Sw in dance music
Somehow I thought about one thing: sometimes one bass, a drummer and a pair of cymbals are enough to make people want to twitch from this primitiveness! Why it happens? What is the reason? In the process of studying this phenomenon, the theory of kacha was born, about which a series of articles is devoted. I can’t vouch that after reading them, your compositions will become hits, but I would be happy for that.
First of all, briefly about the theory of Kacha. Qual is a term coined by me that relates to drive. Kach can be part of the drive, but the drive can be without kacha. Qach first of all is a concept characterizing “dance”.
The drive is usually called the one from which the music gets the mood. Since anything can be a drive (for example, I consider Beethoven’s Moonlight Sonata). Girls are dragged from the Hand Up. Metal from solo parts of electric guitars …
Qual – a bunch of principles and techniques of “rocking” the people in discos. Rhythmic basis of the drive. The term is successful, because in its essence the basis of kacha has been deciphered: from the word ‘swing, rock’.
Understand whether the quality of the track or not is very simple. We sit on a chair and start listening to it. If you do not sit on a chair, you want to jump up and dance – this means that the quality of the track is there. (Note: if you are drowsy, deaf, boomed or in a coma, this test may not work)
The phenomenon of swing is very complex and has a psycho-physical nature. It is associated with rhythm, but more associated with cyclical processes and resonances.
For example, take a float on the river. Under the influence of the waves, he moves up and out. It shakes. This is the closest analogy of musical kacha.
The phenomenon of swing was noticed many thousands of years ago. At first it was used for ritual purposes, later it became the basis of modern dance music.
Kach occurs when, under the influence of rhythmic sounds, a person has psycho-resonance phenomena leading to a change in the psyche and even physiology. Magical thing!
Very clever comrades can ask a question: since the quality of the swing is similar to the movement of a float on a river, why doesn’t it shake a person when he hears only measured beats, for example, a drummer or a metronome? The answer is: one cyclic movement is not enough.
It requires several different cycles of different sound parameters, specifically related to certain rules.
Other cunning comrades may ask another question: well, since quality occurs when there are cycles, why does quality occur when you just listen to blacks speech? The answer is: in the speech of blacks there are cycles. And a lot and they are folded in the right way.
How to achieve this swing, which is so simple, but at the same time incomprehensible?
There are three basic principles of Kacha:
1 – Shakes when there are cyclical rhythms.
2 – When they are nested and subordinate to each other.
3 – When any parameters of the music change according to these rhythms smoothly.
Sly comrades will not calm down again: hurray, we understood – quality is connected with rhythm, meter and music accents! Only it is not clear why our compositions in which all this is, do not swing?
I answer them. Kach has nothing to do with musical concepts of rhythm and meter. Because this alone is not enough. Moreover: what was invented as a note is practically not suitable for describing a swing. Particularly intelligent comrades who have graduated from a music school, well … or a music college, I will say this: all your knowledge has nothing to do with quality. Kachu need to learn separately. Because no one taught him to you. At best, you will be taken to the drummer and he will teach you to knock properly, at worst, they will scold you and say that in the music you play the piano, there is no rhythm, accents, enthusiasm, sensuality, heat, vitality …. (another 3456 words that you write yourself, remembering your music teacher). Because it is almost impossible to explain in language or even to show what quality is.
Well, I still try.
So, let’s consider a musical composition with different eyes … ugh, ears.
Exercise 1. Turn on your favorite music with what, listen and try to determine the longest cyclical change in music. This is not necessarily related to size.
We hear one of the cycles associated with kach. Call it the main or primary wave. So, the main wave is the longest cyclical change in music. Often the main wave is associated with the musical size, often not. A wave can be emitted by anything: loudness, melodic pattern, timbre, pitch, etc. The most basic parameter is loudness.
For example, showing that quality is not related to size. Take “A Christmas tree was born in the forest.” She has a size 2/4. However, the swinging size will be different.
In the forest (accent), an e (accent) was born; in the forest (accent), it grew (accent) – so you can rock it.
In the forest (accent) give birth (accent) to e (accent) a lock, in the forest (accent) it grew (accent) – and so can be.
Exercise 2. We listen again and try to find more cyclical changes in the primary wave.
There are a lot of waves in music and they are connected with each other, submitting to each other.