Category Archives: Music


The saxophone is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. Like the clarinet, saxophones have holes in the instrument which the player closes using a system of key mechanisms. When the player presses a key, a pad either covers a hole or lifts off a hole, lowering or raising the pitch, respectively. The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. Mr. Sax patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B and E, designed for military bands, have proved popular and most saxophones encountered today are from this series. Instruments from the so-called “orchestral” series, pitched in C and F, never gained a foothold, and the B and E instruments have now replaced the C and F instruments when the saxophone is used in an orchestra. The saxophone is used in classical music, military bands, marching bands, and jazz. The saxophone is also used as a soloing and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. Saxophone players are called saxophonists.

The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys  The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note. The simplest design of saxophone is a straight conical tube, and the sopranino and soprano saxophones are usually of this straight design. Most commonly, however, the alto and tenor saxophones incorporate a detachable, curved “neck” above the highest tone hole, directing the mouthpiece to the player’s mouth while the instrument is held in a playing stance. The baritone, bass, and contrabass saxophones accommodate the length of the bore with extra bows and right angle bends between the main body and the mouthpiece.


In music, the organ is a keyboard instrument of one or more pipe divisions, each played with its own keyboard, played either with the hands on a keyboard or with the feet using pedals. The organ is a relatively old musical instrument, dating from the time of Ctesibius of Alexandria, who invented the water organ. It was played throughout the Ancient Greek and Ancient Roman world, particularly during races and games. During the early medieval period it spread from the Byzantine Empire, where it continued to be used in secular (non-religious) and imperial court music, to Western Europe, where it gradually assumed a prominent place in the liturgy of the Catholic Church. Subsequently it re-emerged as a secular and recital instrument in the Classical music tradition.

Most organs in Europe, the Americas, and Australasia can be found in Christian churches. The introduction of church organs is traditionally attributed to Pope Vitalian in the 7th century. Due to its simultaneous ability to provide a musical foundation below the vocal register, support in the vocal register, and increased brightness above the vocal register, the organ is ideally suited to accompany human voices, whether a congregation, a choir, or a cantor or soloist. Most services also include solo organ repertoire for independent performance rather than by way of accompaniment, often as a prelude at the beginning the service and a postlude at the conclusion of the service. Organs are also used to give recital concerts, called organ recitals. In the early 20th century, symphonic organsflourished in secular venues in the United States and the United Kingdom, designed to replace symphony orchestras by playing transcriptions of orchestral pieces. Symphonic and orchestral organs largely fell out of favor as the orgelbewegung (organ reform movement) took hold in the middle of the 20th century, and organ builders began to look to historical models for inspiration in constructing new instruments. Today, modern builders construct organs in a variety of styles for both secular and sacred applications.

The pump organ, or harmonium, was the other main type of organ before the development of electronic organs. It generated its sounds using reeds similar to those of a piano accordion. Smaller, cheaper and more portable than the corresponding pipe instrument, these were widely used in smaller churches and in private homes, but their volume and tonal range was extremely limited, and they were generally limited to one or two manuals, pedalboards being extremely rare. The chord organ was invented by Laurens Hammond in 1950.[9] It provided chord buttons for the left hand, similar to an accordion. Other reed organ manufacturers have also produced chord organs, most notably Magnus from 1958 to the late 1970s.[10]

The organ has had an important place in classical music, particularly since 1500. Spain’s Antonio de Cabezón, the Netherlands’ Jan Pieterszoon Sweelinck, and Italy’s Girolamo Frescobaldi were three of the most important organist-composers before 1650. Influenced in part by the latter two of these men (not by Cabezón), the North German school rose from the mid-17th century onwards to great prominence, with leading members of this school having included Buxtehude, Franz Tunder, Georg Böhm, and above all Johann Sebastian Bach, whose contributions to organ music continue to reign supreme. During this time, the French Classical school also flourished. François Couperin, Nicolas Lebègue, André Raison, and Nicolas de Grigny were French organist-composers of the period. Bach knew Grigny’s organ output well, and admired it. In England, Handel was famous for his organ-playing no less than for his composing; several of his organ concertos, intended for his own use, are still frequently performed.

