Which pieces of music have tempo changes. Tempos in music: slow, moderate and fast

Pace

The speed of movement of a piece of music is called pace. In the course of the work, depending on the theme, the tempo may change.

All this sets the expressiveness of the work. You can play not just fast - slowly, but also speeding up, lagging, etc. There are many options. We will consider them in this article.

Tempo notation

Tempo is predominantly denoted by Italian words. There are also designations in Russian. You can also set the metronome tempo. The tempo is recorded above the musical staff at the very beginning of the work, as well as in those places where the tempo changes.

Let's consider everything in order.

Three main tempo groups

All tempos are divided into three groups: slow, moderate and fast tempos.

Shades

To clarify the shades of tempo, the following designations are used:

dynamic shades

In order to indicate the acceleration of movement or deceleration, the following notation is used:

The classic definition is that tempo in music is the speed of movement. But what is meant by this? The fact is that music has its own unit of measurement of time. These are not seconds, as in physics, and not hours and minutes, which we are used to in life.

Musical time most of all resembles the beating of a human heart, measured pulse beats. These beats measure the time. And just how fast or slow they are depends on the pace, that is, the overall speed of movement.

When we listen to music, we do not hear this pulsation, unless, of course, it is specifically indicated by percussion instruments. But every musician secretly, inside himself, necessarily feels these pulses, they help to play or sing rhythmically, without deviating from the main tempo.

Here's an example for you. Everyone knows the melody of the New Year's song "A Christmas tree was born in the forest." In this melody, the movement is mainly in eighth notes (sometimes there are others). At the same time, the pulse beats, it’s just that you can’t hear it, but we will specially sound it with the help of percussion instrument. Listen given example, and you will begin to feel the pulse in this song:

What are the tempos in music?

All tempos that exist in music can be divided into three main groups: slow, moderate (that is, medium) and fast. In musical notation, tempo is usually denoted by special terms, most of which are words of Italian origin.

So slow tempos include Largo and Lento, as well as Adagio and Grave.

Moderate tempos include Andante and its derivative Andantino, as well as Moderato, Sostenuto and Allegretto.

Finally, let's list the fast paces, these are: the cheerful Allegro, the "live" Vivo and Vivace, as well as the fast Presto and the fastest Prestissimo.

How to set the exact tempo?

Is it possible to measure musical tempo in seconds? It turns out you can. For this, a special device is used - a metronome. The inventor of the mechanical metronome is the German physicist and musician Johann Mölzel. Nowadays, musicians in their daily rehearsals use both mechanical metronomes, and electronic analogues - in the form of a separate device or application on the phone.

What is the principle of the metronome? This device, after special settings (move the weight on the scale), beats the beats of the pulse at a certain speed (for example, 80 beats per minute or 120 beats per minute, etc.).

The clicks of a metronome are like the loud ticking of a clock. This or that beat frequency of these beats corresponds to one of the musical tempos. For example, for a fast Allegro tempo, the frequency will be about 120-132 beats per minute, and for a slow Adagio tempo, about 60 beats per minute.

These are the main points regarding the musical tempo, we wanted to convey to you. If you still have questions, please write them in the comments. See you again.

The terminology of music covers various musical areas: including dynamics, tempo, musical notation, the nature of the performance, as well as ways of interpreting the work. The dominant language of musical terminology is Italian language. An interesting fact it is worth noting that even Mozart wrote some of his operas in Italian.

Until the 18th century, there was no recent abundance in determining the pace of performance. In the past, the tempo was determined by the metro rhythm, since the duration of the sound (whole, half, quarter, etc.) was considered an absolute value.

The inaccuracy and subjectivity of ideas about duration sometimes put musicians in a difficult position. It is likely that the first musical terms-concepts appeared for more exact definition dynamics and pace. In the 19th century, the specialization of musicians increased dramatically, and composers gradually ceased to be performers, as they had been in the past. The latter gave rise to an increase in the number of terms used in musical notation.

