












| Coordinates | 6°7′55″N1°13′22″N |
|---|---|
| Name | Breakbeat |
| Bgcolor | silver |
| Color | black |
| Stylistic origins | Hip hop, Funk, Jazz, Electro, Electronic dance |
| Cultural origins | Late 1980s, United States and United Kingdom |
| Instruments | Synthesizer - Drum machine - Sequencer - Keyboard - Sampler - Laptop |
| Popularity | Early-1990s; United Kingdom in rave music scene, later late-1990s; with in Big beat scene and Some mainstream success in late 1990s United Kingdom as well as United States and Australia |
| Derivatives | Drum and bass - 2-step garage - 4-beat |
| Subgenrelist | List of electronic music genres |
| Subgenres | Acid breaks - Big beat - Breakcore - Broken beat - Funky breaks - Hardcore breaks - Nu skool breaks - Progressive breaks |
| Fusiongenres | Breakstep - breakbeat hardcore |
| Regional scenes | }} |
Breakbeat (sometimes breakbeats or breaks) is a term used to describe a collection of sub-genres of electronic music, usually characterized by the use of a non-straightened 4/4 drum pattern (as opposed to the steady beat of house). These rhythms may be characterised by their intensive use of syncopation and polyrhythms.
The Amen Break, a drum break from The Winstons' song "Amen, Brother" is widely regarded as one of the most used breaks ever. This break was first used on "King of the Beats" by Mantronix, and has since been used in thousands of songs. Other popular breaks are from James Brown's "Funky Drummer" and "Give it Up or Turnit a Loose", The Incredible Bongo Band's "Apache", and Lyn Collins' "Think (About It)".
In the early 1990s, acid house artists and producers started using breakbeat samples in their music to create breakbeat hardcore, also known as rave music. The hardcore scene then diverged into sub-genres like jungle and drum and bass, which generally had a darker sound and focused more on complex sampled drum patterns. An example of this is Goldie's album ''Timeless''.
In 1992 a new style called "jungalistic hardcore" emerged, and for many ravers it was too funky to dance to. Josh Lawford of Ravescene prophesied that the breakbeat was "the death-knell of rave" because the ever changing drumbeat patterns of breakbeat music didn't allow for the same zoned out, trance-like state that the standard, steady 4/4 beats of house enabled.
In recent times, the term ''breakbeat'' has become synonymous with the many genres of breaks music which have become popular within the global dance music scene, including big beat, nu skool breaks and progressive breaks. DJs from a variety of genres, including house and techno, work breaks tracks into their sets. This may occur because the tempo of breaks tracks (ranging from 110 to 150 beats per minute) means they can be readily mixed with these genres, whereas the comparatively fast speed of jungle and drum and bass (160-180 bpm) may have restricted the utility of these subgenres to DJs playing slower-tempo music. Some artists well known for breakbeat include NAPT, DJ Icey, Stanton Warriors, Beat Assassins, Pendulum, Krafty Kuts, The Freestylers, DJ Loopy, Soul Of Man, Deekline And Wizard, The Breakfastaz, Ctrl Z, DJ Sharaz, Freq Nasty, Annie Nightingale, Plump DJ's and avant-garde performance troupe Lucent Dossier Experience.
Breakbeats are used in many hip hop, rap, jungle, and hardcore songs, and can also be heard in other music, from popular music to background music in car and jean commercials on the radio or TV. One of the largest Breaks nights north of London is Milton Keynes lead Beatcheck, set up in 2006.
One of the earliest synthesizers to be employed in acid music was the Roland TB-303, which makes use of resonant cutoff filters to emphasise the harmonics of the sound.
The first acid breaks track is credited to Zak Baney in 1987 for his track "Acid Break".
Category:Electronic music genres
be-x-old:Брэйкбіт cs:Breakbeat (taneční hudba) de:Breakbeat es:Breakbeat fr:Breakbeat hr:Breakbeat it:Breakbeat lv:Breikbīts lmo:Breakbeat hu:Breakbeat nl:Breakbeat ja:ブレイクビーツ no:Breakbeat pl:Breakbeat pt:Breakbeat ro:Breakbeat ru:Брейкбит sl:Breakbeat sr:Брејк бит fi:Breakbeat sv:Breakbeat th:เบรกบีต tr:Breakbeat uk:БрейкбітThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Coordinates | 6°7′55″N1°13′22″N |
|---|---|
| name | Vincent de Moor |
| background | non_vocal_instrumentalist |
| alias | VDM, Blizz, DH Cartel, Emerald, Extract, Fix To Fax, Flashbang, Gmoork, M. Theatre, Outline, Phocus, Questia, Raster, Sidewalk, V-Lock. |
| origin | Netherlands |
| genre | Trance |
| years active | 1993–present |
| website | }} |
Vincent de Moor () (born 1973, Delft, Netherlands) is a Dutch trance artist. He is most notable for his work with the record producer Ferry Corsten under the working title, Veracocha, and for his 2001 single, "Fly Away".
His breakthrough track, using his own name, was "Flowtation". The track was first released in 1996, and reached peaked in the UK Singles Chart at #54 in August 1997. Several versions of this track were available, including a 2002 remix with vocals. In 1998, De Moor collaborated with Ernst Bijlsma to release "Don't Hurt Me" (as Cache) and, using his own name, released the track "Orion City" and a debut album of the same name. He also found time to release tracks including "Darwin's Voyage", "Magnetic" and "Domino Runner" using his VdM moniker.
Category:1973 births Category:Living people Category:Dutch trance musicians Category:Dutch dance musicians Category:Dutch DJs Category:People from Delft Category:Armada Music artists
de:Vincent de Moor es:Vincent de Moor fr:Vincent de Moor lt:Vincent De Moor nl:Vincent de Moor sl:Vincent de MoorThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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