Editing Hardcore punk (section)

===Musical elements===
One definition of the genre is "a form of exceptionally harsh punk rock".<ref>The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company.</ref> Hardcore has been called a faster, meaner genre of punk rock, that was a stern refutation against it,<ref name="auto2"/> being more primal and immediate, with speed and aggression as the starting point.<ref name="Greenroom" />

In the vein of earlier punk rock, most hardcore punk bands have followed the traditional singer/guitar/bass/drum format. The song-writing has more emphasis on [[rhythm]] rather than [[melody]]. Blush writes "The [[Sex Pistols]] were still rock'n'roll...like the craziest version of [[Chuck Berry]]. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It dispelled any notion of what songwriting is supposed to be. It's its own form."<ref name="blush">{{cite magazine |last=Blush |first=Steven |title=Move Over My Chemical Romance: The Dynamic Beginnings of US Punk |magazine=[[Uncut (magazine)|Uncut]] |date=January 2007}}</ref> According to [[AllMusic]], the overall blueprint for hardcore was playing louder, harder and faster.<ref name="allmusic.com">{{cite web |author=Pop/Rock – Punk/New Wave – Hardcore Punk |url=https://www.allmusic.com/style/hardcore-punk-ma0000002641 |title=Hardcore Punk &#124; Significant Albums, Artists and Songs |website=AllMusic |access-date=August 20, 2014 |url-status=live |archive-url=https://web.archive.org/web/20140605132203/http://www.allmusic.com/style/hardcore-punk-ma0000002641 |archive-date=June 5, 2014 }}</ref> Hardcore was a reaction to the "cosmopolitan art-school" style of [[new wave music]].<ref name="auto4">Williams, Sarah. "Hardcore". In ''Continuum Encyclopedia of Popular Music Volume 8: North America''. Edited by John Shepherd and David Horn. p. 257-260</ref> Hardcore "eschew[ed] nuance, technique, [and] the [[avant-garde]]", and instead emphasized "speed and rhythmic intensity" using unpredictable song forms and abrupt tempo changes.<ref name="auto4"/>

The impact of powerful volume is important in hardcore. ''Noisey'' magazine describes one hardcore band as "an all-encompassing, full-volume assault" in which "[e]very instrument sounds like it's competing for the most power and highest volume".<ref>{{cite web |url=https://www.vice.com/en/article/progression-through-unlearning-snapcases-timeless-hardcore-classic-turns-20/ |title='Progression Through Unlearning,' Snapcase's Timeless Hardcore Classic, Turns 20 |last=Ozzi |first=Dan |date=March 31, 2016 |website=noisey.vice.com |publisher=Noisey |access-date=June 26, 2017 |url-status=live |archive-url=https://web.archive.org/web/20171201041132/https://noisey.vice.com/en_ca/article/qk9mwp/progression-through-unlearning-snapcases-timeless-hardcore-classic-turns-20 |archive-date=December 1, 2017 }}</ref> Scott Wilson states that the hardcore of the [[Bad Brains]] emphasized two elements: "off-the-charts" loudness which reached a level of threatening, powerful "uncompromising noise" and rhythm, in place of the typically focused-on elements in mainstream rock music, harmony and pitch (i.e., [[melody]]).<ref>Wilson, Scott A. ''Music at the Extremes: Essays on Sounds Outside the Mainstream''. McFarland, 2015. p. 40</ref>

