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In music, a breakdown is part of a song in which various instruments have solo parts (breaks). This may take the form where all instruments play the verse together, and then several or all instruments individually repeat the verse as solo parts.
A breakdown is a popular musical style particularly in bluegrass, notable examples being Earl Scruggs' "Foggy Mountain Breakdown" and Bill Monroe's "Bluegrass Breakdown".
Disco DJ, mixer, and remixer Tom Moulton invented the "disco break" or breakdown section in the early 1970s. Moulton had been remixing arecord (”Dreamworld” by Don Downing) which "immaculated" (went to a higher key) towards the end, and he wanted to cut parts together that were in different keys. To do this, he separated two sections with non-tonal information.He edited in a section of drums, and the aesthetic effect was pleasing to dancers at the club. The placement was also useful for club DJ's, providing a rhythm-only section of the recording over which to begin mixing in the next record. Moulton says his innovation was an accident. The placement followed the pattern of a traditional pop recording: it replaced the bridge typically found in such a record after the second chorus.
A later example is the breakdown in "My Lovin' (You're Never Gonna Get It)" by En Vogue: a sampled male voice can be heard introducing this part of the record (at 3:27) with the sentence "and now it's time for a breakdown". Longer dance tracks often have two, three, or more breakdowns.
Initially, the transition to the breakdown was an abrupt absence of most of the arrangement in a disco record, as described above. Records in the hi-NRG style of the late 1970s to early 1980s would typically use a pronounced percussive element, such as a drum fill, to cover the transition. Later dance genres typically reach the breakdown section by a gradual reduction of elements, though a wide variety of styles have been employed since the mid-2000s.
In all genres, the stripping away of other instruments and vocals ("breaking-down" the arrangement) helps create intense contrast, with breakdowns usually preceding or following heightened musical climaxes. In many dance records, the breakdown often consists of a stripping away of the pitched elements (most instruments) – and often the percussion – while adding an unpitched or indistinctly pitched noise, a sound effect. This is often treated with a lot of reverb and rises in tone to build toward an exciting climax. This noise then typically cuts to a beat of silence, creating extra tension on the dance floor, before the drop – the sudden (and often percussive and volume-enhanced) return to the musical part of the track.
Breakdowns are sometimes found in metal and punk songs, as they can be used to eschew traditional verse–chorus–verse songwriting. When played live, breakdowns are usually responded to by the audience with high-intensity moshing (slam dancing).
The drumming is usually simple, with a four quarter-note ride pattern with the snare on the third beat. Most commonly, the drummer plays quarter notes on the crash cymbal or China cymbal. In some breakdowns where a very slow tempo is used, the drummer will play half notes, to give the music a very "heavy", slow feel. The guitarist usually follows the rhythm, or "chugs" (uses palm-muted strokes on the lowest three to four strings of the guitar) along with the kick drum. In most cases, the drummer will use the kick drum to complement such "chugs" of the guitars.
The guitars play a set of rhythmically oriented riffs, usually on lightly palm-muted strings to achieve a very high attack noise that decays slowly, making the overall sound more thick and "heavy". Sometimes, these are contrasted with either dissonant chords, such as minor second intervals, tritones (flatted fifths), or pinch harmonics.
In punk, breakdowns tend to be more upbeat, using the floor toms and snare to create a faster, "rolling" rhythm. This provides audience members with an opportunity to skank, mosh, or form a circle pit.
Many of the bands that play in the genres of deathcore and metalcore make heavy use of breakdowns, which may consist of slow-paced strumming on the guitar, or fast syncopated triplet-feel patterns, both of which are typically palm-muted and played on the lowest three strings of a guitar, and may also involve a bass drop. These strings are usually tuned down from somewhere between Drop D all the way down to Drop Eb tuning. As in other modern metal genres and in punk, breakdowns in metalcore and deathcore are signals for moshing at live shows.
Electronicore bands such as Horse the Band, Asking Alexandria, Attack Attack!, Capture the Crown, Fear, and Loathing in Las Vegas, and Enter Shikari incorporate synthesizers that often add a dance-beat style to the breakdown.
