A break beat is the sampling of breaks as drum loops (beats), originally from soul tracks, and using them as the rhythmic basis for hip-hop and rap songs. It was invented by DJ Kool Herc, the first to buy two copies of one record so as to be able to mix between the same break .
Hip hop break beat compilations include Hardcore Break Beats and Break Beats, and Drum Drops (Toop, 1991).
Break beat
Main article: Breakbeat
Breakbeat
Disco mixer and remixer Tom Moulton invented the "disco break" or breakdown section in the early 1970's. Moulton had been remixing a dance record and found that the performance had "immaculated" (gone up in pitch as live performances are prone to doing), and this fact would be noticed unless he separated two sections of the recording with non-tonal information. [1] He edited in a section of drums, and the aesthetic effect was immediately found to be pleasing to dancers. The placement was also useful for club DJ's, providing a rhythm-only section of the recording over which to begin mixing in the next record to be played. Mr. Moulton has maintained that his innovation was an accident (ibid). The placement followed the patterning of a traditional pop recording: it replaced the bridge typically found in such a record after the second chorus. A clear example is the breakdown in "My Lovin' (Never Gonna' Get It)" by En Vogue: a sampled male voice can be heard introducing this part of the record with the sentence "and now it's time for a breakdown". Longer tracks often have two, three or more breakdowns.
Initially the transition to the breakdown was an abrupt absence of most of the arrangement in a disco record as described above. HiNRG records would typically use a pronounced percussive element, such as a drum fill, to cover the transition, and later genres reach the breakdown section by a gradual reduction of elements. In all genres the stripping away of other instruments and vocals ("breaking-down" the arrangement) helps create intense contrast, with breakdowns usually preceding or following heightened musical climaxes. In many dance records, the breakdown often consists of a stripping away of the pitched elements (most instruments) - and often the percussion is cut too - but an adding of an unpitched noise sound effect. This is often treated with a lot of reverb and rises in tone to create an exciting climax. This noise then cuts to a beat of silence before returning to the musical part of the record. Examples of the elements left during a breakdown include "a single string note, a German woman having an orgasm, or the voice of God telling you to take drugs" (Brewster and Broughton 2003, p.79).
Breakdown
The breakdown in the hardcore punk and metal genres, originally referred to as a "down beat", is where a band will usually play in half time, giving the feeling of a faster tempo. It is considered to some an important element in many songs of these genres and central to many bands, quite a few of which eschew traditional verse-chorus-verse songwriting. When played live, breakdowns are usually responded to by the audience by hardcore dancing or moshing. Vocalists also tend to throw in a single, repeated statement throughout the breakdown, giving those who are not dancing or moshing an opportunity to sing along. Many metal and hardcore punk bands rely on having memorable breakdowns rather than memorable choruses and critics often accuse bands of placing too many breakdowns in one song, claiming the intensity of the breakdown is lost when it is overused.
The drums are usually simple with several cymbals and snare on the third beat. The cymbals are usually a china or fast crash with fourths or more common, eighths. In metal, the guitars play a set of rhythmically oriented riffs, usually on open strings so as to achieve the lowest and heaviest sound for which the guitars are tuned, so the dancers in the audience can respond effectively. Sometimes, these are contrasted with either dissonant chords or pinch harmonics. These riffs are often accented by the drummer with double kick bass drums that follow the pattern of the guitars.
In hardcore punk, breakdowns tend to be more upbeat, using the floor toms and snares to create a faster, 'rolling' rhythm. This provides audience members with an opportunity to skank, mosh or circle pit.
Hardcore punk and metal
In bluegrass music, a break is a short instrumental solo played between sections of a song and is conventionally a variation on the song's melody. A breakdown is an instrumental form that features a series of breaks, each played by a different instrument. Examples of the form are "Bluegrass Breakdown" by Bill Monroe as well as "Earl's Breakdown" and "Foggy Mountain Breakdown", both of which were written by Earl Scruggs.
The Bluegrass Breakdown
"Fencewalk" by Mandrill, used by Kool DJ Herc (Toop, 1991)
"Funky Nassau" by The Beginning of the End (Toop, 1991)
The Amen Break from "Amen, Brother" (1969) by The Winstons
"Funky Drummer" by James Brown (Toop, 1991)
"Think (About It)" by Lyn Collins (1972)
"Scratchin'" by Magic Disco Machine (Toop, 1991)
"Scorpio" by Dennis Coffey (Toop, 1991)
"Super Sperm" by Captain Sky (Toop, 1991)
"Mardi Gras" by Bob James, cover of Paul Simon's "Take Me to The Mardi Gras". Used by The Crash Crew on "Breaking Bells (Take Me To the Mardi Gras". (Toop, 1991)
"Soul Makossa" by Manu Dibango (Toop, 1991)
"Easy Dancin'" by Wagadu-Gu (Toop, 1991)
"In The Bottle" by Gil Scott-Heron (Toop, 1991)
"Apache" by the Incredible Bongo Band. Used by Kool DJ Herc, The Sugarhill Gang in "Apache", West Street Mob in "Break Dancin' - Electric Boogie". (Toop, 1991) See also
Brewster, Bill and Broughton, Frank (2003). How to DJ Right: The Art and Science of Playing Records. New York: Grove Press. ISBN 0-8021-3995-7.
Schloss, Joseph G. (2004). Making Beats: The Art of Sample-Based Hip Hop. Middletown, Connecticut: Wesleyan University Press. ISBN 0-8195-6696-9.
