"Four-on-the-floor o four-to-the-floor \u00E9s un utilitzat en la m\u00FAsica disco i l'electr\u00F2nica. \u00C9s una constant, uniforme i accentuat batec en el comp\u00E0s 4/4 en el qual el bombo \u00E9s colpejat a cada batec (1, 2, 3, 4) en un temps constant. Aix\u00F2 va popularitzar-se en la m\u00FAsica disco dels setanta i el terme four-on-the-floor va ser \u00E0mpliament usat en aquella era: originat per la pedalera, i pel mecanisme de bombo de les bateries. El terme tamb\u00E9 va ser usat (tant com \"three on the tree\") per descriure les transmissions automobil\u00EDstiques. Molts estils de m\u00FAsica electr\u00F2nica, particularment aquells que s\u00F3n descrits en la m\u00FAsica house i techno, usen aquest batec de tan important que forma part de la seva estructura r\u00EDtmica. Sovint el terme \u00E9s referit com a patr\u00F3 de bateria uniforme a 4/4 per qualsevol bateria. Una forma del four-on-the-floor \u00E9s tamb\u00E9 usada en el jazz. En lloc de colpejar el bombo d'una manera notable i per tant f\u00E0cilment audible, es colpeja lleugerament (estil que s'anomena \"feathering\") de manera que el so del tambor se sent en lloc d'escoltar-se per l'oient. En general, aix\u00F2 es combina amb un platet ride i hi-hat a s\u00EDncope. Quan un instrument de corda fa que el ritme (guitarra r\u00EDtmica, banjo), els quatre cops del ritme s'interpreten per cad\u00E8ncies id\u00E8ntiques. En el ritme del reggae, el bombo sol colpejar en el tercer batec per\u00F2 quasi empre els bateries interpreten four on the floor. dels va ser un dels bateries de reggae que m\u00E9s va tocar amb aquest estil. Tamb\u00E9 de Bob Marley & The Wailers va tocar amb four on the floor en moltes peces amb The Wailers com \"\" i \"Exodus\". En el reggae, four on the floor sovint va amb bandes que tenen una l\u00EDnia de baix molt greu i potent. Four on the floor apareix en molts derivats moderns del reggae com el dancehall, mentre que \u00E9s menys com\u00FA de trobar en d'altres com el roots reggae."@ca . "\u03A6\u03BF\u03C1-\u03BF\u03BD-\u03B4\u03B5-\u03C6\u03BB\u03BF\u03C1"@el . . . "Four-on-the-floor (pronunciaci\u00F3n en ingl\u00E9s: /f\u0254\u02D0r \u0252n \u00F0\u0259 fl\u0254\u02D0/, en castellano 'cuatro en el suelo') o four to the floor es un patr\u00F3n r\u00EDtmico utilizado fundamentalmente en la m\u00FAsica disco y la m\u00FAsica electr\u00F3nica de baile, que consiste en un golpe de percusi\u00F3n (en ingl\u00E9s, beat) por cada negra de un comp\u00E1s de 4/4, provocando un sonido constante y uniforme.\u200B Generalmente se marca con el sonido grave de un bombo (en ingl\u00E9s, bass drum o kick drum), aunque tambi\u00E9n puede hacerse con el sonido de cualquier otro tambor, como por ejemplo el agudo de un tom."@es . "\u041F\u0440\u044F\u043C\u0430\u044F \u0431\u043E\u0447\u043A\u0430 (\u0442\u0430\u043A\u0436\u0435 four-on-the-floor) \u2014 \u0440\u0430\u0437\u043D\u043E\u0432\u0438\u0434\u043D\u043E\u0441\u0442\u044C \u043F\u0430\u0440\u0442\u0438\u0439 \u0443\u0434\u0430\u0440\u043D\u044B\u0445 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u043E\u0432, \u043A\u043E\u0433\u0434\u0430 \u0443\u0434\u0430\u0440 \u0432 \u0431\u043E\u043B\u044C\u0448\u043E\u0439 \u0431\u0430\u0440\u0430\u0431\u0430\u043D (\u00AB\u0431\u043E\u0447\u043A\u0443\u00BB) \u0437\u0432\u0443\u0447\u0438\u0442 \u043D\u0430 \u043A\u0430\u0436\u0434\u0443\u044E \u0434\u043E\u043B\u044E. \u041F\u0440\u0435\u0438\u043C\u0443\u0449\u0435\u0441\u0442\u0432\u043E \u043F\u0440\u044F\u043C\u043E\u0439 \u0431\u043E\u0447\u043A\u0438 \u0432 \u0442\u043E\u043C, \u0447\u0442\u043E \u043E\u043D\u0430 \u043F\u043E\u0437\u0432\u043E\u043B\u044F\u0435\u0442 \u043F\u0440\u0438\u0434\u0430\u0442\u044C \u043F\u0440\u044B\u0436\u043A\u043E\u0432\u0443\u044E \u0440\u0438\u0442\u043C\u0438\u0447\u043D\u043E\u0441\u0442\u044C \u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0446\u0438\u0438 (\u0432 \u0442\u043E \u0432\u0440\u0435\u043C\u044F \u043A\u0430\u043A \u0434\u0440\u0443\u0433\u0438\u0435 \u0432\u0430\u0440\u0438\u0430\u0446\u0438\u0438 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u0443\u044E\u0442\u0441\u044F \u0432 \u043F\u0430\u0440\u043D\u043E\u043C \u0442\u0430\u043D\u0446\u0435, \u0438\u043B\u0438 \u0436\u0435 \u0432\u043E\u043E\u0431\u0449\u0435 \u0432\u043D\u0435 \u0442\u0430\u043D\u0446\u0435\u0432\u0430\u043B\u044C\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438). \u041F\u0440\u0430\u043A\u0442\u0438\u0447\u0435\u0441\u043A\u0438 \u043D\u0435 \u043F\u0440\u0438\u043C\u0435\u043D\u044F\u043B\u0430\u0441\u044C \u0434\u043E \u0438\u0437\u043E\u0431\u0440\u0435\u0442\u0435\u043D\u0438\u044F \u0432 1970-\u0445 \u0433\u043E\u0434\u0430\u0445 \u0435\u0432\u0440\u043E\u0434\u0438\u0441\u043A\u043E, \u043E\u0441\u043D\u043E\u0432\u043D\u044B\u043C \u043E\u0442\u043B\u0438\u0447\u0438\u0435\u043C \u043A\u043E\u0442\u043E\u0440\u043E\u0433\u043E \u0431\u044B\u043B\u0430 \u0438\u043C\u0435\u043D\u043D\u043E \u0435\u0433\u043E \u043F\u0440\u0438\u043C\u0438\u0442\u0438\u0432\u043D\u043E\u0441\u0442\u044C, \u043F\u043E\u0437\u0432\u043E\u043B\u0438\u0432\u0448\u0430\u044F \u043B\u044E\u0434\u044F\u043C, \u043D\u0435 \u043E\u0431\u043B\u0430\u0434\u0430\u044E\u0449\u0438\u043C \u0442\u0430\u043D\u0446\u0435\u0432\u0430\u043B\u044C\u043D\u044B\u043C\u0438 \u043D\u0430\u0432\u044B\u043A\u0430\u043C\u0438, \u043B\u0435\u0433\u043A\u043E \u0441\u043B\u0435\u0434\u043E\u0432\u0430\u0442\u044C \u0440\u0438\u0442\u043C\u0443:"@ru . "Four-on-the-floor (or four-to-the-floor) is a rhythm pattern used primarily in disco and electronic dance music. It is a steady, uniformly accented beat in 44 time in which the bass drum is hit on every beat (1, 2, 3, 4).This was popularized in the disco music of the 1970sand the term four-on-the-floor was widely used in that era, since the beat was played with the pedal-operated, drum-kit bass drum. Many styles of electronic dance music use this beat as an important part of the rhythmic structure. Sometimes the term is used to refer to a 4/4 uniform drumming pattern for any drum."@en . . . "Four-on-the-floor"@pt . . . . . . . . . . "1124508587"^^ . "Four-on-the-floor (or four-to-the-floor) is a rhythm pattern used primarily in disco and electronic dance music. It is a steady, uniformly accented beat in 44 time in which the bass drum is hit on every beat (1, 2, 3, 4).This was popularized in the disco music of the 1970sand the term four-on-the-floor was widely used in that era, since the beat was played with the pedal-operated, drum-kit bass drum. Four on the floor was common in jazz drumming until bebop styles expanded rhythmic roles beyond the basics in the 1940s. Garage rock bands of the 1960s such as the Troggs and the Seeds used four-on-the-floor on some of their hits. Earl Young is seen as the inventor of the disco style of rock drumming (in Harold Melvin & the Blue Notes's \"The Love I Lost\" from 1973), as he was