After Bach’s death in 1750, the organ’s prominence gradually shrank, as the instrument itself increasingly lost ground to the piano. Nevertheless, Felix Mendelssohn, César Franck, and the less famous A.P.F. Boëly (all of whom were themselves expert organists) led, independently of one another, a resurgence of valuable organ writing during the 19th century. This resurgence, much of it informed by Bach’s example, achieved particularly impressive things in France (even though Franck himself was of Belgian birth). Major names in French Romantic organ composition are Charles-Marie Widor, Louis Vierne, Alexandre Guilmant, Charles Tournemire, and Eugène Gigout. Of these, Vierne and Tournemire were Franck pupils.


The drum is a member of the percussion group of musical instruments. In the Hornbostel-Sachs classification system, it is a membranophone. Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a shell and struck, either directly with the player’s hands, or with a drum stick, to produce sound. There is usually a resonance head on the underside of the drum, typically tuned to a slightly lower pitch than the top drumhead. Other techniques have been used to cause drums to make sound, such as the thumb roll. Drums are the world’s oldest and most ubiquitous musical instruments, and the basic design has remained virtually unchanged for thousands of years. Drums may be played individually, with the player using a single drum, and some drums such as the djembe are almost always played in this way. Others are normally played in a set of two or more, all played by the one player, such as bongo drums and timpani. A number of different drums together with cymbals form the basic modern drum kit.

Drums are usually played by striking with the hand, or with one or two sticks. In many traditional cultures, drums have a symbolic function and are used in religious ceremonies. Drums are often used in music therapy, especially hand drums, because of their tactile nature and easy use by a wide variety of people. In popular music and jazz, “drums” usually refers to a drum kit or a set of drums (with some cymbals), and “drummer” to the person who plays them. Drums acquired even divine status in places such as Burundi, where the karyenda was a symbol of the power of the king. Drums with cylindrical shells can be open at one end (as is the case with timbales), or can have two drum heads. Single-headed drums typically consist of a skin stretched over an enclosed space, or over one of the ends of a hollow vessel. Drums with two heads covering both ends of a cylindrical shell often have a small hole somewhat halfway between the two heads; the shell forms a resonating chamber for the resulting sound. Exceptions include the African slit drum, also known as a log drum as it is made from a hollowed-out tree trunk, and the Caribbean steel drum, made from a metal barrel. Drums with two heads can also have a set of wires, called snares, held across the bottom head, top head, or both heads, hence the name snare drum. 

The second biggest factor that affects drum sound is head tension against the shell. When the hoop is placed around the drum head and shell and tightened down with tension rods, the tension of the head can be adjusted. When the tension is increased, the amplitude of the sound is reduced and the frequency is increased, making the pitch higher and the volume lower. The type of shell also affects the sound of a drum. Because the vibrations resonate in the shell of the drum, the shell can be used to increase the volume and to manipulate the type of sound produced. The larger the diameter of the shell, the lower the pitch. The larger the depth of the drum, the louder the volume. Shell thickness also determines the volume of drums. Thicker shells produce louder drums. Mahogany raises the frequency of low pitches and keeps higher frequencies at about the same speed. When choosing a set of shells, a jazz drummer may want smaller maple shells, while a rock drummer may want larger birch shells.


The guitar is a musical instrument classified as a fretted string instrument with anywhere from four to 18 strings, usually having six. The sound is projected either acoustically, using a hollow wooden or plastic and wood box (for an acoustic guitar), or through electrical amplifier and a speaker (for an electric guitar). It is typically played by strumming or plucking the strings with the fingers, thumb or fingernails of the right hand or with a pick while fretting (or pressing against the frets) the strings with the fingers of the left hand. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning. The modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, and the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument.

There are three main types of modern acoustic guitar: the classical guitar (nylon-string guitar), the steel-string acoustic guitar, and the archtop guitar, which is sometimes called a “jazz guitar”. The tone of an acoustic guitar is produced by the strings’ vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber. The classical guitar is often played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player’s fingers, as opposed to being strummed. The term “finger-picking” can also refer to a specific tradition of folk, blues, bluegrass, and country guitar playing in the United States. The acoustic bass guitar is a low-pitched instrument that is one octave below a regular guitar.

Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, and, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer (e.g., bass and treble tone controls) and a huge variety of electronic effects units, the most commonly used ones being distortion (or “overdrive”) and reverb. Early amplified guitars employed a hollow body, but a solid wood body was eventually found more suitable during the 1960s and 1970s, as it was less prone to unwanted acoustic feedback “howls”. As with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars (used in jazz guitar, blues and rockabilly) and solid-body guitars, which are widely used in rock music.

Electric guitars and bass guitars have to be used with a guitar amplifier and loudspeaker or a bass amplifier and speaker, respectively, in order to make enough sound to be heard by the performer and audience. Electric guitars and bass guitars almost always use magnetic pickups, which generate an electric signal when the musician plucks, strums or otherwise plays the instrument. The amplifier and speaker strengthen this signal using a power amplifier and a loudspeaker. Acoustic guitars that are equipped with a piezoelectric pickup or microphone can also be plugged into an instrument amplifier, acoustic guitar amp or PA system to make them louder. With electric guitar and bass, the amplifier and speaker are not just used to make the instrument louder; by adjusting the equalizer controls, the preamplifier, and any onboard effects units (reverb, distortion/overdrive, etc.) the player can also modify the tone (aka timbre or “colour”) and sound of the instrument. Acoustic guitar players can also use the amp to change the sound of their instrument, but in general, acoustic guitar amps are used to make the natural acoustic sound of the instrument louder without changing its sound that much.

Chord Music

chord, in music, is any harmonic set of pitches consisting of two or more notes that are heard as if sounding simultaneously. Chords and sequences of chords are frequently used in modern West African and Oceanic music, Western classical music, and Western popular music; yet, they are absent from the music of many other parts of the world. In tonal Western classical music, the most frequently encountered chords are triads, so called because they consist of three distinct notes: the root note, and Intervals of a third and a fifth above the root note. Other chords with more than three notes include added tone chords, extended chords and tone clusters, which are used in contemporary classical music, jazz and other genres. An ordered series of chords is called a chord progression. One example of a widely used chord progression in Western traditional music and blues is the 12 bar blues progression. Although any chord may in principle be followed by any other chord, certain patterns of chords are more common in Western music, and some patterns have been accepted as establishing the key(tonic note) in common-practice harmony–notably the movement between tonic and dominant chords. To describe this, Western music theory has developed the practice of numbering chords using Roman numerals which represent the number of diatonic steps up from the tonic note of the scale. Common ways of notating or representing chords in Western music (other than conventional staff notation) include Roman numerals, figured bass, macro symbols (sometimes used in modern musicology), and chord charts.

The English word chord derives from Middle English cord, a shortening of accord in the original sense of agreement and later, harmonious sound. A sequence of chords is known as a chord progression or harmonic progression. These are frequently used in Western music. A chord progression “aims for a definite goal” of establishing (or contradicting) a tonality founded on a key, root or tonic chord. The study of harmony involves chords and chord progressions, and the principles of connection that govern them.

Many chords are a sequence of ascending notes separated by intervals of roughly the same size. Chords can be classified into different categories by this size:

  • Tertian chords can be decomposed into a series of (major or minor) thirds. For example, the C major triad (C–E–G) is defined by a sequence of two intervals, the first (C–E) being a major third and the second (E–G) being a minor third. Most common chords are tertian.
  • Secundal chords can be decomposed into a series of (major or minor) seconds. For example, the chord C–D–E is a series of seconds, containing a major second (C–D) and a minor second (D–E).
  • Quartal chords can be decomposed into a series of (perfect or augmented) fourths. Quartal harmony normally works with a combination of perfect and augmented fourths. Diminished fourths are enharmonically equivalent to major thirds, so they are uncommon.[36] For example, the chord C–F–B is a series of fourths, containing a perfect fourth (C–F) and an augmented fourth/tritone (F–B).

Harmony Music

In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches (tones, notes), or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the “vertical” aspect of music, as distinguished from melodic line, or the “horizontal” aspect. Counterpoint, which refers to the relationship between melodic lines, and polyphony, which refers to the simultaneous sounding of separate independent voices, are thus sometimes distinguished from harmony. In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with “tensions”. A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. Typically, in the classical common practice period a dissonant chord (chord with tension) “resolves” to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between “tense” and “relaxed” moments.

