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One of the main problems that can be observed in modern musicians is insufficient possession of the musical form. On the one hand, modern music in all its diversity is based on a rather narrow range of forms – usually song-like, which are used by almost all musicians. On the other hand, there are a huge number of methods of working on the form, which are universal and can be successfully used in music of different styles. buy beats online is a major thing for every musician.

As you may know, the textbook problem of the authors of music and songs is the dominance of squareness (the despotism of the four). In the square it there is nothing bad – this principle of shaping since the 16th century was the main attribute of dance music, for which the simplicity and stability of the meter are very important.

Another thing when the author uses it thoughtlessly, and only because it is necessary. In this case, you need to use different methods of expansion, compression of the form and much more. This approach can be used in most styles of music, including dance.

Metric dissonances

Recall that dissonance is the sound of tones that “do not merge” with each other. Acoustic dissonance arises due to the discrepancy between the overtone series of sounding notes. If we draw an analogy with the meter, the dissonance is a mismatch between the rhythm and the meter, the number of measures and other differences with the typical movement.  Some of the most obvious techniques can be distinguished:

Contradiction of motive or phrases and metric grid

In this case, a phrase with a length of 7/8 or ¾ can be superimposed on an even meter (for example, 4/4), etc. If the phrase has a clearly pronounced strong proportion and a stable size, then you can say that polymeric has occurred. If several phrases have different sizes, then polymeric as such does not occur and it is possible to talk about wandering accents.

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Naturally, poly-rhythmic and polymeric are the most obvious techniques that relate to the concept of metric dissonance. It is widely used in hemiol, that is, the overlap of 2 lobes of the pulsation of 3 lobes with subsequent resolution of the original. This creates a pattern similar to the movement of harmony TSDT, only in the rhythm area.

The next technique that can be distinguished is the use of a bunch of ostinato and metric constancy with the introduction of a size change at the boundaries of the constructions. Experts would especially like to highlight this trick – since it sounds very interesting and maybe even write down a video lesson in which I will show in detail its use.

Briefly, the essence is as follows.

 

In the course of 7-8 cycles, an ostinato figure is used – it may even be just the eighth movement. In kabanas, however, periodicity-breaking pre-interchange measures with size change are added. Usually this is the addition of one or two parts, or vice versa “cutting off”. Thus, against the background of a smooth metro-rhythmic movement, metric dissonance arises in key sections of the form. Naturally, this can also be emphasized by harmonic-melodic dissonances.

Cedrick Goodyear
Cedrick-Goodyear@lesfondantsdefloan.com