#melodic minor applications

[guitarguitarworld]

Pat Martino's Melodic Minor Scale: Jazz Guitar Improvisation: minor conversion

Pat Martino Melodic Minor Guitar Improvisation | Jazzimproviser.com Hi Guys, Today, a look at Pat Martino’s use of the melodic minor scale. We will employ the same jazz tools as the previous video. The Melodic Minor Scale As, you can see below the melodic minor scale is the same as the major scale but with a flattened third. This scale works well when played over altered Dominant chords. In…

[highdefhoetry]

jjk men getting tickled

disclaimer: although this is pure fluff, the author is an adult & this is their kink. minors dni, do not reblog, do not like, do not follow.

"Stop, please! I can't take it!"

Gojo isn’t used to physical affection, or the sensation of touch in general. Due to his constant application of his cursed technique as a defense mechanism, he often goes weeks or months without experiencing the touch of another. Because of this, it takes a while for him to let his guard down around you. When you finally build enough trust, he releases his cursed technique and lets you get close. That’s when you learn how ticklish he is.

While you’re cuddling, you notice the way he flinches when you wrap your hands around his waist, how much his body quivers when you brush your fingers across his bare skin. You really don’t even have to try and tickle him - he’s just that sensitive. Caressing his cheek, kissing his neck, stroking his chest and stomach. All parts of him give the best reactions. He can’t hold back his frantic giggles or stop himself from squirming around, especially when given light tickles. Those weaken him more than harder ones.

His laugh is airy and melodic, almost like a song. It’s absolutely precious and makes you wanna tickle him even more so you can keep listening to the sweet sound of his voice as it reaches higher octaves. His smile is bright and joyful, jarringly different from that cocky all-knowing smirk he usually wears. He flails around like crazy, rolls from side to side trying to escape, tries to beg you to stop but can't get the words out since he's laughing too hard. Pink blush dusts his cheeks, and seeing how embarrassed he looks when you're done makes you fall a little more in a love with him.

Mostly he hates being tickled, but part of him can’t help but enjoy the attention. He’ll pretend to be grumpy afterwards, but that can be remedied with a big hug and plenty of kisses.

"Wait, nonono! Okay, okay, I give up!"

Geto is the king of “I’m not ticklish”. He swears it up and down, denies it when you ask, and goes out of his way to prove it by allowing you to try. He lets you discover this “fact” for yourself, smirking victoriously when you tickle his sides and underarms with no reactions. Even when you explore the rest of his body, testing out all of the usual spots, he remains unfazed. You start to feel discouraged when you look at his handsome face and see his pleasant, neutral expression has remained unchanged.

That is, unless you make a sneak attack. Later on, when he’s not paying attention, you creep up behind him and poke his sides, just to see what’ll happen. He lets out a shriek, yanks his arms down, but it’s too late. You’ve already seen the mask slip. You clamp your hands around his ribs, dig into them while he yells and tries to fight you off. That spot seems to be his worst.

His laughter is loud and booming, different from the one he makes when he’s cracking a joke or making fun. He starts begging almost instantly, tries to grab your hands to stop you, thrashes around in a desperate attempt to escape. When appeals to your mercy don't work, he starts making soft threats, says he’s gonna get you back good, but you can barely hear them through his spluttered laughter. When you finally stop, he pretends to be tuckered out, until you let your guard down. Then he pounces on you, pinning you down so he can give you a taste of your own medicine.

You pride yourself on what you've learned. It’s not that he isn’t ticklish. He’s just really good at hiding it!

"Please, no more..."

Choso is the king of tickle fights, being a big brother and all. He almost always wins, being ridiculously strong and somewhat of a sadistic ler, plus he protects himself well enough that it’s almost impossible to get at his ticklish spots when you’re in the moment. If you’re patient enough, however, you can get him good when he lets his guard down. And when you do, the tables quickly turn.

His laughter is deep, yet quiet. He doesn’t laugh loudly or erupt into fits of giggles, being able to control his vocal reactions better than most people, so most of the time it comes out as a soft snicker. But when he’s tickled, he smiles wider than you’ve ever seen and tries hiding it by clamping a hand over his mouth. That makes it easier for you to tickle him more, giving you an opening to get his underarms. He’s really weak to tickles there. He wiggles around like a worm, tries rolling up into a ball, and buries his face in his hands. Getting tickled makes him feel shy. If you tease him about how bashful he gets, his face will turn red and he’ll laugh even more.

He’ll half-heartedly beg you to stop, but not enough for you to take it seriously. You can tell he enjoys it for the most part - if he really wanted you to stop, he could easily overpower you. You wouldn’t dare tease him about it, though - you knew what would happen if you did.

"Enough...!"

Nanami is one of those people who truly isn’t that ticklish. Any attempts to tickle him are almost always met with a deep sigh and an annoyed grumble rather than laughs. He’s immune to pokes, prods, and surprise attacks, and his stony demeanor remains unchanged no matter where you touch him. You almost give up, until one day you start paying a bit more attention and realize how hard he’s trying to keep it together. Specifically when you lightly graze his sides or his lower back. 

You notice how hard he grits his teeth, how red his face gets, how tense his muscles become the more you tease and torment his waistline. The corners of his lips twitch up, yet he refuses to crack a smile. He’ll whisper to you in a stern voice, “Stop,” or warn you with a threatening “Enough”, but otherwise he’s pretty quiet. He controls his laughter pretty well, keeping up his stoic facade until you're finished.

When you finally let up, he acts irritated and complains about how your childishness always gets in the way of his work. But you can tell he’s a bit more relaxed, his shoulders less tense, his mood a bit lighter. Besides, if he really hated it so much, he would have simply put a stop to it. You’ll never get him to admit it, though!

"Fuck you!! Gahh, knock it off!"

Toji is surprisingly ticklish, and he really fucking hates it. He’s also great at hiding his reactions for the most part, but only for so long. He stifles his laughter when you claw at his ribs or dig under his arms, but keep it up for long enough and he’ll eventually crack. It’ll start as a quiet, rough giggle, then get louder and louder until he’s laughing his head off. He melts in your hand when you lightly spider his stomach, which ends up being his worst spot.

His laugh is just as scary as he is. He cackles wildly, thrashes around like an animal caught in a trap, spews out profanities and every swear word in the book. He’ll threaten to kill you, to break your fingers, all while giggling uncontrollably and attempting to fight you off. He won’t beg, ever, but you’ll hear the growing panic in his laughter the longer you tickle him. He’ll genuinely do whatever it takes to get away, so you have to be careful not to get hit by one of his flailing limbs. 

Tickling him will have dire consequences. He’ll get you back immediately, pin you down so tightly that you can’t move a muscle, then he’ll tickle you mercilessly until he’s satisfied with his revenge. It’s totally worth it, though. Seeing a giant, strong man like him taken down with tickles is oddly satisfying. 

"I don't recall telling you to stop."

Sukuna also isn’t particularly ticklish. He prides himself on having no weaknesses, being the strongest sorcerer in all of history. You didn’t dare instigate tickles with him; you didn’t have a death with, after all. You only touch him when he commands it.

However, he does seem to enjoy your light tickles from time to time, sometimes even demanding them. He loves when you run your nails up and down his back, purrs when you caress his neck and ears, lets out little content noises when you lightly stroke his chest. His “moods” are random and unpredictable; every now and then he’ll bark out an order for you out of the blue, demanding your soft touches. He doesn’t really laugh or giggle, but you do see goosebumps lining his skin whenever you give him this treatment. You love the way he sighs from your gentle touches; he just seems so relaxed. Not many people get to witness the soft side of Sukuna.

Of course, he’ll never confess how much he likes it. He won’t even say “tickle” or any variant, instead opting to dance around the word. It dawns on you much later why this is - it embarasses him. If anyone were to discover that the King of Curses enjoyed something so silly and cute, his ruthless persona would be destroyed. You know better than to spill his secrets, so you keep your mouth shut. But you can’t help but laugh to yourself every time he asks you for more.

[asteman]

Handpan Instruments: An Investigation Of The Melodic Wizardry

To lay it out plainly, a handpan instrument is played manually. It is a steel drum intended to deliver a melodic and symphonious sound. It has a unique plan that comprises two hemispherical shells that are combined to frame a curved shape. The top shell has various tone fields or notes, which are painstakingly created and tuned to deliver a particular pitch.

Playing Procedures

Playing requires a novel and fragile touch. Dissimilar to other percussion instruments, the handpan is played utilizing the fingers and the centers of the hands. The player utilizes a blend of tapping, sliding, slapping, and moving procedures to create a mood and get the ideal tune.

This is a highly expressive instrument with many elements and apparent varieties. Players can involve unpretentious varieties in contact and strain to deliver many sounds, from delicate and sensitive to boisterous and robust. Nonetheless, it is a simple instrument that doesn't need a music hypothesis.

Melodic Applications

Handpans are unimaginably flexible instruments with many melodic applications. In many cases, they are utilized in world music and combination kinds, yet can likewise be tracked down in contemporary and trial music.

One of the most captivating parts of the handpan is its capacity to create a feeling of quiet and unwinding. The calming and thoughtful characteristics of the instrument have made it a famous decision for yoga and contemplation rehearses, as well as concerning sound recuperating and music treatment.

Where To Purchase A Handpan Instrument

If you're keen on looking further into this instrument or buying one for yourself, various assets are accessible. Numerous producers have their sites where you can peruse their determination and put in a request. Likewise, various web-based retailers and commercial centers work with handpans and other unique instruments.

Elements To Consider While Picking A Handpan Instrument

Financial Plan

Handpans can be costly, going from a couple hundred bucks to a few thousand bucks. Before searching for a model, decide your spending plan and stick to it. Recollect that a few variables, including the brand, the quantity of notes, the scale, and the nature of the steel, impact the cost.

Note The Notes

Handpans come in various scales, which decide the notes that can be played on the instrument. The most famous scales incorporate C Major, D Minor, and E Minor. Consider your melodic inclinations and the kind of music you need to play before picking a scale.

Quality Check

The nature of the steel utilized can influence the sound quality and solidness of the instrument. Great steel is more costly yet creates a superior sound and endures longer.

Pick The Best

There are a few brands of handpans available, each with its one-of-a-kind sound and quality. Do all necessary investigations and read surveys before picking a brand.

Customization Choices

A few creators offer customization choices, like adding notes or etching plans on the instrument. Think about these choices if you need a more customized handpan.

Considering everything, a handpan instrument is an otherworldly instrument that has caught the hearts and ears of performers and music sweethearts everywhere. Whether you're a carefully prepared performer or someone who values unique and intriguing sounds, this instrument will surely enthrall and rouse you.

[speakatoo123]

Transforming Communication: Introducing Speakatoo Zulu Text to Speech

In the rich tapestry of South Africa's linguistic diversity, Zulu stands out as one of the most widely spoken languages. With its melodic tones and deep cultural significance, Zulu serves as a vital means of expression for millions. However, in today's digital age, ensuring accessibility and inclusivity across all languages is paramount. This is where Speakatoo Zulu Text-to-Speech (TTS) emerges as a transformative tool, bridging the gap between technology and language.

Speakatoo Zulu TTS offers a groundbreaking solution by converting written text into spoken Zulu. Whether it's web content, educational materials, or digital communications, Speakatoo empowers users to access information in their preferred language, breaking down barriers to communication.

The impact of Speakatoo Zulu TTS extends far beyond convenience. For individuals with visual impairments, Speakatoo opens up a world of possibilities, granting them access to written content through auditory means. In educational settings, Speakatoo facilitates language learning by providing real-time pronunciation and comprehension support, fostering a more inclusive learning environment for all students.

Businesses and organizations also benefit from integrating Speakatoo Zulu TTS into their platforms. By offering multilingual support, companies can reach a broader audience and enhance user engagement. Whether it's e-commerce websites, customer service platforms, or mobile applications, Speakatoo adds value by ensuring that language is never a barrier to communication.

Furthermore, Speakatoo Zulu TTS serves as a catalyst for preserving and promoting linguistic diversity. In a world where dominant languages often overshadow minority ones, Speakatoo empowers speakers of Zulu to share their stories, knowledge, and culture with the global community.

The development of Speakatoo Zulu TTS underscores the importance of technological innovation in promoting linguistic inclusivity. By harnessing the power of artificial intelligence and natural language processing, Speakatoo exemplifies how technology can be harnessed for social good.

As we embrace the digital era, it's crucial to ensure that technological advancements benefit everyone, regardless of language or ability. With Speakatoo Zulu TTS leading the way, we move closer to a future where communication knows no bounds, and every voice is heard.

[proexxa]

Music Theory Blog

Welcome to my assignment, "Music Theory Blog," where i'll illustrate, create, and relate music theory concepts through blog posts.

Task 1: Blog Post on Harmonic and Melodic Theory (P1)

The field of musicology is an intricate combination of scientific principles that govern the sound of music and the emotional field of art. Harmonic and melody are the foundational concepts for musicians and composers. They provide the basis for understanding and crafting music. This article will discuss the fundamental components of harmonic and melodic theory, including scales, intervals, chords, and progression of chords. To expand your understanding further, I recommend that you consult visual aides, diagrams, or examples that are found in music theory books or online resources.

Scales: The Building Blocks of Music

Scales are sequences of notes arranged in ascending or descending order. They serve as the foundation for melody and harmony in music. The most common scale in Western music is the major scale, which has a specific pattern of whole and half steps. For example, the C major scale consists of the notes C, D, E, F, G, A, B, and back to C. This scale is known for its bright and happy sound.

Another essential scale is the minor scale, which has a different pattern of intervals, giving it a sadder or more contemplative character. The A minor scale, for example, includes the notes A, B, C, D, E, F, G, and A.

Chords: Harmony in Music

Chords are formed when three or more notes are played together. The most basic chord is the triad, which consists of a root note, a third, and a fifth. In the C major triad, the notes are C (the root), E (the major third), and G (the perfect fifth). Chords can be major, minor, augmented, or diminished, each creating a different emotional effect in music.

Chord Progressions: The Backbone of Songs

Chord progressions are sequences of chords played in a specific order. They form the harmonic backbone of most songs. A well-known progression is the I-IV-V-I progression, which in the key of C major would be C (I), F (IV), G (V), and back to C (I). This progression is widely used because of its strong resolution and sense of closure.

Another popular progression is the ii-V-I, which is often used in jazz music. In the key of C major, this would be D minor (ii), G (V), and C major (I). This progression creates a smooth, flowing sound that is perfect for improvisation.

Conclusion

For any musician or composer, it is crucial to have a grasp of scales, intervals, chords, and chord progressions. These fundamental components form the foundation of music theory, enabling you to compose and understand music with greater proficiency. Although this guide offers a brief introduction, I urge you to delve deeper into these concepts through dedicated study and practical application. It is important to remember that music theory is more than just a collection of rules; it is a language that allows us to communicate and express ourselves through the universal medium of music.

Task 2: Blog Post on Rhythm and Meter (P2)

Introduction

Meter and rhythm are the foundation of music, they imbue compositions with life and motion. They're the components that cause our feet to tap and our hearts to race with every heartbeat. This blog article discusses the fundamental principles of rhythm and meter, including the time signature, note value, and syncopation. To clarify the subject, we'll include examples of rhythm notation and, where possible, audio versions of these concepts that represent them in life.

Understanding Rhythm and Meter

Rhythm is the arrangement of sounds and silences in music that drives the flow of music in time. On the other hand, time signature organizes these rhythms into manageable groups, usually marked by beats in a beat.

Time Signatures

Common Time Signatures

4/4 Time

Often referred to as "common time," this time signature means there are four quarter notes per measure. It's the most prevalent time signature in Western music, providing a steady and predictable rhythm that's easy to follow.

3/4 Time

This signature gives each measure three quarter notes, creating a waltz-like rhythm that's both elegant and flowing.

6/8 Time

Here, six eighth notes per measure convey a sense of movement and flow commonly found in folk songs and some forms of jazz.

The note value

The note value determines the duration of each note within the rhythm. From whole notes to sixteenth notes and beyond, each type of note has its own time value and plays a vital role in shaping the texture and rhythm of a piece of music. The entire note takes up an entire measure in 4/4 time, providing a sustained tone that emphasizes the harmonic foundation of the piece. A half note lasts half a measure in 4/4 time, acting as a bridge between the sustained whole note and the faster quarter note. Quarter Notes These notes are the backbone of many compositions and provide a steady beat in 4/4 time. Eighth and sixteenth notes provide the opportunity to add rhythmic complexity and nuance, allowing the composer to play fast and syncopated.

Conclusion

The essence of musical narrative lies in the concepts of rhythm and meter, which go beyond mere theory. These elements shape the movement of melodies and the unfolding of emotions. By exploring time signatures, note values, and syncopation, we gain the ability to not only understand but also truly appreciate the richness and variety of music. Whether you are an experienced musician or simply someone with a curious ear, grasping these components can strengthen your bond with the music you adore and introduce you to uncharted sonic realms.

Task 3: Transcription of Melodies, Rhythms and Chord Progressions (P3, P4 & P5)

For this task as a first song, i choose “Oh, pretty woman” by Roy Orbison

Transcribing "Oh Pretty Woman" by Roy Orbison was a challenging yet rewarding exercise. The song's iconic melody, influenced by blues, presented a catchy and easily recognizable pattern. My goal was to isolate the melody from other instruments and harmonies, focusing on Roy Orbison's vocal line. Despite encountering difficulties in capturing the subtle nuances of his expression, like slides and dynamic shifts, I persisted, relying on my ear training and music theory knowledge. By analyzing patterns and intervals and predicting underlying chords, I successfully transcribed the melody. This exercise proved invaluable for enhancing my ear development and understanding of melody, rhythm, and harmony.

For this task as a second song, i choose “Nostylist” by Destroy Lonely

The song is in 4/4 time signature. The rhythm features a steady backbeat on the snare drum, with syncopated patterns that add depth and complexity to the groove. The hi-hat provides a continuous pulse, while the kick drum accents certain beats to drive the rhythm forward.

Transcribing "Nostylist" by Destroy Lonely was a thrilling project. The song's unique melody blends seamlessly with rhythm and instruments. However, capturing all the subtle details was challenging due to the complex production and unorthodox rhythms. To overcome this, I relied on my ear training and music theory knowledge. Despite the obstacles, transcribing "Nostylist" was rewarding, enhancing my listening skills and understanding of melody, rhythm, and harmony.