Toop, David (1991). Rap Attack 2: African Rap To Global Hip Hop, p.113-115. New York: Serpent's Tail. ISBN 1-85242-243-2.
van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. ISBN 0-19-316121-4.
BreakbeatDisco mixer and remixer Tom Moulton invented the "disco break" or breakdown section in the early 1970's. Moulton had been remixing a dance record and found that the performance had "immaculated" (gone up in pitch as live performances are prone to doing), and this fact would be noticed unless he separated two sections of the recording with non-tonal information. [1] He edited in a section of drums, and the aesthetic effect was immediately found to be pleasing to dancers. The placement was also useful for club DJ's, providing a rhythm-only section of the recording over which to begin mixing in the next record to be played. Mr. Moulton has maintained that his innovation was an accident (ibid). The placement followed the patterning of a traditional pop recording: it replaced the bridge typically found in such a record after the second chorus. A clear example is the breakdown in "My Lovin' (Never Gonna' Get It)" by En Vogue: a sampled male voice can be heard introducing this part of the record with the sentence "and now it's time for a breakdown". Longer tracks often have two, three or more breakdowns.
Initially the transition to the breakdown was an abrupt absence of most of the arrangement in a disco record as described above. HiNRG records would typically use a pronounced percussive element, such as a drum fill, to cover the transition, and later genres reach the breakdown section by a gradual reduction of elements. In all genres the stripping away of other instruments and vocals ("breaking-down" the arrangement) helps create intense contrast, with breakdowns usually preceding or following heightened musical climaxes. In many dance records, the breakdown often consists of a stripping away of the pitched elements (most instruments) - and often the percussion is cut too - but an adding of an unpitched noise sound effect. This is often treated with a lot of reverb and rises in tone to create an exciting climax. This noise then cuts to a beat of silence before returning to the musical part of the record. Examples of the elements left during a breakdown include "a single string note, a German woman having an orgasm, or the voice of God telling you to take drugs" (Brewster and Broughton 2003, p.79).
Breakdown
The breakdown in the hardcore punk and metal genres, originally referred to as a "down beat", is where a band will usually play in half time, giving the feeling of a faster tempo. It is considered to some an important element in many songs of these genres and central to many bands, quite a few of which eschew traditional verse-chorus-verse songwriting. When played live, breakdowns are usually responded to by the audience by hardcore dancing or moshing. Vocalists also tend to throw in a single, repeated statement throughout the breakdown, giving those who are not dancing or moshing an opportunity to sing along. Many metal and hardcore punk bands rely on having memorable breakdowns rather than memorable choruses and critics often accuse bands of placing too many breakdowns in one song, claiming the intensity of the breakdown is lost when it is overused.
The drums are usually simple with several cymbals and snare on the third beat. The cymbals are usually a china or fast crash with fourths or more common, eighths. In metal, the guitars play a set of rhythmically oriented riffs, usually on open strings so as to achieve the lowest and heaviest sound for which the guitars are tuned, so the dancers in the audience can respond effectively. Sometimes, these are contrasted with either dissonant chords or pinch harmonics. These riffs are often accented by the drummer with double kick bass drums that follow the pattern of the guitars.
In hardcore punk, breakdowns tend to be more upbeat, using the floor toms and snares to create a faster, 'rolling' rhythm. This provides audience members with an opportunity to skank, mosh or circle pit.
Hardcore punk and metal
In bluegrass music, a break is a short instrumental solo played between sections of a song and is conventionally a variation on the song's melody. A breakdown is an instrumental form that features a series of breaks, each played by a different instrument. Examples of the form are "Bluegrass Breakdown" by Bill Monroe as well as "Earl's Breakdown" and "Foggy Mountain Breakdown", both of which were written by Earl Scruggs.
The Bluegrass Breakdown
"Fencewalk" by Mandrill, used by Kool DJ Herc (Toop, 1991)
"Funky Nassau" by The Beginning of the End (Toop, 1991)
The Amen Break from "Amen, Brother" (1969) by The Winstons
"Funky Drummer" by James Brown (Toop, 1991)
"Think (About It)" by Lyn Collins (1972)
"Scratchin'" by Magic Disco Machine (Toop, 1991)
"Scorpio" by Dennis Coffey (Toop, 1991)
"Super Sperm" by Captain Sky (Toop, 1991)
"Mardi Gras" by Bob James, cover of Paul Simon's "Take Me to The Mardi Gras". Used by The Crash Crew on "Breaking Bells (Take Me To the Mardi Gras". (Toop, 1991)
"Soul Makossa" by Manu Dibango (Toop, 1991)
"Easy Dancin'" by Wagadu-Gu (Toop, 1991)
"In The Bottle" by Gil Scott-Heron (Toop, 1991)
"Apache" by the Incredible Bongo Band. Used by Kool DJ Herc, The Sugarhill Gang in "Apache", West Street Mob in "Break Dancin' - Electric Boogie". (Toop, 1991) See also
Brewster, Bill and Broughton, Frank (2003). How to DJ Right: The Art and Science of Playing Records. New York: Grove Press. ISBN 0-8021-3995-7.
Schloss, Joseph G. (2004). Making Beats: The Art of Sample-Based Hip Hop. Middletown, Connecticut: Wesleyan University Press. ISBN 0-8195-6696-9.
Toop, David (1991). Rap Attack 2: African Rap To Global Hip Hop, p.113-115. New York: Serpent's Tail. ISBN 1-85242-243-2.
van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. ISBN 0-19-316121-4.
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