Anatomy of an Arrangement: Typical Song Structure in Popular and Electronic Music

Turning musical ideas into a finished piece is one of the biggest challenges musicians face. Understanding when a set of ideas and notes becomes a finished composition can be difficult not only for beginners, but also for seasoned professionals. The editors of SAMESOUND.RU understand what the structure of a song looks like in popular and electronic music. We will deliberately not talk about the composition of instruments, stylization and other arrangement aspects for now, focusing on how a typical song is constructed.

The composer's ideas put together are nothing more than the framework of the composition. The main work is still ahead: the song needs an arrangement that will guide the listener through all the author’s ideas and make the composition a single canvas. The more comfortable and interesting the path through the author’s ideas, the more willing the listener will be to press the repeat button.

The arrangement is the map of the song. Typically, this map consists of several typical solutions and routes that composers and arrangers use very often. There is not even a grain of contempt in this: the structure of the song and the formulas by which the compositions are created have been tested on many hits, and no one is going to change them.

Typical song structure in popular music

To understand the typical structure of a composition, you need to understand what parts a song usually consists of. In most cases, there are eight such parts:

1. Introduction/intro;
2. Verse;
3. Prechorus/bridge;
4. Chorus;
5. Post Chorus/Tag;
6. Losing
7. Break;
8. Ending/morning.

Some parts of the song may not be included in the arrangement, others may be repeated several times, although it all depends on the meaning they carry and the desires of the composer.

Typically, each part of a song in an arrangement consists of 8-16 bars, although it is not uncommon for a segment to be 4, 12 or 32 bars long. The number of bars directly depends on the musical idea that you implement in a particular song.

Introduction/Intro (Intro)

A short introduction to the song. This part is the first one that reaches the ears of the listeners. The purpose of the introduction is to prepare the listener for the rest of the composition, as well as to logically lead the arrangement to the first verse.

Often, the overall perception of the song depends on how well and interestingly the intro is made: if the intro hooks a person from the first chords, then the likelihood that he will listen to the rest of the song increases many times over.

Unless you're playing progressive rock or math metal, don't bore the listener with long intros.

In terms of content, the introduction itself can be anything, it all depends on the author’s imagination. It can be made from one or two elements of the main track (melody and drums, bass and keyboards) or in a form similar to the chorus (the intro completely repeats all the components of the chorus). The length of the introduction also depends on the wishes of the composer, but usually the intro fits into 2, 4 or 8 bars.

Verse (Verse)

The main semantic part of any song. This is where all the text and the general information message of the composition are located. In addition to conveying the main idea, the purpose of the verse is to prepare the listener for subsequent parts of the song.

Unlike the chorus and bridge, the lyrics to this part of the song are usually unique for each verse. It is not necessary to strictly follow this rule: there are dozens and hundreds of excellent songs in the world with very simple verses.

Example of song structure and arrangement. The composition consists of an introduction, two verses, four choruses, a solo or instrumental bridge and an ending. The song is 3 minutes 30 seconds long.

Pre-Chorus/Bridge

Bridge (from the English Bridge - bridge), or, as it is called in the USA, prechorus (from the English Pre-Chorus - pre-chorus) is the connecting link between the verse and the chorus. Since the chorus is the strongest part of the song, a bridge is added to the arrangement, which reduces the contrast between the verse and chorus.

If the harmony of the verse and chorus is based on the same chords, the bridge can add variety to the overall outline of the composition by changing the chord progression. From the listener's point of view, prechorus makes the composition more interesting.

Chorus (Chorus/Refrain)

The chorus is one of the culminating parts of the composition. This part should be easy to remember, but not boring - the composition will be enough for 2-4 choruses, differing in length. Since the chorus is the most repeated part of any track, it contains the main lyrical and musical ideas. This is where the main information message of the composition is located, as well as the musical hook that catches the listener.

Don't overuse the chorus. We’re not writing another Russian pop hit, right?

Typically, the first occurrence of a chorus is 8 bars long (single chorus), and the second occurrence is 16 bars long (double chorus repeat with minor subtle changes). The last chorus of a song, appearing at the end of the song, can consist of 16-32 bars. From my experience, the fewer choruses at the end of a song, the better.

