trap and itpop: loops of 2–4 chords with no cadences (see subgenres).
Harmonic rhythm
Medium-high in melodic song (one chord every 2 beats), low in rap and trap.
Voicing
Piano and guitar with full chords, orchestral-style strings, voices in thirds and sixths in the backing vocals.
Typical progressions
| Name | Key | Chords | Degrees | How to use it |
|---|---|---|---|---|
| C progression | C major | C Am F G | I vi IV V | The basic progression of 1950s–60s Italian song and of countless pop songs: simple, singable, circular. |
| Minor opening to the relative | A minor → C major | Am Dm G C | i iv VII III | The VII–III leads from the minor of the verse to the major of the chorus: an emotional gesture typical of singer-songwriter music. |
| Cadence with Neapolitan sixth | A minor | Am Dm Bb/D E7 Am | i iv bII6 V7 i | The Neapolitan sixth (Bb in first inversion) before the dominant: a dramatic color from the Neapolitan school. |
| Andalusian cadence | A minor | Am G F E | i VII VI V | Descent with the major V: songs of the South, tarantellas, dramatic ballads. |
| Minor → parallel major | D minor → D major | Dm A7 Dm D | i V7 i I | Verse in minor and chorus in major on the same tonic: typical of classic Neapolitan song. |
| Passing diminished | F major | F F#dim Gm C7 | I #i°7 ii V7 | The chromatic diminished chord between I and ii: the elegance of melodic song and Italian swing. |
| Sanremo modulation | G major → Ab major | C D7 Eb7 Ab | IV V7 V7/new I/new | The semitone jump in the last chorus: Eb7 is the dominant of the new key. |
| Trap/indie loop | E minor | Em C G D | i VI III VII | The Aeolian progression with no dominant cadence in post-2015 Italian music (trap and itpop). |
Rhythm and groove
Variety
Italian music has no single rhythm: it ranges from the ballad in 4/4 or 12/8 to the tarantella in 6/8, from the waltz and mazurka of liscio to the four on the floor of italo disco, from the rock backbeat to boom bap and trap.
Common traits
- Prosody: the meter of Italian (paroxytone words, stress on the penultimate syllable, hendecasyllabic and heptasyllabic lines) shapes the phrasing: many phrases start on the upbeat and end with an unstressed syllable after the downbeat.
- Ballads: slow tempos (60–80), 4/4 with triplets or 12/8.
- Folk dance: tarantella and pizzica (6/8, 12/8), tammurriata (duple), liscio (3/4 waltz, mazurka, polka).
- Modern pop: 90–125, dance-pop or Latin groove (Italian reggaeton since about 2018).
Drums
How the drums think
In Italian song the drums are at the service of the voice and the word: simple patterns, dynamics that grow with the chorus, fills that mark the sections.
Ballad and melodic song
- Kick: 1 and 3 (or 1, 3-and), soft.
- Snare: cross-stick in the verses, snare on 2 and 4 in the choruses.
- Hi-hat/ride: eighth notes; ride in the choruses; suspended cymbals with mallets in the intros.
- Fills: toms and snare at the end of a section, crash on the first beat of the chorus.
Tarantella and folk music
Tambourine and tammorra in 6/8, castanets, bass drum; accelerandos at the end.
Italian rock
Backbeat on 2 and 4, kick on 1 and 3 with syncopations, eighth-note hats, classic fills.
Italo disco
Four on the floor, clap on 2 and 4, offbeat hats, electronic Simmons toms.
Rap and trap
Boom bap (kick on 1, 8, 11; snare on 2 and 4) and half-time trap (clap on 3, hi-hats with rolls).
Interaction with vocals and bass
Sparse verses, full chorus; the arrangement "opens up" on the chorus (crash, ride, strings). In singer-songwriter music the drums often only come in from the second verse.
Typical mistakes
Drums that intrude too much under important lyrics; too many fills; lack of dynamics between verse and chorus.
Bass
- Melodic song and pop: electric bass (or double bass in swing) playing roots and diatonic passing notes between the chords, lines that "walk" toward the chord change.
- Neapolitan song: double bass or bass in a "tempo" style (1 and 3), colascione in the ancient tradition, today a jazzy electric bass (Pino Daniele).
- Rock: eighth notes on the root, riffs.
- Italo disco: sequenced bass in eighth notes, often in alternating octaves.
- Rap and trap: sampled bass or 808 (see subgenres).
- Register: 40–200 Hz; in the ballad the bass often stays silent in the first verse.
Harmonic instruments
- Piano (the Italian ballad instrument par excellence), acoustic and classical guitar (singer-songwriter), electric guitar (rock, pop).
- Mandolin and guitar (Neapolitan song), accordion (liscio, folk music, canzone d'autore).
- String orchestra (melodic song, Sanremo), horns (swing, variety-show song).
- Synth (italo disco, 1980s pop, itpop), Hammond and Mellotron (prog).
- Organetto, zampogna, launeddas in the regional traditions.
Melody and vocals
Melody
Singable melody is the heart: wide range in ballads (up to a twelfth), a climax in the chorus, appoggiaturas and long notes, a legacy of bel canto. In canzone d'autore the melody follows the word (recitative, syllabic); in rap and trap it is rhythmic.
Vocals
Up front, intelligible, with natural vibrato; a tradition of great voices (Mina, Massimo Ranieri, Andrea Bocelli, Laura Pausini, Giorgia) and of "character" voices (De André, Vasco, Lucio Dalla, Paolo Conte).
Backing vocals
Harmonies in thirds and sixths (folk tradition), gospel choirs in modern pop, "stadium" choruses in rock; in melodic song the backing vocals double the choruses.
