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House Music – Arrangement

INTRO:
First 16 bars: intro, basic introduction of the main theme, sparse mix with loud
kick drum for easy mixing. NEVER NEVER NEVER fade in the track, __ALWAYS__
start the track with a loud clearly discernible kick drum so that the DJ can
match the kick with the record currently playing and then adjust the pitch
accordingly.

FIRST SECTION OF HARD TRACK:


Bars 17-24: This is your very first section of hard track. All house music is
based on the 8 bar loop. Bare minimum there should always be some kind of fill
on the 8th bar of every section. This is where you bring in your first layer of
additional instrumentation into the mix.

Bars 25-32: Repeat bars 17-24 with slight variation on the fill for bars 28 and
32.

Bars 33-40: Repeat bars 17-24 verbatim

Bars 41-48: Repeat bars 25-32 verbatim

FIRST BREAK:
Bars 49-56: This is the first 8 bar section. This is a very hard part to write
because you have to transition from the first 32bar section of hard track into
the second section of the break where you drive the crowd into a frenzy. You
need to deviate enough to let people know something is coming, but you
cannot go too far or you lose the energy. This is where you start building the
tension.

Bars 57-64: This is where you drop out the kick drum, break into a more
complex rhythm and introduce the next set of weird noise that are going to be
the hook for your track. It should build up in two bar units 2-4-6-8 so that by
the last two bars of the break the crowd is about to explode.

SECOND SECTION OF HARD TRACK:

Bars 65-104: This is where you drop whatever hook you have come up with to
really bring the track into gear. This is basically two 32 bar section pasted back
to back. This is where you track it out and let the groove work. The same
structure that you used on the first section of hard track applies, but you will
want to think about using other sonic tricks to keep peoples ears.

FIRST MIX OUT SECTION:


Bars 105-120: You have just beaten the crowd over the head with the main
theme and your first set of production tricks, you need to give the crowd a half
minute to catch their breath or give the DJ a chance to mix out into the next
record. The arrangement becomes sparse again, and you make it easy for
another similar record to overlap with this section so that the DJ can seamlessly
mix out of this record. This is basically the second break, but it is just a stripped
down version of the first hard track section. You might want to introduce a new
theme here that will be carried out in the next section of hard track, but the
main idea is to keep it simple and sparse.

SECOND HARD TRACK SECTION:


Bars 121-184: This section works just like the first section of Hard Track, but
with a slightly different hook and a different set of production tricks. You want
this section to have a little more punch than the first section in order to justify
the second repetition of the track.

SECOND MIX OUT SECTION:


Bars 185-200: This works exactly the same as the first section, but is a little
more complicated because it needs to lead into the next section which is:

SECOND BREAK SECTION:


Bars 201-216: Works just like the first break section, but it needs to be even
more spectacular because the crowd has already been listening to this record
for the last 5 minutes. You need to bear in mind that a beginner DJ may have
already flubbed the mix on the last two mix out sections and is starting to
sweat it a little.

THIRD HARD TRACK SECTION:


Bars 217-280: This is the last section of Hard Track and this is where you pull
out everything you have got to make this track storm.
This track has already been playing for six minutes, so you have got to hit them
with the best variation of the theme.

FINAL MIX OUT SECTION:


Bars 281-312: This is the outro for a dance record. You just state the basic
theme of the record and make the mix sparse and kick drum heavy so that it is
easy to mix out of.

There are a million variations on this basic structure. It is how you break the
rules of it and how well you write and produce your sounds that sets you apart
from other producers. I cannot tell you too much more than that; Just listen to a
lot of records, and learn as much as you can about music.

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