Post-Chorus/Tag

It is not uncommon for the last line of a chorus to go beyond the bars allotted to it by the composer.
This state of affairs can become a problem if the lyrics of the next part of the song (for example, a verse) begin with an upbeat. To prevent words from overlapping each other, composers and arrangers insert 2-4 bars, which allow the vocalist to rest a little before continuing the song, and also make the musical narrative smoother.

Post-chorus is similar to pre-chorus and can be anything: in the form of a chorus or intro with a simple chanting of backing vocalists, in the form of an instrumental bridge or playing the main melody of the song in a slightly modified form. Here everything depends on the imagination of the arranger and composer, as well as the musical component of the song.

WHAT IS POPULAR MUSIC?

When we talk about popular music, many musicians think that we are talking only about pop music, but this judgment is wrong. The definitions “Popular music” and “Pop music” are not synonymous, and refer to completely different stylistic directions. The term "Pop Music" is used to define a specific genre - "pop".

As for the term “Popular music”, this includes a huge variety of musical styles that have nothing to do with pop music: rock, fusion, rhythm and blues, industrial, disco, rock and roll, reggae, nu metal, alternative, etc. Thus, popular music is music of diverse styles, aimed at a wide audience.

Loss (Middle)

In the West, the bridge towards the end of the song is called Middle 8, which can literally be translated as “middle eight”. However, some musicians call Middle 8 a bridge. Usually this part is reserved for the instrumental component: in Middle 8, most often there is a solo or some kind of bridge with changed parts and melodies.

The meaning of this part is to reach the climax of the composition before the appearance of the last chorus or break. Throughout the song, the dynamics and energy of the composition constantly increases, reaching its apogee precisely in the breakdown.

As is clear from the English name, the length of the passage is usually 8 bars, although sometimes longer versions are found.

Break

From time to time, after a loss, another small insert appears, called a break (from the English Break - break, collapse, pause). The point of a break is to give the listener a short break. Let's face it, listening to a song where something is constantly happening can be tiring.

The need for breaking and losing depends on the context. If the song has a solo, then perhaps a quiet break makes sense. At the same time, no one forbids making another instrumental or vocal passage after a solo, or even going into a verse.

Often the break is minimalist and usually builds on the same chords and melody as the chorus. Sometimes the break is a small and quiet prechorus before the last chorus. The average length of a break is from 4 to 16 bars.

Ending/Outro

The final part of the song. It can be the same as the intro or be its complete opposite, be several repetitions of the chorus with a gradual decrease in volume (fade out), or be completely unique and not similar to other parts of the song.

Don't get carried away with the ending: constantly waiting for the ending does not lead to anything good. Too long an exit will certainly lead to the listener thinking: “When will it end? How can?".

How the song ends depends on the rest of its components. In particularly active compositions, it makes sense to go into silence through the repetition of choruses; in ballads, you can take several other chords - it’s up to the composer himself to decide.

Final song structure in popular music

The song can be represented as a graph.
The movement of music, the increase in tension and dynamics goes along a parabola - now up, now down. If you imagine any composition as a graph, then the most accurate representation will be a parabola. Throughout the song, the music picks up speed, reaches a climax, and then fades out to the end.

Don't make all parts of your future hit 32 bars long - each element of the composition has its own length that should be adhered to. Each composition requires an individual approach, so do not overload the arrangement and do not try to cram all the parts that you can into it.

Typical song structure in electronic music

Unlike popular music, typical electronic tracks consist of slightly different parts. The fact is that the arrangement of electronic music is not least influenced by the radio: songs must fit into the format of specialized radio stations, in which there is no place for mixes of endless length.

At the same time, the arrangement of dance and electronic tracks should be such that it is comfortable to dance to. Long sections need to be replaced by short sections to give the dancers a break. Typically a dance composition consists of seven typical parts:

1. Intro bit;
2. Breakdown;
3. Build-up;
4. Drop;
5. Average break;
6. Second drop;
7. Final bit.

A good example of typical electronic, dance or club music is the composition “United We Dance” by Vicetone.

Beat Intro

Sixteen or more bars of drums or percussion. The distinctive features of the introduction in electronic music are the minimum of instruments used, the predominance of the beat and the gradual, leisurely appearance of the main melody.

