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Breakbeat


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MORE ABOUT Breakbeat

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DEFINITION

DEFINITION


Le Breakbeat ou rythme cass rassemble tous les genres dont les beats se situent pendant les breaks , c'est--dire entre chaque temps (ou sur les contre-temps). Il est donc caractris par la prsence de rythmes binaires trs syncops et l'utilisation intense de polyrythmes.

Le breakbeat s'oppose ainsi d'autres genres de musique lectronique aux motifs rythmiques plus stables et rguliers tels que la House music.


Breakbeat or "broken beat" brings together all genres whose beats are played during the "breaks", that is to say between the beats (or on the half-beats). It is then characterized by the presence of very syncopated binary rhythms and heavy uses of polyrhythms.

The Breakbeat is thus opposed to other genres of electronic music with more stable and regular rhythmic patterns such as the House music.


STRUCTURE GENERALE

GENERAL STRUCTURE


Son tempo se situe de 100 150 bpm avec une certaine flexibilit en dessous de 100 bpm, mais exceptionnellement au-del de 150 bpm.

La signification mme du mot Breakbeat est troitement lie au hip-hop et au breakdance. Mais le modle rythmique semble plus initialement inspir de la musique funk.

Son rythme est donc syncop est port par la notion de "polyrythme" = utilisation de pusieurs motifs rythmiques diffrents pour constituer le beat d'une musique.


Its tempo ranges from 100 to 150 bpm with some flexibility under 100 bpm, but exceptionally beyond 150 bpm.

The very meaning of the word Breakbeat is closely linked to hip-hop and breakdance. But the rhythmic patterns seem initially inspired by funk.

Its rhythm is therefore syncopated and carried by the notion of "polyrhythm" (= use of several rhythmic patterns to form the beat of a track).


PROVENANCE

ORIGIN


Ce sont les DJs des annes 70s - 80s, tels que DJ Kool Herc, Afrika Bambaataa ou Grand Wizard Theodore, qui commencrent utiliser des patterns rythmiques de Breakbeat qui provenaient de chansons de James Brown ou de The Winstons ( Amen Brother , 1969). Ces patterns constiturent les premires bases du hip-hop.

Dans les annes 1980s, le breakbeat (au sens de base rythmique) tait devenu une composante essentielle des breaks music incluant le Big Beat, le Nu-Skool, lAcid Breaks et le Miami bass (= dirty rap, genre contest).

Ce style volua dans les annes 90s lorsquil fut repris par des artistes dAcid House pour crer le Beatbreak Hardcore et finir par aboutir aux dtyles plus actuels que sont le Glitch Hop, le Drum and Bass et le Drumstep.


These are the DJs of the 70s - 80s, such as Kool Herc DJ, Afrika Bambaataa and Grand Wizard Theodore, who began using rhythmic patterns Breakbeat songs that came from James Brown or The Winstons ("Amen Brother", 1969 ). These patterns formed the foundations of hip-hop.

In the late 1980s, breakbeat (as defined rhythmic base) had become an essential component of 'breaks music' including Big Beat, Nu-Skool, Acid Breaks and Miami bass (= 'dirty rap' genre challenged.)

This style evolved in the 90s years when he was picked up by artists to create the Acid House Beatbreak Hardcore and ultimately lead to more current dtyles that are the Glitch Hop, Drum and Bass and Drumstep.


ARTISTES PRECURSEURS

PRECURSOR ARTISTS


Les pionniers : DJ Kool Herc, Afrika Bambaataa ou Grand Wizard Theodore.

Les diffuseurs : Davy DMX, Dynamix II, 2 Live Crew, Cybotron, NAPT, DJ Icey, Stanton Warriors, Krafty Kuts, The Freestylers, K-Swing, Soul Of Man, DJ Sharaz, Annie Nightingale.


Pioneers : DJ Kool Herc, Afrika Bambaataa and Grand Wizard Theodore

. Broadcasters : Davy DMX, Dynamix II, 2 Live Crew, Cybotron, NAPT, DJ Icey, Stanton Warriors, Krafty Kuts, The Freestylers, K-Swing, Soul Of Man, DJ Sharaz, Annie Nightingale.