Task 4: Creating Lead Sheets (D1)

For this unit, i’ve used musicscore app, to create all of transcription by my ears, i try to listening track (“Oh, Pretty Woman”), and recreate staff as: melody, rhythm, chord progression, ltd.

Be honestly i’ve some issues with that unit, but its possible.

There more details about, how i’ve created track

and for finally, leadshit, which has been created by me, i added bpm, composer, the name of song, chords, lyrics, ltd.

[dysphoria-tips]

Exploring the Sweet Sound of the Suzuki Chromatic Harmonica

The Suzuki Chromatic Harmonica is a unique and intricate instrument that adds a unique sound to any musical genre. Its sweet sound resonates with a warmth and fullness that can transport its listeners to a world of beauty and emotion. The mild and mellow tones of the Chromatic Harmonica are the perfect accompaniment to a range of musical styles from acoustic singer-songwriter tones to laid-back jazz. This harmonic diversity brings a sweet sound to any song, making the Chromatic Harmonica a great choice for harmonica players looking to explore its unique capabilities. Achieving the desired sound on the Chromatic Harmonica is not easy, and will require practice, but with the right technique and repertoire at your fingertips, it can take your music to a whole new level.

Introduction to the Chromatic Harmonica

The chromatic harmonica is an incredibly powerful and versatile musical instrument, capable of a wide range of sounds and applications. The way it works is like a small melodic bellows: when you blow or draw on the mouthpiece, you activate individual notes or chords depending on which key you are playing in. Each hole has two reeds, one for blowing and the other for drawing on individual notes or chords. It is possible to use slides and mutes to make chords and microtones, as well as vibrato and other unique techniques. It is most commonly seen as a blues and folk style instrument, and has a characteristic bright or nasal-sounding tone depending on how the harmonica is played. With its wide range of tones and techniques, the chromatic harmonica is used in many genres of music, from jazz to classical, and even popular music. 

The Basics of Playing the Chromatic Harmonica 

The basics of playing the chromatic harmonica is learning how to use the various techniques mentioned above. For beginners, it is recommended to start by familiarizing yourself with the most basic chords and notes, such as major and minor triads, major and minor scales, sevenths, and so on. You should also learn how to move between these chords and notes smoothly, as well as how to use vibrato to enrich your playing. Additionally, it is crucial to have a good understanding of the various breathing techniques, such as circular breathing and tonguing, and how they affect your playing. Once you have become familiar with the basics of the chromatic harmonica, it’s time to explore its possibilities. 

Enhancing Your Playing with Microtones

One of the most fascinating aspects of the chromatic harmonica is its ability to create microtones. These are small intervals, usually a semitone or less, used to create a unique sound. To do this, it is necessary to use a few special techniques, such as slides, mutes, and vibrato. Slides and mutes are used to selectively raise or lower the pitch of certain notes, while vibrato applies a subtle wah-wah effect. All these techniques can be used to enhance your playing and create a unique and interesting sound.

Understanding Melody and Chords on the Chromatic Harmonica

It is important to understand the various notes, chords, and scales used in the chromatic harmonica. This will help you to develop the ability to create melodies and progressions. Additionally, learning about intervals and chord progressions will enable you to explore different melodic and harmonic possibilities. A good understanding of harmony can be particularly useful for jazz harmony and improvisation.

Soloing Techniques for the Chromatic Harmonica

Developing soloing techniques is an important part of becoming a proficient chromatic harmonica player. You need to be able to combine different techniques, such as mutes, slides, and vibrato, to create an interesting and unique solo. You should also practice playing various scales, such as major and minor, and learn how to combine them in different ways to discover new possibilities. Additionally, it is important to develop a strong sense of rhythm and timing, in order to be able to play melodically while keeping time.

Developing Your Ear on the Chromatic Harmonica

An important skill for all musicians is developing the ability to recognize intervals and chords by hearing them. Once you have developed a strong sense of pitch, you can begin to practice ear training on the chromatic harmonica by listening to songs, melodies, and progressions. You can also practice transcribing music by ear, or improvising by ear. This rigorous dedication to ear training will help to further develop your skills as a musician. 

Exploring the Different Elements of the Chromatic Harmonica

Last but not least, it is important to explore the different elements of the chromatic harmonica. This includes studying and understanding the various techniques, such as mutes, slides, and vibrato. Additionally, you should invest some time in studying different scales and chords and their applications. This will help you to gain a better understanding of musical theory, and improve your improvisational skills. With a strong understanding of these elements, you will be able to create unique and interesting music on the chromatic harmonica.

Conclusion

The Suzuki Chromatic Harmonica is truly a unique instrument and a wonderful way to bring sweet musicality to any ensemble. With its various styles, intonations, and versatile playability, there is truly something for everyone to enjoy when exploring the sweet sound of the Suzuki Chromatic Harmonica. Whether playing as a solo instrument or utilized in diverse combinations of other instruments, this unique and special harmonica will bring joy to its players and fill any room with its extraordinary sounds.

[jasonbeblog]

Essential Music Theory for Guitarists: Understanding Scales, Modes, and Keys

As a guitarist, having a solid foundation in music theory is key to unlocking your full potential and expanding your creativity on the instrument. Understanding scales, modes, and keys lays the groundwork for improvisation, composition, and overall musical comprehension. In this blog, we will delve into the essential concepts of music theory that every guitarist should know, equipping you with the knowledge to navigate scales, modes, and keys with confidence.

The Basics: Notes and the Chromatic Scale: To understand scales and modes, it's important to start with the basic building blocks of music: notes. The chromatic scale consists of all 12 notes in Western music, moving sequentially from one note to the next, including sharps (#) and flats (b).

Scales: Major and Minor: Scales are fundamental to music theory and provide the foundation for melodies and harmonies. Focus on two essential scales:

a. Major Scale: The major scale is the most common scale in Western music. It follows a specific pattern of whole steps (W) and half steps (H) and serves as the basis for constructing chords and melodies. b. Minor Scale: The minor scale has a different pattern of whole steps and half steps, creating a distinct mood compared to the major scale. Understanding minor scales adds depth and variety to your playing.

Scale Modes: Modes are different variations of a scale that start and end on different notes, altering the tonal center and overall sound. Familiarize yourself with the following modes derived from the major scale:

a. Ionian Mode (Major Scale): The Ionian mode is the standard major scale and serves as the starting point for understanding other modes. b. Dorian Mode: The Dorian mode has a minor tonality but with a raised sixth degree, lending it a unique sound. c. Phrygian Mode: The Phrygian mode features a minor tonality with a lowered second degree, creating an exotic and mysterious feel. d. Lydian Mode: The Lydian mode has a major tonality with a raised fourth degree, resulting in a bright and uplifting sound. e. Mixolydian Mode: The Mixolydian mode has a major tonality with a lowered seventh degree, producing a bluesy and soulful vibe. f. Aeolian Mode (Natural Minor Scale): The Aeolian mode is the relative minor scale of the major scale and is commonly used in rock, blues, and jazz music. g. Locrian Mode: The Locrian mode has a diminished tonality with both a lowered second and fifth degree, creating a tense and unstable quality.

Keys and Key Signatures: Keys provide a framework for understanding music and help determine the tonal center and chords used in a piece. Key signatures indicate the sharps or flats present in a specific key. Key concepts include:

a. Major and Minor Keys: Each major and minor scale corresponds to a specific key, such as the key of C major or the key of A minor. b. Key Signatures: Key signatures consist of sharps or flats placed at the beginning of a musical staff, indicating the key of the piece.

Practical Application: Improvisation and Composition: Understanding scales, modes, and keys opens up endless possibilities for improvisation and composition. Use your knowledge to:

a. Improvise Melodies: Explore different scales and modes to create melodic improvisations over chord progressions. b. Compose Original Music: Apply your understanding of scales, modes, and keys to create compelling chord progressions and melodies.

[enby-hawke]

Chapter 9- Tranquility

Words:8274

Rating: Mature

Tw: tranquility, canon typical violence,

Read from the beginning

Hawke’s father taught him young that guilt was the most useless of all emotions. If you have time to feel guilty about something, you have time to do something about it.

It wasn’t that Hawke didn’t feel guilty, but he had learned long ago that guilt was just a a sign that something needed fixing. He knew he fucked up. Last night was damning, for sure, but Hawke was determined not to be suckered into a cycle of self-pity. He would make it up to Bethany.

Though how to precisely do that, stumped him.

Bethany was not one to be bought by gifts or bribes. He knew only a heartfelt gesture would work, so he thought surprising her with her favorite dish couldn’t hurt his chances. It was too simple to actually warrant forgiveness but he didn’t need forgiveness. He just needed Bethany to talk to him again.

There was still time to kill before they had to meet Anders at the Chantry, plenty of time to go to the store and gather the ingredients and cook dinner. Thankfully Varric was keeping Merrill busy with the job applications he was helping her fill out. He had even written her a resume with a few minor embellishments to make up for her lack of job history or formal education.

Hawke bribed Corff with a serving of food so he could use the kitchen to cook. It was a cramped little hole that didn’t even have a rice cooker, and Hawke used the last of his savings and bought them one so Bethany would have the perfect meal. Soon the Hanged Man was filled with the scent of meat marinated in vinegar and soy sauce.

Corff popped into the kitchen, crowding behind Hawke, his eyes looking hungrily at the giant covered saucepan. “Is it ready, yet?”

Hawke waved him away. “Give it some more time to simmer. The flavor has to meld together.”

Corff scratched his chin thoughtfully. “I heard you were looking for work. I’d pay you to work the dinner shift at the tavern.”

Hawke snorted. “Your pay is shit. I’d make more selling myself for a night at the Rose.”

Corff shook his head. “Suit yourself. And clean up after, yeah?”

Hawke waved him off as he opened the pot. Steam clouded into the vents above, blinding him momentarily. He tasted the sauce. It was salty, tangy, and delicious but Hawke sprinkled in a little more ginger to give it more zest. The brown sauce glistened on the chicken and the meat was so tender it was falling right off the bone.

Just like it should be.

Hawke pinched his fingers together rubbing them as he muttered under his breath, “and a little extra love.” The Fade opened up and he reached inside himself to pick out a memory of his father, serving this to them after coming back from a trip from the Deep Roads. He implanted the food with the feeling of the laughter at the table and the warmth of their bond, giving the extra kick it needed to make the meal perfect.

The chicken shimmered slightly blue for a few moments before it turned back to its glazed caramel color. He tasted it again, and smiled, feeling his father in his heart and hoping it would bring the same peace to Bethany.

He opened the rice cooker, to find the rice was fluffed up and waiting to be served. Everything was in place.

“I hope there’s enough for me,” a melodic voice crooned behind him.

Hawke turned around to find Isabela dressed in high-waisted shorts that rode high, and the same black-lace crop top she was wearing this morning, her bra flashing at the undersides. Her neck was still choked by the same statement necklace, adorned with a teardrop turquoise stone surrounded by gold. On her shapely hips were strapped with twin guns, and a dagger was slipped into her thigh-high skin-tight boots.

Hawke’s jaw dropped open as his eyes found a hard time figuring out where to land. “You’re welcome to anything I have,” he said without thinking. But it was true.She could walk off with his wallet  right now, and he wouldn't think to stop her. 

She sauntered up to him and sidled up close, reaching around him so they were just touching. She swiped her finger in some of the sauce, and then with a wicked grin licked her finger. “Mmmmm,” she moaned. “That’s to die for.”

Hawke found himself gulping down a swell of heated pride. He took a fork and pulled off a sliver of chicken. “You haven’t even tasted the main event.”

He offered it to her, his eyes dilating as he watched her thick red lips engulf the chicken. He couldn’t keep his eyes off her mouth as she chewed and then moaned, her lips curving up into a smile. “Mmmm I cannot tell you how hot it is when a man can cook.”

Hawke grinned eagerly. That was an in. “I’ll cook for you anytime.”

“Don’t test me, Hawke, I can eat,” she grabbed his fork and tore off another chunk of meat.

Hawke was rewarded with another moan. “Oh, Maker, what is this?”

He couldn’t keep the grin off his face. “Chicken adobo. My sister’s favorite.” Bethany. He reminded himself. He could not get sucked into this woman’s bed tonight. He had already too much to apologize for.

Isabela ran her finger through the sauce and coating the tip. “Mine, too, now. You’re serving this in this dump?” She sucked on her finger, licking it clean, and Hawke could feel himself getting hard as he watched.

Hawke wrapped an arm around her and pulled her in closer. “Private serving, but you’re invited.” Certainly dinner couldn’t hurt, could it?

She froze, pulling away. “This is not a date, is it?”

Hawke could see how spooked she was by the idea. “Well, that would be awkward with Varric and Merrill there.” Hawke suddenly wondered if he should mention his sister, and how dinner would even work with Bethany.

Isabela’s eyes seemed to light up at the mention of Merrill’s name. “Oh, that sweet little kitten? I had so much fun with her last night. She says the most adorable things.”

Hawke felt a little jealous that Isabela seemed more excited to see Merrill than him, but in the end, he decided it didn’t matter. “So good, you’re joining. You can help me carry this to Varric’s room.”

After siphoning off a portion for Corff, and some for Isabela who didn’t want to wait, Hawke ended up carrying everything by himself, the meal and dishes stacked high on one platter on his shoulder. Hawke couldn't even find it in himself to be annoyed because Isabela was making the most delightful noises as she ate her food. She sounded like she was filming a sex tape. 

As he passed the patrons in the tavern lifted their heads at the aroma. “Hawke, you gonna share?” one of them asked.

Hawke grinned. If this was the reaction from the customers then maybe his chances with Beth weren’t so bad. “Sorry, fellas, this is a special dinner.”

The patrons grumbled returning to their drinks as Isabela greedily gnawed on her chicken thigh, sauce smearing on her lipstick.

Hawke fumbled for the doorknob of Varric’s room, finding the platter of plates and food a bit unwieldy.

Isabela rolled her eyes. “Men. Ask for help.”

“I did and you were busy stuffing your face.”

She flipped him off, slipped past him, and threw open the door. “Guess who’s back, bitches.”

Merrill squealed, bouncing in place. “Isabela! You’re joining the adventure?”

Boof lifted his head groggily from her lap before sniffing the food and sitting prettily at attention in front of Hawke, waiting for table scraps.

Isabela stuffed herself with another bite of sauce-slathered rice before she said with a full mouth, “what adventure?”

Merrill leaned in eagerly. “Well after you left we met a Grey Warden with a rather mean cat who has a friend trapped in the Circle. So we’re going to break him out. Doesn’t that sound like fun?”

Boof kept sitting down. And then getting up. And then sat down, showing what a good boy he was, and how much he deserved a bite as a treat.

Varric chuckled incredulously, stacking the pile of job applications he was working on together with Merrill at the corner of the table to make room for his plate. “Fun. That’s one way of putting it.”

Isabela widened her eyes as if impressed. “Wow, fucking with the Chantry. You’re crazy,” she then smirked at Lucky, “Kinda like it.”

Hawke found himself goofily grinning back.

Merrill’s hands were vibrating near her face. “Does that mean you’ll come ‘Bela?”

Isabela chuckled, lifting Merrill’s chin with the tip of her manicured red nail. “Only if you’re joining Kitten.”

Merrill blushed, reddening her tawny beige skin so even the top of her head was heated. She started babbling incoherently as she fidgeted with her hands.

Lucky almost dropped the platter as he tripped over his own two feet. He stumbled, the plates clattering as he caught himself just barely. “Nailed it,” he chuckled sheepishly, setting down the platter in the middle of the table. The steam from the chicken and rice clouded the air pulling every nose in its direction.

The table was no longer talking about the mission.

Merrill's eyes widened as her mouth dropped open. “Oh, I didn’t know you made chicken adobo in the city.”

Lucky smiled, pouring her a heaping bowl. “It’s my father’s recipe. I hope you like it.”

“Oh, I know I will. It’s nice to have a taste of home,” Merrill said gleefully. “And you should hear Bethany. She doesn’t want to say it but she’s grateful.”

Hawke smiled. He would take that for now.

Isabela cocked her head, her tight coils bouncing and eyed the amulet on Merrill’s neck. “Oh, so you’re talking to it now.” Her eyes gleamed with greed and curiosity.

“She’s not an ‘it’,” Hawke snapped before he could stop himself. How was he supposed to explain this to Isabela? Should he explain it to Isabela?  

The whole table got awkwardly silent as they avoided Hawke’s gaze, wondering what to say. Finally, Hawke sighed, figuring it was easier to just come out with the truth. “It’s complicated. My sister’s soul is in that amulet.”

Isabela cocked her head, and said, “I thought it looked familiar. It looks like an anting-anting. Pretty valuable. This is the first genuine one I’ve seen.”

Merrill looked surprised. “Is that what you call it? The Dalish call it an agimat.”

Lucky looked between them. “What’s that?”

Merrill lifted the amulet by the beads. “An agimat is a special charm that wards off evil spirits, often by housing a benevolent one to protect the wearer.”

Isabela nodded. “It’s the same in Rivain, usually with Fade spirits, not people’s spirits. Though I’ve heard of wicked witches cursing people into objects like amulets. But you didn’t curse your sister into a demon warding charm, did you?” Her teasing smile started to fall as she started to consider the possibility.

“No, a witch tricked me,” Hawke bristled, plopping down into the seat next to Merrill with his plate. Though, in a way, Isabela’s words had hit truer than he wanted to admit.

“You had to be there to believe it,” Varric muttered, taking a tentative bite of chicken, his mouth turned up into a smile. "Wow, Hawke. You're a man of many talents."

Hawke took an exaggerated bow in his seat. "You're right, Varric. I am."

He thought Merrill would giggle but suddenly tears were flowing freely from her cheeks, her spoon stuck in her mouth.

Isabela leaned forward and placed her hand on Merrill’s clenched fist. “Oh no, what is it, Kitten?”

Hawke panicked. He always felt awkward and useless when people started crying. Did he say something wrong? Did the spell go wrong?

“It’s B-Bethany,” Merrill’s voice stuttered and wiped her cheeks but the tears still flowed freely. Boof whined and pushed his head into Merrill’s lap. Her hands shook too much to even pet him. “H-Hawke, I-I think she needs you.”

She reached for the amulet, but it seemed like her hands didn’t want to work, like she was fighting something. She managed to take it off her neck, but her grip slipped and the necklace fell. Hawke dove to from his seat, catching Bethany before the amulet could hit the ground.