Some traditions of Western music performance, composition, and theory have specific rules of harmony. These rules are often described as based on natural properties such as Pythagorean tuning’s law whole number ratios (“harmoniousness” being inherent in the ratios either perceptually or in themselves) or harmonics and resonances (“harmoniousness” being inherent in the quality of sound), with the allowable pitches and harmonies gaining their beauty or simplicity from their closeness to those properties. This model provides that the minor seventh and (major) ninth are not dissonant (i.e., are consonant). While Pythagorean ratios can provide a rough approximation of perceptual harmonicity, they cannot account for cultural factors.

Early Western religious music often features parallel perfect intervals; these intervals would preserve the clarity of the original plainsong. These works were created and performed in cathedrals, and made use of the resonant modes of their respective cathedrals to create harmonies. As polyphony developed, however, the use of parallel intervals was slowly replaced by the English style of consonance that used thirds and sixths. The English style was considered to have a sweeter sound, and was better suited to polyphony in that it offered greater linear flexibility in part-writing. Early music also forbade usage of the tritone, due to its dissonance, and composers often went to considerable lengths, via musica ficta, to avoid using it. In the newer triadic harmonic system, however, the tritone became permissible, as the standardization of functional dissonance made its use in dominant chords desirable. Most harmony comes from two or more notes sounding simultaneously—but a work can imply harmony with only one melodic line by using arpeggios or hocket. Many pieces from the baroque period for solo string instruments—such as Bach’s Sonatas and partitas for solo violin and cello—convey subtle harmony through inference rather than full chordal structures. These works create a sense of harmonies by using arpeggiated chords and implied basslines. The implied basslines are created with low notes of short duration that many listeners perceive as being the bass note of a chord.

Disco Music

Disco is a genre of dance music containing elements of funk, soul, pop and salsa. It achieved popularity during the mid-1970s to the early 1980s. Its initial audiences in the U.S. were club-goers from the gay, African American, Italian American, Latino, and psychedelic communities in Philadelphia and New York City during the late 1960s and early 1970s. Disco can be seen as a reaction against both the domination of rock music and the stigmatization of dance music by the counterculture during this period. Disco was popular with both men and women from many different backgrounds, with dances including The Bump (1974), The Hustle (1975) and Y.M.C.A. (1978). The disco sound often has several components, a “four-on-the-floor” beat, an eighth note (quaver) or 16th note (semi-quaver) hi-hatpattern with an open hi-hat on the off-beat, and a prominent, syncopated electric bass line. In most disco tracks, string sections, horns, electric piano, and electric rhythm guitars create a lush background sound. Orchestral instruments such as the flute are often used for solo melodies, and lead guitar is less frequently used in disco than in rock. Many disco songs use electronic synthesizers, particularly in the late 1970s. Disco was a key influence in the later development of electronic dance music and house music. Disco has had several revivals, including in 2005 with Madonna’s highly successful album Confessions on a Dance Floor, and again in 2013 and 2014, as disco-styled songs by artists like Daft Punk (with Pharrell Williams and Nile Rodgers), Justin Timberlake, Breakbot, and Bruno Mars—notably Mars’ “Uptown Funk”—filled the pop charts in the UK and the US.

The music typically layered soaring, often-reverberated vocals, often doubled by horns, over a background “pad” of electric pianos and “chicken-scratch” rhythm guitars played on an electric guitar. “The ‘chicken scratch’ sound is achieved by lightly pressing the strings against the fretboard and then quickly releasing them just enough to get a slightly muted scratching [sound] while constantly strumming very close to the bridge.”[67] Other backing keyboard instruments include the piano, electric organ (during early years), string synth, and electromechanical keyboards such as the Fender Rhodes electric piano, Wurlitzer electric piano, and Hohner Clavinet. Synthesizers are also fairly common in disco, especially in the late 1970s.

The rhythm is laid down by prominent, syncopated basslines (with heavy use of broken octaves, that is, octaves with the notes sounded one after the other) played on the bass guitar and by drummers using a drum kit, African/Latin percussion, and electronic drums such as Simmons and Roland drum modules. The sound was enriched with solo lines and harmony parts played by a variety of orchestral instruments, such as harp, violin, viola, cello, trumpet, saxophone, trombone, clarinet, flugelhorn, French horn, tuba, English horn, oboe, flute (sometimes especially the alto flute and occasionally bass flute), piccolo, timpani and synth strings, string section or a full string orchestra. Most disco songs have a steady four-on-the-floor beat, a quaver or semi-quaver hi-hat pattern with an open hi-hat on the off-beat, and a heavy, syncopated bass line. Other Latin rhythms such as the rhumba, the samba and the cha-cha-cha are also found in disco recordings, and Latin polyrhythms, such as a rhumba beat layered over a merengue, are commonplace. The quaver pattern is often supported by other instruments such as the rhythm guitar and may be implied rather than explicitly present.