At the beginning of the same century, Mälzel designed a metronome, which made it possible to accurately determine the tempo when performing musical works. L. Beethoven, for example, used the metronome more willingly than verbal terminology. In their recent compositions Beethoven introduces German speech in order to more accurately define the spirit and emotions of the music.

In the 20th century in most countries native language began to prevail over Italian when recording music on notes. International musical terminology was greatly influenced by C. Debussy, whose exquisite terms captivated many composers. A. Scriabin, for example, inspired by C. Debussy, began to apply French, inventing new no less original terms. And yet, despite the most progressive trends of the last centuries, it was the Italian language that retained its international significance in musical literacy.

I wrote down the most frequently used Italian terms necessary for a musician in his work, because. sometimes tuba players do not even know what a particular term means or implies in the pieces they are learning.

TERMS OF DESIGNATION OF THE TEMP AND ITS CHANGES

Slow pace:

• lento (lento) - slowly, weakly, quietly
• lento assai (lento assai) - very slowly
• lento di molto (lento di molto) - very slowly
• largo (largo) - wide, slow
• largo assai (largo assai) - very wide
• largo di molto (largo di molto) - very wide
• largo un poco (largo un poco) - slightly wider
• adagio (adagio) - slowly
• grave (grave) - significantly, solemnly, majestically, heavily

Moderate pace:

• andante (andante) - step, graceful movement
• andante cantabile (andante cantabile) - slowly and melodiously
• andante maestoso (andante maestoso) - slowly and majestically
• andante pastorale (andante pastorale) - slowly pastoral
• andante vivace (andante vivace) - lively and ardently
• andantino (andantino) - rather than andante
• moderato (moderate) - moderately, restrainedly
• allegretto (allegretto) - lively

Fast paced:

• allegro (allegro) - soon
• vivo, vivace (vivo, vivache) - quickly, lively

Very fast paced:

• Presto, prestissimo (presto, prestissimo) - quickly, in the highest degree fast

Other terms characterizing musical emotionality:

