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For iPad owners who make electronic music, there is one app on this list that is an absolute must-buy: Patterning 2. Developed by Ben Kamen of Washington-based Olympia Noise Co., Patterning 2 is a totally unique drum sequencer and beat-making app. It ditches the traditional linear arrangement layout in favor of a multi-layered circle, subdivided into different steps.

UVI has announced the release of a new expansion pack for its BeatHawk, a portable music production studio for iOS that lets you create beats, sample, layer melodies, sequence, mix, arrange and perform songs with a blazing-fast workflow and sleek hardware-inspired user interface.

Down Flat'', according to Kelvynboy, is the fastest song he has ever composed. The song rooted in Ghanaian highlife beat was released because the Afrobeat artist wanted to dedicate a love song to his fans to commemorate Valentine's Day. The song unexpectedly began to chart and made massive waves on TikTok with very little promotion and the rest, as they say, is history.

Then there is a ship part with numerous scaled obstacles with ground spikes. Near the end, it shows "Ready?", signaling an intense ship sequence with a series of gravity and teleportation portals. In the end, it shows "Let's Go M9!" Afterward, the player enters a difficult wave segment with fast-paced speed changes and lots of mashing. Then there is a ball segment with a few tricks that end with the text "GG". The third coin can be collected in this part through an invisible block on the ceiling.

Now for polyrhythms. Consider a situation where one instrument plays in 3/4 time, a second plays in 7/4, and yet another plays in 9/8 time. This is much less complicated than it might at first appear.

A cycle in 3/4 could well be made up of beat 1 on a low tom, beat 2 on a medium tom, beat 3 on a high tom. No problem there. Set that going and consider it our time line. It is nothing more than a three-figure cycle of moderate or medium density.

Now the 7/4 cycle. This could be umm, cha, umm, cha, umm, cha, cha played on (say) snare and cymbal. No problem there either. This is a seven-figure cycle of similar density (crotchets). Get this one going simultaneously with the above 3/4 cycle and let them run. You will notice after a while that you have created a composite rhythm pattern that repeats itself - every seven bars of 3/4, or three bars of 7/4 in fact!

The 9/8 cycle is a more dense, more busy, pattern than the other two. All we need is a regular 9-beat cycle played on any one, two, three or perhaps four instruments of our choosing. I'll leave it to you to devise a sequence of your own. Perhaps conga, cowbell and handclaps - maybe sticks as well? Anything, as long as it is a regular 9-beat pattern.

Now let all three cycles play together. There is nothing conceptually difficult about this arrangement. It is, in fact, quite a simple set-up. All it takes is a different approach to the idea of drums, rhythm and time. Polyrhythmic effects come from the spacing (or offsetting) of rhythmic patterns in terms of their start points, as described earlier.

Both crossrhythms and polyrhythms are often simultaneously handled by one and the same performer. Every good African drummer learns to play different figures in the left and right hands (whether they be crossrhythms or polyrhythms) early in their career. In fact, quite often the left-hand part interacts (perhaps playing a crossrhythm) with the patterns of the drummer on the left, while the right-hand part intersects (perhaps chasing polyrhythmically) with the drummer on the right. Each drummer can thus interact with neighbouring drummers until every drummer in the group is interacting with everyone else. (This, again, is not as hard to grasp as it might seem. After all, in an orchestra, every player has a different part to play but they are all contributing to the same symphony!)

Originating from 2-Step, UK Garage, Dub, Drum & Bass and Breakbeat. Characterised by sparse, syncopated rhythmic patterns with prominent bass and sub-bass frequencies that are often modulated to create a lead instrument or the focus of the track. The drum pattern often features steps in the sequence that are silent. Heavy emphasis is given to a regular snare drum pattern that provides the often backbone of the repetitive part of the rhythm on the third beat of the bar.

Originating from Hardcore Techno, Breakbeat and Hi-NRG. Characterised by fast and hard beats, harsh basslines and powerful synthesiser-based breakdowns often with high-pitched vocals giving a cartoonish feel. UK Hardcore evolved with less of the breakbeat associated with the Happy Hardcore movement.

Originating from Techno, Acid House, EDM, New Beat and Breakbeat Hardcore. Characterised by its fast tempo and the intensity of the kicks and the synthesised bass. The usage of saturation, overdrive and experimentation is close to that of industrial dance music.

Psychedelic Trance, Psytrance or simply Psy originates from Trance, Psychedelia, Goa Trance, Eurodance, Techno, New Beat, Acid, Indian Classical music. It is characterised by arrangements of rhythms and layered melodies created by high tempo riffs. There is often a back-bone of a 4x4 beat at a fast tempo often coupled with an off-beat bass stab. Different sub-genres of Psy will display different interpretations and stylistic attributes meaning that Psy Trance is now somewhat of an umbrella term.

Originating from Hardcore, Breakcore and Gabba. Characterised by high tempo 4x4 beat and aggressive themes. The BPM rarely drops below 300 BPM with some tracks sometimes exceeding 1000 bpm where it then becomes known as Extratone, the world's fastest music genre. The Amen break is commonly used with heavy overdrive distortion and square wave distortion techniques to create a harder sound.

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Kpanlogo is a constantly evolving style of music-and-dance, with new lead variations emerging all the time. There is not usually a predetermined sequence of variations, but in general the music starts at a slow tempo and builds to a faster speed. 17dc91bb1f