Boof woofed and rushed up to him but Hawke waved him away, fumbling to put Bethany on. As soon as he did, his breathing stopped. His chest felt like it was caving in. The familiar phantom pain was back, knocking him senseless. Hawke reeled, feeling the tears prick his eyes as he was overcome by a swirl of dizzying emotions: betrayal, loss, and grief. It felt like death was claiming them, but Hawke knew this was a pain born from panic. It took all his concentration not to be taken in by Bethany’s racing thoughts, like a rushing river crashing against him, disorienting him. He clenched his nails into his palms, the pain grounding him and in turn Bethany.

Flee. He needed to hide- escape. Bethany was falling apart and he didn’t want anyone to see him- them like this. Hawke pushed Boof away and stumbled towards the door, his feet tripping over themselves. He shut himself in the hallway, but could only manage to lean on the frame as he wheezed, trying to slow down his breathing. He could hear Boof whining and scratching from the other side.

He emanated a calming spell, but it barely slowed his racing heart. But it was enough that he could think again.

“What’s wrong? What did I do? I’ll fix it.”

He could feel her unraveling, her sense of self tearing apart. “It doesn’t taste the same without my tongue. Nothing will ever be the same! Nothing!”

Hawke felt a pang of guilt as he wiped his wet face, finding tears streaming there. He should have known that fixing him and Beth was going to take more than a magical meal. “No, it won’t,” he confirmed, but the truth couldn’t change the grief he was feeling. “I’m sorry. But it doesn’t mean it can’t get better.”

“How? With blood magic?” she spat the word like a curse.

“If that’s what it takes. I’m willing to try anything, Beth. Just give me some time.”

He could feel her hesitate, guilt and turmoil broiling at the thought of him performing more dark rituals. But he could feel another feeling. Terror. That she would live in a state of dissociation for the rest of her unnatural life. That if she didn’t let him explore with blood magic she would outlive her family and everyone she knew and stare forever into the endless void until it finally drove her to madness. “I’m scared. I felt it when you performed blood magic last night. It’s evil. I can’t ask you to sacrifice anymore for me.”

“Well good thing I’m not asking. You know I’ll do this whether I have your permission or not. I will make this right if it takes the rest of my life,” he gritted his teeth, knowing he was being harsh. “Though I shouldn’t have performed blood magic around you. Drunk or not, that was unforgivable. You don’t need to see that. I’m sorry for what I put you through.”

He could feel her calming a bit at his apology, though he could feel the resentment at the edges of her thoughts. His heartbeat in his ears started to slow. 

“Promise?” He could hear her disbelief.

Hawke smiled. “Promise.”

The door opened behind him and Boof tumbled out. He whined, curling around Hawke. Hawke leaned over and kissed Boof’s forehead and inhaled. He definitely needed a bath, but his familiar scent and the roughness of his fur further grounded Hawke and Bethany. Merrill shyly slid behind Hawke with wide emerald eyes still red with tears. In her arms was Hawke’s bowl that he had abandoned at the table. “Is Bethany ok?”

Hawke smiled, touching Merrill’s arm lightly. “Thanks for the concern. She just needs some time.”

She turned red and shoved his bowl into his hands. “Well, I thought you both would be hungry. We’re playing Wicked Grace until Anders texts us, if you want to join.”

“Sure-” but before Hawke could say more Merrill disappeared into the room, slamming the door shut in his face.

“Huh,” he blinked, wondering why she left so abruptly, but his stomach growled when he smelled the adobo gently steaming in his hands.

He hesitated. “If you want I can eat something else.”

Bethany could feel his mouth watering even as he said that. “No…you need your strength. I’m…okay now.”

He sat on the ground, sniffing as he wiped his wet face and stirred the chicken and rice so they all mixed together. Then he picked up the bone of one of the thighs and bit into the meat. An explosion of tangy juicy flavor enveloped his tongue, warming him to his core. Almost immediately he was brought back into the memory.

It was a regular school night in a new town, where they were strangers to everyone. Father had been reassigned to Highever after just coming back from a three-month-long mission for the Grey Wardens. Bethany had been the target of some bullies at school, and Carver had gotten detention for mouthing off at them, but for once Carver didn’t get in trouble. Instead, Leandra went shopping and Malcolm cooked everyone this meal with the help of his magic. Bethany remembered how Lucky did impressions of the girls at the table, making her laugh until her sides hurt. Lucky remembered how Bethany ended up eating more than Carver, who was really butthurt about it for some reason. They both remembered how brilliantly their mother smiled now that their father was home. He would be leaving again in a few weeks, but they had now. This moment.

Boof leaned on Hawke, guarding him as curled up at Hawke’s feet, staring at him with attentive big eyes.  

While the memory was full of joy, Hawke could feel Bethany grow more melancholy with each bite and he found tears stinging his eyes again.

“Does it not taste good?”

“No, it’s wonderful…it’s just…Father…I’ll never see him again, will I?”

Lucky was never good with religious talks, but he said, “You don’t know that Beth. If you’re not worthy of the Maker’s Grace then no one is, got that? Just keep faith.”

Boof lay his heavy head on Hawke's knee, closing his eyes in contentment.

“I’m scared,” she repeated.

“I know,” Hawke nodded, running his hand over Boof's fur. “But you’re a fighter, a survivor. And you’re not alone. Carver and I always have your back and you have new friends already. You’ll make a new life Bethany. It will be different but it will also be wonderful.”

Bethany finally smiled. “You’re so deluded, you make me almost believe you.”

Hawke found himself smiling too. “Then just believe your big brother. He’s going to take care of you.”

She almost did.

—-------

After finishing off the meal, Hawke finally joined the game of Wicked Grace, Bethany watching from the sidelines. Nobody mentioned the freakout, and the night went much more merrily. 

Hawke asked if Bethany would like a hand for herself, but ultimately she felt that was ridiculous, so he insisted they were on a team, though no amount of cajoling would get her to actually participate. They kept having to stop the game to explain the rules to Merrill, and Varric kept stopping the game to break out random ass stories. Hawke could swear Isabela was definitely stuffing cards into her bra, but he couldn’t prove it no matter how long he stared at her breasts.

Finally after a quarter past midnight Hawke’s phone buzzed for Anders to meet them at the Chantry.

“Hitting up the Chantry twice in a row? That’s ballsy?” Isabela chuckled.

“The Chantry?” Varric asked, his eyes wide with worry. “Why are we meeting there of all places?”

Hawke shrugged. “Beats trying to figure out how to break into the Gallows. That place is a fortress.”

Bethany felt uneasy. She didn’t want to return to the sight where she had unwittingly helped massacre last night’s outlaws. Her stomach felt sick with the weight of all the death that already clung to the Chantry.

“Hey,” Hawke nudged in his head. “They were heartless criminals. Save your tears.”

“You’re a criminal. Should I save my tears?”

Hawke gritted his teeth, but he didn’t have a smartass comeback for once.

They piled into Varric’s car and flew to Hightown, finding an abandoned alleyway near a sea-green bookshop that looked discreet and close enough to walk to the Chantry.

The streets of Hightown were filled with its usual night-town inhabitants, guards on patrol, club hoppers, and cutpurses looking for an easy mark. 

The Chantry, however, was not even guarded, which seemed strange to Hawke, because there usually was at least one guard falling asleep on the stoop. He thought he shouldn’t push his luck questioning an opening.

Hawke leaned against the alley wall and clocked all eight cameras watching the entrance of the Chantry.

He gathered everyone in a huddle and said, “Now, stay close, I have a spell that’ll help us sneak past the cameras.”

Merrill started bouncing. “Oh, the electropulse spell. You used that same trick last night. Can I try?”

Hawke blinked. “I showed you how to do it?”

“Well, sort of,” Merrill placed a finger on the top of the horn of the vallaslin on her cheek. “You weren’t very coherent, but I understood what you were trying to say. Sort of.” Before Hawke could clarify further she closed her eyes, and then her hands started to whine in a high-pitched hum.

Boof started howling at the sound until Lucky shushed him.

She aimed her hands at the camera and the whining sound got louder as a wave of energy shot at the camera until it sparked and fried, its red blinking light shutting off.

Hawke placed a hand on Merrill’s shoulder. “Wow, nicely done.”

She smiled bashfully, a slight flush on her cheeks.

Then his lips pulled in a wolfish grin. “Do you want to compete for points?”

“Lucky,” Bethany warned.

“What?” Merrill cocked her head in confusion, but Hawke was already dashing up the steps to the Chantry laughing carefreely.

He shot out his hand and instantaneously a wave of energy fried another camera. “That’s one for me. Now we’re even.”

Merrill’s eyes widened into saucers. “Oh, oh is this a game?”

Hawke laughed and reached out his hand. “Yeah, play with me.”

Boof listened to the call and bounced up and down, prancing around Hawke in a circle as he playfully growled.

Bethany didn’t know how Lucky could find the time to play in the middle of breaking someone out of the Circle, but Lucky could find levity in any situation.

Merrill was practically vibrating. Her grin was suddenly determined. “You’re going to eat my halla droppings, Hawke.” She picked up her staff and started running rather nimbly up the stairs towards the next camera but Lucky was already farther ahead and with the haste spell was gaining the lead. He waved his hand and another camera sparked dead. “That’s two for me. Don’t make this easy for me now.”

Isabela crossed her arms as she trailed in step with Varric. “Well, now I feel left out.”

“You want to place a bet?” Varric pulled a shiny sovereign bill out of his wallet.

Isabela smirked, pulling her own out of her lacy bra. “My money’s on Kitten.”

Varric smirked, his gold tooth shining. “Your loss, Rivaini.”

Merrill’s giggles echoed into the night as she ran after Hawke, but her legs were shorter, and couldn’t quite keep up with his gait. Boof barked happily as he dashed beside Hawke at full speed. Soon enough Hawke was close enough to the next camera and wound himself for the next spell when Merrill disappeared under the ground in a mess of vines. Hawke was stunned, never having seen the spell, and in that moment of hesitation, Merrill popped up in front of Hawke and with a wave of her staff, she had the next camera. 

“Almost,” she giggled and then disappeared into the ground again in a tumble of vines.

“Shit,” Hawke swore and sped up. He wasn’t expecting that and he found himself a little starstruck.

Merrill popped up in the blind spot of the next camera and shot out her hand, the camera exploding in a burst of energy. “That’s three, now. Keep up, Hawke!”

Hawke laughed fully with his belly and Fade-stepped up next to Merrill, his image a vibrating blur. “You’ve gotta teach me that teleport spell!” Then he fade stepped away and shut off the next camera.

Merrill twisted her face in a frown. “Why would you need it? You’re managing just fine.” Then she disappeared under the ground.

Hawke Fade-stepped to the next camera, winding up for the next spell. “Because it’s badass and I want to try it out,” but before he could cast his spell a thick vine wrapped around his leg and tripped him. 

Merrill popped up in front of him and shot out the camera. “Well that’s too bad,” she put her hand on her hip. “I can’t go spilling all my clan’s secrets now can I?”

The vines came alive and restrained Hawke.

Boof growled and tore at the vines at Hawke's arms tearing them apart with his teeth.

“Hey, no fair,” Hawke cried. Boof was a good boy, but he wasn't going to be fast enough. Lucky’s body glowed bright yellow as he shifted into a crow and flew towards the last camera at full speed.

But Merrill was already there and with a graceful bow of her staff, the last camera was decimated. She jumped up and down, her arms waving in the air as her staff flailed. “Mythal’s Mercy, I did it! I did it!”

Bethany had never felt what it was like to be a bird before, never felt so free and light in the air. With Lucky’s silly game, his joy had become infectious and she could find herself feeling some peace again.

Then the flying feeling was over as Lucky plopped down in front of Merrill, and unshifted, his arms crossed and his lip pouting in sullen defeat. “You cheated. I totally had this.”

Merrill looked sheepish all of a sudden. “Well, we didn’t exactly establish rules.”

Varric was scowling as Isabela reached for his sovereign. He pulled it away from her. “I’m with Hawke, Rivaini. This bet didn’t count.”

Isabela put her hand on her shapely hip, a smirk on her lips. “Kitten just knows that in a cutthroat world she has to use her claws.”

Hawke was a little miffed to be sure and every fiber of his being wanted to contest the win, but when he opened his mouth, he paused to look at the delight on Merrill’s face. She was positively beaming, her smile so wide as she petted Boof he found his anger just fading away and his own smile replacing it. “Alright, fine, you’re too cute to be mad at. Rematch, ok?”

Merrill froze, and then like clockwork, she blushed from the top of her shaved head to the tips of her pointed ears. “I-I..” It seemed like the words were stolen out of her mouth.

Bethany wanted to scold Lucky but honestly, she could feel how genuinely he meant it and she wasn’t sure if he even meant to flirt. It just was as automatic as breathing.

With a grumble, Varric finally handed over the sovereign. "Fine, Daisy wins on a technicality. Never say I didn't get you anything, Rivaini."

Isabela smirked and tucked the sovereigns into her bra. "Awww, you're so sweet."

Suddenly the doors to the Chantry opened, and a masked figure in all black appeared. Everyone drew their weapons when the masked figure took off his hood and revealed his face.

It was Anders.

He looked confused. “I thought I heard a commotion out here. I’ve been waiting just inside.”

Hawke walked up to him with a sly smile. “Nice outfit.”

Anders raised his eyebrow. “Thanks?” He cleared his throat. “Glad you all made it.” His eyes fell on Isabela. “And you invited more?”

Isabela smirked, cocking a hip. “Yeah, we’re making it a party.”

Anders smiled though he looked like he was gritting his teeth. “Well as long as everyone here knows a thing or two about discretion.”

“Discretion’s my middle name.” Isabela made a motion of zipping her lips.

“What a mouthful for your mother,” he replied boredly. His eyes fell on Hawke and Bethany’s heart started speeding up as she fell in his hazel eyes. “Are you ready, then?”

“As we’ll ever be,” Hawke nodded.

“Good,” Anders echoed the nod and held open the door. “Let’s be quick about this before templars come.” 

The Chantry was deadly quiet, caution tape that said ‘Kirkwall Guard- Do Not Cross’ on it was strung up all throughout the worship hall. Dried blood was still splattered everywhere, on the ground, strewn across the walls, even splattering up the high ceiling of the Chantry. Everywhere were tape lines where dead bodies used to be splayed out. Andraste’s golden statue was marred, her face still smeared with dried blood. The angular archways exaggerated the shape of the group's shadows as Hawke’s mage light bounced in the darkness.

Boof trotted quietly next to Hawke as his eyes shifted around, looking for danger in the shadows. Their footsteps echoed on the marble floor, Boof's nails clicking.

“Someone made a mess of the place last night,” Anders muttered. “I can still smell the blood magic.”

It was a sulfury rotten smell that curdled the stomach.

Hawke straightened up, chuckling as he scratched the back of his neck.

Merrill leaned over to Isabela. “Do we tell him?”

Isabela shrugged. “Not my call.”

Anders looked over his shoulder inquisitively at the girls. “Excuse me? Do you know something about this?”

But before anyone could answer a voice called out from the shadows, the voice loud but somehow drained of life. “Anders.”

Anders’ name echoed through the Chantry as out of one of the shadows of the archway a figure appeared.

Anders seemed to recognize the voice and stepped towards the shadows eagerly. “Karl! Karl! I’m here.”

The man stepped out leisurely, his face slowly being revealed from the darkness but there was something strange. He was young, no older than Hawke, with short dark brown hair and an impressive full beard. He was handsome, with sparkling blue eyes and a strong nose but his deathly pale face was utterly devoid of expression. On his forehead was a Chantry sun branded in a burn.

Varric sighed deeply. “I knew this was a bad idea.”

As Anders saw Karl, his face fell, and tears pricked his eyes. “Karl…no.”

“I was too impulsive. I loved you so much it hurt. But now that hurt is gone, and yours can be, too, Anders.”

As Karl's dead voice spoke, dozens and dozens of templars emerged from the upper levels and cut off the exits. They were completely surrounded on all sides, shiny black assault rifles pointed in their direction.

Before them, Anders was twitching, roiling. His teeth were gritted, his fists clenched as his shoulders shook.

Hawke’s gut plummeted, as Bethany roiled in panic.

“Lucky, what do we do?”

They pointed their weapons, the sound of their guns cocking into place. Their armor was shiny and sleek, with the Sword of Mercy emblazoned on their chests. They seemed to move in unison like they shared the same mind as they tactically blocked off each exit.

Karl slowly made his way into one of the side rooms past a wall of templars. “Please do not fight. You will know peace finally, Anders.”

Then Karl shut the door behind them and a templar with an especially pointy helmet stepped forward. “Apostates and criminals aiding apostates, we give you one chance. Surrender or you will be gunned down. This is your only warning!”

Boof crouched into a fighting stance, a warning growl rumbling lowly.

Lucky’s hands twitched, his mind racing for what to do. Varric looked at him. “Look, there’s no win here. If we surrender, we might be able to plead our case.”

Then Anders snapped. The whole room burst as he glowed blue, knocking everyone down with energy. His face was cracked with light, his eyes glowing with the same vivid color as a righteous light emanated from his body. The veil shifted a feeling of vertigo as the Fade opened up and flooded the area with thick magic like the Fade was melding with reality. He swirled his staff. “Surrender!? After what they did to Karl?! Never! They will die! Every last one of them!” his voice was warped and distorted. 

Then Anders threw a fireball at the first group of templars that recovered from the initial blast.

Bethany panicked, seeing whatever possessed Anders take out templar after templar with brutal efficiency, in a flurry of spells that were too fast to possibly be human. He was snarling, his voice warped and demonic, as tears streamed down his cheeks. 

“What’s happening!?” she cried as Lucky formed barriers around everyone, the blue cooling magic encasing their skin just in time for the bullets to spark off of them.

Hawke shot a chain of lightning at a group of templars and they jerked and jolted, firing wildly. “Like I know!”

Bethany’s mind was rushing with panic. Templars. They were fighting templars. If Mother could see them now she would faint. “What will they do if they find me?”

Suddenly Lucky froze as the battle raged around him. They could both see it. Lucky would be thrown into the Circle and they would judge Bethany as a demon and she'd be locked up in a cabinet under magical wards if they didn’t destroy her. And Bethany couldn’t decide at the moment which would be the worse fate.

Lucky’s insides solidified as he surveyed the battlefield. The gunfire was so loud it made it impossible to think. He could feel the vibrations of the bullets slinging through the air.