• abbandono (abbandono) - dejectedly, depressed
• abbandonamente (abbandonamente) - dejectedly, depressed
• accarezzevole (accarezzevole) - affectionately
• affettuoso (affettuoso) - heartily
• agitato (agitato) - excited, excited
• amabile (amabile) - nice
• alla (alla) - in the genus, in the spirit
• alla marcia (alla marchya) - in the spirit of the march
• alla polacca (alla polyakka) - in the spirit of Polish
• amoroso (amoroso) - lovingly
• animato (animato) - enthusiastically, animatedly
• appassionato (appassionato) - passionately
• ardente (ardente) - with heat
• brillante (brillante) - brilliant
• buffo (buffo) - comically
• burlesco (burlesco) - comically
• cantabile (cantabile) - melodious
• capriccioso (capriccioso) - capricious
• con amore (con amore) - with love
• con anima (con anima) - with enthusiasm, with animation
• con bravura (con bravura) - brilliant
• con brio (con brio) - with heat
• con calore (con calore) - with heat
• con dolcezza (con dolcezza) - gently, softly
• con dolore (con dolore) - with sadness
• con espressione (con expression) - with an expression
• con forza (con forza) - with force
• con fuoco (con fuoco) - with fire
• con grazia (con grace) - with grace
• con malinconia (con malinconia) - melancholy
• con moto (con motto) - mobile
• con passione (con passione) - with passion
• con spirito (con spirito) - with enthusiasm
• con tenerezza (con tenerezza) - with tenderness
• con vigore (kon vigore) - courageously
• deciso (deciso) - resolutely
• dolce (dolce) - gently
• dolcissimo (dolcissimo) - very gently
• dolente (dolente) - sad, plaintive
• doloroso (doloroso) - sad, sad
• elegante (elegant) - elegant, beautiful
• elegaco (elejyako) - plaintively, sadly
• energico (energetic) - vigorously
• eroico (eroiko) - heroically
• espressivo (espressive) - expressively
• flebile (phlebile) - plaintively
• feroce (feroche) - wildly
• festivo (festivo) - festive
• fiero (fiero) - wildly
• fresco (fresco) - fresh
• funebre (funebre) - funeral
• furioso (furioso) - furiously
• giocoso (dzhyokozo) - playfully, playfully
• gioioso (gioyozo) joyfully, cheerfully
• grandioso (grandioso) - magnificent, magnificent
• grazioso (grazioso) - gracefully
• guerriero (guerrero) - militantly
• imperioso (imperioso) - imperatively
• impetuoso (impetuoso) - rapidly, violently
• innocente (innocente) - innocent, simple
• lagrimoso (lagrimoso) - deplorable
• languido (languido) - exhausted, powerless
• lamentabile (lamentabile) - plaintively
• leggiero (dejero) - easy
• leggierissimo (leggierissimo) very easy
• lugubre (lugubre) - gloomy
• lusingando (lusingando) - flattering
• maestoso (maestoso) - solemnly, majestically
• malinconico (malinconico) - melancholy
• marcato (marcato) - emphasizing
• marciale (marciale) - marchingly
• marziale (martsiale) militantly
• mesto (mesto) - sad
• misterioso (mysterioso) - mysteriously
• parlando (parlando) - recitative
• pastorale (pastoral) - pastoral
• patetico (patetico) - passionately
• pesante (pezante) - heavy, ponderous
• piangendo (piangendo) - deplorable
• pomposo (pomposo) - great, with a shine
• quieto (kieto) - calmly
• recitando (recitando) - telling
• religioso (religioso) - reverently
• rigoroso (rigoroso) - strictly, exactly
• risoluto (risoluto) - resolutely
• rustico (rustic) - rustic style
• scherzando (scherzando) - playfully
• scherzoso (scherzoso) - playfully
• semplice (sample) - simple
• sensibile (sensibile) - sensitive
• serioso (seriously) - seriously
• soave (soave) - friendly
• soavemente (soavemente) - friendly
• sonore (sonore) - sonorous
• spianato (drunk) - with simplicity
• spirituoso (spirituoso) - spiritually
• strepitoso (strepitozo) - noisy, stormy
• teneramente (teneramente) - gently
• tranquillo (tranquillo) - calmly
• vigoroso (vigoroso) - strong, cheerful

Some terms frequently found in musical notation:

• a capella (a cappella) - in chorus, without instrumental accompaniment
• a due (or a 2) (a due) - play the same part together
• ad libitum (ad libitum) - optional: an indication that allows the performer to freely vary the tempo or phrasing, as well as skip or play part of the passage (or other piece of musical text); abbreviated ad. lib.
• arco (arco) - literally "bow": an indication of coll arco for performers on string instruments- play with a bow, not pizzicato
• attacca (attack) - transition to the next part without interruption
• a tempo (a tempo) - return to the original tempo after changing it.
• basso continuo (basso continuo) (also general bass, digital bass) - "continuous, general bass": a tradition of baroque music, according to which the lower voice in the ensemble was performed by a melodic instrument of the corresponding range (viola da gamba, cello, bassoon) , while another instrument (keyboard or lute) duplicated this line along with chords, which were indicated in the notes by a conditional digital notation, implying an element of improvisation
• basso ostinato (basso ostinato) - literally "permanent bass": a short musical phrase in the bass, repeated throughout the entire composition or any section of it, with free variation of the upper voices; V early music this technique is especially typical of the chaconne and passacaglia.
• ben (ben) - good
• blue note (English) - in jazz, the performance of the third or seventh step in major with a slight decrease (the term is associated with the blues genre)
• coda (code) conclusion
• col (col) - with
• come (come) - like
• con (kon) - with
• da capo (da capo) - "from the beginning"; an indication instructing to repeat from the beginning a fragment or a whole part of the work; D.C. for short.
• dal segno (dal segno) - “starting from the sign”; an indication instructing to repeat a fragment from the sign; D.S. for short.
• diminuendo (diminuendo) - dynamic indication, similar to decrescendo
• divisi (divisions) - division (homogeneous instruments or voices perform different parts)
• e, ed (e, ed) - and
• fine (fine) - end (traditional designation in the score)
• forte (forte) - designation of expressiveness: loud; abbreviated
• ma (ma) - but
• mezza voce (mezza voche) - in an undertone
• mezzo forte (mezzo forte) - not very loud
• molto (molto) - very much; tempo symbol: molto adagio - tempo symbol: very slow
• non (non) - not
• non troppo (non troppo) - not too much; allegro ma non troppo - tempo notation: not too fast
• obligato (obbligato) - 1) in music of the 17th and 18th centuries. the term refers to those parts of instruments in a work that cannot be omitted and must be played without fail; 2) fully written accompaniment in a piece of music for voice or solo instrument and clavier
• opus (opus) (lat. opus, “work”; abbreviated - op.): the designation has been used by composers since the Baroque era and usually refers to a serial number this essay in a (most often chronological) list of works by a given author
• ostinato (ostinato) - repeated repetition of a melodic or rhythmic figure, harmonic turnover, a separate sound (especially often in bass voices)
• poi (poi) - then
• perpetuum mobile (perpetuum mobile) (lat. "perpetual motion"): a piece built on continuous fast rhythmic movement from beginning to end
• pianissimo (pianissimo) - very quiet; abbreviated: pp
• piano (piano) - quiet; abbreviated: p
• piu (piu) - more; piu allegro - designation of tempo: faster
• pizzicato (pizzicato) - plucking: a way to play stringed instruments by plucking the strings with your fingers
• portamento (portamento) - a sliding transition from one sound to another, used in singing and playing the strings
• portato (portato) - a way of sound production, between legato and staccato
• quasi (kuazi) - as if
• rallentando (rallentando) - tempo designation: gradually slowing down
• recitative (abbreviated recit.) (recitative) - recitative
• ripieno (ripieno) - in instrumental music baroque designation of the game of the whole orchestra; same as tutti
• ritardando (ritardando) - tempo designation: gradually slowing down
• ritenuto (ritenuto) - designation of pace: gradually reducing the pace, but on a shorter segment than ritardando
• rubato (rubato) - flexible interpretation of the tempo-rhythmic side of the work, deviations from a uniform tempo in order to achieve greater expressiveness
• scherzando (schertsando) - playfully
• segue (segue) - the same as the previous one
• senza (senza) - without
• simile (simile) - the same as the previous one
• solo (salt) - one
• soli (salts) - plural from solo, i.e. more than one soloist
• sostenuto (sostenuto) - designation of expressiveness: restrained; sometimes the notation can also refer to the tempo
• sotto voce (sotto voche) - designation of expressiveness: "in an undertone", muffled
• staccato (staccato) - abruptly: the manner of sound production, in which each sound is, as it were, separated by a pause from the other; the opposite way of sound production is legato (legato), connected. Staccato is indicated by a dot above the note.
• stile rappresentativo (rappresentative style) - the operatic style of the early 17th century, the basic principle of which is that musical beginning should be subject to the expression of dramatic ideas or reflect the content of the text
• sforzando (sforzando) - a sudden emphasis on a sound or chord; s.f. for short
• segue (segue) - continue as before: an indication that, firstly, replaces the indication attacca (i.e., instructs to perform the next part without interruption), and secondly, instructs to continue execution in the same manner as before (in this case, the designation sempre is more often used)
• semibreve (semibreve) - whole note
• tace (tache) - be silent
• tacet (tachet) - silent
• tutti (tutti) - everything (for example, the whole orchestra)
• tenuto (tenuto) - sustained: the designation prescribes to maintain the full duration of the note; sometimes it means a slight excess of the duration
• unisono (unisono) - in unison
• voce (voche) - voice
• voci (vochi) - voices

to be continued...