SOUS-GENRES

SUBGENRES


Le Glitch-hop : cest le petit nouveau du Breakbeat et le plus en expansion de nos jours. Il est par dfinition la fusion du hip-hop et du glitch (mthode darrangement musical consistant utiliser de multiples bruitages/samples provenant dinstruments ou denvironnements diffrents, finement placs pour former la mlodie de manire rythmiquement cohrente et percutante). Son tempo est presque toujours compris entre 100 et 120 bpm, on dit d'ailleurs souvent : Glitch-hop = 110 bpm. Sous cette appellation de glitch-hop se distinguent deux branches :

- Le Funk-hop ou Future Funk ou Nu-Funk ou Funky Breaks : ces termes synonymes dsignent la composante type funk-jazz-blues du Glitch-hop, autant dans la structure des morceaux (rappelant les impros de jazz avec des solos etc) que dans lutilisation des instruments (saxos, guitares blues, guitares funk, piano ).

- le Neuro-hop : composante trs lectronique du Glitch-hop, faisant parfois penser du Breakstep rapide . Il est des deux styles de Glitch-hop celui qui va pousser le plus loin lutilisation de filtres, de distorsions et de synthtiseurs des moyennes frquences (cf. Brostep), crant des sonorits au timbre mtallique.


Le Moombahton et le Moombahcore : mlange de Dutch House (cf. House) et de raggaeton 108 bpm parfois 110 bpm pour les versions plus hard composant le Moombahcore. ces dernires tant plus influences par le Gabber (cf. Hardcore) et le Dubstep/Brostep. Leur phrase rythmique se caractrise par un breakbeat de type zouk , plus marqu en Moombahton qu'en Moombahcore, ou parfois 2-step (Moombahcore > Moombahton). Le Moombahton a t cr par Dave Nada Washington en 2009, en ralentissant des morceaux de Dutch house pour les mixer avec des sons reggae. Le nom provient du morceau Moombah de Chuckie et du suffixe 'ton' de raggaeton. Le titre Sleaze de Knife Party en est un bon exemple. On en distingue donc deux formes :

- et le Moombahton, qui se caractrise par une phrase rythmique presque toujours zouke, c'est dire suivant ce modle :
||: POM tchika-POM ka | POM tchika-POM ka :||
Avec : POM = kick*
ka : snare
tss = hit hat* (Charleston ferme)
en gras = les temps.
De plus on remarque au sein du Moombahton une grande utilisation d'instruments acoustiques ou immitation acoustique, car il se veut une musique connotation exotique, et facile danser.

- Le Moombahcore, qui rassemble les formes plus exprimentales et les plus aggressives. Certains le surnomme l'"Electro House lente", d'autres le "Brostep rapide" : cela est li au fait que dans le Moombahcore, le beat est beaucoup plus souvent un 2-step (cf. Dubstep) qu'un beat zouk. Mais cela n'exclut pas que cette forme reste dansante. C'est d'ailleurs cette ambivalence "exprimental + dansant" qui lui vaut son grand succs actuel.


L' Electro-soul : ce style vit le jour par Eddie Flashin Fowlkes, qui lorigine tait un DJ de Detroit Techno, avec la sortie de son album : The Birth Of Technosoul (1993). LElectro-soul se caractrise dans sa forme typique par des samples de soul de nimporte quelle gnration (de lAretha Franklin des annes 1960s au Seal daujourdhui), chopps (dcoups), modifis (filtrs, distordus) et loops, le tout sur un "broken beat" lectronique.


Le Big beat : terme utilis lorigine par les journalistes, au milieu des annes 1990s, pour designer la musique dartistes tels que The Prodigy, Cut La Roc, Fatboy Slim, The Chemical Brothers ou Propellerheads.

Il sagit dun style plus rapide : 120 140 bpm, et qui a grand usage de beats distordus et filtrs, de synthtiseurs acides (i.e. produit par un synth Roland TB-303, aigu/grsillant), et de boucles (loops) assez lourdes de titres des annes 60s 70s. La structure des morceaux est commune celle de la Techno. On y trouve galement des build ups*, des drops et des effets dramatiques comme des sirnes ou des explosions, ces derniers tant particulirement caractristiques du style.
La basse et le beat du Big Beat sont particulirement proches de ceux du Jungle ou du Drum and Bass, mais plus lents.