Anders may have caught them by surprise but they were still hopelessly outnumbered. He watched as multiple templars took aim at Merrill, Varric, and Isabela, all on opposite ends of the room. He only had time for one spell.

Lucky gritted his teeth. “I’m sorry, Beth.”

Suddenly Lucky pulled out a dagger and stabbed himself in the stomach pulling as much power from the pain. The whole world seemed to slow to a crawl. Bethany could feel the sharply jagged edge of the knife in her stomach, the lurch as something hungry inside Lucky twisted awake. Then the templars aimed their guns at each other and fired, crumpling to the ground with bullets in their foreheads.

Bethany had a sense that the world was falling as the templars bled out. She felt like she would throw up. Her hands began to shake.

“Blood mage!” a templar cried out.

The whole battle seemed to shift. Hawke bled freely, using his pain to give himself a sharp clarity and focus. He avoided more blood magic, but she could tell his spells had more power behind them because of his bleeding wound. 

Bethany could see the whole battlefield at a glance. Merrill was stabbing her staff in her stomach as vines ensnared templar’s feet, tripping them. The templar aiming at Merrill coughed against the screen of his helmet, bleeding from the inside.

Varric and Isabela were back to back in the middle of the battlefield sniping at enemies.

A templar tried to butt the head of his gun at Varric, but Varric weaved to the side and shot him in the weak spot at the jugular.

Another templar jutted her bayonet at Isabela and she ducked and swept the templar’s leg knocking her to the ground. The templar’s helmet fell off with a clatter, her blue eyes wide with fear. With a quick pull of the trigger, Isabela shot her in the forehead.

Boof was bouncing off templars as he ducked and weaved past bullets, knocking guns from people’s hands and tripping people over with rushed charges. He snarled, snapping at a templar as he leapt on top of the brute, and then efficiently tore out his throat. His jaws dripped with blood and he howled in victory.

Anders though was the most vicious of all. He was a phantom on the battlefield, his speed a blur. The templars frantically tried to dispel him with cleansings, but it was like he was made of raw energy that couldn’t be tamed. He froze a group of templars with a winter’s grasp, and then Fade-stepped up and crushed a templar’s helmet with his fiery fist. The templar’s head exploded in an icy mess of brains.

But the templars were rallying, pushing them all into a corner. Lucky’s timed barriers were being knocked down faster than he could make them, and Merrill and Anders could not keep up with the defenses.

Suddenly Hawke felt a burst of pain as a bullet pushed past his barrier. His stomach wound exploded with a burst of viscera. Hawke coughed, keeling over feeling like his stomach was burning raw. He fell to his knees, holding the wound closed, and looked down. There was shrapnel caving his stomach open.

“Lucky!” Bethany cried. The pain this time was so much worse, and yet it seemed familiar. Darkspawn flashed before her eyes. She had a sense of dissociative floating like she was losing herself. She felt Lucky’s chest tighten in pressure, as he went into shock.

“Hawke!” Varric and Merrill cried in unison and blocked his body with their own.

Isabela closed the rest of the gap guarding Hawke. “Hey, hurry up and heal. We need you.”

Hawke breathed heavily through the pain and something shifted in him, a stirring, a hatred burning so deep Bethany thought she would be burned. “Fucking templars,” his right eye shifting from blue to red. And instead of healing the wound, he dug with his fingers.

Bethany howled with pain, feeling him writhe as the blood gushed out. It splattered on the ground and came to life beneath the group's feet and then shot outwards like harpoons. The blood honed in on each templar and froze them in place, sticking to them like a web until they were surrounded by a sea of red strings.

Bethany could see Lucky’s mind. Everything was turning blue except the bodies. Everyone's bodies, though, were warm with life, glowing like little embers in a hazy fog. She could see the outline of the templar’s skeletons, how her brother reached into their bodies and just tore the flesh apart like he was ripping up paper. The bodies convulsed, as their flesh melted off of their bones, liquefying into a puddle. One by one the templar’s armor clattered into a pile of viscera and bone.

Suddenly the Chantry was quiet. Vines were entangled everywhere, creeping along the floor as templars lain strewn about. Some of the pillars were cracked and there were bullet holes everywhere. Somehow, they had made it out alive.

“Fuck,” Hawke looked around at the damage he caused. He grabbed his hair, smearing his face with blood. “Fuck, fuck, fuck, fuck, shit, fuck we murdered templars.”

“That’s bad isn’t it,” Merrill’s fingers held her bleeding arm as she looked around the scene with worry.

“Really bad,” Varric groaned, still slightly out of breath. “Try ‘being excommunicated and locked up for life’ bad.”

“Haaaawke, I did not sign up for this,” Isabela whined as she stepped across a dead templar, but then eyed his shiny ring. “Well, you won’t be needing this.”

Bethany looked down at her hands, her brother’s hands drenched with blood that wasn’t her own. Flashes of last night played out before her eyes as a terror overwhelmed her. The room started to spin. Hawke’s hands shook as Bethany's flooded panic took over. She could remember controlling the blood, how it had a hunger for death in its essence, could feel the templars shredding apart with brutal efficiency, could still hear their gurgling screams as they cried out for mercy. Her hands took life and left a corpse of someone’s son, someone’s brother, someone’s- “Oh Maker…Oh no we…”

“I’m so sorry, Beth. They were going to kill us. I’m so sorry,” Hawke was so panicked he was speaking aloud, wheezing through heavy breathing. “You didn’t do anything. That was me. All me.” Sharp stabbing pain in his side crumpled him into a ball. “Oh fuck, Carver’s gonna kill me if this doesn’t.” Hawke clutched his stomach. It felt like it was on fire, and he was keenly aware Bethany felt every burning throb. This was not how the night was supposed to go. His hands clutched the bullet wound in his gut, and his body started to grow cold as the adrenaline left his system. How much blood did he actually use?

“Let me see that,” Anders said, his voice starting to sound more normal now, less demonic. His glow had started to disappear, though it hadn’t quite left his eyes. His face was grim and hard as he glared at Hawke.

Hawke looked at him warily. And just what the fuck was he? That wasn’t just some everyday blood magic. That looked like a full-on possession and yet now he somehow looked almost in control.

Bethany was terrified of him. Was there a demon riding inside his head? A demon just like she was?

Hawke allowed Anders to look at the wound.

Anders’ eyes went white as he scanned it. “The bullet’s still in there.”

“I’m running low on mana. Do you think you can heal it for me?” Hawke asked through gritted teeth.

“Hawke, it needs to be removed,” Anders furrowed his eyebrows.

“No time. We need to get out of here,” Hawke hissed.

Anders' lips thinned into a line, but then his eyes started to glow. A humming in his hands filled the air as he sealed his hand over Hawke’s gaping stomach. In a flash of light, the wound was closed over into a scab, but the skin still looked horribly bruised. Bethany found herself breathing a little easier, but she could still feel the grinding in her gut.

“That won’t hold. You need to come back with me to the clinic,” Anders commanded.

Merrill and Varric crowded over Hawke with worried expressions while Isabela was busily looting the bodies of their purses.

“Oh, Hawke are you alright?” Merrill asked.

“Don’t worry about me, Merrill,” Hawke slapped on a carefree grin. “I’m made of pretty sturdy stuff.”

“I’ll say. You’re one terrifying motherfucker, Hawke,” Varric crossed his arms with an uneasy grin as he eyed a pile of templar goo.

Suddenly a voice rang out from behind them. “Oh Maker.” Karl was folding his hands as he crept out of his closet, trembling. “I almost…If you hadn’t stopped me, they would have made you tranquil.”

Hawke glowered, marching up with a raised fist. “It’s a little late to have remorse, isn’t it?”

Anders grabbed him by the shoulder. “He was made Tranquil. He couldn’t help himself.”

Hawke’s head snapped up at Anders with a glare. “Do Tranquil’s cry?” He pointed at Karl accusingly. “Face it. He tricked you! Your friend fed you to the fucking Templars.”

“He might not have had a choice,” Anders’ voice had an edge as he put himself between Hawke and Karl. “You’re going to let me talk to him.” Anders’ eyes started to glow again, telling Hawke he wasn’t taking no for an answer. 

Hawke glared at Karl, murderous rage in his eyes, but Bethany cried out, “You can’t. No more! Please don’t kill anyone else.”

Suddenly Bethany’s tears were running down his face and he shoved Anders off before he could see.

It was too late. Bethany was sobbing inside him, as she replayed the templars’ death again and again in her head. Everywhere she turned there was blood, horror and death. The Maker would never take her soul now.

Hawke couldn’t stand the guilt. He'd made a promise and broken it the very same night. “Fine,” he sniffed, wiping his face, smearing more blood. “Talk. But if he tries anything I won’t hesitate.”

Anders didn’t reply with anything but a grim nod before turning back towards Karl. He placed two hands on the man’s shoulders which comforted him little. Karl was sobbing into his hands, ugly snotty tears. Anders pulled him into a hug. “Karl…Karl…Calm down you’re going to hyperventilate.”

The man seemed to be unable to catch his breath. “I a-a-almost k-killed you!”

“Karl, everything’s ok. We’re safe now.”

“N-n-no. Th-they found our letters,” he choked on a sob. “D-dragged me into the H-Harrowing Chamber and did some kind of r-r-ritual and br-branded me.” He shut his eyes tight. “Y-you can’t imagine it. A-all the color, all the music in the world- gone. My v-voice…My own body…” He couldn’t seem to contain the thought before he broke down into more sobs.

As Hawke listened to the man, his anger faded away as he thought of Bethany. In a way, Karl was her opposite, a man who could move freely but not think for himself. He could not imagine losing his love for his family. He couldn’t imagine the templars would come up with something this twisted either. His hatred shifted back to the templars, wishing he could kill more of them.

He clenched his fists, not knowing what to do anymore.

Anders folded Karl into his chest, shushing him as he sobbed. “I’m here, now. They won’t hurt you anymore.”

“It’s too late, Anders,” Karl croaked. “Whatever y-you did. It’s already fading.” He pulled away for a second and reached for the dagger at Anders’ belt. “Please, I want to die human.”

Bethany thought she couldn’t imagine a fate worse than what she had been subjected to, and yet being Tranquil… No matter what else she lost, she still had her will. She found herself finding pity for the man. “There must be something we can do.”

Without even realizing it, Hawke had said her words aloud.

Anders' head snapped at Hawke. “Can you cure a beheading?” which made Karl flinch. “The dreams of Tranquils are severed. How can I fix that?”

“But you’re being too hasty,” Hawke stepped forward, his heart thudding in his chest. “Something you did worked. He’s still alive. With enough time-”

“I don’t have time,” Karl shouted. “Don’t you understand, I won’t be me anymore. I can’t lose myself again!” Karl’s face faltered as he grabbed Anders' hand and brought it to his wet cheek. “Please, I can’t lose how I feel about you.”

Before Anders could reply Karl captured his lips in a passionate kiss. Tears spilled down Anders’ cheeks as he closed his eyes, pulling Karl closer. Lucky turned his head away respectfully giving them space as he thought of Bethany, feeling her pain deepen. Anders tangled his fingers in Karl’s hair, kissing him like he couldn’t breathe until eventually Karl’s body grew slack and his eyes opened slowly, suddenly growing still.

Anders continued to kiss his lips but Karl no longer responded. His face was without life or expression.

Anders pulled away, grief in his voice. “Karl?”

“Anders,” Karl replied monotonously. “Why are you looking at me like that?” It was Karl’s voice, but there was no emotion, no recognition in his dull blue eyes.

“No,” Anders' face twisted. He took a few steps back as he clutched his temples, and for a moment it looked like he would fall apart right there. In an instant, Anders’ demeanor turned calm and serious and with a trembling hand, he drew his dagger.

Hawke stepped forward, this time blocking Karl’s body with his own. “Wait. You can’t take this back. He’s still alive, dude. He’s in there somewhere.”

Bethany could feel Lucky’s desperation. It wasn’t about Karl anymore and she knew it. He needed to believe that he could be saved. That she could be saved. Seeing Anders give up on Karl scared him more than anything.

Anders shook his head, a tear falling down his cheek as his eyes closed. “It doesn’t matter,” his voice was barely a whisper. “I won’t make him live like that. It was his last wish.”

All of Hawke’s arguments crumpled in his throat. He clenched his jaw and wordlessly stepped aside. Anders stepped forward and raised his dagger, his lip trembling. Karl’s expression didn’t change until Anders cut his throat and even then it was just a brief moment of surprise that he was bleeding.

Hawke turned away instinctively, trying to shut out Karl’s dying gasps only to find Varric comforting a weeping Merrill pulled into Isabela’s chest. When he looked down at his own hands they were shaking and wet with blood, Bethany’s thoughts dangerously quiet and still.

Boof whined and then threw his head up in a mournful howl that echoed through the Chantry.

As the howl faded, Anders' expression was carefully constructed and stiff, but it wasn’t hard to see the glisten in his eyes. Hawke cleared his throat uncomfortably, rubbing the back of his neck.

“C’mon,” Anders sighed bitterly. “There’s nothing left here.”

[audiohut]

Are you persistent in your craft? Here are some things that might inspire some ideas in your next session.

I’m going to continue to post these every other day as i have found myself with outside obligations relative to this. It gives me time to put my learning to work and come back with some hands on experience for you.

What do you find yourself writing when it comes to creating good lyrical themes? As i talked about before, there are a wide spread of topics you can chronologically lay out that appeal to many people and again, i want to talk about lyric production and song structure to help bring power to your song and meet your existing warm audience as well as cold audiences.

One thing i read about earlier this morning was creating timeless lyrics. Lyrics that are still captivating and interesting even over a long period of time. That time frame can be within the amount of time it takes to listen to your song, or lyrics that are simply unforgettable. One way you can help get these lyrics stuck in your head is by applying a catchy melody or series of harmonies within your song. Obviously this is the goal, but if you are approaching a hook/chorus you will want this to be the part that brings the listener in even more so and if done right, can be unforgettable or timeless in a sense.

For examples of timeless lyrics and incredible song writing, check out “Paint it Black” by The Rolling Stones, “Bohemian Rhapsody” by Queen. These bands wrote handfuls of timeless songs and had lyrics that are emotionally captivating and interesting even decades later.

When you are drafting your lyrics whether it be digitally composing or the classic pen to paper, lay your lyrics out on a staff if possible and ensure that each syllable is tied to a note. This is where you will be able to play with your melodies, skips and steps as we talked about a bit in the last posting. Even if you plan on assigning the same tones over eighth notes, sixteenth notes or single syllables it helps to make sure every one of your syllable is rhythmically and melodically established to your song. Otherwise the effect may sounds out of key or off tempo discerning the listening and could create a lack of interest. Although many applications of flats and sharps come into play, it helps to know a bit of theory to work around what might add a little extra color to your song.

One thing we have not talked about yet is bass lines. In artists like Tame Impala, Oliver Tree and say Yellow Days you will notice their bass lines are a huge player in the flow of the song as it drives the low end of the song providing more feeling and creates something more immersive than if you were to have the tones from only your kick/808’s delivering your low end tone. The bass line does not need to be anything technical, but should be found as the root or fundamental notes of the chords and keys your strings or synth instruments are being played in sort of grounding and gluing your song together. When your bass line as well as synth instruments or strings are all together it could bring more opportunities to your table melodically hen it comes to the production of your lyrics and where they fit in tone and melody.

One way to add texture to your melody in your song is add rise and fall in your tonal and note movement. This can again, be done with any instrument you choose to have laying over your bass line but in all dynamic changes in volume and velocity will add more character to your production. This is heavily noted in many Saxophone players who use velocity in hard how the notes are being played to contour the emotion and make it hit more effectively to the listener.

Another thing to note when writing is to use engaging major chords as these are more compelling and have been noted in top hits more than minor chords. Like i have said before, produce your progressions and harmonies with whatever taste is needed in your song. For example you have Tadow by Masego and FKJ. This song features a wide variety of Minors and Majors creating a very harmonious and archetype sound production. Good Major chords that are used very often are as follows: C – G – Am – F ; D – A – Bm – G ; A – E – F#m – D ; G – D – Em – C ; and E – B – C#m – A.

When it comes time to captivate, bring in new instruments or change the dynamics of already existing instruments in your production. Most songs derive from no more than seven instruments including vocals as it can become quickly muddied up and create incoherence when listening to it. Seven may seem like a small number but remember that each instrument can be used in different manners to bring in what could feel like a new environment with each section of your song i.e: Verse, Chorus, Pre Chorus etc.

Because music can be fickle especially when writing you may want to record your practice sessions or keep a note book handy when ideas pop up. You never know when a new idea will pop and you will never know how quickly you can lose until its gone. Be creative and experiment with new sounds. From personal experience i have ran into accidental melodies, harmonies and riffs that blow my own mind.

And finally, when you are creating you need to be persistent. Many song writers have an enormous pack of songs before they finally hit the billboard. You need to practice your writing skills to 1. Develop and ear for what it is you know you are good with and 2. Get the bad songs out the way. Not every single thing you write and produce is going to be good. It will take plenty of trial and error before you discover a sound that suits your skills set and is enjoyable by others. Again, most artists write for upwards to a decade before they create something that is incredible and even then, they write songs they would not put out into the world. patience and persistence will always be the bread winner.

I hope this thought was insightful and brings to light some new methods or ideas for you and your creative process. If you are in need of some more thoughts and tips, follow my space and look back on previous postings! Thanks for the read.

-Andrew Giordanengo

-Audiohut

[learnmusiconlin-blog]

8 Things You Should Do If You Want To Learn Music As An Adult

Learning track has a extensive variety of advantages that may extrade your lifestyles. Apart from being a a laugh stress-reliever, track now no longer simplest improves your health, however additionally complements your cognitive function. While it is probably real that kids have an simpler time getting to know track, you're by no means too antique discover ways to track.

In this article, we’ll come up with a few suggestions to get you began out with getting to know track as an grownup. Music teacher  We base those suggestions at the benefits and demanding situations you face as an grownup getting to know track.

Advantages and Challenges of Learning Music as an Adult

Learning track as an grownup has its perks over getting to know track whilst you’re younger. We must make complete use of those benefits for powerful getting to know.

Advantage 1: Deeper know-how of track

As you mature into an grownup, you've got got a deeper know-how of track each analytically and emotionally.

