Four on the floor (music)

4 -to -the-floor ( in English actually four -on- the-floor ) is a rhythm that seems particularly in the styles of disco, techno and electronic dance music generally.

Construction

It is an equally emphatic rhythm in 4/4-time in which the bass drum on every beat (1, 2, 3, 4) is played. He was popular with the disco music in the 1970s, and the English term four -on- the-floor was widespread at this time.

Many types of electronic dance music, especially house and techno and all its descendants, use this rhythm as its basis. A special form is also found in jazz: Here, instead of the bass drum to play loud as in the other styles, their sound only hinted at ( " feathered " ) so that the sound felt rather than heard. Typically, this is combined with a ride cymbal and hi-hats as syncope. Actually, this rhythm is incorrectly described by the term swing.

If a stringed instrument sets the pace (about a rhythm guitar, a banjo or a violone ), all four beats played on the same pitch and with the same velocity.

In reggae, the emphasis is usually placed on the third beat. Some drummers and drum programmers play the rhythm as a 4- to- the-floor. Sly Dunbar Sly & Robbie was one of reggae drummer who played like. Also, it made Carlton Barrett of Bob Marley & The Wailers, such as the well-known song Exodus.

4 -to -the-floor is also found in derived from the Reggae styles like Dancehall. Especially purist sounds 4 -to -the-floor in some works of the Electronic Body Music from the 1980s and 1990s, for example in the Belgian band piece Headhunter Front 242 From the same band also dates the piece No Shuffle, whose title just for the EBM is significant and early techno scene as these two styles primarily by distinguished that the drums and bass sequences were not varied even in eight minutes long pieces. From today's perspective, about facing the Dubstep, this may seem unimaginative, but it was just this constant repetition of a pattern, the secret of success of EBM and techno, and accumulated a little later in the term trance, and this relationship is valid only for the early productions. But even newer pieces such as machine Unheilig operate largely of 4 -to -the-floor.

Sometimes (incorrectly) is any rhythm that is played in 4/4-time and each beat is accented identical, referred to as four -to -the-floor.