Tempo in music, apparently, is the most indefinite and ambiguous category responsible for temporal parameters.

What is pace?

Tempo is speed musical process; speed of movement (change) of metric units. Tempo determines the absolute speed at which a piece of music is played. Notice the word absolute. In fact, pace is relative.
Unlike meter and , where there are clear instructions on when and with what volume to take this or that note, such a mathematical approach fails at tempo.
It would seem that with the invention of the metronome, any ambiguity should come to naught. However, the picture has not changed for hundreds of years since the time of Beethoven. At first, composers tried to scrupulously write out the tempo according to the metronome, but later abandoned this idea. What other questions are related to pace? Wagner once said, for example, that the correct interpretation depends entirely on a well-chosen tempo. Is this statement correct? Based on my subjective experience, I can say that it is 90% correct. The remaining 10 are the correct understanding of the style of music and everything else.

I emphasize that this is just a point of view. However, I think that I am not alone in it, since some of the world's best musicians (such as Lindsdorf, A. Zimakov, Wagner :) adhere to the same opinion.
I will try to answer the question: why did many composers refuse to designate the metronome in their works?

There are many reasons, but the main one, apparently, is the progress of musicians.

Such a thing as unprofessionalism is quite common among performers of any profession.

Let's take, for example, a modern one (a situation from my biography).

For example, he wrote a score and brought it into some sequencer. Set the pace and you're done. The piece sounds the same as in the composer's head. But after that, the score got into the orchestra and half of the musicians cannot play their parts. This is where you have to sacrifice either tempo or notes.

Many of Beethoven's works were very difficult for his contemporaries and, apparently, he decided to give some freedom in choosing the tempo.

Modern musicians play Beethoven without difficulty, but as soon as it comes to Shostakovich or, God forbid, Messiaen, everything collapses and it turns out epic fail :)

What is the tempo here?

The main problem is that musicians like to slow down fast passages for no reason, or take slow pace, explaining it with some kind of expressiveness, but this does not change the essence - they simply cannot play it. The composer, the listener and the music suffer from this.

Very often, musicians misinterpret tempos, resulting in fast-paced pieces becoming ballads and vice versa.

This can be observed very often among classical guitarists (it is rather even a rule to distort the tempo) - it is written Allegro is played by Moderato, it is written Moderato begin to play Lento. There are thousands of such examples - just look at a few famous works and you can see the tempo gradation within 40 or even more metronome units. I repeat that this is typical for classical guitarists. Among pianists, I did not notice this. In general, it is difficult to imagine a pianist who, using his vision as an excuse, would start playing Chopin's fantasy in C# maj at a tempo of 140.

This is the first side of the problem of tempo, let's call it mechanical-performing.

Now consider the nature of tempo.

Tempo as a structure that regulates the rhythmic and metrical movement of music has been established quite recently. There are two types of pace:

1. math (metronome tempo)
2. sensual (affective)

Mathematical characteristic for electronic music, metal, etc. music that is played strictly on click. In such music, no deviations from the tempo are allowed) with rare exceptions, accelerando and ritenuto can be found)

Sensual it is defined by style, agogics and . One measure can be at a tempo of 90, the second at a tempo of 120, and the third at a tempo of 60. Such an approach to rhythm is typical for Scriabin, Rachmaninov.

There is also a middle ground between these two concepts. Such phenomena as shuffle are built on a skillful combination of different approaches to tempo. Metronome designations cannot reflect real tempo, which is why many composers have abandoned them, and for the same reason most musicians refuse to play on click.