Songs often use syncopation, which is the accenting of unexpected beats. In general, the difference between a disco, or any dance song, and a rock or popular song is that in dance music the bass drum hits four to the floor, at least once a beat (which in 4/4 time is 4 beats per measure), whereas in rock the bass hits on one and three and lets the snare take the lead on two and four (the “backbeat”). Disco is further characterized by a 16th note division of the quarter notes as shown in the second drum pattern below, after a typical rock drum pattern. The orchestral sound usually known as “disco sound” relies heavily on string sections and horns playing linear phrases, in unison with the soaring, often reverberated vocals or playing instrumental fills, while electric pianos and chicken-scratch guitars create the background “pad” sound defining the harmony progression. Typically, all of the doubling of parts and use of additional instruments creates a rich “wall of sound”. There are, however, more minimalistic flavors of disco with reduced, transparent instrumentation, pioneered by Chic.

Triad Music

In music, a triad is a set of three notes (or “pitches”) that can be stacked vertically in thirds. The term “harmonic triad” was coined by Johannes Lippius in his Synopsis musicae novae (1612). When stacked in thirds, notes produce triadic chords. The triad’s members, from lowest-pitched tone to highest, are called:

  • the root
  • the third – its interval above the root being a minor third (three semitones) or a major third (four semitones)
  • the fifth – its interval above the third being a minor third or a major third, hence its interval above the root being a diminished fifth (six semitones), perfect fifth (seven semitones), or augmented fifth (eight semitones). Perfect fifths are the most commonly used interval above the root in Western classical, popular and traditional music.

Some twentieth-century theorists, notably Howard Hanson and Carlton Gamer, expand the term to refer to any combination of three different pitches, regardless of the intervals amongst them. The word used by other theorists for this more general concept is “trichord”. Others, notably Allen Forte, use the term to refer to combinations apparently stacked of other intervals, as in “quartal triad”. In the late Renaissance music era, and especially during the Baroque music era (1600–1750), Western art music shifted from a more “horizontal” contrapuntal approach (in which multiple, independent melody lines were interwoven) toward chord progressions, which are sequences of chords. The chord progression approach, which was the foundation of the Baroque-era basso continuo accompaniment, required a more “vertical” approach, thus relying more heavily on the triad as the basic building block of functional harmony.

The root tone of a triad, together with the degree of the scale to which it corresponds, primarily determine a given triad’s function. Secondarily, a triad’s function is determined by its quality: major, minor, diminished or augmented. Major and minor chords are the most commonly used chord qualities in Western classical, popular and traditional music. In standard tonal music, only major and minor chords can be used as a tonic in a song or some other piece of music. That is, a song or other vocal or instrumental piece can be in the key of C major or A minor, but a song or some other piece cannot be in the key of B diminished or F augmented (although songs or other pieces might include these chords within the chord progression, typically in a temporary, passing role). Three of these four kinds of triads are found in the major (or diatonic) scale. In popular music and 18th-century classical music, major and minor triads are considered to be consonant and stable, and diminished and augmented triads are considered to be dissonant and unstable.

Each triad found in a diatonic (single-scale-based) key corresponds to a particular diatonic function. Functional harmony tends to rely heavily on the primary triads: triads built on the tonic, subdominant (typically the ii or IV chord), and dominant (typically the V chord) degrees. The roots of these triads begin on the first, fourth, and fifth degrees (respectively) of the diatonic scale, otherwise symbolized: I, IV, and V (respectively). Primary triads, “express function clearly and unambiguously.” The other triads of the diatonic key include the supertonic, mediant, submediant, and subtonic, whose roots begin on the second, third, sixth, and seventh degrees (respectively) of the diatonic scale, otherwise symbolized: ii, iii, vi, and viio (respectively). They function as auxiliary or supportive triads to the primary triads.

