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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 like 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). The girls are dragged from the Hand Up. Metal from the solos 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 the essence of kacha is deciphered in its essence: 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 that lead 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 can 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 in each other and submit to each other.

3 – When any parameters of 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 clever comrades who have graduated from a music school, well … or a music college, I will say this: all your knowledge is in no way related to 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 on 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 with language or even to show what quality is.

Well, I still try.

Part 2

So, 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 cyclic.

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