The main task of the introductory beat is so that the DJ can correctly and accurately mix the new track with the previous one.

Breakdown

In the breakdown, the composition turns to its main elements. Often at this point the drums are absent altogether, giving more space to the rest of the musical components of the arrangement.

In a typical breakdown, the main melodic line of an electronic composition is usually played. The melody gradually acquires additional instruments, which creates a dense sound. The number of cycles can be any - 16, 32 or more.

Build-Up

The build-up prepares listeners for the chorus and is analogous to the prechorus in popular music. In this section, tension gradually increases due to accelerated drum inserts and rises - synthesizer sounds that smoothly gain volume and height, and look brighter than all other elements of the arrangement.

Drop

The equivalent of a chorus in popular music. The drops are designed to make the maximum impression on the listener with powerful grooves, pumping bass, a juicy beat and a synth hook (the main musical theme of the entire track).

Middle Break

Middle part of the composition. It contains unique musical elements and findings, but does not go beyond the general melody of the composition. They like to use this part to smoothly lead the listener to another build-up, whose length is half the length of the first.

The middle break usually sounds like a variation on the first breakdown or drop, although it's not uncommon for the middle break to sound completely different from the rest of the song.

Planning the arrangement and structure of the composition. The track will start with a chorus, will contain two different verses, a solo or bridge and several tags (bridges after the chorus).

Second Drop

The second drop is often similar in structure, energy and content to the first, but contains a number of changes that add variety to the composition. Differences are usually contained in a slightly changed hook, bassline or beat.

Outro Beat

Like the opening beat, the outro helps the DJ mix the ending track with the next song in the set. For this reason, the final beat is a very long part of any dance hit.

Final song structure in electronic music

To fit into the radio format, the original 5-10 minute versions of club tracks are edited to keep them under 3-4 minutes in length. Because of this, all parts of the composition are cut to create a track that is similar in structure to a regular pop song.

Forms ABA, AABA, AAA and ABABCB

When planning a song, composers and arrangers often fit the composition structure into one of four common forms—ABA, AABA, AAA, and ABABCB.

The ABA form is the most popular form of arrangement structure. When we say that a song is structured according to the standard verse-chorus-verse pattern, we are talking specifically about the ABA form. A mandatory feature of this form is the presence of two identical parts (section A) and one contrasting part (section B). The contrast of section B is introduced in different ways: through changes in harmony and tonality, changes in the rhythm or mood of the music. Sections A and B can be different parts of one song - verses, choruses, bridges, solos.

If you imagine the structure of a song in ABA form, it might look like one of the following:

A prime example of the use of the ABA form is the jazz classic “I Got Rhythm” by George Gershwin. The A sections are played in B-flat, have two chords per measure, and the sections themselves sound energetic. Section B changes key, one chord per two measures, and the music becomes less dynamic.

The AABA form is a development of the ABA pattern. In this case, section A is repeated twice, then moves to a contrasting section B, followed by a return to section A. According to this scheme, the composition might look like this:

Even though the AABA form uses two identical A sections at the beginning, this does not mean that they must match. Composers and arrangers make small changes to the harmony or instrument composition as a section progresses to make the sound more interesting. In some cases, the melody or its individual parts are subject to changes. It is also not uncommon for the ABA and AABA forms to be combined.

The AAA form uses three identical parts (verses or choruses) with minor harmonic or melodic differences. As for the ABABCB form, the composer decides to first use the standard verse-chorus-verse-chorus pattern, which then breaks into a bridge, solo, or break (Section C), and then returns to the chorus.

EXAMPLES OF COMPOSITIONS WITH DIFFERENT CONSTRUCTION SCHEMES

ABA Form: The Rolling Stones - Honky Tonk Woman, Pete Seeger - Turn! Turn! Turn!, AC/DC - Back in Black, The Eagles - Hotel California. AABA Form: Billy Joel - Just the Way You Are, The Beatles - Yesterday, Crystal Gayle - Don't It Make My Brown Eyes Blue. AAA Form: Bob Dylan - The Times They Are Changin', The Animals - The House of the Rising Sun, Gordon Lightfoot - The Wreck of the Edmund Fitzgerald. ABABCB Form: ZZ Top - Sharp Dressed Man, The Beatles - Ticket to Ride, Tina Turner - What's Love Got to Do with It?