Dance Music

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 (for example Ancient Greek vases sometimes show dancers accompanied by musicians), 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 (see Baroque dance). 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.

Modern popular dance music initially emerged from late 19th century’s Western ballroom and social dance music. During the early 20th century, ballroom dancing gained popularity among the working class who attended public dance halls. Dance music became enormously popular during the 1920s. In the 1930s, called the Swing era, Swing music was the popular dance music in America. In the 1950s, rock and roll became the popular dance music. The late 1960s saw the rise of soul and R&B music. The rise of disco in the early 1970s led to dance music becoming popular with the public. By the late 1970s, electronic dance music was developing. This music, made using electronics, is a style of popular music commonly played in dance music nightclubs, radio stations, shows and raves. Many subgenres of electronic dance music have evolved.

Dance music works often bear the name of the corresponding dance, e.g. waltzes, the tango, the bolero, the can-can, minuets, salsa, various kinds of jigs and the breakdown. Other dance forms include contradance, the merengue (Dominican Republic), and the cha-cha-cha. Often it is difficult to know whether the name of the music came first or the name of the dance. Electronic dance music experienced a boom after the proliferation of personal computers in the 1980s, manifest in the dance element of Tony Wilson’s Haçienda scene (in Manchester) and London clubs like Delirium, The Trip, and Shoom. The ongoing influence of Shoom can be seen in its 25th anniversary party, held at Cable Nightclub on 8 December 2012, which sold out in four days. The scene rapidly expanded to the Summer Of Love in Ibiza, which became the European capital of house and trance. Clubs like Sundissential and Manumission became household names with British, German and Italian tourists. Many music genres that made use of electronic instruments developed into contemporary styles mainly due to the MIDI protocol, which enabled computers, synthesizers, sound cards, samplers, and drum machines to interact with each other and achieve the full synchronization of sounds. Electronic dance music is typically composed using computers and synthesizers, and rarely has any physical instruments. Instead, this is replaced by digital or electronic sounds, with a 4/4 beat. Many producers of this kind of music however, such as Darren Tate and MJ Cole, were trained in classical music before they moved into the electronic medium.

Beat Music

In music and music theory, the beat is the basic unit of time, the pulse (regularly repeating event), of the mensural level (or beat level). The beat is often defined as the rhythm listeners would tap their toes to when listening to a piece of music, or the numbers a musician counts while performing, though in practice this may be technically incorrect (often the first multiple level). In popular use, beat can refer to a variety of related concepts including: tempo, meter, specific rhythms, and groove. Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats (often called “strong” and “weak”) and divided into bars organized by time signature and tempo indications. Metric levels faster than the beat level are division levels, and slower levels are multiple levels. Beat has always been an important part of music. Some music genres such as disco will in general de-emphasize the beat, while other such as funk emphasize the beat to accompany dance.

The downbeat is the first beat of the bar, i.e. number 1. The upbeat is the last beat in the previous bar which immediately precedes, and hence anticipates, the downbeat. Both terms correspond to the direction taken by the hand of a conductor. A back beat, or backbeat, is a syncopated accentuation on the “off” beat. In a simple 4rhythm these are beats 2 and 4. A hyperbeat is one unit of hypermeter, generally a measure. “Hypermeter is meter, with all its inherent characteristics, at the level where measures act as beats.” Further reading: Rothstein, William (1990). Cross-rhythm. A rhythm in which the regular pattern of accents of the prevailing meter is contradicted by a conflicting pattern and not merely a momentary displacement that leaves the prevailing meter fundamentally unchallenged—New Harvard Dictionary of Music (1986: 216).

As beats are combined to form measures, each beat is divided into parts. The nature of this combination and division is what determines meter. Music where two beats are combined is in duple meter, music where three beats are combined is in triple meter. Music where the beat is split in two are in simple meter, music where the beat is split in three are called compound meter. Thus, simple duple (2/4, 4/4, 2/2, etc.), simple triple (3/4), compound duple (6/8), and compound triple (9/8). Divisions which require numbers, tuplets (for example, dividing a quarter note into five equal parts), are irregular divisions and subdivisions. Subdivision begins two levels below the beat level: starting with a quarter note or a dotted quarter note, subdivision begins when the note is divided into sixteenth notes.