Effects
Generous reverb (plate/hall) in melodic song, drier vocals in singer-songwriter music, Auto-Tune in trap and in part of modern pop.
Instruments
Vocals, piano, classical and acoustic guitar, electric guitar, bass, double bass, drums, mandolin, accordion, string orchestra, horns, tambourine and tammorra, synths, drum machine, sampler, 808.
Drum patterns
Synths and sounds
- Piano V — Ballad piano: The grand piano is the harmonic instrument of Italian song: mid-distance microphones, full velocity, hall reverb.
- Augmented Strings — String orchestra: Orchestral strings for melodic and Sanremo-style song (legato, pizzicato).
- Jup-8 V — 1980s pads and brass: The sound of 1980s pop and italo disco.
- Mellotron V — Prog flutes and strings: The Mellotron is a key timbre of 1970s Italian prog.
- B-3 V — Hammond organ: Prog, beat and Italian rock.
- Mini V — Lead and bass: Prog leads (Moog) and italo disco basses.
- DX7 V — E.Piano and FM bass: Italian pop of the 1980s–90s (DX7 ballads).
Song structure
Italian song form
| Section | Bars | What happens |
|---|---|---|
| Intro | 4–8 | piano, guitar or strings |
| Verse 1 | 8–16 | vocals and a few instruments (often in minor) |
| Pre-chorus / bridge | 4–8 | harmonic growth |
| Chorus | 8–16 | opening up (often in the relative major), full band, strings |
| Verse 2 | 8–16 | full drums come in |
| Chorus | 8–16 | |
| Special / bridge | 8 | new harmony, often a modulation |
| Final chorus | 8–16 | modulated by a semitone/whole tone, vocal climax |
| Coda | 4–8 | return to the intro or orchestral ending |
Notes
The "Sanremo song" runs about 3:30–4:00 and has a final climax; the canzone d'autore can have long strophic forms (many verses, no chorus). Rap, trap and itpop follow the forms of their own genres.
Mixing and mastering
Sonic goal
The Italian voice sits above everything: it must be clear and understandable on every word (the Italian audience listens to the lyrics), warm and present; instruments serve the voice; in ballads, wide dynamics and big reverbs. References: Laura Pausini, Tiziano Ferro, Marco Mengoni for pop; Lucio Dalla, Fabrizio De André for singer-songwriter music; Måneskin for rock; Sfera Ebbasta for trap. Balance: vocal 0 (often 1–2 dB louder than in Anglo-American pop), drums −6, bass −6, piano/guitars −8, strings −10.
Drums
- Kick: HP 30 Hz; body 60–80 Hz; cut 300–400 Hz; attack 3 kHz; compression 4:1 3 dB.
- Snare: HP 100 Hz; body 200 Hz; presence 3–5 kHz; plate 1.2–2 s.
- Overheads/hat/ride: HP 200–400 Hz; cut 3–5 kHz if harsh; pan from the drummer's perspective.
Bass
HP 35 Hz; body 80–100 Hz; definition 700 Hz–1 kHz; compression 3–4 dB; mono.
Piano
HP 60–80 Hz; cut 200–300 Hz if boomy; dynamic EQ 2–4 kHz keyed from the vocal; stereo ±60; hall 2 s.
Guitars (acoustic, classical, electric)
HP 80–120 Hz; cut 200–300 Hz; moderate presence 3–5 kHz; acoustic in stereo or doubled ±70.
Strings and horns
HP 120 Hz (cellos 60–80 Hz); hall 2–3 s; orchestral stereo layout (violins left, cellos right); automation in the choruses.
Lead vocal
- Chain: corrective EQ → FET compressor → opto → de-esser → light saturation → tonal EQ → sends.
- EQ: HP 80 Hz (male) / 100–120 Hz (female); −2 dB at 200–300 Hz; intelligibility 2–4 kHz (+2 dB) — watch out for Italian consonants (double consonants, "t", "c"); air 10–12 kHz; de-esser 5–8 kHz (Italian "s" and "z" sounds).
- Compression: 1176 4–5 dB + LA-2A 3 dB; level rider for the words.
- Space: plate 1.5–2.5 s (ballads) or 1–1.2 s (pop), pre-delay 50–80 ms; quarter-note delay on the tails.
Backing vocals
HP 150 Hz; compression 5–6 dB; pan ±40–80; shared reverb.
Buses, sidechain, master
Drum bus 2 dB; band bus 1 dB; vocal bus 1–2 dB. Master: ballads and singer-songwriter −12/−10 LUFS; pop −9/−8; rock −9/−7; rap −9/−8; trap −8/−6. True peak −1 dBTP.
Common mistakes
Buried vocals (in Italy the lyrics have to be understood); sibilant "s" and "z" sounds; strings covering the vocal; lack of dynamics between verse and chorus.
Reference tracks for mixing
- Domenico Modugno — Nel blu dipinto di blu (1958)
- Lucio Dalla — Caruso (1986)
- Laura Pausini — La solitudine (1993)
- Tiziano Ferro — Sere nere (2003)
- Måneskin — Zitti e buoni (2021)
- Mahmood & Blanco — Brividi (2022)
Reference listening
- Domenico Modugno — Nel blu dipinto di blu (1958)
- Mina — Il cielo in una stanza (1960)
- Fabrizio De André — La canzone di Marinella (1964)
- Lucio Battisti — Emozioni (1970)
- Pino Daniele — Napule è (1977)
- Vasco Rossi — Albachiara (1979)
- Lucio Dalla — Caruso (1986)
- Laura Pausini — La solitudine (1993)
- Måneskin — Zitti e buoni (2021)
- Mahmood & Blanco — Brividi (2022)