Song structure of The Beatles - Back in the USSR

The Beatles' famous "Back in the USSR" was written as a tribute to Chuck Berry's hit "Back in the USA" . Written in 1968, the song still sounds modern today.

Cover of The Beatles single "Back in the USSR"

The song was written during the reign of Prime Minister Harold Wilson, who declared a new political one throughout the United Kingdom (“I stand with Britain”). Propaganda posters with this slogan covered all the streets of Great Britain. Paul McCartney thought that the line “I'm backing (back in) the USSR” was a good response to the political ideas prevailing in English society at that time. Residents of Great Britain appreciated McCartney's humor, but for US citizens the joke was incomprehensible.

The song was co-written by Paul McCartney and John Lennon and was the opening track of The Beatles' untitled 1968 two-disc album, also known as The White Album.

One of the distinctive features of the composition is the arrangement of the song, typical of pop and rock music. Key - C minor, tempo - 120 beats per minute, time signature - 4/4.

Since there are problems with The Beatles songs on YouTube, we have inserted a video of Paul McCartney performing the song live in Moscow in 2002. However, the text will talk about the studio recording of the composition.

0:00. Introduction

The song begins with the sound of a plane landing and a 4-bar intro on an E7 chord. After 4 bars, the A chord sounds on the downbeat, which brings us to the verse of the composition.

0:15. Verse 1

As Paul McCartney tells the story of a sleepless night and a flight from Miami, the composition gains momentum. The verse consists of 8 bars: two 4-bar squares on the chords A, D, C, D.

0:28. Chorus 1

The song's chorus is six bars long, which is quite unusual. The first three bars are built on the chords of the verse (A, C, D) and this is where the vocal hook with the phrase “Back in the USSR!” is located.

The last three bars smoothly lead the listener into the second verse, which is identical in structure and harmony to the first.

0:52. Chorus 2

After the second verse, the song comes into a second chorus, also repeating the structure and harmony of the first chorus. Here we hear the same vocal hook and main guitar riff.

Despite this, the second chorus differs in length. Upon careful listening, it becomes noticeable that its length is 7.5 measures: 7 measures in 4/4 and 1 measure in 2/4.

1:04. Post-chorus and break

At the 01:04 mark, the song transitions into a post-chorus (tag), which is a completely new section of the song. The Beach Boys -inspired backing vocals and a D, A, D, Bm7, E7, D7, A, A chord progression.

The entire movement consists of ten measures: eight measures of the post-chorus itself and two measures of the break on the A and E chords, which precedes the appearance of the guitar solo.

1:21. Guitar solo

The lead guitar line echoes the vocal melody and is supported by chords from the song's verses. The section is identical to the choruses and verses: the 8 bars of the verse flow smoothly into a six-bar chorus and another 10-bar post-chorus.

2:01. Verse 3

The last verse is identical to the previous two. Among the differences: the introduction of a lead guitar part that beats the A chord. The third verse smoothly transitions into another six-bar chorus.

2:25. Ending

The ending of "Back in the USSR" builds on a blues riff on an A chord and a backing vocal line with a constant repeat of the "Woo-ooo-oo" chant. The last part consists of 6 bars and is repeated until another sound of a landing plane appears at the 2:40 time mark.

The final structure of the song The Beatles - Back in the USSR

Song structure 2Pac feat. Dr. Dre - California Love

Dr. Dre is one of the most talented music producers of our time. It was his talent and approach to arrangement and music in general that at one time made idols of millions from the usual hip-hop quintet NWA . NWA's example proved that black music could be commercially successful among all segments of the population.

Musicians who worked with the famous producer note that Dre is a perfectionist who will not release a song until he is 100% sure of its quality. Work on a composition can drag on for many months or even years, but the end result is worth it - listeners and the performer get a sure hit.

Despite everything, the famous track "California Love" was written by Dre in 1995 in just a few weeks. The song was originally prepared for Dre's solo album "The Chronic II: A New World Odor (Poppa's Got A Brand New Funk)", but for a number of reasons it was never recorded.