the first to make extensive and distinctive use of the hi-hat cymbal throughout the playing time of an R&B recording. Many styles of electronic dance music use this beat as an important part of the rhythmic structure. Sometimes the term is used to refer to a 4/4 uniform drumming pattern for any drum. A form of four-on-the-floor is also used in jazz drumming. Instead of hitting the bass drum in a pronounced and therefore easily audible fashion, it is usually struck very lightly (referred to as \"feathering\") so that the sound of the drum is felt instead of heard by the listener. Typically, this is combined with a ride cymbal and hi-hat in syncopation. When a string instrument makes the rhythm (rhythm guitar, banjo), all four beats of the measure are played by identical downstrokes. In reggae drumming, the bass drum usually hits on the third beat but sometimes drummers play four on the floor. Sly Dunbar from Sly and Robbie was one of the reggae drummers who played mostly in this style. Also Carlton Barrett from Bob Marley and the Wailers played four on the floor on several hits by the Wailers like \"Is This Love\" and \"Exodus\". In reggae, four on the floor usually goes by the hand with a low end and powerful bassline. Four on the floor can be found in more modern reggae derivative styles such as dancehall, while it is less common to find it in roots reggae. In the roots context, it is generally referred to as a \"steppers\" rhythm."@en . . "\u041F\u0440\u044F\u043C\u0430\u044F \u0431\u043E\u0447\u043A\u0430"@ru . . . "Four-on-the-floor (o four-to-the-floor) \u00E8 un pattern ritmico utilizzato particolarmente nella musica disco e EDM. Si tratta di un tempo in 4/4 costante e uniformemente accentato, in cui la grancassa \u00E8 colpita a ogni beat per la maggior parte del brano. Questo ritmo \u00E8 stato reso popolare nella musica disco degli anni 1970 e l'espressione four-on-the-floor fu ampiamente utilizzata in quel periodo. Talvolta l'espressione \u00E8 utilizzata per riferirsi alla ritmica in 4/4 per qualsiasi percussione. L'espressione italiana \u00E8 cassa-in-4 ed a volte cassa dritta, chiodo o martello in 4."@it . . "4-to-the-floor (im Englischen eigentlich four-on-the-floor) ist ein Rhythmus, der sich vor allem in der Disco-Musik der 70er entwickelt hat und in den nachfolgenden Jahrzehnten zu einem Hauptmerkmal der elektronischen Tanzmusik wurde."@de . "Four-on-the-floor (o four-to-the-floor) \u00E8 un pattern ritmico utilizzato particolarmente nella musica disco e EDM. Si tratta di un tempo in 4/4 costante e uniformemente accentato, in cui la grancassa \u00E8 colpita a ogni beat per la maggior parte del brano. Questo ritmo \u00E8 stato reso popolare nella musica disco degli anni 1970 e l'espressione four-on-the-floor fu ampiamente utilizzata in quel periodo. Talvolta l'espressione \u00E8 utilizzata per riferirsi alla ritmica in 4/4 per qualsiasi percussione. L'espressione italiana \u00E8 cassa-in-4 ed a volte cassa dritta, chiodo o martello in 4."