On the other hand, verbal designations allow you to convey the nature of the movement and the direction in which the musician (s) should think

Here is what Harlapin writes about this:

The verbal designation of the tempo indicates, not so much to the speed, but to the "quantity of movement" - the product of speed and mass (the value of the 2nd factor increases in romantic music, when not only quarters and half, but also other note values ​​act as tempo units) . The nature of the tempo depends not only on the main pulse, but also on the intra-lobar pulsation (creating a kind of “tempo overtones”), the magnitude of the beat. Metro-rhythmic speed turns out to be just one of many tempo-creating factors, the importance of which is the less, the more emotional the music.

This article will be of interest to those who want to learn more about musical tempo. After reading it, you will be able to familiarize yourself with the properties of different tempos, as well as learn about how the tempo of music can affect people.

1. What is the tempo of music and where did this concept come from

The word "Temp" comes from the Italian word Tempo, which in turn comes from the Latin word "Tempns" - time.

Tempo in music is the speed of the musical process; speed of movement (change) of metric units. Tempo determines the absolute speed at which a piece of music is played.

Basic tempos in classical music (in ascending order):
Grave, largo, adagio, lento (slow tempos); andante, moderato (moderate pace); animato, allegro, vivo, presto (fast pace). Some genres (waltz, march) are characterized by a certain tempo. A metronome is used to accurately measure the tempo.

2. Tempos and tempo designations in classical music

The main musical tempos (in ascending order) are:

• largo (very slow and wide);
• adagio (slowly, calmly);
• andante (at the pace of a calm step);
• moderato (moderately, restrainedly);
• allegretto (rather lively);
• allegro (fast);
• vivache (fast, lively);
• presto (very fast).

Partially based on the book: L. Malter, Instrumentation Tables. - M., 1964.

3. The effects of music on the cardiovascular and respiratory system depend on its tempo

Dr. Luciano Bernardi and his colleagues (University of Pavia, Italy) studied the response of the cardiovascular and respiratory systems (CVS, MS) to changes in music in 12 practicing musicians and 12 people of other professions comparable in age (control group). After 20 minutes of quiet rest, the parameters of CCC and PC were assessed. Then 6 musical fragments of 2 and 4 minutes different in style were listened to, following in random order. Each fragment had a randomly located pause of 2 minutes.

It turned out that the frequency of respiratory movements (RR), blood pressure (BP), heart rate (HR) and the ratio of low and high frequencies of heart rate variability (LF/HF, an indicator of sympathetic activation) increased with a faster tempo of music and with simple rhythms. , compared with the original values. At the same time, the blood flow velocity in the middle cerebral artery and the baroreflex parameters decreased. Compared to non-musicians, musicians breathed more frequently at faster tempos of music and had a lower baseline respiratory rate. The style of music and the personal preferences of the participants did not have the same effect as the tempo or rhythm of the music. The decrease in blood pressure, respiratory rate, heart rate and LF/HF after a 2-minute pause in the musical fragment was more pronounced than after 5 minutes of initial relaxation.

According to the authors, specially selected music, in which fast, slow tempo and pauses alternate, can cause relaxation, reduce sympathetic activity and, thus, act as a component of complex therapy for cardiovascular diseases. In the editorial of the same issue Heart Dr. Peter Larsen and Dr D Galletly (Wellington School of Medicine, New Zealand) suggest that due to professional training, musicians are more susceptible to changes in the tempo of music, and therefore the correlation between musical tempo and NDD.

4. The pace of electronic music

In our time classical music faded into the background a bit. Therefore, your attention is provided with the pace of electronic music in directions.

Trance is a style of electronic dance music that developed in the 90s. Distinctive features of the style are: tempo from 130 to 150 beats per minute (bpm). In trance, a straight beat is usually used.

Trance substyles:
Full on- 140-150 beats per minute (bpm)
Psy- 146-155 (bpm)
Dark- 160 or more beats per minute.

