Style is the sum of all the elements and techniques used in music, its “final” look. The concept of style includes harmonic, melodic, polyphonic and rhythmic material, methods of its use, as well as the form, instrumentation and other factors that determine the nature of a musical work, the impression it makes on the listener. Styles are usually classified by composer and by era. For example, we can talk about the “Bach style”, referring to the harmonic, melodic, polyphonic, rhythmic and other material that is characteristic of most of Bach’s works; In comparison with this norm, the features, for example, “Beethoven’s style” are more pronounced. In addition, Bach was one of the largest composers of the 18th century. and in many ways reproduced the norms that were characteristic of other authors of that era, so we can talk about the “18th century style”, meaning “the style of most composers of this time, including Bach”. Continue reading
Rondo (from French rondeau – “circle”, “movement in a circle”) is a musical form in which repeated (at least 3) conducts of the main theme (refrain) alternate with episodes that differ from each other
A – B – A – C – A – … – A
An unchanging main theme – refrain – is like a chorus, side themes – episodes – are, by sense, tunes. The number of episodes can be from two or more (as indicated by points in the scheme). Rondo is an old form. It comes from round dance songs with a refrain, which was repeated without change, and only the verses were updated in the refrain, but not the melody (A B A B1 A B2 A … A). In professional music, this is one of the most common forms. In medieval France, troubadours and trouvers composed rondo in the form of poetry and music. Medieval musical and poetic rondos have a special structure that does not Continue reading
Many may rightly claim that the great advantage of sampled, electronic drums is that they don’t force you to use ‘realistic’ rhythmic patterns or drum sounds. Most dance music, for example, is created using incredibly fast, accurate patterns and sounds that have only the most superficial relation to something that can be reproduced by hitting a stretched drum skin with a wooden drumstick. The ability to create rhythms by programming, layer by layer and step by step, of course, offers great scope for imagination and freedom from technical and sound restrictions imposed when it is necessary to play and record a real drummer.
However, it happens that the sound and feeling of a real drum part is required, and circumstances – time, place, lack of funds or lack of a drummer – force people who themselves do not play the drums to “rattle” something in the sequencer. And, although the sequencer part will never be a perfect imitation, there are many things you can do to make it seem more convincing. Continue reading