In bluegrass music, a break is a short instrumental solo played between sections of a song and is conventionally a variation on the song's melody. A breakdown is an instrumental form that features a series of breaks, each played by a different instrument. Examples of the form are "Bluegrass Breakdown" by Bill Monroe as well as "Earl's Breakdown" and "Foggy Mountain Breakdown", both of which were written by Earl Scruggs.
The banjo is a four, five, or six stringed instrument with a thin membrane, stretched over a frame or cavity to form a resonator. The membrane is typically circular, and usually made of plastic, or occasionally animal skin. Early forms of the instrument were fashioned by Afro-Americans in the United States, adapted from African instruments of similar design. The banjo is frequently associated with folk and country music. Banjo can also be used in some rock songs. Many rock bands, such as The Eagles, Led Zeppelin, and The Allman Brothers, have used the five-string banjo in some of their songs. Historically, the banjo occupied a central place in African-American traditional music and the folk culture of rural whites before entering the mainstream via the minstrel shows of the 19th century. Along with the fiddle, the banjo is a mainstay of American old-time music. It is also very frequently used in traditional ("trad") jazz.
Funk is a music genre that originated in African-American communities in the mid-1960s when African-American musicians created a rhythmic, danceable new form of music through a mixture of soul music, psychedelic rock, jazz, and rhythm and blues (R&B). Funk de-emphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bassline played by an electric bassist and a drum part played by a drummer, often at slower tempos than other popular music. Like much of African-inspired music, funk typically consists of a complex groove with rhythm instruments playing interlocking grooves that created a "hypnotic" and "danceable feel". Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths and thirteenths.
In music performances, rhythm guitar is a technique and role that performs a combination of two functions: to provide all or part of the rhythmic pulse in conjunction with other instruments from the rhythm section ; and to provide all or part of the harmony, i.e. the chords from a song's chord progression, where a chord is a group of notes played together. Therefore, the basic technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming or fingerpicking rhythmically with the other hand. More developed rhythm techniques include arpeggios, damping, riffs, chord solos, and complex strums.
Bluegrass music is a genre of American roots music that developed in the 1940s in the United States Appalachian region. The genre derives its name from the band Bill Monroe and the Blue Grass Boys. Bluegrass has roots in traditional English, Scottish and Irish ballads and dance tunes, and by traditional African-American blues and jazz. Bluegrass was further developed by musicians who played with Monroe, including 5-string banjo player Earl Scruggs and guitarist Lester Flatt. Monroe characterized the genre as: "Scottish bagpipes and ole-time fiddlin". It's Methodist and Holiness and Baptist. It's blues and jazz, and it has a high lonesome sound."
Scruggs style is the most common style of playing the banjo in bluegrass music. It is a fingerpicking method, also known as three-finger style. It is named after Earl Scruggs, whose innovative approach and technical mastery of the instrument have influenced generations of bluegrass banjoists ever since he was first recorded in 1946. It contrasts with earlier styles such as minstrel, classic or parlor style, clawhammer/frailing/two-finger style, jazz styles played with a plectrum, and more modern styles such as Keith/melodic/chromatic/arpa style, and single-string/Reno style. The influence of Scruggs is so pervasive that even bluegrass players such as Bill Keith and Don Reno, who are credited with developing these latter styles, typically work out of the Scruggs style much of the time.
The palm mute is a playing technique for guitar and bass guitar, executed by placing the side of the picking hand below the little finger across the strings to be plucked, very close to the bridge, and then plucking the strings while the damping is in effect. This produces a muted sound. The name is a slight misnomer, as the muting is performed by the side of the hand, not the palm.
Deep house is a subgenre of house music that originated in the 1980s, initially fusing elements of Chicago house with 1980s jazz-funk and touches of soul music. Its origins are attributed to Larry Heard's track "Mystery of Love" in 1984.