Drum and bass (Drum and bass) is a genre of electronic music. Originally an offshoot of the British breakbeat and rave scene, Drum and bass originated when musicians mixed reggae bass with up-tempo hip-hop breakbeats. In general, there is no significant difference between the terms "drum and bass" and "jungle". Some call jungle the old recordings of the first half of the 90s, while drum and bass is considered to be a significantly evolved jungle with new post-tech elements. For many people, it is initially difficult to understand the pace of this direction. Because of the broken rhythms, it can be very difficult to determine the tempo of this style. The spread of rates in this direction is probably one of the largest. Drum and bass sounds starting from 140 beats per minute (usually old school) and can reach as much as 200. The tempo in this style can be easily determined by the snare drum.

House is a genre of electronic music originated by dance DJs in the early 1980s in Chicago. House is heavily infused with some elements of the 1970s soul genre and Disco style of dance music. House is created by blending disco drums and a new kind of "heavy" (bass, beats, various sound effects etc.). There is still a lot of controversy about the origin of the name. this style. But on this moment the central version is that the name comes from the Warehouse club in Chicago, where DJ Frankie Knuckles mixed classic disco with European synth-pop, adding his own rhythms to this using a Roland 909 drum machine. The tempo of this music is rather static. It usually hovers around 130 beats.

Techno is a genre of electronic music that originated in and around Detroit in the mid-1980s and was subsequently picked up by European producers. It is characterized by artificiality of sound, emphasis on mechanical rhythms, repeated repetition structural elements musical work. Techno is characterized by a tempo of 135 beats to 145 beats per minute. “Techno is music that sounds like technology,” says Juan Atkins, one of the founders of the genre. In fact, in the US, techno music was only an underground phenomenon, but in the UK it broke into the main musical arena of the country in the late 1980s. Also this style of music was very popular in other countries.

About 20 years ago, a style appeared in electronic music culture that became an offshoot of techno music. The name of this style is Hardcore.

Hardcore. Everyone who was fond of electronic music in the 90s should remember the well-known Thunderdome rave, which gathered a huge number of people in Holland who came to hardcore raves. But this style of music was very popular not only in this country, but also in Germany and other European countries.

Breakcore (Breakcore)- This is a fairly recent genre. Probably the youngest among all genres that use a broken rhythm. Tempos in this style are striking both in their bpm spread and in principle with their tempo. The lowest tempo in breakcore is as much as 220 beats per minute, which is much more than any other style of electronic music and can reach quite cosmic values. Some compositions in this style are known to have a value of 666 bpm.

Electro (Electro) Short for Electro funk (also known as robot hip hop), this is a style of electronic music that has its roots in hip hop. Kraftwerk and funk had a very big influence on the style. Music in this style sounds very electronic (“computer-like”), the creators of such music try not to use the sounds of wildlife, even the vocals are usually distorted to give a more “darker” and “mechanical” tone. Therefore, the works of the performers are saturated with the ideas of robots, nuclear physics, computers, future technologies, and science fiction contributes to the development of this style in many ways. Electro has a tempo that is about the same as house music. From 125 strokes and a little more - this is electro.

The last style of electronic music that I would like to pay attention to is the Breaks.

Breaks- Very interesting, in my opinion, style, but I will be brief. The whole breaks culture, including this trend, arose as a result of historical event. If I'm not mistaken, in 1969 the Winstons came up with the song "Amen brother", which first appeared on the broken drum loop, now known to everyone as part of break-beat music. Now it is called amen break. It is very often used in drum'n'bass. In breaks, she no longer looks like herself, and this is no longer her, but the basis of this style is precisely the broken rhythms that originate so long ago. Their pace has become slower and more pumping. The pace has become lower than that of the predecessor directions. Break music is played at approximately 120-130 bpm. If it was bigger, then she would lose all her drive.

I think to end here, because other styles of electronic music are, in my opinion, more experimental or less relevant.