Le Nu Skool (ou Nu Skool Breaks) ou encore IDM (Intelligent Dance Music) : style n Londres entre 1998 et 2002, caractris par des sons plus abstraits, plus techniques, provenant parfois dautres genres dEDM tels que lElectro House et le Drum and Bass.
Son tempo typique se situe entre 125 et 140 bpm. Le Nu skool se distingue du Big Beat par la moins grande prsence de samples hip-hop, ou de sons acides. Il met plutt laccent sur les sonorits nouvelles, produites laide de synths modernes ou dordinateurs.
Son autre nom "IDM" provient du fait que trs peu d'importance est accorde la mlodie, pour que tout l'accent soit mis sur le travail des effets, des glitch et des rythmes, un tel point qu'il est presque impensable de pouvoir danser dessus.


L' Acid Breaks : cr en 1987, la sortie du titre Acid Breaks de Zak Baney son beat est le mme que celui du Breakbeat classique, sans le kick (grosse caisse) commun aux autres forme dEDM. Les mlodies utilisent le son cr par le synthtiseur : Roland TB-303 (aigu/grsillant), appel acide .


Glitch Hop : This is the new kid Breakbeat and fastest growing nowadays. It is defined as the fusion of hip-hop and glitch (musical arrangement method of using multiple sounds / samples from instruments or different environments, finely placed to form the melody rhythmically coherent and compelling way) . His tempo is almost always between 100 and 120 bpm, it says so often: 'Glitch hop = 110 bpm. Under this heading of 'glitch-hop' stand two branches:

- Funk-hop or Future Funk or Nu-Funk or Funky Breaks: these synonyms mean the typical component funk-jazz-blues Glitch-hop, both in the song structure (reminiscent of jazz improvisation with solos etc ...) in the use of instruments (saxophones, guitar blues, funk guitars, piano ...).

- Neuro-hop : very electronic component Glitch-hop, making sometimes think of "fast Breakstep." There are two styles of Glitch Hop that will push further the use of filters, distortions and medium frequency synthesizers (see Brostep), creating sounds metallic timbre.


Moombahton and Moombahcore : a mixture of Dutch House (see House) and 108 bpm raggaeton sometimes 110 bpm for versions more 'hard' calling Moombahcore. the latter being more influenced by the Gabber (cf. Hardcore) and Dubstep / Brostep. Their rhythmic pattern is characterized by a breakbeat of "zouk" type greater than in Moombahton Moombahcore, or sometimes 'two-step' (Moombahcore> Moombahton). The Moombahton was created by Dave Nada in Washington in 2009, slowing Dutch house pieces to mix with reggae sounds. The name comes from the song 'Moombah' Chuckie and the suffix 'ton' of raggaeton. The title 'Sleaze' Knife Party is a good example. We are two distinct forms:

- And Moombahton , which is characterized by a rhythmic pattern almost always zouke, ie according to this model:
||: POM tchika- POM ka | POM tchika- POM ka: ||
With: 'POM' = kick *
'Ka': snare
'Tsk' = hit hat * (Charleston closed)
bold = time.
Furthermore, it can be heard in Moombahton a great use of acoustic instruments or acoustic immitations because of its many exotic connotations and its purpose to be easy to dance on.

- Moombahcore , which includes the more experimental forms and more aggressive. Some call him the " slow" to other "Quick Brostep" this is related to the fact that in Moombahcore, the beat is more often 2-step (see Dubstep ) zouk a beat. But that does not mean that this form is still dancing. It is this ambivalence "experimental + dancing" which earned him his great current success.


Electro Soul: This style was born Eddie 'Flashin' Fowlkes, who originally was a DJ in Detroit Techno, with the release of his album: 'The Birth Of Technosoul' (1993). The Electro-soul is characterized in its typical form by samples soul of any generation (the Aretha Franklin-1960s to today's Seal), chopper (cut), modified (filtered, distorted ...) and loops, all on a "broken beat" electronic.