Adults have a tendency to have an simpler time know-how track principle than kids. Chord progressions and not unusualplace motifs might also additionally sound surprising to kids however adults who've spent their lives paying attention to a lot of track will locate them simpler to apprehend. In addition, adults locate it simpler to narrate to the emotions that underlie track compositions.

Adults have the essential adulthood and applicable lifestyles stories to empathise with the mind and messages that songwriters need to convey. While kids may have equipped technical ability, they won't recognize the deep ardour and longing that underlies songs like George Michael’s Careless Whisper.

In a comparable vein, the feelings in classical track are extra reachable to adults. For instance, a number of Chopin’s paintings like Prelude in E minor conveys deep despair that is probably misplaced on more youthful learners.

Advantage 2. Greater power to study track

It is typically stated that ten thousand hours of exercise is wanted to grasp any craft.

Likewise, getting to know track calls for patience, discipline, and sustained interest. As an grownup who (maximum in all likelihood) can pay on your very own track education, you're maximum in all likelihood getting to know track due to the fact you need to, and now no longer due to the fact your mother and father are forcing you. With your motivation, you may locate it simpler to live devoted to track exercise and expand mastery. Children are much less in all likelihood to have this discipline.

It’s now no longer all roses though. Learning track as an grownup comes with precise demanding situations that kids do now no longer typically face. We must paintings round those demanding situations.

Challenge 1. Commitments

We are all busy. We have our jobs and careers to build, growing old mother and father and developing youngsters to take care of, pals to preserve in contact with, and chores to do...the listing is going on and on. While we'd have the incentive to exercise, our obligations could make it difficult to locate the time to exercise or decide to ordinary lessons

Challenge 2. High expectancies

Sometimes, we've unrealistically excessive expectancies for ourselves. We wish to play in addition to our favorite musicians or gifted pals inside a quick time. However, those musicians have placed in lots of years of exercise to get that suitable at their units. To keep away from sadness and frustration, we want to apprehend that it takes time to acquire mastery of our units and set viable goals.

Challenge 3. Physical restrictions

While a number of us is probably capable of installed hours of exercise every day, we'd finally revel in pain, specifically whilst we first begin getting to know track. Stiff necks and shoulders in addition to terrible hips can prevent us from installing the quantity of exercise we preference and grow to be impediments to getting to know track.

eight Things Adult Music Learners Should Do

Keeping in thoughts the benefits and demanding situations we’ve mentioned above, those suggestions will assist you get the maximum out of getting to know track.

1. Identify what types of track you want

It is simplest herbal that we might need to play track that we already revel in paying attention to. As adults, we maximum in all likelihood have advanced clean track choices. We are extra emotionally engaged via way of means of a few sorts of track than others. This isn’t typically the case for younger kids as their track choices are nevertheless being shaped.

Learning track that we adore maintains us inspired to hold practicing. Go thru your track library and perceive the sorts of track which you like. You may locate it beneficial to begin from a selected artist, composer, or genre. Next, discover what you want to play that style. One suitable manner to do that is to search for tune covers on Youtube.

Sometimes, you may even locate hyperlinks to sheet track withinside the video descriptions.

You must additionally perceive what precisely you want approximately the track. If you want Guns and Roses, do you want Axl Rose’s melodic singing? Or are you enamoured with Slash’s guitar solos? Perhaps you want the rhythm supplied via way of means of the drums and bass?

2. Choose your tool carefully

If you locate which you have unique choices for precise genres of tune, you ought to select the proper tool for that kind of tune.

Some contraptions are greater appropriate for a few patterns than others. If you’re partial to rock and metallic, you would possibly opt to analyze the electrical guitar or the drums. If you want classical tune, the piano or violin is probably greater interesting. While it's far viable to do covers of classical tune on the electrical guitar and renditions of metallic headbangers at the piano, you'll locate it greater attractive to analyze an tool that suits your selected style of tune.

You ought to choose an tool that fits your life-style too. Do you've got got the gap to have a piano in your property? If you're continuously at the move, selecting a greater transportable tool just like the clarinet is probably preferable. If you've got got skinny partitions and cranky neighbours, a virtual piano with adjustable extent is probably maximum appropriate.

3. Be open minded

While you've got got a desired fashion of tune, it’s essential to preserve an open thoughts to new styles of tune.

For instance, despite the fact that you is probably inquisitive about pop piano, mastering and paying attention to Baroque tune can’t hurt. You would possibly get new thoughts or even develop to revel in it. You’ll be amazed to discover that there are famous jazz renditions and metallic covers of Bach’s tune which you would possibly appreciate.

Furthermore, gaining knowledge of Baroque portions can enhance your skills. For example, practising Bach’s three-component Sinfonias can teach your ear to become aware of melody strains and enhance the dexterity of your arms as you play a couple of melodies at once.

4. Clear distractions

Practice time ought to be sacred. There ought to now no longer be any distractions even as practising. You ought to now no longer be cooking soup, discussing initiatives on Facebook Messenger, or supporting your kids with their homework as you exercise. When you exercise tune, you ought to be totally centered on honing your musicianship.

This calls for a few diploma of self-discipline. Consider setting a timer in the front of you as you exercise. Make positive you preserve practising till the favored time has elapsed. Another component you could do is to create a conducive exercise environment. Have a tune nook or room in your property with out whatever to distract you. There ought to be no computers, cellular phones, or crying infants on your sacred location for tune exercise.

The excellent information is which you ought to be capable of actively take steps to minimise distractions. As you're mastering tune due to the fact you need to, you've got got the dedication to get the maximum from your exercise periods. Children will want greater supervision with this.

5. Set a time table however be bendy on the identical time

If you propose to “exercise as and whilst it’s handy,” you’ll in all likelihood become getting little or no exercise.

You ought to set a exercise time table that will help you preserve up together along with your mastering. Practice periods ought to be normal and timed such that distractions are minimised. Getting assist out of your companion or partner to minimise distractions for you is going an extended way, specially whilst youngsters are involved.

Practice periods do now no longer want to be too long. Around half-hour on every occasion is sufficient. If even half-hour is simply too long, you could search for a couple of loose durations on your day wherein you could exercise from 10 to twelve minutes, which corresponds properly with our common person interest span. You also can plan for a couple of “tune breaks” withinside the day, to destress earlier than gearing up to your subsequent assignment of the day.

While you ought to time table normal exercise, you ought to stay bendy as well. Sometimes, you would possibly have greater essential activities than practising tune. It will be a clinical appointment, your child’s live performance recital, or a friend’s birthday celebration. You ought to be bendy sufficient to have  a “Plan B” when you have to overlook your exercise consultation. Have opportunity preparations in thoughts. You can exercise at a greater handy time, or have an extended consultation the subsequent time.

As you intend your exercise time table, have a few concept of what you need to obtain in every consultation. To grasp any piece of tune, you want a selected plan with measurable outcomes. If you’re proceeding to grasp an extended sonata, it allows to interrupt the piece into smaller bits, and grasp the piece bit with the aid of using bit. You would possibly locate our manual on making plans exercise periods useful.

6. Be sensible and patient

You can’t turn out to be Jimi Hendrix overnight. Neither are you able to get to a stage of skillability to jam together along with your pal who has been gambling in bands given that they had been twelve. It takes years of practice (and lots of setbacks) to get as exact as your favored musicians. But with normal practice, you may get to a first rate stage of competency with a view to provoke now no longer most effective yourselves, however additionally your pals and family.

If a bit is manner past your stage of skillability, recollect searching out less difficult variations of the piece. There are many simplified variations of well-known portions to be had on-line and in books. Check out our unfastened sheet song for novices here. Beginner piano books generally tend to characteristic abridged variations of classics like Beethoven’s Moonlight Sonata and Chopin’s Fantasie Impromptu.

7. Make getting your posture proper your priority

Practicing song can contain moving into uncomfortable, worrying positions. Beginner violinists generally tend to revel in jaw and neck pain as they twist their neck to preserve their units in place, at the same time as drummers are liable to returned accidents in the event that they have negative sitting posture.

It is essential to undertake the proper posture to live freed from accidents. Getting your posture proper on the early ranges of gaining knowledge of song will now no longer most effective maintain you injury-unfastened, however additionally assist you research and carry out better. Be positive to discover what the proper posture for gambling your device is. Check out our posture publications for piano gamers and guitar gamers.

8. Embrace technology

As an adult, you've got got the economic independence to shop for smartphones and tablets, and their accompanying applications. There are many apps nowadays which can decorate your gaining knowledge of of song. Instead of purchasing a bodily metronome, why now no longer simply down load an app for unfastened? Check out our favorite apps for piano, guitar, and drums.

Lastly, why now no longer research song on-line? Committing to normal classes with a instructor is probably tough, given your nerve-racking and unpredictable schedule. With on-line classes, you may take your gaining knowledge of with you at the go, and research at any time, any place. Learning song on-line has a tendency to be extra financial too!

[guitarclasses]

10 Tips To Learn How to Play the Guitar with Good Technique

Here are my best 10 hints for figuring out how to play the guitar with great method. Some of them are somewhat self-evident, while others are the aftereffect of long understanding. I trust they help. Coincidentally, how about we accept that you're correct given player. Lefties can make the undeniable change.

1. Stay away from The Left-Hand Death Grip

At the point when you first beginning playing, straight away you'll find that squeezing the strings against the fret boardhow-to-play-the-guitar is difficult work, harms your fingers and makes your wrist hurt. The regular method to battle this is by snaring your thumb over the highest point of the fret board to get influence, which coincidentally makes you press the strings more with the level cushion of your finger (where your unique mark is) as opposed to the real fingertip.

step by step instructions to play-the-guitarThis is now and then called the "extremely tight grip", since you do wind up with a genuinely savage hold on your neck and it confines the range of your fingers. The best possible method is to have your thumb on the rear of the guitar's neck. This pressures you into taking a potentially rash action to utilize the fingertips, which is obviously better and increasingly precise with regards to playing only the notes you need without incidentally quieting contiguous strings. The difficulty is — it feels sort of bizarre and troublesome from the outset, and your wrist will need quality. Stick with it and you'll value the advantages further down the track. Keep in mind, thumb on the rear of the neck.

2. Practice Standing Up And Sitting Down

instructions to play-the-guitarhow-to-play-the-guitarOkay, things are hard enough all things considered without anticipating that you should waltz around the room while you're playing. The significant thing is, in case you're going to take this fantasy as far as possible, one day you'll be standing up before swarm. Playing with your guitar threw over your shoulder is a totally different stance to plunking down.

On a seat, you will in general slouch over and attempt to perceive what your hands are doing (another negative behavior pattern you need to maintain a strategic distance from). At that point, when you're standing up, everything changes. Attempt it and you'll understand. You'll see it a lot harder to see your left hand, for a beginning. Ensure you have a decent guitar tie, alter it to an agreeable length (overlook throwing it down around your knees — looks cool, however it's a poop playing position) and routinely work on playing while you're holding up.

3. No Need For Speed

10-tips-method how-to-play-the-guitarDon't ever trouble attempting to figure out how to play quick. Truly, don't do it. Great strategy is about precise fingering and hitting the correct notes inevitably, particularly with regards to scales and playing precarious bar harmonies. Focus on exact fingering. Actually, figure out how to play appropriately and speed will happen without anyone else. The greatest deterrent to quick playing is poor procedure. Learn great method and quick fingering will be a tossed in without for reward. Continuously take as much time as is needed and play gradually. Use Uberchord Guitar App, it is a free application that tunes in to you while you practice the guitar and amends when you play wrong.

4. Continuously Use Correct Fingering

Throughout the time of guitar playing the specialists have since quite a while ago made sense of the most ideal approach to play certain harmonies and scales, which means which fingers ought to play certain notes on the fret load up.

At times, you may find a simpler method of playing these — you're a melodic virtuoso and never knew it. Try not to be enticed. Right fingering isn't just about playing that harmony or scale appropriately. Including varieties is considered as well, for example, sevenths and ninths, and your custom style of fingering a harmony may demonstrate that those varieties can't be played (that's right, this is something I took in the most difficult way possible). Give cautious consideration to the right fingering of a harmony and your hand's situation on the fret board for scales. Uberchord will tell you precisely the best way to do it.

5. Quiet Rehearsing

how-to-play-the-guitarYou need to watch your preferred TV demonstrate when you should practice? Try not to freeze, a ton can be accomplished by holding your guitar and continually trading starting with one harmony then onto the next or playing scales without culling the strings with your correct hand. What you're doing is as yet preparing your left hand to play — it's all strong practice. Great method is secured propensities when you're playing. With your thumb on the rear of the neck, recollect?

6. Utilize A Metronome!

the most effective method to play-the-guitarPlaying to a tick track is extremely hard from the start, however the points of interest later on are inconceivable. Your feeling of musicality and timing will get an early lift, in the event that you take a stab at utilizing a metronome soon in your vocation. In any case, don't worry about it to an extreme and ensure you set the beats-per-minute (BPM) to something exceptionally slow. The thought is to become acclimated to playing in time and at a consistent beat, however don't surge this to the detriment of learning procedure. Incidentally, you'll discover piles of metronome applications on the web. What's more, here are 5 different ways you can utilize a metronome to improve your guitar playing.

7. Try not to Shy Away From Difficult Chords

the most effective method to play-the-guitarA not many weeks back in my studio, I was recording a companion called Mary, an artist guitarist, who might move paradise and earth to abstain from playing a B minor harmony. She viewed the fingering as too troublesome and utilized capos and all way of transpositions to evade the feared bar harmony. In the event that anything, you should search out these troublesome bits and invest additional time and vitality on consummating precarious harmonies, else, you'll see them a psychological obstruction to your playing for the remainder of your life.

8. Be Disciplined With Your Practice

the most effective method to play-the-guitar

Nothing beats routinely putting your hands on the guitar and rehearsing the most recent exercises. Regardless of whether it's only for ten minutes on a day when you're in any case excessively occupied. Great strategy originates from your psyche and your fingers recalling how it's completely expected to function, especially with regards to those dubious fingerings. Attempt to put aside some time each day and grow great playing propensities. It'll likewise assist with working up those calluses on your fingertips.

With the most recent form of the Uberchord App you can make your profile and set day by day or week by week objectives. It keeps tabs on your development and sends you updates, in the event that you are getting apathetic and losing center.

9. Offer Yourself A Reprieve and Listen to Music

10-tips-procedure how-to-play-the-guitarThe opposite side of the condition isn't to propel yourself excessively hard to start with. At the point when your muscles begin to squeak and the fingertips are stinging, enjoy a reprieve and unwind for some time. You can without much of a stretch strain something and harm ligaments and tendons in the event that you disregard the risk signs that you need a rest.

10. Remember Your Right Hand Practice

10-tips-procedure how-to-play-the-guitarSometimes it's acceptable to just quiet the strings with your left hand and work on making a percussive musicality with your right-hand playing. Uberchord application additionally includes a strummer mentor to improve your mood and timings.

On the other hand, pick a simple harmony (or no harmony by any stretch of the imagination) and spotlight for some time on any finger-picking and plectrum style that you're learning. The fact of the matter is that your right-hand method is frequently overlooked in the push to get those fingers on your left hand doing the right thing. Remember that figuring out how to play the guitar is a two-gave bargain.

There you have it. Like I said before, a great deal of these tips are clear and good judgment, however numerous new players despite everything commit basic errors in their energy to start playing energizing stuff. Get the nuts and bolts right, the best possible method occurring from the earliest starting point when figuring out how to play the guitar, and you can be an incredible player as opposed to only a decent one.

[talhaghafoor2019-blog]

Electronic Music Styles - Electronic Music

Acid Jazz

The music played by a generation raised on jazz as well as funk and hip-hop, Acid Jazz used elements of all three; its existence as a percussion-heavy, primarily live music placed it closer to jazz and Afro-Cuban than any other dance style, but its insistence on keeping the groove allied it with funk, hip-hop, and dance music. The term itself first appeared in 1988 as both an American record label and the title of an English compilation series that reissued jazz-funk music from the ’70s, called “rare groove” by the Brits during a major mid-’80s resurgence. A variety of acid jazz artists emerged during the late ’80s and early ’90s: live bands such as Stereo MC’s, James Taylor Quartet, the Brand New Heavies, Groove Collective, Galliano, and Jamiroquai, as well as studio projects like Palm Skin Productions, Mondo Grosso, Outside, and United Future Organization.

Acid Techno

When the squelch of mid-’80s acid house music was given time to sink into the minds of impressionable youths, they became quite influenced by the sound. Many who began to make music in the early ’90s applied the sound to harder techno instead of the warm sounds of classic Chicago house. Quite similar to early German trance, Acid Techno includes the earlier recordings of Aphex Twin, Plastikman, and Dave Clarke, among others.

Alternative Rap

Alternative Rap refers to hip-hop groups that refuse to conform to any of the traditional stereotypes of rap, such as gangsta, funk, bass, hardcore, and party rap. Instead, they blur genres, drawing equally from funk and pop/rock, as well as jazz, soul, reggae, and even folk. Though Arrested Development and the Fugees managed to cross over into the mainstream, most alternative rap groups are embraced primarily by alternative rock fans, not hip-hop or pop audiences.

Ambient music evolved from the experimental electronic music of ’70s synth-based artists like Brian Eno and Kraftwerk, and the trance-like techno dance music of the ’80s. Ambient is a spacious, electronic music that is concerned with sonic texture, not songwriting or composing. It’s frequently repetitive and it all sounds the same to the casual listener, even though there are quite significant differences between the artists. Ambient became a popular cult music in the early ’90s, thanks to ambient techno artists like the Orb and Aphex Twin.

Ambient Breakbeat

Ambient Breakbeat refers to a narrow subgenre of electronic acts with less energy than the trip-hop or funky breaks, but with a pronounced hip-hop influence to their music. Some of the more downtempo works on British labels like Mo’Wax and Ninja Tune paved the way for New York’s DJ Wally (of the Liquid Sky Records brigade) and British artists such as Req, each good examples of the style.

Ambient Dub

Coined by the Beyond label for its compilation series of the same name, Ambient Dub has since been generalized by artists, critics, and audiences alike to refer to any form of rhythmic, usually beat-oriented ambient using the tastes, textures, and techniques of Jamaican dub-style production (e.g. reverb, emphasis on bass and percussion, heavy use of effects). Although the term has fallen out of favor due to the fevered intermingling of styles characteristic of post-rave electronica, it remains useful in demarcating the denser, more electronic applications of dub from the more hip-hop derived styles of downtempo, atmospheric beat music. Artists include the Orb, Higher Intelligence Agency, Sub Dub, Techno Animal, Automaton, and Solar Quest.

