Trance Music

[Shy--Ism]

is a subgenre of electronic dance music (EDM) that developed in the 1990s. Trance could be described as a melodic, more-or-less freeform style of music characterized by steady beat between 130 and 158 bpm and repeating melodic patterns. The genre is arguably derived from a combination of largely techno and house. Trance got its name from repeating and morphing beats and melodies which would presumably put the listener into a trance.



Pre-trance music:

The disco composer, producer, and performer Giorgio Moroder is widely credited as being a seminal influence on modern trance music, as well as techno and house. In 1977 he recorded the classic single "I Feel Love" (performed by Donna Summer) and album From Here to Eternity, both of which heavily feature his signature sequenced basslines and drumbeats (see: 1977 in music).

The German synthesist Klaus Schulze has also proven to be a significant influence on trance music. Throughout the 70s he recorded numerous albums of atmospheric, sequencer-driven electronic music. Several of his albums from the 1980s include the word "trance" in their titles, such as 1981's Trancefer and 1987's En=Trance.

Elements of what became modern trance music were also explored by industrial artists in the late 1980s. Most notably, Psychic TV's 1989 album Towards Thee Infinite Beat, featuring drawn out and monotonous patterns with short but repeating voice samples, is considered by some to be the first trance album. The intent was to make sound that was hypnotic to its listeners.

These industrial artists were largely dissociated from rave culture, and their trance albums were generally experiments, not an attempt to start a new genre with an associated culture -- they remained firmly rooted culturally in industrial and avant-garde music. As trance began to take off in the rave culture, most of these artists abandoned the genre.

In these years first complete references to trance as a genre appeared. In 1988 The KLF produced a version of their later popular song - "What Time is Love" titles "The Original Pure Trance" [1]. While this version cannot be considered as Trance by current standards, it is presumably one of the first references to trance in dance music.

Trance begins as a genre

Trance is said to have begun as an off-shoot of techno in German clubs during the very early 1990s. Frankfurt is often cited as a birthplace of Trance. Some of the earliest pioneers of the genre included Dj Dag (Dag Lerner), Oliver Lieb, and Sven Vath, who all produced numerous tracks under multiple aliases. Trance labels like Eye Q, Harthouse, Superstition, Rising High, FAX +49-69/450464 and MFS Records were Frankfurt based. Arguably a fusion of techno and house, early Trance shared much with techno in terms of the tempo and rhythmic structures but also added more melodic overtones which were appropriated from the style of house popular in Europe's club scene at that time.

This early Trance tended to be characterized by hypnotic and melodic qualities described above, and typically involved repeating rhythmic patterns added over an appropriate length of time as a track progressed, thus creating an effect of hypnotic trance.

At about the same period of time in the early 1990s, a musical revolution was happening in Goa, India. Electronic body music (EBM) bands like Cabaret Voltaire and Front 242 came to Goa and began influencing artists like Goa Gil, Eat Static, Doof, and Man With No Name who heard the psychedelic elements of EBM, expanded on them minus the vocals and guitars to create goa trance. Goa music is heavily influenced by Indian culture and psychedelic drugs, as seen in numerous references to both in track and album titles.

The sound of modern (progressive) trance

By the mid-1990s, trance, specifically progressive trance, had emerged commercially as one of the dominant genres of EDM. Progressive trance set in stone the basic formula of modern trance by becoming even more focused on the anthemic basslines and lead melodies, moving away from hypnotic, repetitive, arpeggiated analog synth patterns and spacey pads. Popular elements and anthemic pads became more widespread. Compositions leaned towards incremental changes (aka progressive structures), sometimes composed in thirds (as BT frequently does). Buildups and breakdowns became longer and more exaggerated. The sound became more and more excessive and overblown. This sound came to be known as anthem trance.

Immensely popular, trance found itself filling a niche as edgier than house, more soothing than drum and bass, and more melodic than techno. It became more accessible to more people. Artists like Paul van Dyk, Ferry Corsten, and Armin van Buuren came to the forefront as premier producers and remixers, bringing with them the emotional, "epic" feel of the style. Meanwhile, DJs like Paul Oakenfold, DJ Tiësto, and DJ Jean were championing the sound in the clubs and through the sale of pre-recorded mixes. By the end of the 1990s, trance remained commercially huge, but had fractured into an extremely diverse genre. Some of the artists that had helped create the trance sound in the early and mid-1990s had, by the end of the decade, abandoned trance completely (artists of particular note here are Pascal F.E.O.S. and Oliver Lieb). Perhaps as a consequence, similar things were happening with the DJs as well. For example, Sasha and Digweed, who together had helped bring the progressive sound to the forefront, all but abandoned it by 2000, instead spinning a darker mix of the rising "deep trance" and "tech-trance" style pioneered by producers and DJ's like Slacker, Breeder, and the duo of Sasha and Digweed (as marked by the duo's 2000 release, "Communicate"). However, Sasha and John Digweed (two completely different people who now DJ less often together) might argue that "Communicate" not be called trance.

At present, trance is as much about who plays the music as it is about what it sounds like. Trance has transcended the underground scene to become the most popular form of electronic dance music, and a figure in the realm of popular music.

For more concrete examples, check out any number of purported trance compilations; perhaps the most highly recommendable source would be the Global Underground series, including its "Nubreed" sub-series, because it captures the diversity of the genre as expressed through many of its brightest DJ talents. Also recommended as source material would be the Tranceport/Perfecto Presents... series, any of Sasha and Digweed's Northern Exposure mixes, and any of the mixes in the Renaissance series. The Labels to reference would include 3Beat, Bedrock, Devolution, Fluid, Fragrant, Hooj Choons, Hook, Perfecto records, Vandit, Armada, Black Hole, Intuition, Positiva, Harthouse, Eye Q, MFS, Platipus records, NOOM, R&S, Anjunabeats, Anjunadeep, Yoshitoshi rec, and ATCR Trance Music.

Musicology and styles:

Trance is a form of music best characterized by quarter note drum patterns, and 16th/32nd note rhythm synthesizer patterns. It has a meter of 4/4, with a quarter note bassdrum acting as metronome, and quarter note high-hat hits on upbeats. This unwavering drum mechanism may be constantly tweaked with for effect, with the Attack, Decay, Sustain, Release (ADSR) all given liberal treatment. The tempo is generally around 130-158 beats per minute (bpm).

The arrangement consists mostly of a repeating 32nd note sequencing arpeggio, and a bass section of whole notes usually drifting through the aeolian or natural minor scale. Harmonic structure is typically minimalist, with often no more than 2-4 chords. Iterations of the i-iv-v progression (A minor, D minor, and E minor, for example) lend a dark feel by eschewing major chords entirely. Additional rhythm sections are added and subtracted every 16 measures (sometimes 8, and sometimes 32) to add weight and anticipation to the composition. The bass chord will usually change every 4 measures.

There is a lead synth, and it will be a simple minor scale melody of 8th notes, looping every 4 measures (some have 2, some have 8. Some even have 16). Trance is produced with keyboards, computerized synthesizers, drum machines, and music sequencer software connected via MIDI. The average trance song has a polyphony of 8. The most busy will have 16.



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Cheerz!!!

[Tala]

mmm i THINK a similar topic was already posted before.
it is interesting, thx anyway sarah!

[pTq]

[Proof]

[psycho]

old but thanks for the share though