Big Beat: term originally used by journalists in the mid-1990s, designer for the music of artists such as The Prodigy, Cut La Roc, Fatboy Slim, The Chemical Brothers or Propellerheads.

This is a faster style: 120-140 bpm, and has great use of distorted beats and filtered, acid synthesizers (ie produced by a synthesizer 'Roland TB-303' acute / sizzling), and loops (loops) rather heavy title 60s - 70s. The song structure is common to that of the Techno. There is also the build ups * of drops and dramatic effects like sirens and explosions, the latter being particularly characteristic of the style.
Bass and beat the Big Beat are particularly close to those of the Jungle or the Drum and Bass but slower.


Nu Skool (or Nu Skool Breaks) or IDM (Intelligent Dance Music) style born in London between 1998 and 2002, characterized by more abstract sounds, more technical sometimes from other genres of EDM such as Electro House and .
Its typical tempo is between 125 and 140 bpm. Nu skool differs from Big Beat the lesser presence of hip-hop samples, or acid sounds. It focuses instead on new sounds, produced using modern synthesizers or computers.
His other name "IDM" is the fact that very little importance is given to the melody, so that all the focus is on the work of effects, glitch and rhythms, to the point that it is almost unthinkable can dance to it.


Acid Breaks: Established in 1987, the release of the title Acid Breaks' Zak Baney his beat is the same as the classic Breakbeat, without the kick (bass drum) common to other forms EDM. The melodies use sound created by the synthesizer: "Roland TB-303 '(acute / sizzling), known as" acid. "


ARTISTES MAJEURS

MAJOR ARTISTS


- de Glitch-hop :

en Funk-hop (Future funk) : Kill Paris, GRiZ, Uppermost, Gramatik, GRiZ, Big Gigantic, A Skillz, Quasamodo, Groove Armada.

en Neuro-hop : The Glitch Mob, Razhiel, SirensCeol, Savant, Tristam, Pegboard Nerds, The Brig, Skrillex, Krewella, Schoolboy, Eptic.


- de Moombah-ton/core : Dillon Francis, Bro Safari, Munchi, Nadastrom, Kairo Kingdom, Krewella, Rogue, Knife Party, Savoy.


- d Electro-soul : Gramatik, Pretty Lights, Exmag, A Skillz, The Geek x Vrv, FKJ.


- de Big Beat : The Prodigy, Fatboy Slim, The Chemical Brothers, Basement Jaxx, The Crystal Method, RJD2.


- de Nu Skool : Tipper, Mr Bill, PANTyRAiD, Stanton Warriors, Plump DJs, Aquasky, B.L.I.M., Buckfunk 3000, Waveform, Dark Globe, Hybrid, Tsunami One, Subphonic, Ils, Full Moon Scientist.


- d Acid breaks : Champion Breaks.


- in Glitch-hop :

in Funk-hop (Future funk) : Kill Paris, GRiZ, Uppermost, Gramatik, GRiZ, Big Gigantic, A Skillz, Quasamodo, Groove Armada.

in Neuro-hop : The Glitch Mob, Razhiel, SirensCeol, Savant, Tristam, Pegboard Nerds, The Brig, Skrillex, Krewella, Schoolboy, Eptic.


- in Moombah-ton/core : Dillon Francis, Bro Safari, Munchi, Nadastrom, Kairo Kingdom, Krewella, Rogue, Knife Party, Savoy.


- in Electro-soul : Gramatik, Pretty Lights, Exmag, A Skillz, The Geek x Vrv, FKJ.


- in Big Beat : The Prodigy, Fatboy Slim, The Chemical Brothers, Basement Jaxx, The Crystal Method, RJD2.


- in Nu Skool : Tipper, Mr Bill, PANTyRAiD, Stanton Warriors, Plump DJs, Aquasky, B.L.I.M., Buckfunk 3000, Waveform, Dark Globe, Hybrid, Tsunami One, Subphonic, Ils, Full Moon Scientist.


- in Acid breaks : Champion Breaks.