Ambient House

An early categorical marker used to distinguish newer wave ambient artists such as the Orb, the KLF, Irresistible Force, Future Sound of London, and Orbital, Ambient House was often applied indiscriminately to designate dance music not necessarily just for dancing. In its more rigorous application, ambient house implied music appropriating certain primary elements of acid house music-mid-tempo, four-on-the-floor beats; synth pads and strings; soaring vocal samples-used in a dreamier, more atmospheric fashion. It’s since been replaced (or rather, some would argue, complicated) by a barrage of more specific terms and is rarely used.

Ambient Pop

Ambient Pop combines elements of the two distinct styles which lend the blissed-out genre its name-while the music possesses a shape and form common to conventional pop, its electronic textures and atmospheres mirror the hypnotic, meditative qualities of ambient. The mesmerizing lock-groove melodies of Kraut-rock are a clear influence as well, although ambient pop is typically much less abrasive. Essentially an extension of the dream pop that emerged in the wake of the shoegazer movement, it’s set apart from its antecedents by its absorption of contemporary electronic idioms, including sampling, although for the most part live instruments continue to define the sound.

Ambient Techno

A rarefied, more specific reorientation of ambient house, Ambient Techno is usually applied to artists such as B12, early Aphex Twin, the Black Dog, Higher Intelligence Agency, and Biosphere. It distinguished artists who combined the melodic and rhythmic approaches of techno and electro-use of 808 and 909 drum machines; well-produced, thin-sounding electronics; minor-key melodies and alien-sounding samples and sounds-with the soaring, layered, aquatic atmospheres of beatless and experimental ambient. Most often associated with labels such as Apollo, GPR, Warp, and Beyond, the terminology morphed into “intelligent techno” after Warp released its Artificial Intelligence series (although the music’s stylistic references remained largely unchanged).

Bass Music

Springing from the fertile dance scenes in Miami (freestyle) and Detroit (electro) during the mid-’80s, Bass Music brought the funky-breaks aesthetic of the ’70s into the digital age with drum-machine frequencies capable of pulverizing the vast majority of unsuspecting car or club speakers. Early Miami pioneers like 2 Live Crew and DJ Magic Mike pushed the style into its distinctive booty obsession, and Detroit figures like DJ Assault, DJ Godfather, and DJ Bone melded it with techno to create an increasingly fast-paced music. Bass music even flirted with the charts during the early ’90s, as 95 South’s “Whoot (There It Is)” and 69 Boyz’ “Tootsee Roll” both hit the charts and went multi-platinum.

Bhangra started in Northern India, and shows what happens when you blend traditional music with electronic dance sensibilities. It has now spread to other parts of Asia and the UK.

Big Beat

Rescuing the electronica community from a near fall off the edge of its experimental fringe, Big Beat emerged in the mid-’90s as the next wave of big dumb dance music. Regional pockets around the world had emphasized the “less intelligent” side of dance music as early as 1994, in reaction to the growing coterie of chin-stroking intellectuals attached to the drum’n’bass and experimental movements. Big beat as a distinct movement finally coalesced in 1995-96 around two British labels: Brighton’s Skint and London’s Wall of Sound. The former-home to releases by Fatboy Slim, Bentley Rhythm Ace, and Lo-Fidelity Allstars-deserves more honors for innovation and quality, though Wall of Sound was founded slightly earlier and released great singles by Propellerheads, Wiseguys, and Les Rythmes Digitales. Big beat soon proved very popular in America as well, and artists attached to City of Angels Records (the Crystal Method, Überzone, Lunatic Calm, Front BC) gained a higher profile thanks to like-minded Brits. Other than Fatboy Slim, the other superstar artists of big beat were the Chemical Brothers and Prodigy, two groups who predated the style (and assisted its birth). Both the Chemical Brothers and Prodigy were never tight fits either, given productions that often reflected the more intelligent edge of trip-hop, and rarely broke into the mindless arena of true big beat.

The sound of big beat, a rather shameless fusion of old-school party breakbeats with appropriately off-the-wall samples, was reminiscent of house music’s sampladelic phase of the late ’80s as well as old-school rap and its penchant for silly samples and irresistible breaks. Though the sample programming and overall production was leaps and bounds beyond its predecessors, big beat was nevertheless criticized for dumbing down the electronica wave of the late ’90s. Even while recordings by the Chemical Brothers, Prodigy, and Fatboy Slim hit the American charts and earned positive reviews-granted, from rock critics-worldwide, many dance fans rejected the style wholesale for being too reliant on gimmicky production values and played-out samples. Big beat lasted a surprisingly long time, given the restraints of a style reliant on the patience of listeners who’ve heard the same break dozens of times, as well as the patience of DJs to hunt local thrift stores to find interesting samples on old instructional records.

Dance Hall Reggae

This dance music style takes reggae and electrifies it, strips down the beat to the essentials of drums and bass, and adds a vocalist doing rapid-fire “toasting” over the beats. Several pop groups have adopted this style and had hits, but the results are pretty diluted compared to the original.

Dance-Pop

An outgrowth of disco, Dance-Pop featured a pounding club beat framing simple, catchy melodies closer to fully-formed songs than pure dance music. It’s primarily the medium of producers, who write the songs and construct the tracks, picking an appropriate vocalist to sing the song. These dance divas become stars, but frequently the artistic vision is the producer’s. Naturally, there are some major exceptions-Madonna and Janet Jackson have had control over the sound and direction of their records-but dance-pop is music that is about image, not substance.

Dark Ambient

Brian Eno’s original vision of ambient music as unobtrusive musical wallpaper, later fused with warm house rhythms and given playful qualities by the Orb in the ’90s, found its opposite in the style known as Dark Ambient. Populated by a wide assortment of personalities-ranging from aging industrial and metal experimentalists (Scorn’s Mick Harris, Current 93’s David Tibet, Nurse with Wound’s Steven Stapleton) to electronic boffins (Kim Cascone/PGR, Psychick Warriors Ov Gaia), Japanese noise artists (K.K. Null, Merzbow), and latter-day indie rockers (Main, Bark Psychosis)-dark ambient features toned-down or entirely missing beats with unsettling passages of keyboards, eerie samples, and treated guitar effects. Like most styles related in some way to electronic/dance music of the ’90s, it’s a very nebulous term; many artists enter or leave the style with each successive release.

Detroit Techno

Early Detroit Techno is characterized by, alternately, a dark, detached, mechanistic vibe and a smooth, bright, soulful feel (the latter deriving in part from the Motown legacy and the stock-in-trade between early techno and the Chicago-style house developing simultaneously to the southwest). While essentially designed as dance music meant to uplift, the stark, melancholy edge of early tracks by Cybotron, Model 500, Rhythm Is Rhythm, and Reese also spoke to Detroit’s economic collapse in the late ’70s following the city’s prosperous heyday as the focal point of the American automobile industry.

The music’s oft-copied ruddy production and stripped-down aesthetic were largely a function of the limited technology available to the early innovators (records were often mastered from two-track onto cassette). The increasingly sophisticated arrangements of contemporary techno (on through to hardcore and jungle), conversely, has much to do with the growth and increasing affordability of MIDI-encoded equipment and desktop digital audio. Second- and third-wave Detroit techno, too, has gained considerably in production, although artists such as Derrick May, Juan Atkins, and Kenny Larkin have sought to combine the peerless sheen of the digital arena with the compositional minimalism of their Detroit origins.

No longer simply contained within the 313 area code, Detroit techno has become a global phenomenon (partly as a result of the more widespread acclaim many of the original Detroit artists have found in other countries), buoyed by the fact that many of the classic early tracks remain in print (available through Submerge). Detroit’s third wave began re-exploring the aesthetic commitment of the music’s early period, with hard-hitting beats (Underground Resistance, Jeff Mills), soulful grooves (Kenny Larkin, Stacey Pullen), and a renewed interest in techno’s breakbeat roots (Aux 88, Drexciya, “Mad” Mike, Dopplereffekt).

Disco marked the dawn of dance-based popular music. Growing out of the increasingly groove-oriented sound of early ’70s and funk, disco emphasized the beat above anything else, even the singer and the song. Disco was named after discotheques, clubs that played nothing but music for dancing. Most of the discotheques were gay clubs in New York, and the DJs in these clubs specifically picked soul and funk records that had a strong, heavy groove. After being played in the disco, the records began receiving radio play and respectable sales. Soon, record companies and producers were cutting records created specifically for discos. Naturally, these records also had strong pop hooks, so they could have crossover success. Disco albums frequently didn’t have many tracks-they had a handful of long songs that kept the beat going. Similarly, the singles were issued on 12″ records, which allowed for extended remixes. DJs could mix these tracks together, matching the beats on each song since they were marked with how fast they were in terms of beats per minute. In no time, the insistent, pounding disco beat dominated the pop chart, and everyone cut a disco record, from rockers like the Rolling Stones and Rod Stewart to pop acts like the Bee Gees and new wave artists like Blondie. There were disco artists that became stars-Donna Summer, Chic, the Village People, and KC & the Sunshine Band were brand names-but the music was primarily a producer’s medium, since they created the tracks and wrote the songs. Disco lost momentum as the ’70s became the ’80s, but it didn’t die-it mutated into a variety of different dance-based genres, ranging from dance-pop and hip-hop to house and techno.

Downbeat is a quite generic term sometimes used to replace ambient house and ambient techno, considering that the amount and complexity of electronic listening music described under the “ambient” umbrella had made the terms practically useless by the mid-’90s. It often implies the use of moderate breakbeats instead of the steady four-four beats of most ambient house or ambient techno. The style also breaches territory claimed by trip-hop, ambient techno, and electro-techno. In its widest possible definition, downbeat is any form of electronic music created for the living room instead of the dance floor.

Dream-Pop

Dream Pop is an atmospheric subgenre of alternative rock that relies on sonic textures as much as melody. Dream pop often features breathy vocals and processed, echo-laden guitars and synthesizers. Though the Cocteau Twins, with their indecipherable vocals and languid soundscapes, are frequently seen as the leaders of dream pop, the genre has more stylistic diversity than their slow, electronic textures. Dream pop also encompasses the post-Velvet Underground guitar rock of Galaxie 500, as well as the loud, shimmering feedback of My Bloody Valentine. It is all tied together by a reliance on sonic texture, both in terms of instruments and vocals.

Dub derives its name from the practice of dubbing instrumental, rhythm-oriented versions of reggae songs onto the B-sides of 45 rpm singles, which evolved into a legitimate and accepted style of its own as those re-recordings became forums for engineers to experiment with the possibilities of their mixing consoles. The practice of re-recording reggae tracks without vocals dated back to 1967, when DJs found that dancehall crowds and partygoers greatly enjoyed being given the opportunity to sing the lyrics themselves. Around 1969, some DJs began talking, or “toasting,” over these instrumentals (known as “versions”), frequently reinterpreting the already familiar original lyrics. The most important early DJ was U-Roy, who became renowned for his ability to improvise dialogues with the recorded singers; U-Roy ran the sound system owned by engineer King Tubby, who mixed all of the instrumental tracks over which his DJ toasted. Eventually, Tubby began to experiment with remixing the instrumental tracks, bringing up the level of the rhythm section, dropping out most or all of the vocals, and adding new effects like reverb and echo. The results were seen by many reggae fans as stripping the music down to its purest essence. 45-rpm singles with dub versions on the B-sides became ubiquitous, and King Tubby’s credit on the back soon became a drawing card in and of itself. Full-fledged dub albums began to appear in 1973, with many highlights stemming from Tubby’s mixes for producers Bunny Lee and Augustus Pablo (the latter of whom also played the haunting melodica, which became one of dub’s signature added elements); other key early producers included the minimalistic Keith Hudson and the colorful, elaborate Lee “Scratch” Perry. By 1976, dub’s popularity in Jamaica was second only to Rastafarian roots reggae, and the sound had also found acceptance the UK (thanks largely to the Island label), where roots reggae artists like Burning Spear and Black Uhuru became just as well-known for their forays into dub. The Mad Professor and the experimental Adrian Sherwood helped Britain’s dub scene remain vital in the ’80s, but in spite of skilled newcomers like Scientist, Prince Jammy, and Mikey Dread, Jamaican popular taste had by then shifted to DJ toasters and lyrical improvisers, which led to the prominence of dancehall and ragga. The downtempo atmospherics and bass- and rhythm-heavy textures of dub had a lasting influence outside of reggae, beginning with Public Image Ltd.’s 1979 Metal Box/Second Edition album; during the ’90s, dub was frequently incorporated into the melting-pot eclecticism of underground avant-garde rock, and Britain’s thriving electronica/drum’n’bass scene owed a great deal to dub’s mixing and production techniques.

Blending ’70s funk with the emerging hip-hop culture and synthesizer technology of the early ’80s produced the style known as Electro. But what seemed to be a brief fad for the public-no more than two or three hits, including Afrikaa Bambaataa’s “Planet Rock” and Grandmaster Flash’s “The Message,” neither of which made the pop Top 40-was in fact a fertile testing ground for innovators who later diverged into radically different territory, including Dr. Dre (who worked with the World Class Wreckin’ Cru) and techno godfather Juan Atkins (with Cybotron). Electro also provided an intriguing new direction for one of the style’s prime influences. Herbie Hancock, whose 1973 Headhunters album proved a large fusion hit, came storming back in 1983 with the electro single “Rockit.” Despite its successes (documented in full on Rhino’s four-disc Electric Funk set), the style was quickly eclipsed by the mid-’80s rise of hip-hop music built around samples (often from rock records) rather than musical synthesizers. Nevertheless, many techno and dance artists continued harking back to the sound, and a full-fledged electro revival emerged in Detroit and Britain during the mid-’90s.

Electro-Acoustic

Electro-Acoustic music thrives in more unfamiliar territory; the styles that emerge are often dictated by the technology itself. Rather than sampling or synthesizing acoustic sounds to electronically replicate them, these composers tend to mutate the original timbres, sometimes to an unrecognizable state. True artists in the genre also create their own sounds (as opposed to using the preset sounds that come with modern synthesizers). In progressive electro-acoustic music, the electronics play an equal if not greater part in the overall concept. Acoustic instruments performed in real time are usually processed through reverb, harmonizing, and so on, which adds an entirely new dimension to the player’s technique. At best, this music opens up new worlds of listening, thinking, and feeling. At worst, progressive electronic artists worship technology for its own sake, relinquishing the heart and soul of true artistic expression.

Electro-Techno

Influenced by the early-’80s phenomenon of electro-funk but also reliant upon Detroit techno and elements of ambient house, Electro-Techno emerged in the mid-’90s when a full-fledged electro flashback hit London clubs, complete with body-rocking robots and vocoder-distorted vocals, inspired by original electro classics like Afrikaa Bambaataa’s “Planet Rock.” The actual fad-spearheaded by Clear Records and led by artists like Jedi Knights, Tusken Raiders, and Gescom (masks for Global Communication, µ-Ziq, and Autechre, respectively)-was quick in passing, but it inspired some excellent music during the latter half of the ’90s, including the work of England’s Skam Records, Sweden’s Dot Records and, closer to the original sources, Detroit’s Drexciya and AUX 88.

Electronic is a broad designation that could be construed to cover many different styles of music-after all, electronic instrumentation has become commonplace, and much dance-oriented music from the late ’80s on is primarily, often exclusively, electronic. However, in this case, it refers mostly to electronic music as it took shape early on, when artists were still exploring the unique possibilities of electronically generated sound, as well as more recent music strongly indebted to those initial experiments. Avant-garde composers had long been fascinated with the ways technology could be used to produce previously unheard textures and combinations of sounds. French composer Edgard Varèse was a pioneer in this field, building his own electronic instruments as early as the 1920s and experimenting with tape loops during the ’50s. Varèse’s work was hugely influential on American avant-gardist John Cage and German composer Karlheinz Stockhausen, both of whom greatly expanded the compositional structures in which electronic devices could be incorporated. But electronic music didn’t really begin to enter the wider consciousness until around the ’70s, when sequencers and synthesizers became more affordable and easier to obtain. Wendy Carlos’ 1968 Switched-On Bach album, a selection of Bach pieces performed on the Moog synthesizer, had ignited tremendous public attention, and Stockhausen’s teachings had begun to inspire a burgeoning experimental music scene in Germany. Kraut-rock groups such as Can and Neu! integrated synthesizers and tape manipulations into their rabid experimentalism, but the two most important electronic artists to emerge from the scene were Kraftwerk and Tangerine Dream. Kraftwerk pioneered the concept of pop music performed exclusively on synthesizers, and their robotic, mechanical, hypnotic style had a tremendous impact on nearly all electronic pop produced in the remainder of the 20th century. Tangerine Dream, meanwhile, was indebted to minimalist classical composition, crafting an atmospheric, slowly shifting, trance-inducing sound that helped invent the genre known as space music. Other crucial figures included Klaus Schulze, who explored a droning variation on space music that was even more trancelike than Tangerine Dream, and Brian Eno, whose inventive production and experiments with electronics in a pop context eventually gave way to his creation of ambient music, which aimed to blend thoroughly into its environment and often relied heavily on synthesizers. Ambient and space music helped give rise to new age, which emphasized the peaceful, soothing, and meditative qualities of those influences while adding greater melodicism; the progressive electronic branch of new age crafted a more dramatic, lushly orchestrated style that broke with electronic music’s roots in minimalism. Synth-pop, techno, and its artier companion electronica all owed a great deal to the basic innovations of early electronic artists as well.

A suitably vague term used to describe the emergence of electronic dance music increasingly geared to listening instead of strictly dancing, Electronica was first used in the title of a series of compilations (actually called New Electronica) spotlighting original sources of Detroit techno such as Juan Atkins and Underground Resistance alongside European artists who had gained much from the Motor City’s futuristic vision for techno. The word was later appropriated by the American press as an easy catch-all for practically any young artist using electronic equipment and/or instruments, but electronica serves to describe techno-based music that can be used for home listening as well as on the dance floor (since many electronica artists are club DJs as well).