Cover of 2Pac's debut album "All Eyez On Me"

Tupac Shakur , was released after prison . Wanting to please his friend and celebrate his release, Dre dusted off the stale minus and, together with Roger Trutman , began work on the track that would soon become the legendary “California Love.”

The song was released in October 1995 on 2Pac's first album, All Eyez on Me, and the single spent about two weeks at the top of all American charts. The track was subsequently nominated for several Grammy awards and became one of the best G-Funk recordings.

The basis of the composition was a reworked keyboard sample from the little-known Joe Cocker song “Woman To Woman”. The song is written in the key of B-flat major (the only chord in the composition), time signature - 4/4, tempo - 92 beats per minute.

0:00. Introduction

The song begins with Roger True singing through a talkbox. At the 0:03 mark, a beat appears, and for the next four bars we hear the drums, bass, keyboards and horn section playing the main theme of the song.

Starting with these four bars, the keyboard theme remains the same throughout the song, and various musical instruments appear and disappear in the arrangement.

0:13. Chorus 1

The horn section leaves after four bars of the intro, giving way to processed vocals. The vocals sing the words of the chorus over the next 12 bars.

One of the most memorable musical touches in the chorus is the shimmering synths that sound at the beginning of each measure. Synthesizers play the main chord of the track (B-flat major) and thereby emphasize the overall tonality of the song. The chorus moves smoothly into the verse, whose beginning is indicated by the ascending movement of the horns.

0:45. Verse 1

The duration of the first verse is 16 bars. All this time, Dr. Dre reads his text.

Whistling is added to the arrangement, but the first eight bars are no different from the introduction. The second eight bars are complemented by new synthesizer parts, as well as vocal melody.

1:27. Chorus 2

The second chorus is identical to the first, although it contains a number of differences. Thus, additional response vocal phrases and female backing vocals appear here. The transition to the next part of the composition, like last time, is indicated by wind instruments.

1:58. Loss/bridge

Instead of the expected verse, after the chorus the bridge begins (after the words “Shake, shake it, baby”). There is also a keyboard riff and beat, which is complemented by the sound of thunder in each bar. The entire passage takes eight bars.

2:19. Verse 2

The second verse completely repeats the first: the same composition of instruments, the same duration. The only difference is that the second verse is sung by 2Pac.

3:01. Chorus 3

The third chorus coincides with the previous two. The chorus smoothly transitions into another bridge, which is identical to the one that sounded after the second chorus.

3:54. Ending

Starting at the 3:54 time mark, the song moves towards its conclusion. Gradually, the sound of the instruments becomes quieter and the arrangement less rich.

The ending is a 20-bar loop consisting of verse and chorus elements, as well as a constant repetition of the main line of the song.

The final structure of the song 2Pac feat. Dr. Dre - California Love

The arrangement of the song is made in such a way that it is difficult to separate its parts from each other: the sound of the song is monolithic and a little monotonous. The listener gets the feeling of a complete lack of differentiation in structure.

"California Love" also features a shuffled song structure. Instead of the usual “Intro-verse-chorus-verse-chorus” scheme, the “Intro-chorus-verse-chorus-bridge” scheme is used here.

Build-up dental restoration – price, features, advantages

Dental restoration – price from 6,000
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Build-up is a tooth restoration technology that allows you to perform a complete aesthetic restoration, maintain functionality, and avoid removal. The technique is used provided that the root is not destroyed. It is carried out in stages. It involves strengthening the roots with a metal or fiberglass pin and layer-by-layer restoration of the crown with a composite material.

DentoSpas uses Build-up technology to restore pulpless teeth with severely damaged crowns. We use high-quality materials and strictly follow the treatment protocol, which guarantees excellent results.

It is carried out in several stages.

Endodontic treatment. During it, the pulp, decay products of infected dentin and pulp are removed, and instrumental and medicinal treatment of the root canals is carried out. This allows you to completely eliminate the source of infection, prevent re-infection and tissue inflammation.

Installation of the pin. This is a structure that reinforces, strengthens dentin, strengthens it, and allows you to restore the crown. It is installed inside the root canals and ensures reliable connection of the composite composition with the roots.