@it . "\u03A4\u03BF Four-on-the-Floor (\u03AE \u03C4\u03AD\u03C3\u03C3\u03B5\u03C1\u03B1 \u03C4\u03AD\u03C4\u03B1\u03C1\u03C4\u03B1) \u03B5\u03AF\u03BD\u03B1\u03B9 \u03AD\u03BD\u03B1 \u03C1\u03C5\u03B8\u03BC\u03B9\u03BA\u03CC \u03BC\u03BF\u03C4\u03AF\u03B2\u03BF \u03C0\u03BF\u03C5 \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03B5\u03AF\u03C4\u03B1\u03B9 \u03BA\u03C5\u03C1\u03AF\u03C9\u03C2 \u03C3\u03C4\u03B7 \u03BD\u03C4\u03AF\u03C3\u03BA\u03BF \u03BA\u03B1\u03B9 \u03C4\u03B7\u03BD \u03B7\u03BB\u03B5\u03BA\u03C4\u03C1\u03BF\u03BD\u03B9\u03BA\u03AE \u03C7\u03BF\u03C1\u03B5\u03C5\u03C4\u03B9\u03BA\u03AE \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03AE . \u0395\u03AF\u03BD\u03B1\u03B9 \u03AD\u03BD\u03B1\u03C2 \u03C3\u03C4\u03B1\u03B8\u03B5\u03C1\u03CC\u03C2, \u03BF\u03BC\u03BF\u03B9\u03CC\u03BC\u03BF\u03C1\u03C6\u03BF\u03C2 \u03C3\u03B5 \u03BA\u03B1\u03C4\u03AC \u03C4\u03BF\u03BD \u03BF\u03C0\u03BF\u03AF\u03BF \u03C4\u03BF \u03BC\u03C0\u03BF\u03C4\u03CC\u03BC\u03C0\u03B1\u03C3\u03BF \u03C7\u03C4\u03C5\u03C0\u03AC\u03C4\u03B1\u03B9 \u03C3\u03B5 \u03BA\u03AC\u03B8\u03B5 \u03C1\u03C5\u03B8\u03BC\u03CC (1, 2, 3, 4) \u03C3\u03B5 \u03AF\u03C3\u03B1 \u03C7\u03C1\u03BF\u03BD\u03B9\u03BA\u03AC \u03B4\u03B9\u03B1\u03C3\u03C4\u03AE\u03BC\u03B1\u03C4\u03B1. \u0391\u03C5\u03C4\u03CC \u03B4\u03B9\u03B1\u03B4\u03CC\u03B8\u03B7\u03BA\u03B5 \u03C3\u03C4\u03B7 \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03AE \u03BD\u03C4\u03AF\u03C3\u03BA\u03BF \u03C4\u03B7\u03C2 \u03B4\u03B5\u03BA\u03B1\u03B5\u03C4\u03AF\u03B1\u03C2 \u03C4\u03BF\u03C5 1970 \u03BA\u03B1\u03B9 \u03BF \u03CC\u03C1\u03BF\u03C2 \u00AB \u03C4\u03AD\u03C3\u03C3\u03B5\u03C1\u03B1 \u03C3\u03C4\u03BF \u03C0\u03AC\u03C4\u03C9\u03BC\u03B1 \u00BB \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03AE\u03B8\u03B7\u03BA\u03B5 \u03B5\u03C5\u03C1\u03AD\u03C9\u03C2 \u03B5\u03BA\u03B5\u03AF\u03BD\u03B7 \u03C4\u03B7\u03BD \u03B5\u03C0\u03BF\u03C7\u03AE, \u03C4\u03BF \u03BC\u03C0\u03AE\u03C4 \u03C0\u03C1\u03BF\u03AE\u03BB\u03B8\u03B5 \u03B1\u03C0\u03BF \u03BD\u03C4\u03C1\u03B1\u03BC\u03C2 \u03BC\u03B5 \u03C0\u03B5\u03C4\u03AC\u03BB. \u03B8\u03B5\u03C9\u03C1\u03B5\u03AF\u03C4\u03B1\u03B9 \u03BF \u03B5\u03C6\u03B5\u03C5\u03C1\u03AD\u03C4\u03B7\u03C2 \u03C4\u03BF\u03C5 \u03C3\u03C4\u03C5\u03BB \u03BD\u03C4\u03AF\u03C3\u03BA\u03BF-\u03C1\u03BF\u03BA \u03BD\u03C4\u03C1\u03AC\u03BC (\u03C3\u03C4\u03BF \" \" \u03C4\u03BF\u03C5 Harold Melvin & the Blue Notes \u03B1\u03C0\u03CC \u03C4\u03BF 1973), \u03BA\u03B1\u03B8\u03CE\u03C2 \u03AE\u03C4\u03B1\u03BD \u03BF \u03C0\u03C1\u03CE\u03C4\u03BF\u03C2 \u03C0\u03BF\u03C5 \u03AD\u03BA\u03B1\u03BD\u03B5 \u03B5\u03BA\u03C4\u03B5\u03BD\u03AE \u03BA\u03B1\u03B9 \u03B4\u03B9\u03B1\u03BA\u03C1\u03B9\u03C4\u03B9\u03BA\u03AE \u03C7\u03C1\u03AE\u03C3\u03B7 \u03C4\u03BF\u03C5 \u03BA\u03B1\u03B8 '\u03CC\u03BB\u03B7 \u03C4\u03B7 \u03B4\u03B9\u03AC\u03C1\u03BA\u03B5\u03B9\u03B1 \u03BC\u03B9\u03B1\u03C2 \u03B7\u03C7\u03BF\u03B3\u03C1\u03AC\u03C6\u03B7\u03C3\u03B7\u03C2 R&B."@el . . . "4\u3064\u6253\u3061\uFF08\u3088\u3064\u3046\u3061\uFF09\u3068\u306F\u3001\u4E3B\u306B\u30C0\u30F3\u30B9\u30FB\u30DF\u30E5\u30FC\u30B8\u30C3\u30AF\u306B\u304A\u3044\u3066\u30D0\u30B9\u30C9\u30E9\u30E0\u306B\u3088\u308A\u7B49\u9593\u9694\u306B\u6253\u3061\u9CF4\u3089\u3055\u308C\u308B\u30EA\u30BA\u30E0\u306E\u3053\u3068\u3092\u6307\u3059\u3002\u66F2\u306E\u4E2D\u3067\u30D0\u30B9\u30C9\u30E9\u30E0\u3092\u4F7F\u3044\u30011\u5C0F\u7BC0\u306B4\u5206\u97F3\u7B26\u304C4\u56DE\u7D9A\u304F\u30EA\u30BA\u30E0\u3067\u3042\u308B\u3053\u3068\u304B\u3089\u305D\u3046\u547C\u3070\u308C\u308B\u3002\u30C7\u30A3\u30B9\u30B3\u3068\u30A8\u30EC\u30AF\u30C8\u30ED\u30CB\u30C3\u30AF\u30FB\u30C0\u30F3\u30B9\u30FB\u30DF\u30E5\u30FC\u30B8\u30C3\u30AF\u3067\u591A\u7528\u3055\u308C\u308B\u30D3\u30FC\u30C8\u3067\u3042\u308B\u3002\u7C21\u5358\u306B\u8A00\u3048\u3070\u30C0\u30F3\u30B9\u30FB\u30DF\u30E5\u30FC\u30B8\u30C3\u30AF\u306B\u304A\u3044\u3066\u300C\u30C9\u30F3\u30FB\u30C9\u30F3\u30FB\u30C9\u30F3\u30FB\u30C9\u30F3\u300D\u3068\u5EF6\u3005\u3068\u4F4E\u3044\u97F3\u304C\u5165\u3063\u3066\u3044\u308C\u3070\u3001\u305D\u306E\u3053\u3068\u3067\u3042\u308B\u3002"@ja . . "4-to-the-floor (im Englischen eigentlich four-on-the-floor) ist ein Rhythmus, der sich vor allem in der Disco-Musik der 70er entwickelt hat und in den nachfolgenden Jahrzehnten zu einem Hauptmerkmal der elektronischen Tanzmusik wurde."