Euro-Dance

Euro-Dance refers to a specific style of club/dance music produced on the European continent during the ’80s and ’90s. Euro-dance is generally informed by disco, hi-NRG, and house music, and performed entirely in the recording studio on synthesizers and drum machines; the producers are much more responsible for the finished product than the singers. Like its close relative Euro-pop, it’s usually simple, lightweight, and catchy, with fluffy, repetitive lyrics that don’t require much translation among listeners who speak different languages. The main difference between Euro-dance and Euro-pop is the exclusive and pronounced dance-club orientation of the former; while Euro-pop is frequently informed by dance music, it doesn’t have to be, and when it is, it doesn’t always fit into dance-club playlists. Most Euro-dance artists concentrate on crafting hit singles, with album releases almost an afterthought.

Experimental Dub

Thousands of miles away from sunny Jamaica, a loose collective of Berlin producers jump-started the style of music known as Experimental Dub. If the scene was centered at all, it occurred at Hard Wax Records, a record store as well as a tight distribution company that was home to several of the style’s crucial labels (Basic Channel, Chain Reaction, Imbalance) and producers (Maurizio, Mark Ernestus, Porter Ricks, Pole, Monolake). Indebted to Chicago acid house and minimalist Detroit techno figures like Jeff Mills, Rob Hood, and Plastikman, experimental dub was rather easily characterized; the sound usually focused on a mix of crackling, murky atmospheres that sounded almost subaquatic, with a mid-tempo beat and strong, clanging percussion. The similarities to classic Jamaican dub producers King Tubby and Lee “Scratch” Perry were indirect at best, but the term worked well for identifying the signature sound of many of Germany’s best experimental producers. Other than the Basic Channel camp, experimental dub’s most important figures were Mike Ink (aka Wolfgang Voigt) and Thomas Brinkmann. Ink, a longtime Berlin producer responsible for more than a half-dozen aliases and labels, did most of his important work on the Profan and Studio 1 labels. Brinkmann, a comparative newcomer to the style, earned praise for his remixes of material by Ink and Plastikman. Experimental dub, in turn, inspired several major techno figures (including Plastikman and Mills) by the late ’90s, and its influence was even seen in American indie-rock and post-rock.

Experimental Electro

With the revival of the classic electro style, dubbed the neo-electro movement, came a wave of Experimental Electro artists with more abstract agendas, still influenced by the sound of the streets but with more curious minds when it came to noodling around in the studio. Names such as Freeform and Bisk characterized the style.

Experimental Rock

As the name suggests, Experimental Rock is music pushing the envelope of the form, far removed from the classic pop sensibilities of before. Typically, experimental rock is the diametric opposite of standard “verse-chorus-verse” music. Because the whole point is to liberate and innovate, no hard and fast rules apply, but distinguishing characteristics include improvisational performances, avant-garde influences, odd instrumentation, opaque lyrics (or no lyrics at all), strange compositional structures and rhythms, and an underlying rejection of commercial aspirations.

Experimental Techno

The field of electronic dance music has limitless possibilities for experimentation, so Experimental Techno has a similarly wide range of styles-from the disc-error clicks and scratches of European experimenters Oval and Pan sonic to the off-kilter effects (but straight-ahead rhythms) of Cristian Vogel, Neil Landstrumm, and Si Begg. Experimental techno can also include soundscape terrorists such as Twisted Science, Nonplace Urban Field, and Atom Heart; digital-age punks like Alec Empire; and former industrial stalwarts under new guises, such as Scorn, Download, or Techno Animal. Any artist wishing to take electronic dance places it’s never been can be characterized as experimental, and for better or worse, that includes a large cast.

Often growing in tandem with contemporary styles like electro and house, Freestyle emerged in the twin Latin capitals of New York City and Miami during the early ’80s. Freestyle classics like “I Wonder If I Take You Home” by Lisa Lisa & Cult Jam, “Let the Music Play” by Shannon, and “Party Your Body” by Stevie B relied on angular, synthesized beats similar to electro and early house, but also emphasized the romantic themes of classic R&B and disco. The fusion of mechanical and sensual proved ready for crossover during the period, and both Shannon and Lisa Lisa hit the Top 40 during 1984-85. Freestyle also dovetailed nicely with the rise of dance-pop during the mid-’80s-Madonna’s early producer and remixer, John Benitez (aka Jellybean), was also active in the freestyle community. By the end of the decade, a number of artists-Exposé, Brenda K. Starr, Trinere, the Cover Girls, India, and Stevie B-followed them into the pop or R&B charts. Even after popular success waned in the late ’80s, though, freestyle moved to the underground as a vital stream of modern dance music alongside house, techno, and bass music. Similar to mainstream house, freestyle artists are usually (though by no means exclusively) either female vocalists or male producers. Newer figures like Lil Suzy, George Lamond, Angelique, Johnny O, and others became big stars in the freestyle community.

Funky Breaks

An amalgam of trance, hip-hop, and jungle, Funky Breaks became one of the most widely heard styles in electronic music thanks to its popularity as the sound of choice for those wishing to make some noise on pop charts and television commercials during the late ’90s. Pioneered by the Chemical Brothers plus James Lavelle’s epic-stature Mo’Wax Records stable, funky breaks really came into the fore in 1997, the year music-industry experts predicted would finally break the new electronica in the mainstream. Of the artists picked to spearhead the revolution, almost all-the Prodigy, Death in Vegas, the Crystal Method, Propellerheads-had that sound. That’s also a significant reason why the electronica revolution failed, at least commercially, since the highly-touted acts all sounded similar.

Most popular in the Netherlands and Scotland, Gabba is the hardest form of hardcore techno, frequently exceeding speeds of over 200 BPM. Popular DJs and producers like Paul Elstak and the Mover categorized gabba’s early evolution from German trance and British rave. By the mid-’90s, the music had acquired some rather unsavory connotations with neo-fascism and the skinhead movement, though much of the scene was free from it. Surprisingly, gabba made a rather successful attempt at the Dutch pop charts, with Elstak producing several hits. Many producers and fans proclaimed him a sell-out, and soon there appeared a divide in the scene between the hardcore and the really hardcore.

Named for what is arguably the birthplace of house music, the Paradise Garage in New York, Garage is the dance style closest in spirit and execution to the original disco music of the ’70s. Favoring synthesizer runs and gospel vocals similar to house music but with production values even more polished and shimmering than house, garage has a very soulful, organic feel. Though the style was most popular in New Jersey in the ’80s, the mainstream of British dance clubs championed the style throughout the ’90s as well.

Goa Trance

Named after a region on the coast of southwestern India famed as a clubbing and drugging paradise ever since the ’60s, Goa Trance broke away from the Teutonic bent of European trance during the early ’90s and carried the torch for trance during the rest of the decade. The presence of LSD on the Goa scene-instead of the ubiquitous club drug Ecstasy-translated the music into an appropriately psychedelic version of trance that embraced the mystical properties of Indian music and culture. Traditional Indian instruments such as the sitar and sarod (or electronic near-equivalents) often made appearances in the music, pushed along by the driving, hypnotic sequencer music that trance had always been known for. The style is considerably less turntable-oriented than other electronic dance styles, especially since vinyl tends to melt in the heat (DATs are often used instead). As a consequence, Goa had comparatively few DJs to recommend it worldwide until the late ’90s. Labels like Dragonfly, Blue Room Released, Flying Rhino, Platipus, and Paul Oakenfold’s Perfecto Fluoro became important sources for the sound. Oakenfold, Britain’s most popular DJ, finally gave Goa trance the cache it had lacked in the past by caning it on the radio and in clubs across the country. The British sound system known as Return to the Source also brought Goa trance to the mainstream hordes, releasing three volumes in a compilation series of the best trance music on the scene.

Happy Hardcore

Gradually evolving from the English rave scene of the late ’80s and early ’90s, Happy Hardcore featured many of the same elements that characterized rave: impossibly high beats per minute, similarly fast synthesizer/piano runs, and vocal samples altered to make the most soulful diva sound like a warbling chipmunk. The jungle/drum’n’bass movement had also emerged from rave, but the two scenes split and grew quite anathemic. The positive vibes of happy hardcore were criticized by most clubgoers as music for the drugged-out youth, but just as the hardcore-into-jungle scene found favor with critics later in the decade, a certain amount of respect for happy hardcore appeared as well. The work of combination DJ/producers such as Slipmatt, Hixxy & Sharkey, Force & Styles, and DJ Dougal produced innumerable compilations, as well as the inevitable solo production LPs.

Hardcore Techno

The fastest, most abrasive form of dance music currently available at any one time, Hardcore Techno was, by the mid-’90s, the province of a startlingly wide array of producers, including breakbeat junglists, industrial trancesters, digital-era punks, and cartoonish ravers. The style originally emerged from Great Britain’s 1988 Summer of Love; though the original soundtrack to those warehouse parties was influenced by the relatively mid-tempo rhythms of Chicago acid house, increased drug intake caused many ravers to embrace quicker rhythms and altogether more frenetic forms of music. Many DJs indulged their listeners by speeding up house records originally intended for 33-rpm play, and producers carried the torch by sampling the same records for their releases. During 1991-92, hardcore/rave music had hit the legitimate airwaves as well, led by hits like SL2’s “On a Ragga Tip,” T-99’s “Anasthasia,” and RTS’ “Poing.”

The resulting major-label feeding frenzy produced heavy coverage for lightweight novelty fare like “Go Speed Go” by Alpha Team, “Sesame’s Treat” by Smart E’s, and “James Brown Is Dead” by L.A. Style. By 1993, British producers like Rob Playford, 4 Hero, and Omni Trio began leading hardcore techno into the breakbeat territory that would later become known as jungle, even as the Teutonic end of hardcore morphed into harder trance and gabba.

During the mid-’90s, most ravers had grown out of the dance scene or simply tired of the sound; though the original hardcore/rave sound had spread to much of the British hinterlands as well as continental Europe, most Londoners favored progressive house or the emerging ambient techno. The simultaneous lack of critical coverage but wide spread of the sound-into the north of England and Scotland as well as the continental centers of Germany and the Netherlands-served to introduce a variety of underground styles, from the digital hardcore of Germany’s Alec Empire to English happy hardcore. In fact, the term had practically become a dinosaur by the end of the decade.

Hi-NRG

Hi-NRG is a fast variation of disco that evolved in the ’80s. Driven by a fast drum machine and synthesizers, Hi-NRG was essentially a dance-oriented music with only slight hints of pop. There would be a few hooks-generally sung by disembodied vocalists wailing in the background-but the emphasis of the music, like most dance music, was in the beat. Hi-NRG was a predecessor to techno and house, which drew from its beats in decidedly different ways. House had a funkier, soulful rhythm, while techno expanded with the mechanical beats of Hi-NRG.

Hip-Hop

Hip-hop is essentially the rhythm track to rap, which meanders at a relatively slow tempo, and features a minimalist collection of samples, loops, and/or turntable playing. The emphasis is definitely on the bass, with fat, thick drum beats. Groups like Public Enemy took hip-hop beats but added raps with more of a political, literate edge.

House music grew out of the post-disco dance club culture of the early ’80s. After disco became popular, certain urban DJs-particularly those in gay communities-altered the music to make it less pop-oriented. The beat became more mechanical and the bass grooves became deeper, while elements of electronic synth-pop, Latin soul, dub reggae, rap, and jazz were grafted over the music’s insistent, unvarying four-four beat. Frequently, the music was purely instrumental and when there were vocalists, they were faceless female divas that often sang wordless melodies. By the late ’80s, house had broken out of underground clubs in cities like Chicago, New York, and London, and had begun making inroads on the pop charts, particularly in England and Europe but later in America under the guise of artists like C+C Music Factory and Madonna. At the same time, house was breaking into the pop charts; it fragmented into a number of subgenres, including hip-house, ambient house, and most significantly, acid house (a subgenre of house with the instantly recognizable squelch of Roland’s TB-303 bass-line generator). During the ’90s, house ceased to be cutting-edge music, yet it remained popular in clubs throughout Europe and America. At the end of the decade, a new wave of progressive house artists including Daft Punk, Basement Jaxx, and House of 909 brought the music back to critical quarters with praised full-length works.

A loaded term meant to distinguish electronic music of the ’90s and later that’s equally comfortable on the dancefloor as in the living room, IDM (Intelligent Dance Music) eventually acquired a good deal of negative publicity, not least among the legion of dance producers and fans whose exclusion from the community prompted the question of whether they produced stupid dance music. Born in the late ’80s, the sound grew out of a fusion between the hard-edged dance music heard on the main floor at raves and larger club events, and the more downtempo music of the nearby chill-out rooms. DJs like Mixmaster Morris and Dr. Alex Paterson blended Chicago house, softer synth-pop/new wave, and ambient/environmental music, prompting a wave of producers inspired by a variety of sources. (Many DJs and producers were also reacting against the increasingly chart-leaning slant of British dance music during those years, exemplified by novelty hits like “Pump Up the Jam” by Technotronic and “Sesame’s Treat” by Smart E’s.) The premiere IDM label, Sheffield’s Warp Records, proved home to the best in the sound-in fact, the seminal Warp compilation Artificial Intelligence alone introduced listeners worldwide to a half-dozen of the style’s most crucial artists: Aphex Twin, the Orb, Plastikman, Autechre, Black Dog Productions, and B12. Other labels-Rising High, GPR, R&S, Rephlex, Fat Cat, Astralwerks-released quality IDM as well, though by the mid-’90s much of the electronica produced for headphone consumption had diverged either toward the path of more experimentation or more beat orientation. With no centered, commercial scene to speak of, North America became a far more hospitable clime to IDM, and by the end of the ’90s, dozens of solid labels had opened for business, including Drop Beat, Isophlux, Suction, Schematic, and Cytrax. Despite frequent attempts to rename the style (Warp’s “electronic listening music” and Aphex Twin’s “braindance” were two choices), IDM continued to be the de facto way for fans to describe their occasionally undescribable favorites.

Industrial music was a dissonant, abrasive style of music that grew out of the tape-music and electronic experiments of the mid-’70s bands Cabaret Voltaire and Throbbing Gristle (the term was coined from the latter’s label, Industrial Records). The music was largely electronic, distorted, and rather avant-garde for rock circles. By the mid-’80s, industrial dance bands Ministry, Front 242, Nitzer Ebb, and Skinny Puppy had evolved from the original template. During the next decade, industrial went overground and became a new kind of heavy-metal courtesy of crossover groups like Nine Inch Nails, White Zombie, and Marilyn Manson.

Industrial Dance

During the ’80s, industrial music progressed from being an obscure, experimentalist style to a position where it was quite popular and straight-ahead for a growing audience unenthused by limp-wristed alternative music as well as cock rock and heavy metal. Early distinguished by the term “electronic body music,” several artists, such as Front 242, Nitzer Ebb, Skinny Puppy, and Ministry gained significant airplay in clubs. By the ’90s, industrial had split along a guitar/electronics divide, with the latter usually carrying on the tradition of electronic body music. America’s Cleopatra Records featured the most Industrial Dance acts, including Leætherstrip, Spahn Ranch, and Die Krupps.

Jungle/Drum’n’bass

Based almost entirely in England, Jungle (also known as drum’n’bass) is a permutation of hardcore techno that emerged in the early ’90s. Jungle is the most rhythmically complex of all forms of techno, relying on extremely fast polyrhythms and breakbeats. Usually, it’s entirely instrumental-it is among the hardest of all hardcore techno, consisting of nothing but fast drum machines and deep bass. As its name implies, jungle does have more overt reggae, dub, and R&B influences than most hardcore-and that is why some critics claimed that the music was the sound of black techno musicians and DJs reclaiming it from the white musicians and DJs who dominated the hardcore scene. Nevertheless, jungle never slows down to develop a groove-it just speeds along. Like most techno genres, jungle is primarily a singles genre designed for a small, dedicated audience, although the crossover success of Goldie and his 1995 debut Timeless suggested a broader appeal and more musical possibilities than other forms of techno. Dozens of respected artists followed in their wake, fusing breakbeats with influences lifted from jazz, film music, ambient, and trip-hop.

Kraut-Rock

Kraut-Rock refers to the legions of German bands of the early ’70s that expanded the sonic possibilities of art and progressive rock. Instead of following in the direction of their British and American counterparts, who were moving toward jazz and classical-based compositions and concept albums, the German bands became more mechanical and electronic. Working with early synthesizers and splicing together seemingly unconnected reels of tape, bands like Faust, Can, and Neu! created a droning, pulsating sound that owed more to the avant-garde than to rock ‘n’ roll. Although the bands didn’t make much of an impact while they were active in the ’70s, their music anticipated much post-punk of the early ’80s, particularly industrial rock. Kraut-rock also came into vogue in the ’90s, when groups like Stereolab and Tortoise began incorporating the hypnotic rhythms and electronic experiments of the German art-rock bands into their own, vaguely avant-garde indie-rock.

Madchester was the dominant force in British rock during the late ’80s and early ’90s. A fusion of acid house dance rhythms and melodic pop, Madchester was distinguished by its loping beats, psychedelic flourishes, and hooky choruses. While the song structures were familiar, the arrangements and attitude were modern, and even the retro-pop touches-namely the jangling guitars, swirling organs, and sharp pop sense-functioned as postmodern collages. There were two approaches to this collage, as evidenced by the Stone Roses and Happy Mondays. The Roses were a traditional guitar-pop band, and their songs were straight-ahead pop tunes, bolstered by baggy beats; it was modernized ’60s pop. Happy Mondays cut and pasted like rappers sampled, taking choruses from the Beatles and LaBelle and putting them into the context of darkly psychedelic dance. Despite their different approaches, both bands shared a love for acid-house music and culture, as well as the hometown of Manchester, England. As the group’s popularity grew, the British press tagged the two groups-as well as similarly-minded bands like the Charlatans [UK] and Inspiral Carpets-“Madchester” after a Happy Mondays song. (It was also known as “baggy,” since the bands wore baggy clothing). Madchester was enormously popular for several years in the UK before fading, largely because the Roses and the Mondays fell prey to laziness and drug abuse, respectively. The genre never made much impact in America outside of alternative circles, but Madchester’s offspring-bands like Oasis, Pulp, and Blur that were heavily influenced by the collision of contemporary and classic pop-became international stars in the mid-’90s.

One of the main innovations in the contemporary classical field, Minimalism has also influenced new age composers and electronic producers alike, particularly in progressive electronic styles where sequencers play an important role. Generally, this music is characterized by a strong and relentless pulse, the insistent repetition of short melodic fragments, and harmonies that change over long periods of time. A trio of ’60s figures, LaMonte Young, Terry Riley, and Steve Reich, did the most to pioneer the field, though Philip Glass had the most success with the style during the ’70s.

