Stage 3Styles: The Dancefloor
House, breaks and reggae — three skeletons, not one. The hat leaves the beat, the snare leaves the backbeat, and beat 1 learns to be empty on purpose.
Housethe pump
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Kick on every beat, open hat on every "and", clap on 2 and 4 — and no closed hat at all.
Could not read stage-12-dancefloor/house-pump.mid
Practice →118 BPM -
Closed hats tucked on the "a" of 2 and the "a" of 4 — the garage skip inside the pump.
Could not read stage-12-dancefloor/house-skip.mid
Practice →116 BPM -
Three bars of pump, then the floor vanishes — open hats alone until a snare build snaps it back.
Could not read stage-12-dancefloor/house-drop.mid
Practice →120 BPM
Breaksthe snare starts moving
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A two-bar break: bar 2 shifts the kick to the "e" of 3 and adds a snare pickup.
Could not read stage-12-dancefloor/the-breakbeat.mid
Practice →96 BPM -
Beat 4's snare moves to the "a" of 3, and the empty 4 it leaves is the funkiest thing in the bar.
Could not read stage-12-dancefloor/break-displaced.mid
Practice →94 BPM -
Drum & bass's two-step: five voices' worth of energy from three, at 160.
Could not read stage-12-dancefloor/two-step.mid
Practice →160 BPM
Reggaethe empty one
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Kick and snare together on 3, hats in 8ths — and beat 1 empty, every bar, on purpose.
Could not read stage-12-dancefloor/one-drop.mid
Practice →76 BPM -
The one drop with the hats moved to the off-beats: nothing in the bar lands on a number except the drop.
Could not read stage-12-dancefloor/skank.mid
Practice →76 BPM -
The kick returns to all four beats under the skank — reggae's other engine.
Could not read stage-12-dancefloor/steppers.mid
Practice →78 BPM
Checkpointa bar of each — switching between patterns is what makes them stick
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One bar each: the house pump, the break's answer bar, the two-step, and the one drop.
Could not read stage-12-dancefloor/checkpoint-12.mid
Practice →104 BPM