@de . "\u041F\u0440\u044F\u043C\u0430\u044F \u0431\u043E\u0447\u043A\u0430 (\u0442\u0430\u043A\u0436\u0435 four-on-the-floor) \u2014 \u0440\u0430\u0437\u043D\u043E\u0432\u0438\u0434\u043D\u043E\u0441\u0442\u044C \u043F\u0430\u0440\u0442\u0438\u0439 \u0443\u0434\u0430\u0440\u043D\u044B\u0445 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u043E\u0432, \u043A\u043E\u0433\u0434\u0430 \u0443\u0434\u0430\u0440 \u0432 \u0431\u043E\u043B\u044C\u0448\u043E\u0439 \u0431\u0430\u0440\u0430\u0431\u0430\u043D (\u00AB\u0431\u043E\u0447\u043A\u0443\u00BB) \u0437\u0432\u0443\u0447\u0438\u0442 \u043D\u0430 \u043A\u0430\u0436\u0434\u0443\u044E \u0434\u043E\u043B\u044E. \u041F\u0440\u0435\u0438\u043C\u0443\u0449\u0435\u0441\u0442\u0432\u043E \u043F\u0440\u044F\u043C\u043E\u0439 \u0431\u043E\u0447\u043A\u0438 \u0432 \u0442\u043E\u043C, \u0447\u0442\u043E \u043E\u043D\u0430 \u043F\u043E\u0437\u0432\u043E\u043B\u044F\u0435\u0442 \u043F\u0440\u0438\u0434\u0430\u0442\u044C 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\u0435\u0432\u0440\u043E\u0434\u0438\u0441\u043A\u043E, \u043E\u0441\u043D\u043E\u0432\u043D\u044B\u043C \u043E\u0442\u043B\u0438\u0447\u0438\u0435\u043C \u043A\u043E\u0442\u043E\u0440\u043E\u0433\u043E \u0431\u044B\u043B\u0430 \u0438\u043C\u0435\u043D\u043D\u043E \u0435\u0433\u043E \u043F\u0440\u0438\u043C\u0438\u0442\u0438\u0432\u043D\u043E\u0441\u0442\u044C, \u043F\u043E\u0437\u0432\u043E\u043B\u0438\u0432\u0448\u0430\u044F \u043B\u044E\u0434\u044F\u043C, \u043D\u0435 \u043E\u0431\u043B\u0430\u0434\u0430\u044E\u0449\u0438\u043C \u0442\u0430\u043D\u0446\u0435\u0432\u0430\u043B\u044C\u043D\u044B\u043C\u0438 \u043D\u0430\u0432\u044B\u043A\u0430\u043C\u0438, \u043B\u0435\u0433\u043A\u043E \u0441\u043B\u0435\u0434\u043E\u0432\u0430\u0442\u044C \u0440\u0438\u0442\u043C\u0443: \u0413\u043B\u0430\u0432\u043D\u0430\u044F \u043F\u0440\u043E\u0431\u043B\u0435\u043C\u0430 \u0441 \u0430\u043C\u0435\u0440\u0438\u043A\u0430\u043D\u0441\u043A\u0438\u043C \u0440\u0438\u0442\u043C-\u043D-\u0431\u043B\u044E\u0437\u043E\u043C \u0434\u043E \u043F\u043E\u044F\u0432\u043B\u0435\u043D\u0438\u044F \u0434\u0438\u0441\u043A\u043E \u0441\u043E\u0441\u0442\u043E\u044F\u043B\u0430 \u0432 \u0442\u043E\u043C, \u0447\u0442\u043E \u043D\u0435\u043E\u0431\u0445\u043E\u0434\u0438\u043C\u043E \u0431\u044B\u043B\u043E \u0431\u044B\u0442\u044C \u0445\u043E\u0440\u043E\u0448\u0438\u043C \u0442\u0430\u043D\u0446\u043E\u0440\u043E\u043C, \u0447\u0442\u043E\u0431\u044B \u0442\u0430\u043D\u0446\u0435\u0432\u0430\u0442\u044C \u043F\u043E\u0434 \u044D\u0442\u0443 \u043C\u0443\u0437\u044B\u043A\u0443. \u0414\u043B\u044F \u0431\u043E\u043B\u044C\u0448\u0438\u043D\u0441\u0442\u0432\u0430 \u044D\u0442\u043E \u0431\u044B\u043B\u043E \u0441\u043B\u0438\u0448\u043A\u043E\u043C \u0441\u043B\u043E\u0436\u043D\u043E. \u0418 \u043C\u044B \u0435\u0451 \u0443\u043F\u0440\u043E\u0441\u0442\u0438\u043B\u0438. \u041F\u0435\u0440\u0432\u044B\u043C \u0434\u0435\u043B\u043E\u043C \u044F \u0441\u043F\u0440\u044F\u043C\u0438\u043B \u0431\u0430\u0441\u043E\u0432\u0443\u044E \u043B\u0438\u043D\u0438\u044E \u0438 \u0441\u0434\u0435\u043B\u0430\u043B \u043D\u0430 \u043D\u0435\u0439 \u043C\u0430\u043A\u0441\u0438\u043C\u0430\u043B\u044C\u043D\u043E\u0435 \u0443\u0434\u0430\u0440\u0435\u043D\u0438\u0435. \u042F \u0434\u0443\u043C\u0430\u044E, \u0447\u0442\u043E \u00ABLove to Love You, Baby\u00BB \u0431\u044B\u043B\u0430 \u043F\u0435\u0440\u0432\u043E\u0439 \u043F\u0435\u0441\u043D\u0435\u0439, \u0433\u0434\u0435 \u0431\u043E\u043B\u044C\u0448\u043E\u0439 \u0431\u0430\u0440\u0430\u0431\u0430\u043D \u0438 \u0431\u0430\u0441 \u043D\u0430 \u0432\u0441\u0435\u043C \u043F\u0440\u043E\u0442\u044F\u0436\u0435\u043D\u0438\u0438 \u043E\u0442\u0431\u0438\u0432\u0430\u043B\u0438 \u043A\u0430\u0436\u0434\u0443\u044E \u0434\u043E\u043B\u044E: \u0440\u0430\u0437-\u0434\u0432\u0430-\u0442\u0440\u0438-\u0447\u0435\u0442\u044B\u0440\u0435 \u2014 \u0438 \u0442\u043E\u043B\u044C\u043A\u043E.\u0414. \u041C\u043E\u0440\u043E\u0434\u0435\u0440 \u0412 \u043D\u0430\u0441\u0442\u043E\u044F\u0449\u0435\u0435 \u0432\u0440\u0435\u043C\u044F \u043F\u0440\u0438\u043C\u0435\u043D\u044F\u0435\u0442\u0441\u044F \u0432 \u0431\u043E\u043B\u044C\u0448\u0438\u043D\u0441\u0442\u0432\u0435 \u0440\u0430\u0437\u043D\u043E\u0432\u0438\u0434\u043D\u043E\u0441\u0442\u0435\u0439 \u044D\u043B\u0435\u043A\u0442\u0440\u043E\u043D\u043D\u043E\u0439 \u0442\u0430\u043D\u0446\u0435\u0432\u0430\u043B\u044C\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438."@ru . "4-to-the-floor"@de . "Four-on-the-floor (pronunciaci\u00F3n en ingl\u00E9s: /f\u0254\u02D0r \u0252n \u00F0\u0259 fl\u0254\u02D0/, en castellano 'cuatro en el suelo') o four to the floor es un patr\u00F3n r\u00EDtmico utilizado fundamentalmente en la m\u00FAsica disco y la m\u00FAsica electr\u00F3nica de baile, que consiste en un golpe de percusi\u00F3n (en ingl\u00E9s, beat) por cada negra de un comp\u00E1s de 4/4, provocando un sonido constante y uniforme.\u200B Generalmente se marca con el sonido grave de un bombo (en ingl\u00E9s, bass drum o kick drum), aunque tambi\u00E9n puede hacerse con el sonido de cualquier otro tambor, como por ejemplo el agudo de un tom. Tanto el patr\u00F3n r\u00EDtmico como la expresi\u00F3n four on the floor surgieron durante los a\u00F1os 70 con la popularizaci\u00F3n de la m\u00FAsica disco.\u200B Hoy en d\u00EDa, muchos g\u00E9neros de electr\u00F3nica como el Hi-NRG, el house, el techno o el trance se basan en la estructura de 'cuatro en el suelo',\u200B en contraste con los ritmos irregulares y sincopados de otros g\u00E9neros electr\u00F3nicos como el jungle o el drum'n'bass.\u200B"@es . "4\u3064\u6253\u3061"@ja . . . . . . "\u03A4\u03BF Four-on-the-Floor (\u03AE \u03C4\u03AD\u03C3\u03C3\u03B5\u03C1\u03B1 \u03C4\u03AD\u03C4\u03B1\u03C1\u03C4\u03B1) \u03B5\u03AF\u03BD\u03B1\u03B9 \u03AD\u03BD\u03B1 \u03C1\u03C5\u03B8\u03BC\u03B9\u03BA\u03CC \u03BC\u03BF\u03C4\u03AF\u03B2\u03BF \u03C0\u03BF\u03C5 \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03B5\u03AF\u03C4\u03B1\u03B9 \u03BA\u03C5\u03C1\u03AF\u03C9\u03C2 \u03C3\u03C4\u03B7 \u03BD\u03C4\u03AF\u03C3\u03BA\u03BF \u03BA\u03B1\u03B9 \u03C4\u03B7\u03BD \u03B7\u03BB\u03B5\u03BA\u03C4\u03C1\u03BF\u03BD\u03B9\u03BA\u03AE \u03C7\u03BF\u03C1\u03B5\u03C5\u03C4\u03B9\u03BA\u03AE \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03AE . \u0395\u03AF\u03BD\u03B1\u03B9 \u03AD\u03BD\u03B1\u03C2 \u03C3\u03C4\u03B1\u03B8\u03B5\u03C1\u03CC\u03C2, \u03BF\u03BC\u03BF\u03B9\u03CC\u03BC\u03BF\u03C1\u03C6\u03BF\u03C2 \u03C3\u03B5 \u03BA\u03B1\u03C4\u03AC \u03C4\u03BF\u03BD \u03BF\u03C0\u03BF\u03AF\u03BF \u03C4\u03BF \u03BC\u03C0\u03BF\u03C4\u03CC\u03BC\u03C0\u03B1\u03C3\u03BF \u03C7\u03C4\u03C5\u03C0\u03AC\u03C4\u03B1\u03B9 \u03C3\u03B5 \u03BA\u03AC\u03B8\u03B5 \u03C1\u03C5\u03B8\u03BC\u03CC (1, 2, 3, 4) \u03C3\u03B5 \u03AF\u03C3\u03B1 \u03C7\u03C1\u03BF\u03BD\u03B9\u03BA\u03AC \u03B4\u03B9\u03B1\u03C3\u03C4\u03AE\u03BC\u03B1\u03C4\u03B1. \u0391\u03C5\u03C4\u03CC \u03B4\u03B9\u03B1\u03B4\u03CC\u03B8\u03B7\u03BA\u03B5 \u03C3\u03C4\u03B7 \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03AE \u03BD\u03C4\u03AF\u03C3\u03BA\u03BF \u03C4\u03B7\u03C2 \u03B4\u03B5\u03BA\u03B1\u03B5\u03C4\u03AF\u03B1\u03C2 \u03C4\u03BF\u03C5 1970 \u03BA\u03B1\u03B9 \u03BF \u03CC\u03C1\u03BF\u03C2 \u00AB \u03C4\u03AD\u03C3\u03C3\u03B5\u03C1\u03B1 \u03C3\u03C4\u03BF \u03C0\u03AC\u03C4\u03C9\u03BC\u03B1 \u00BB \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03AE\u03B8\u03B7\u03BA\u03B5 \u03B5\u03C5\u03C1\u03AD\u03C9\u03C2 \u03B5\u03BA\u03B5\u03AF\u03BD\u03B7 \u03C4\u03B7\u03BD \u03B5\u03C0\u03BF\u03C7\u03AE, \u03C4\u03BF \u03BC\u03C0\u03AE\u03C4 \u03C0\u03C1\u03BF\u03AE\u03BB\u03B8\u03B5 \u03B1\u03C0\u03BF \u03BD\u03C4\u03C1\u03B1\u03BC\u03C2 \u03BC\u03B5 \u03C0\u03B5\u03C4\u03AC\u03BB. \u03B8\u03B5\u03C9\u03C1\u03B5\u03AF\u03C4\u03B1\u03B9 \u03BF \u03B5\u03C6\u03B5\u03C5\u03C1\u03AD\u03C4\u03B7\u03C2 \u03C4\u03BF\u03C5 \u03C3\u03C4\u03C5\u03BB \u03BD\u03C4\u03AF\u03C3\u03BA\u03BF-\u03C1\u03BF\u03BA \u03BD\u03C4\u03C1\u03AC\u03BC (\u03C3\u03C4\u03BF \" \" \u03C4\u03BF\u03C5 Harold Melvin & the Blue Notes \u03B1\u03C0\u03CC \u03C4\u03BF 1973), \u03BA\u03B1\u03B8\u03CE\u03C2 \u03AE\u03C4\u03B1\u03BD \u03BF \u03C0\u03C1\u03CE\u03C4\u03BF\u03C2 \u03C0\u03BF\u03C5 \u03AD\u03BA\u03B1\u03BD\u03B5 \u03B5\u03BA\u03C4\u03B5\u03BD\u03AE \u03BA\u03B1\u03B9 \u03B4\u03B9\u03B1\u03BA\u03C1\u03B9\u03C4\u03B9\u03BA\u03AE \u03C7\u03C1\u03AE\u03C3\u03B7 \u03C4\u03BF\u03C5 \u03BA\u03B1\u03B8 '\u03CC\u03BB\u03B7 \u03C4\u03B7 \u03B4\u03B9\u03AC\u03C1\u03BA\u03B5\u03B9\u03B1 \u03BC\u03B9\u03B1\u03C2 \u03B7\u03C7\u03BF\u03B3\u03C1\u03AC\u03C6\u03B7\u03C3\u03B7\u03C2 R&B. \u03A0\u03BF\u03BB\u03BB\u03AC \u03C3\u03C4\u03C5\u03BB \u03C7\u03BF\u03C1\u03B5\u03C5\u03C4\u03B9\u03BA\u03AE\u03C2 \u03B7\u03BB\u03B5\u03BA\u03C4\u03C1\u03BF\u03BD\u03B9\u03BA\u03AE\u03C2 \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03AE\u03C2 \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03AF\u03B7\u03C3\u03B1\u03BD \u03B1\u03C5\u03C4\u03CC\u03BD \u03C4\u03BF \u03C1\u03C5\u03B8\u03BC\u03CC \u03C9\u03C2 \u03C3\u03B7\u03BC\u03B1\u03BD\u03C4\u03B9\u03BA\u03CC \u03BC\u03AD\u03C1\u03BF\u03C2 \u03C4\u03B7\u03C2 \u03C1\u03C5\u03B8\u03BC\u03B9\u03BA\u03AE\u03C2 \u03B4\u03BF\u03BC\u03AE\u03C2. \u039C\u03B5\u03C1\u03B9\u03BA\u03AD\u03C2 \u03C6\u03BF\u03C1\u03AD\u03C2 \u03BF \u03CC\u03C1\u03BF\u03C2 \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03B5\u03AF\u03C4\u03B1\u03B9 \u03B3\u03B9\u03B1 \u03BD\u03B1 \u03B1\u03BD\u03B1\u03C6\u03AD\u03C1\u03B5\u03C4\u03B1\u03B9 \u03BF\u03BC\u03BF\u03B9\u03CC\u03BC\u03BF\u03C1\u03C6\u03BF 4/4 \u03C1\u03C5\u03B8\u03BC\u03CC \u03B3\u03B9\u03B1 \u03BF\u03C0\u03BF\u03B9\u03BF\u03B4\u03AE\u03C0\u03BF\u03C4\u03B5 \u03C4\u03CD\u03BC\u03C0\u03B1\u03BD\u03BF. \u039C\u03B9\u03B1 \u03BC\u03BF\u03C1\u03C6\u03AE 4/4 \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03B5\u03AF\u03C4\u03B1\u03B9 \u03B5\u03C0\u03AF\u03C3\u03B7\u03C2 \u03C3\u03C4\u03B1 . \u0391\u03BD\u03C4\u03AF \u03BD\u03B1 \u03C7\u03C4\u03C5\u03C0\u03B9\u03AD\u03C4\u03B1\u03B9 \u03B7 \u03BC\u03C0\u03CC\u03C4\u03B1 \u03BC\u03B5 \u03AD\u03BD\u03C4\u03BF\u03BD\u03BF \u03BA\u03B1\u03B9 \u03B5\u03C0\u03BF\u03BC\u03AD\u03BD\u03C9\u03C2 \u03B5\u03CD\u03BA\u03BF\u03BB\u03B1 \u03B1\u03BA\u03BF\u03C5\u03C3\u03C4\u03B9\u03BA\u03CC \u03C4\u03C1\u03CC\u03C0\u03BF, \u03C3\u03C5\u03BD\u03AE\u03B8\u03C9\u03C2 \u03C7\u03C4\u03C5\u03C0\u03AC\u03C4\u03B1\u03B9 \u03C0\u03BF\u03BB\u03CD \u03B5\u03BB\u03B1\u03C6\u03C1\u03AC 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\u03AD\u03B3\u03C7\u03BF\u03C1\u03B4\u03BF \u03C0\u03B1\u03B9\u03C7\u03C4\u03B5\u03AF \u03C3\u03B5 \u03B1\u03C5\u03C4\u03CC\u03BD \u03C4\u03BF\u03BD \u03C1\u03C5\u03B8\u03BC\u03CC ( , \u03BC\u03C0\u03AC\u03BD\u03C4\u03B6\u03BF ), \u03BA\u03B1\u03B9 \u03BF\u03B9 \u03C4\u03AD\u03C3\u03C3\u03B5\u03C1\u03B9\u03C2 \u03BD\u03CC\u03C4\u03B5\u03C2 \u03C4\u03BF\u03C5 \u03C0\u03B1\u03AF\u03B6\u03BF\u03BD\u03C4\u03B1\u03B9 \u03BC\u03B5 \u03C0\u03B1\u03BD\u03BF\u03BC\u03BF\u03B9\u03CC\u03C4\u03C5\u03C0\u03B1 \u03BA\u03B1\u03B8\u03BF\u03B4\u03B9\u03BA\u03AC \u03B1\u03C1\u03C0\u03AF\u03C3\u03BC\u03B1\u03C4\u03B1. \u0395\u03C0\u03AF\u03C3\u03B7\u03C2 \u03AD\u03C7\u03B5\u03B9 \u03C7\u03C1\u03B7\u03C3\u03B9\u03BC\u03BF\u03C0\u03BF\u03B9\u03B7\u03B8\u03B5\u03AF \u03C3\u03C4\u03B7\u03BD Reggae."@el . "Four-on-the-floor o four-to-the-floor \u00E9s un utilitzat en la m\u00FAsica disco i l'electr\u00F2nica. \u00C9s una constant, uniforme i accentuat batec en el comp\u00E0s 4/4 en el qual el bombo \u00E9s colpejat a cada batec (1, 2, 3, 4) en un temps constant. Aix\u00F2 va popularitzar-se en la m\u00FAsica disco dels setanta i el terme four-on-the-floor va ser \u00E0mpliament usat en aquella era: originat per la pedalera, i pel mecanisme de bombo de les bateries. El terme tamb\u00E9 va ser usat (tant com \"three on the tree\") per descriure les transmissions automobil\u00EDstiques."@ca . . . . . "Four-on-the-floor (do ingl\u00EAs: quatro-no-ch\u00E3o) \u00E9 um ritmo padr\u00E3o utilizado principalmente na m\u00FAsica eletr\u00F4nica e no estilo disco music, caracterizada por uma batida constante de ritmo tempo 4/4, onde um tambor \u00E9 tocado em todas as notas do compasso (ou seja, um ritmo que possui uma batida no tambor em cada segundo, assim \u00E9 tocado quatro vezes por compasso). Popularizado na d\u00E9cada de 1970 na era disco, quando o nome se tornou popular como four-on-the-floor. V\u00E1rios estilos de m\u00FAsica eletr\u00F4nica, especialmente aqueles derivados de house e techno, utilizam este ritmo como padr\u00E3o de seus elementos-chave."@pt . . . . . . "4514"^^ . . . "Four-on-the-floor"@it . . . "Four-on-the-floor (do ingl\u00EAs: quatro-no-ch\u00E3o) \u00E9 um ritmo padr\u00E3o utilizado principalmente na m\u00FAsica eletr\u00F4nica e no estilo disco music, caracterizada por uma batida constante de ritmo tempo 4/4, onde um tambor \u00E9 tocado em todas as notas do compasso (ou seja, um ritmo que possui uma batida no tambor em cada segundo, assim \u00E9 tocado quatro vezes por compasso). Popularizado na d\u00E9cada de 1970 na era disco, quando o nome se tornou popular como four-on-the-floor."@pt . . . . . . . "Four-on-the-floor"@es . . . . . . . . "Four-on-the-floor"@ca . . . . 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"Four on the floor (music)"@en . . . . "1429261"^^ .