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American Style Rhythm

The music of Latin America refers to music originating from Latin America, namely the Romance-speaking countries and territories of the Americas and the Caribbean south of the United States. Latin American music also incorporates African music from slaves who were transported to the Americas by European settlers as well as music from the indigenous peoples of the Americas. Due to its highly syncretic nature, Latin American music encompasses a wide variety of styles, including influential genres such as Rumba, East Coast Swing, Bolero, Mambo among others.

Chachacha: 30 bars per minute

Rumba:30–32 bars per minute; 32–36 bars per minute

East Coast Swing: 36 bars per minute; 34–36 bars per minute

Bolero: 24 bars per minute; 24–26 bars per minute

Mambo: 47 bars per minute; 48–51 bars per minute

American Style Smooth

The history of Western music is primarily rooted in Greek and Roman antiquity, though music existed in virtually every culture long before this. Nevertheless, music was an important part of the lives of the ancient Greeks. Greek philosophers wrote about the power of music, the mathematician Pythagoras explored the mathematics behind musical sounds, and well-known Greek playwrights, such as Sophocles and Aristophanes, used music in their tragedies and comedies.

The Greeks and Romans had many musical instruments, including the lyre, harp, and the cornu horn, which were used in a variety of ceremonies and festivals. The Greeks also developed different systems of music notation, such as the more general harmonia and the more specific Dorian or Lydian, which were names after specific tribes and based upon unique modes, or the specific ordering of musical tones and their corresponding notes. All of these helped music to thrive, and it probably would have evolved in a different way if it hadn’t been for two major factors: the birth of Christianity and the fall of Rome.

Waltz:28–30 bars per minute; 30–32 bars per minute

Tango: 30 bars per minute; 30–32 bars per minute

Foxtrot:30 bars per minute; 32–34 bars per minute

Viennese Waltz: 53–54 bars per minute; 54 bars per minute

International Style Latin

The origins of Latin American music can be traced back to the Spanish and Portuguese conquest of the Americas in the 16th century, when the European settlers brought their music from overseas. Latin American music is performed in Spanish, Portuguese, and to a lesser extent, French.

Chachacha: 30-32 MPM or 30 MPM

Samba: 50–52 MPM or 48 MPM

Rumba: 25-27 MPM or 22 MPM

Paso Doble: 60-62MPM or 56 MPM

Jive: 42-44 MPM or 42 MPM

International Style Standard

European art music is largely distinguished from many other non-European classical and some popular musical forms by its system of staff notation, in use since about the 11th century. Catholic monks developed the first forms of modern European musical notation in order to standardize liturgy throughout the worldwide Church. Western staff notation is used by composers to indicate to the performer the pitches and durations for a piece of music. In contrast to most popular styles that adopted the song form or a derivation of this form, classical music has been noted for its development of highly sophisticated forms of instrumental music such as the symphony, concerto, fugue, sonata and mixed vocal and instrumental styles such as opera, cantata, and mass. Alongside traditional musical attributes, Classical music is conscientious about drawing from and re-purposing its formal and social tradition with forms such as the Mass evolving and communicating through over a thousand years.

Waltz:28 to 30 bars per minute (84 to 90 beats per minute)

Tango:2/4 time to 60-64 measures per minute, or 120-128 beats per minute. Tango can also be danced to music in 4/4 time, which would be 30-32 measures per minute

Viennese Waltz: 180 beats (58-60 measures) per minute.

Foxtrot: Is danced in 4/4 time to 28-30 measures per minute, or 112-120 beats per minute.

Quick Step: The Quickstep usually follows a 4/4 time pattern. The basic feel of the Quickstep is slow-quick-quick, slow-quick-quick, with “slow” taking beats one and two, and “quick-quick” taking beats three and four

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