Neo-Electro

For several months in 1995, British clubs were afire with the sights and sounds of robots, body-poppers, and a revival of America’s early-’80s electro movement. Though much of the attention was given to the old-school masters (Afrika Bambaataa, the Egyptian Lover, Newcleus), much of the influence for the electro revival had come from more recent sounds. Detroit acts such as Drexciya, Underground Resistance, and Ectomorph had begun looking back to electro, and Drexciya’s multi-volume series of 1994 EPs were much-heard on the other side of the Atlantic. In Britain, Clear Records headed the revival hot-list, with singles from Jedi Knights, Tusken Raiders, Plaid, and Gescom (almost all were aliases for more well-known dance acts including Global Communication, µ-Ziq, and Autechre). Though the electro revival didn’t last long as a British club trend, good records continued to be released (especially by Clear), and other labels, such as Skam, Musik Aus Strom, and Dot, progressed beyond the sound to create intelligent new music with heavy electro influences.

A rather brief phenomenon (even for the style-a-minute world of dance music), Newbeat emerged late in the ’80s as a mid-tempo derivation of acid house. Influenced as well by Detroit techno and Euro-dance, newbeat was centered in Belgium, where labels such as R&S and Antler-Subway-home of the newbeat anthem “I Sit on Acid” by Lords of Acid-characterized the style with acid synth leanings, but more pop-friendly approaches to dance. The blazing success of the KLF during 1990-91 sustained newbeat for awhile, but after their exit from the music industry, the style faded quickly. While both Antler-Subway and Lords of Acid later moved on to a self-parodying approach to acid house, R&S became a respected name in the dance industry, focusing mostly on trance and ambient techno.

Sludgy, abrasive, and punishing, Noise is everything its name promises, expanding on the music’s capacity for sonic assault while almost entirely rejecting the role of melody and songcraft. From the ear-splitting, teeth-rattling attack of Japan’s Merzbow to the thick, grinding intensity of Amphetamine Reptile-label bands like Tar and Vertigo, it’s dark, brutal music that pushes rock to its furthest extremes. By the end of the ’90s, a resurgence in the use of sine waves-originally explored by musique concrète artists in the ’50s-became increasingly frequent among noise artists such as Otomo Yoshihide.

Noise Pop

Noise Pop is just that-pop music wrapped in barbed-wire kisses of feedback, dissonance, and abrasion. It occupies the halfway point between bubblegum and the avant-garde, a collision between conventional pop songcraft and the sonic assault of white noise-guitars veer out of control but somehow the melody pushes forward, and the tension between the two opposing forces frequently makes for fascinating listening.

Nu Breaks

A hard-edged dance style developed late in the ’90s with the convergence of techno and drum’n’bass as well as a few elements of the earlier rave scenes, Nu Breaks was led by artists and DJs including Brits Adam Freeland, Dylan Rhymes, Beber, Freq Nasty, and Rennie Pilgrem plus a bare few Americans like BT. From drum’n’bass the style borrowed two-step breakbeats and chilling effects, from techno its smooth flow and machine percussion, and from early-’90s rave/hardcore some of the crowd-pleasing bells and whistles (figuratively as well as literally) that in some cases had not been heard for years. Freeland was probably the best-known of the nu breaks crew (especially since most producers concentrated on singles output), as rock-steady mix sets like Coastal Breaks and Tectonics earned acclaim with dance fans around the world.

Old School Rap

Old School Rap is the style of the very first rap artists who emerged from New York City in the late ’70s and early ’80s. Old school is easily identified by its relatively simple raps-most lines take up approximately equal amounts of time, and the rhythms of the language rarely twisted around the beats of the song. The cadences usually fell squarely on the beat, and when they didn’t, they wouldn’t stray for long, returning to the original pattern for quick resolution. The emphasis was not on lyrical technique, but simply on good times-aside from the socially conscious material of Grandmaster Flash, which greatly expanded rap’s horizons, most old school rap had the fun, playful flavor of the block parties and dances at which it was born. In keeping with the laidback, communal good vibes, old school rap seemed to have more room and appreciation for female MCs, although none achieved the higher profile of Grandmaster Flash & the Furious Five or the Sugarhill Gang. Some old school songs were performed over disco or funk-style tracks, while others featured synthesized backing (this latter type of music, either with or without raps, was known as electro). Old school rap’s recorded history begins with two 1979 singles, Fatback’s “King Tim III” and the Sugarhill Gang’s “Rapper’s Delight,” although the movement had been taking shape for almost a decade prior. Sugarhill Records quickly became the center for old school rap, dominating the market until Run-D.M.C. upped the ante for technique and hardcore urban toughness in 1983-84. Their sound and style soon took over the rap world, making old school’s party orientation and ’70s funk influences seem outdated. When compared with the more complex rhythms and rhyme schemes of modern-day rap-or even the hip-hop that was being produced less than ten years after “Rapper’s Delight”-old school rap can sound dated and a little unadventurous. However, the best old school tracks retain their liveliness as great party music no matter what the era, holding up surprisingly well considering all that’s happened since.

Post-Rock/Experimental

Post-Rock was an experimental, avant-garde movement that emerged in the mid-’90s. Most post-rock was droning and hypnotic, drawing from ambient, free-form jazz, avant-garde, and electronic music more than rock. The majority of post-rock groups were like Tortoise, a Chicago-based band with a rotating lineup. Tortoise viewed their music not as songs, but as ever-changing compositions that they improvised nightly. Most post-rock groups were defiantly anti-mainstream and anti-indie-rock in the vein of Tortoise. However, there were certain groups-like Stereolab-that essentially worked in a pop and indie-rock format, only touching on the experimental and avant-garde tendencies of most post-rockers. Thrill Jockey’s reissue of albums by European experimental names like Mouse on Mars and Oval led to the birth of a transatlantic scene, of sorts, with Germans more focused on electronic music while most Americans preferred rock-oriented setups.

Progressive House

House music had reached the mainstream by the late ’80s (more so in Britain than anywhere else), and while several early house hits were by genuine pioneers, they were later overwhelmed by the novelty acts and one-hit wonders dominating the charts around the turn of the decade. As well, ambient, techno, and trance made gains early in the ’90s as electronic styles with both street cred and a group of young artists making intelligent music. A generation of house producers soon emerged, weaned on the first wave of house and anxious to reapply the more soulful elements of the music. With a balance of sublime techno and a house sound more focused on New York garage than Chicago acid house, groups like Leftfield, the Drum Club, Spooky, and Faithless hit the dance charts (and occasionally Britain’s singles charts). Though critically acclaimed full-lengths were never quite as important as devastating club tracks, several Progressive House LPs were stellar works, including Leftfield’s Leftism, Spooky’s Gargantuan, and the Drum Club’s Everything Is Now. By the mid-’90s, the innovations of progressive house had become the mainstream of house music around the world.

Rave is more of an event than a genre of music. Raves were underground parties where acid house and hardcore records were played and large quantities of drugs-particularly ecstasy-were consumed. Most of the music played at raves had a psychedelic quality, even before drugs became a major element of the scene. DJs played at the raves, mixing stacks of house and techno singles; the DJs, not the recording artists themselves, became the most recognizable names in the scene. Raves were primarily an English phenomenon during the late ’80s and early ’90s. They were conducted in large venues, particularly abandoned warehouses and open fields. Eventually, the British government became concerned that raves were a dangerous, antisocial phenomenon that had to be shut down, but the parties never disappeared, especially since word of the events were usually passed through word of mouth and handmade fliers. In the States, raves began to make some inroads in the early ’90s, but they never gained a large audience, even by underground standards. Throughout the ’90s, bands that were directly influenced by rave culture-particularly “baggy” bands like the Stone Roses, Happy Mondays, and Charlatans; Brit-pop acts like Pulp and Oasis; and techno artists like the Prodigy-made their way into the mainstream, and the culture continued to capture the attention of British youth into the late ’90s.

Salsa is the music of Latin America, which has stretched its way up to the United States by way of Puerto Rico. Rhythmically complex and featuring large bands with lots of personnel (percussion, horns, vocalists, piano, bass, etc.), salsa remains a vital form of music in the Latin community, and is becoming increasingly popular with mainstream America.

Schranz – New!

Since there has been a lot of talk about the word “Schranz” lately, I wanted to post my very own statement about it and not one,which is written by people who don`t really know. Yes, it is true, together with a friend I came up with the word “Schranz” in a Recordstore in Frankfurt in the year 1994. Not true is, that I am now annoyed by the term, I am only annoyed by all the discussions which come up about it, especially here in Germany. Everyone who uses the word “Schranz” to describe her or his musical taste or even way of living, shall do so and I think that is completely o.k.. Basically I like to call what I spin and produce “Techno” and in general “electronic Music”. For me personally, since that day in 1994, “Schranz” is a description for various dark and distorted sounds in Techno. At that point I couldn`t come up with a better word, but of course then I also didn`t know, that one day it would become so popular. I don`t want to and I can`t tell anyone how and where to use the word and in what respect. That´s CLAU 04 was called :”Call it what you want…” So be tolerant, make up your own mind about it and don`t believe everything which is written in magazines. Chris Liebing, 2002

Shibuya-Kei

The Japanese pop phenomenon known as Shibuya-Kei exploded forth from the ultra-trendy Shibuya shopping district of west Tokyo, an area home to some of the most fashionable and best-stocked record and clothing stores in the world. Shibuya-kei-literally, “Shibuya style”-was the name given to the like-minded pop musicians who emerged from this consumer culture, a group of young Japanese weaned on a steady and amazingly eclectic diet of Western pop exports; the result was an unprecedented collision of sights and sounds, with trailblazing acts like Pizzicato 5 drawing on disparate influences ranging from the lush lounge-pop of Burt Bacharach to the rhythms and energy of urban hip-hop. In its purest form, shibuya-kei is classic Western pop refracted through the looking glass of modern Eastern society-music cut up, pasted together, and spit out in new and exciting ways. Shibuya-kei is also pop music at its cutest: it’s a view to a world where the sweetness and simplicity of the girl-group era never ended but simply evolved, never out of step with the times but always true to its roots as well-the Lolita complex so pervasive throughout Japanese culture informs much of this music, and its youthful innocence is the key to much of its endearing charm.

Shoegazing is a genre of late ’80s and early ’90s British indie-rock, named after the bands’ motionless performing style, where they stood on stage and stared at the floor while they played. But shoegazing wasn’t about visuals-it was about pure sound. The sound of the music was overwhelmingly loud, with long, droning riffs, waves of distortion, and cascades of feedback. Vocals and melodies disappeared into the walls of guitars, creating a wash of sound where no instrument was distinguishable from the other. Most shoegazing groups worked off the template My Bloody Valentine established with their early EPs and their first full-length album, Isn’t Anything, but Dinosaur Jr., the Jesus & Mary Chain, and the Cocteau Twins were also major influences. Bands that followed-most notably Ride, Lush, Chapterhouse, and the Boo Radleys-added their own stylistic flourishes. Ride veered close to ’60s psychedelia, while Lush alternated between straight pop and the dream pop of the Cocteau Twins. None of the shoegazers were dynamic performers or interesting interviews, which prevented them from breaking through into the crucial US market. In 1992-after the groups had dominated the British music press and indie charts for about three years-the shoegazing groups were swept aside by the twin tides of American grunge and Suede, the band to initiate the wave of Brit-pop that ruled British music during the mid-’90s. Some shoegazers broke up within a few years (Chapterhouse, Ride), while other groups-such as the Boo Radleys and Lush-evolved with the times and were able to sustain careers into the late ’90s.

Ska originated in Jamaica in the early 60s, with an emphasis on vocals and horns, and rhythm guitar hitting on the offbeats. Today’s “ska revivalists,” like No Doubt, often jack up the tempo but otherwise remain relatively faithful to the concept.

Space-Rock

Once used as a tag to describe ’70s-era acts like Hawkwind, in more recent years the term Space-Rock has come to embody a new generation of heady, hypnotic bands with aspirations of cosmic transcendence. Arguably the first and most prominent of the new space-rock groups was Britain’s Spacemen 3, whose famous “Taking drugs to make music to take drugs to” credo subsequently influenced most, if not all, of the like-minded bands in their wake; indeed, the music of the genre is typically narcotic, defined by washes of heavily reverbed guitar, minimalist drumming, and gentle, languid vocals.

Speed Garage

Revving up the sweet sound of garage techno by adding ragga vocals, rewinds, and DJ scratching along with occasional drum’n’bass rhythms, Speed Garage hit the London clubscene in 1996, gaining momentum from its Sunday-night status as a good end-of-the-week comedown to supplant jungle/drum’n’bass as the hotly tipped dance style of the late ’90s. Influenced by American producers like Todd Edwards and Armand Van Helden, speed garage grew with European acts such as the Dream Team, Double 99, Boris Dlugosch, and the Tuff Jam crew.

Tech-House

Tech-House is used to describe a variety of rangy, mostly European producers who culled many of the rhythms and effects of acid and progressive house yet with a clean, simplistic production style suggestive of Detroit and British techno. The style came to cover a wide variety of names including Herbert, Daniel Ibbotson, Terry Lee Brown Jr., Funk D’Void, and Ian O’Brien, among others.

Techno had its roots in the electronic house music made in Detroit in the mid-’80s. Where house still had explicit connection to disco even when it was entirely mechanical, techno was strictly electronic music, designed for a small, specific audience. The first techno producers and DJs-Kevin Saunderson, Juan Atkins, and Derrick May, among others-emphasized the electronic, synthesized beats of electro-funk artists like Afrika Bambaataa and synth-rock units like Kraftwerk. In the United States, techno was strictly an underground phenomenon, but in England, it broke into the mainstream in the late ’80s. In the early ’90s, techno began to fragment into a number of subgenres, including hardcore, ambient, and jungle. In hardcore techno, the beats-per-minute on each record were sped up to ridiculous, undanceable levels-it was designed to alienate a broad audience. Ambient took the opposite direction, slowing the beats down and relying on watery electronic textures-it was used as come-down music, when ravers and club-goers needed a break from acid house and hardcore techno. Jungle was nearly as aggressive as hardcore, combining driving techno beats with breakbeats and dancehall reggae-essentially. All subgenres of techno were initially designed to be played in clubs, where they would be mixed by DJs. Consequently, most of the music was available on 12″ singles or various-artists compilations, where the songs could run for a long time, providing the DJ with a lot of material to mix into his set. In the mid-’90s, a new breed of techno artists-most notably ambient acts like the Orb and Aphex Twin, but also harder-edged artists like the Prodigy and Goldie-began constructing albums that didn’t consist of raw beats intended for mixing. Not surprisingly, these artists-particularly the Prodigy-became the first recognizable stars in techno.

Breaking out of the German techno and hardcore scene of the early ’90s, Trance emphasized brief synthesizer lines repeated endlessly throughout tracks, with only the addition of minimal rhythmic changes and occasional synthesizer atmospherics to distinguish them-in effect putting listeners into a trance that approached those of religious origin. Despite waning interest in the sound during the mid-’90s, trance made a big comeback later in the decade, even supplanting house as the most popular dance music of choice around the globe.

Inspired by acid house and Detroit techno, trance coalesced with the opening of R&S Records in Ghent, Belgium and Harthouse/Eye Q Records in Frankfurt, Germany. R&S defined the sound early on with singles like “Energy Flash” by Joey Beltram, “The Ravesignal” by CJ Bolland, and others by Robert Leiner, Sun Electric, and Aphex Twin. Harthouse, begun in 1992 by Sven Väth with Heinz Roth & Matthias Hoffman, made the most impact on the sound of trance with Hardfloor’s minimal epic “Hardtrance Acperience” and Väth’s own “L’Esperanza,” plus releases by Arpeggiators, Spicelab, and Barbarella. Artists like Väth, Bolland, Leiner, and many others made the transition to the full-length realm, though without much of an impact on the wider music world.

Despite a long nascent period when it appeared trance had disappeared, replaced by breakbeat dance (trip-hop and jungle), the style’s increasing impact on Britain’s dance scene finally crested in the late ’90s. The classic German sound had changed somewhat though, and the term “progressive” trance gained favor to describe influences from the smoother end of house and Euro dance. By 1998, most of the country’s best-known DJs-Paul Oakenfold, Pete Tong, Tony De Vit, Danny Rampling, Sasha, Judge Jules-were playing trance in Britain’s superclubs. Even America turned on to the sound (eventually), led by its own cast of excellent DJs, including Christopher Lawrence and Kimball Collins.

Tribal House

By the early ’90s, house music had undergone several fusions with other styles, creating ambient house, hip-house and, when the four-on-the-floor punch was blended with polyrhythmic percussion, Tribal House. The style covers a bit of ground, from the mainstream leanings of Frankie Bones and Ultra Naté to the electro-hippie sensibilities of Banco de Gaia, Loop Guru, and Eat Static (all denizens of the UK’s Planet Dog Records).

Trip-Hop

Yet another in a long line of plastic placeholders to attach itself to one arm or another of the UK post-acid house dance scene’s rapidly mutating experimental underground, Trip-Hop was coined by the English music press in an attempt to characterize a new style of downtempo, jazz-, funk-, and soul-inflected experimental breakbeat music which began to emerge around in 1993 in association with labels such as Mo’Wax, Ninja Tune, Cup of Tea, and Wall of Sound. Similar to (though largely vocal-less) American hip-hop in its use of sampled drum breaks, typically more experimental, and infused with a high index of ambient-leaning and apparently psychotropic atmospherics (hence “trip”), the term quickly caught on to describe everything from Portishead and Tricky, to DJ Shadow and U.N.K.L.E., to Coldcut, Wagon Christ, and Depth Charge-much to the chagrin of many of these musicians, who saw their music largely as an extension of hip-hop proper, not a gimmicky offshoot. One of the first commercially significant hybrids of dance-based listening music to crossover to a more mainstream audience, trip-hop full-length releases routinely topped indie charts in the UK and, in artists such as Shadow, Tricky, Morcheeba, the Sneaker Pimps, and Massive Attack, account for a substantial portion of the first wave of “electronica” acts to reach Stateside audiences.

Zouk comes from the Caribbean, but it also extremely popular in France, where musicians from former French colonies congregate (Kassav is one of the better-known Zouk groups in France). Zouk is uplifting, uptempo music with the kind of vocal and instrumental interplay that’s reminiscent of purely African music.

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