Restoration. It is performed layer by layer, with individual selection of the shade of the composite material, complete restoration of the shape and anatomical features of the destroyed crown.

The use of technology allows you to get by with just one visit to the doctor. If the root canals become infected, two visits may be required (elimination of infection during the first visit, restoration at the second visit).

We will call you back within 30 seconds or call +7 (495) 373-10-25

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Features of the technology

Not only aesthetic restoration is expected, but also functionality is preserved. If the crown is severely damaged, depulpation is performed. This increases the risk of fracture in the future and requires strengthening of the roots.

Build-up allows you to perform this strengthening most effectively:

• pressure from the coronal part to the root is transmitted evenly, the chewing load is distributed correctly;
• when installing a pin and subsequent restoration, the features of the cavity formed during endodontic treatment are taken into account;
• When filling, compounds are used that give the least shrinkage and fill the formed cavities and root canals as tightly as possible.

When restoring using Build-up technology, active pins are not used, which create excess pressure inside the root canals.

Instead, passive titanium or fiberglass are used, which are fixed inside the channel by cementation. The material, method of fixation, and shape of the rod are selected individually.

In this case, the doctor takes into account the location of its installation, condition, anatomical features of the crown and roots, the plan for further treatment, etc.

The installed structure made of metal or fiberglass performs reinforcing functions, fixes, strengthens, preserves dentin tissue, and serves as the basis for fixing the composite restoration material.

Application

Restoration of crowns damaged by 50% or more.

Strengthening the roots if the dentin in the treated canals is thinner than 2-2.5 mm.

Increased age-related mineralization of dentin (only installation of passive pins using Build-up technology is possible, since active pins, when screwed in, will create an excessive load on the dentin, which can cause it to crack).

Advantages

• Complete restoration in 1-2 visits to the dentist.
• Safe, biocompatible materials are used for treatment. They do not cause allergies, inflammation, or rejection reactions.
• Careful root canal treatment minimizes the risk of re-infection.
• Using a passive pin is a gentle option for root strengthening.
• The coronal part is restored layer by layer with a high-quality composite, matched to the enamel. During restoration, artistic restoration is performed: the shape, size, and anatomical features of the destroyed crown are accurately reproduced. The tooth looks natural and does not stand out in the dentition.
• Long lasting results. The biomechanical properties of the composite used for restoration are no different from dentin tissue. The use of a pin further strengthens it and ensures reliable adhesion between the crown and roots.

The DentoSpas clinic performs dental restoration using Build-up technology using passive titanium and fiberglass pins and high-quality composite materials.

Prices for Build-Up dental restoration:

Source: https://dentospas.ru/vosstanovlenie/build-up/

Tooth inlay: why is it needed and what is it? || Build up in dentistry

“Reconstructive”: they are used for prosthetics of broken, severely worn teeth and in cases where it is necessary to change the inclination of the crown.

Advantages

The only way to fully restore a badly damaged tooth and/or strengthen the remaining root for further prosthetics (artificial crowns or other structures).

Flaws

Significant processing is used only in the reconstruction of “dead” teeth.

Composite

They are used in the same cases as stump ones - but under more favorable conditions (more walls are preserved, less destruction). These are also “tooth inlays”.

Advantages

Production speed: can be produced in one visit. Requires less processing. The cost is lower than that of core and ceramic inlays

Flaws

The greater the destruction, the less strength. Insufficient strength when used in chewing teeth.

All-ceramic

The fundamental difference is that they are placed on “living” teeth, i.e. with preserved nerve. They are used for large chips or as an alternative to conventional fillings for large carious cavities, when it is necessary to change the relief of the chewing surface/to increase the tooth by 1-1.5 mm. These are basically “tooth inlays”.

Advantages

High strength, naturalness, ability to restore chips with relatively little processing, long service life.

Flaws (-)

Requires high precision of work and time for production in a dental laboratory, high cost

Stump

They occur most often. Using their example, you can understand in general terms what dental inlays are, indications and contraindications for them, and general manufacturing principles.

A tooth ground for a crown is called a “stump.” The system implies that the structure is glued (“embedded”) inside the preserved root (as you can see, the name is quite contextual). Such systems resemble a mushroom: the “cap” is the “stump” itself (located above the gum, where the future artificial crown will be), and the “leg” of the tab is fixed in the root canal (see photo).