A number of heavy metal genres have developed since the emergence of heavy metal during the late 1960s and early 1970s. At times heavy metal genres may overlap or are difficult to distinguish, but they can be identified by a number of traits. They may differ in terms of: instrumentation, tempo, song structure, vocal style, lyrics, guitar playing style, drumming style, and so on.
A guitar solo is a melodic passage, instrumental section, or entire piece of music written for a classical guitar, electric guitar or an acoustic guitar. In the 20th and 21st century traditional music and popular music such as blues, swing, jazz, jazz fusion, rock and metal guitar solos often contain virtuoso techniques and varying degrees of improvisation. Guitar solos on classical guitar, which are typically written in musical notation, are also used in classical music forms such as chamber music and concertos.
In popular music, a break is an instrumental or percussion section during a song derived from or related to stop-time – being a "break" from the main parts of the song or piece. A break is usually interpolated between sections of a song, to provide a sense of anticipation, signal the start of a new section, or create variety in the arrangement.
A rhythm section is a group of musicians within a music ensemble or band that provides the underlying rhythm, harmony and pulse of the accompaniment, providing a rhythmic and harmonic reference and "beat" for the rest of the band. The rhythm section is often contrasted with the roles of other musicians in the band, such as the lead guitarist or lead vocals whose primary job is to carry the melody.
Flatt & Scruggs and the Foggy Mountain Boys was an American bluegrass band. The band was founded by guitarist Lester Flatt and banjo player Earl Scruggs and is viewed by music historians as one of the premier bluegrass groups in the history of the genre. The band was originally formed in 1948 by Flatt, who had been a member of Bill Monroe's bluegrass band. Flatt brought Scruggs with him shortly after leaving Monroe.
Dance music is music composed specifically to facilitate or accompany dancing. It can be either a whole musical piece or part of a larger musical arrangement. In terms of performance, the major categories are live dance music and recorded dance music. While there exist attestations of the combination of dance and music in ancient times, the earliest Western dance music that we can still reproduce with a degree of certainty are the surviving medieval dances. In the Baroque period, the major dance styles were noble court dances. In the classical music era, the minuet was frequently used as a third movement, although in this context it would not accompany any dancing. The waltz also arose later in the classical era. Both remained part of the romantic music period, which also saw the rise of various other nationalistic dance forms like the barcarolle, mazurka, ecossaise, ballade and polonaise.
This is a list of jazz and popular music terms that are likely to be encountered in printed popular music songbooks, fake books and vocal scores, big band scores, jazz, and rock concert reviews, and album liner notes. This glossary includes terms for musical instruments, playing or singing techniques, amplifiers, effects units, sound reinforcement equipment, and recording gear and techniques which are widely used in jazz and popular music. Most of the terms are in English, but in some cases, terms from other languages are encountered.
Bluegrass mandolin is a style of mandolin playing most commonly heard in bluegrass bands.
In music, a chop chord is a "clipped backbeat". In 4
4: 1 2 3 4. It is a muted chord that marks the off-beats or upbeats. As a rhythm guitar and mandolin technique, it is accomplished through chucking, in which the chord is muted by lifting the fretting fingers immediately after strumming, producing a percussive effect.
The chop is analogous to a snare drum beat and keeps the rhythm together and moving. It's one of the innovations bluegrass inventor Bill Monroe pioneered, and it gave the music a harder groove and separated it from old-time and mountain music.
Heavy metal drumming is a style of rock music drum kit playing that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. With roots in blues rock and psychedelic/acid rock drum playing, heavy metal drummers play with emphatic beats, and overall loudness using an aggressive performing style. Heavy metal drumming is traditionally characterized by emphatic rhythms and dense bass guitar-and-drum sound. The essence of metal drumming is creating a loud, constant beat for the band using the "trifecta of speed, power, and precision".
Bass guitar techniques are methods or approaches used by bassists when playing bass guitars. Sometimes techniques are used to produce a particular sound, which is best suited for a certain song or style of music. In the early days, bassists often used techniques to emulate the sound of acoustic upright basses. However, as music and the role the bass diversified, new techniques were developed to meet the new needs and explore new sounds.