Stump variant

Used to build up and strengthen “dead” teeth - with a removed nerve, (otherwise - pulpless). Condition: the root should not be soft, rotten, it should not hurt or wobble. The root should not be destroyed under the gum. It is worth noting here that often, due to anatomical features, it is impossible to make inlays for wisdom teeth (“eights”).

Stump systems are the only complete way to restore a destroyed root level with the gum. They strengthen and build up the front (incisors, canines) and lateral, chewing (premolars and molars) teeth of both jaws before prosthetics, when necessary.

The preparation operation and installation are painless, since the work takes place on a “dead tooth.” The patient may only feel a slight vibration or slight heating of the tooth during treatment.

They are used when the crown (the part above the gum - what they actually chew with) is destroyed by half or more. The more left of the tooth, the better for fixing the core system.

Next, such a tooth can be replaced with an artificial metal-ceramic or any other crown, and placed under the support of a bridge.

One of the decisive factors that determines whether the root can be saved is the extent of tooth decay relative to the gum. If the root wall is destroyed by 1 mm or more under the gum, then the tightness of the connection between the “artificial crown inlay” and the root will be compromised. Unfortunately, it is impossible to completely remove or close such destruction.

Stump systems are made from metals (usually cobalt-chromium or nickel-chromium alloys, in case of severe allergies - from gold alloys), zirconium dioxide (valuable for prosthetics of the anterior group of teeth). Metal ones are quite small, weightless, metal detector frames do not react to them, their presence is not a contraindication to MRI.

All-composite

There is a new type of composite material that allows the creation of monolithic, durable, core systems directly in the oral cavity. Special “macro-filled composites” are used, just like conventional fillings, which harden under the light of a dental lamp, but are much stronger and more stable.

They are used in teeth that bear a small load - central, small molars, while preserving most of them. Its relatively recent appearance and insufficient statistics on long-term use make it difficult to reliably assess effectiveness.

Ceramic

One of the types of “metal-free prosthetics”. On a number of points they differ fundamentally from those previously considered. Borderline with such denture structures as veneers.

Ceramic inlays are:

• inlay (installation occurs in the tooth);
• onlay (onlay) is an option in the form of an overlay on the enamel;
• overlay (overlay) design that restores up to a third of the tooth.

Photo of all-ceramic systems on a model

They all look like plates or whole pieces of ceramics (press ceramics), glued to the tooth with special cement (requiring “transmission” with a dental lamp).

They are used to restore chipped living teeth or as a replacement for large conventional fillings. Relevant when restoring damage to the “living” anterior ones located in the smile zone. The tooth must be alive, not hurt, not loose, and be healthy from caries.

This is a good alternative to conventional fillings. Such ceramic systems are a single piece of ceramic with a strong, single crystalline structure. They are stronger than usual and practically do not wear out. Over time, their marginal fit does not change - caries underneath them (“secondary caries”) is practically eliminated. In appearance they are identical to the tooth’s own tissues.

Such fillings have become widespread in Western Europe: due to their strength and aesthetic characteristics, and better biocompatibility with the human body. But such ceramic inlays require careful attention, regular care and cleaning. You should not chew crackers or other hard objects on them.

(about the production of all-ceramic fillings)

Ceramic inlays also include one of the types of adhesive bridges (the so-called Maryland bridges).

They consist of an artificial porcelain tooth, fixed in specially cut grooves on the adjacent ones. Such a bridge structure can replace one small tooth - for example, an anterior tooth or one small molar.

This design is temporary, for beauty (let your missing tooth act incognito).

Maryland bridge

Installation Features

All inlays require grinding of teeth: the difference lies in the volume.

Initially, solid core systems require significant processing: the root canal is processed by approximately half or two-thirds. If the tooth is multi-rooted (two non-parallel canals or more), a collapsible core inlay is made (see video and picture). The dentist then creates a small platform for the core part.

Multi-root collapsible: they are inserted along one or two root canals parallel to each other and are wedged with an additional locking pin - and the pin is inserted at an angle to the main root canals, so the tab is mechanically wedged inside the tooth. After the cement has hardened, the remaining fragment of the locking pin above it is carefully sawed off, and the filling is polished (see video).

(video on dismountable stump systems)

Ceramic requires minimal processing.

In case of restoration of a chip, it is only necessary to slightly grind the sharp edges of the enamel - this will be enough (due to the properties of light-curing cement, there is no need to form complex support platforms for fastening the structure). If you need to install a filling or replace an old one, the treatment is the same as for a regular light-polymer one.

Pain under the tab

Normally, nothing under it should hurt.

The causes of pain may be:

1. Overbite. The crown on the stump or ceramic filling is made higher than it should be. Pain when biting, sometimes when touched. They pass quickly without load. The problem is solved by grinding.
2. Pain under ceramic fillings: errors in preparing the cavity for the inlay. Grinding or replacement is required.
3. Pressure from the edge of the crown on the gum. If you do not make a temporary crown on the stump inlay, the gum may “float” to the edge and when the permanent crown is fixed, such gum may hurt for some time. The pain goes away within a few minutes after cementing the crown.
4. Root fracture. Other options should be ruled out first. Always verified by x-ray. The pain is constant and intensifies when you touch the tooth. Often accompanied by swelling of the gums, sometimes bleeding. A root fracture is an indication for root removal

Song structure Martin Garrix - Animals

composition "Animals" was released in 2014, becoming a real hit - the song settled on the first lines of the world charts for a long time. Despite this, the composition itself is distinguished by a typical arrangement: the main emphasis here is on a rough 4/4 beat and a catchy percussion riff that sets any dance floor in motion.

The song is written in the key of F minor, the tempo is 128 beats per minute.

It is difficult to find the original mix of the 5:04 song on YouTube. For this reason, a video clip with a radio version of the song is attached to the material. Don't be surprised that the timings don't match. If anyone has a link to the full version of the composition, please share it in the comments.

0:00. Intro bit

The first 16 bars of “Animals” are minimalist - we hear only a kick and ride, reminiscent of a metronome. An arpeggiated synthesizer also plays along with the rhythm, its sound heavily reverbed. The strength and power of the synthesizer gradually increases, gradually leading the listener to the next part of the composition.

0:30. Bass intro

The low-sounding bass is supported by rhythmic kicks, and the arpeggiated synthesizer fades into the background. Another synthesizer appears in the mix, whose sound gradually increases. Towards the end of the bass intro, an inverted cymbal hit is heard.

1:00. Mini break

The four-bar break acts as a transition point - the mix takes a short break, practically nothing happens in the arrangement. We hear the ticking of a clock, the fading bass and a cymbal crash from the end of the bass intro. The arrangement prepares listeners for the appearance of the main melodic line.

1:08. Breakdown 1

The breakdown is done in such a way that it gradually thickens the sound of “Animals”. The ticking clock acts as a metronome, bringing the main melody of the track to the foreground. Additionally, other sounds appear in the mix to increase tension.

Notice how the ticking of the clock gradually turns into a percussion line.

After eight bars of the soft sound of the melody, an aggressive synthesizer comes into play, repeating the main theme of the composition with powerful chords. The synths are backed up by accenting snare hits and claps on every beat.

1:37. Build-up

The eight-bar build-up brings the tension of the composition to its maximum values. Increasing snare hits, a synth riff and bursts of laser sounds logically lead us to the final bar with a vocal sample.

1:53. Drop 1

The first drop offers an interesting solution: instead of using the main melodic line, Garrix introduces a new riff, supported by a powerful beat and references to the main melody.

2:30. Breakdown 2

After another four-bar mini-break, the synth returns to the mix to play the song's main theme. Just like last time, the breakdown comes to another build-up.

3:15. Drop 2

The second drop is a complete copy of the first, but its duration is 16 bars longer. After the first eight bars, the vocal sample and interspersed synth chords reappear in the mix.

3:58. Ending

After a one-bar insert with a ticking clock, the arrangement returns to elements from the "Animals" intro. As it approaches its completion, the sound of the composition becomes softer and more subtle. In the final moments of the track, the arpeggiated synth suddenly comes to the fore, creating the necessary contrast between the intro and the outro.

The final structure of the song Martin Garrix - Animals