Hardcore vocalists often shout,<ref name="allmusic.com"/> [[screaming (music)|scream]] or [[chant]] along with the music, using "vocal intensity"<ref name="auto3">Malory, Curry and Pena, Milagros. ''Punk Rockers' Revolution: A Pedagogy of Race, Class, and Gender''. Peter Lang, 2004. p. 56</ref> and an abrasive tone.<ref name="auto4"/> The shouting of hardcore vocalists is often accompanied by audience members who are singing along, making the hardcore vocalist like the "leader of a mob" commonly known as "gang vocals".<ref name="auto3"/> Steven Blush describes one early Minor Threat show where the crowd was singing the lyrics so loud they could be heard over the PA system.<ref>''American Hardcore (Second Edition): A Tribal History''. p. 158</ref> Hardcore vocal lines are often based on minor scales<ref>[https://www.academia.edu/3080250/The_Rage_and_the_Impact_An_Analysis_of_American_Hardcore_Punk Kortepeterp, Derek, ''The Rage and the Impact: An Analysis of American Hardcore Punk''] {{webarchive|url=https://web.archive.org/web/20170505085405/http://www.academia.edu/3080250/The_Rage_and_the_Impact_An_Analysis_of_American_Hardcore_Punk |date=May 5, 2017 }}, p. 12</ref> and songs may include shouted [[background vocals]] from the other band members. Hardcore lyrics expressed the "frustration and political disillusionment" of youth who were against 1980s-era [[affluence]], [[consumerism]], greed, Reagan politics and authority.<ref name="auto4"/> The polarizing sociopolitical messages in hardcore lyrics (and outrageous on-stage behaviour) meant that the genre garnered no mainstream popularity.<ref name="auto4"/>

In hardcore, guitarists frequently play fast [[power chords]] with a heavily [[distortion (music)|distorted]] and amplified tone, creating what has been called a "buzzsaw" sound.<ref>Steven Blush. ''American Hardcore: A Tribal Tradition''. Feral House, 2001. p. 151</ref> Guitar parts can sometimes be complex, technically versatile, and rhythmically challenging.<ref name="academia.edu">{{cite web |last=Kortepeter |first=Derek |url=https://www.academia.edu/3080250 |title=Kortepeterp, Derek, ''The Rage and the Impact: An Analysis of American Hardcore Punk'' |publisher=Academia.edu |access-date=August 20, 2014 |url-status=live |archive-url=https://web.archive.org/web/20150321060634/http://www.academia.edu/3080250/The_Rage_and_the_Impact_An_Analysis_of_American_Hardcore_Punk |archive-date=March 21, 2015 }}</ref> Guitar melody lines usually use the same minor scales used by vocalists (although some solos use [[pentatonic]] scales).<ref name="academia.edu"/> Hardcore guitarists sometimes play [[Guitar solo|solos]], [[octave]] leads and [[Groove (music)|grooves]], as well as tapping into the various [[audio feedback|feedback]] and [[harmonic]] noises available to them. There are generally fewer guitar solos in hardcore than in mainstream rock, because solos were viewed as representing the "excess and superficiality" of mainstream commercial rock.<ref name="auto4"/>

Hardcore [[bass guitar|bassists]] use varied rhythms in their [[bassline]]s, ranging from longer held notes (whole notes and half notes) to quarter notes, to rapid eighth note or sixteenth note runs. To play rapid bass lines that would be hard to play with the fingers, some bassists use a pick.<ref name="academia.edu" /> Some bassists play [[fuzz bass]] by [[distortion (music)|overdriving]] their bass tone.<ref>{{cite web |url=http://epitaph.com/news/article/nate-newton-of-converge-featured-on-bassplayercom |title=NATE NEWTON OF CONVERGE FEATURED ON BASSPLAYER.COM |author=<!--Not stated--> |date=March 10, 2005 |website=epitaph.com |publisher=Epitaph |access-date=June 12, 2017 |url-status=live |archive-url=https://web.archive.org/web/20180330211204/http://epitaph.com/news/article/nate-newton-of-converge-featured-on-bassplayercom |archive-date=March 30, 2018 }}</ref>

Hardcore drumming, typically played fast and aggressively, has been called the "engine" and most essential element of the genre's aggressive sound of "unrelenting anger".<ref name="GU">{{Cite web|url=http://www.straightandalert.com/articles/dynamics-hardcore-drumming/|title=The dynamics of hardcore drumming – Straight & Alert|work=Straight & Alert |date=June 22, 2017|archive-url=https://web.archive.org/web/20170622202645/http://www.straightandalert.com/articles/dynamics-hardcore-drumming/|access-date=September 5, 2020|archive-date=June 22, 2017}}</ref> Two other key elements for hardcore drummers are playing "tight" with the other musicians, especially the bassist (this does not mean metronomic time; indeed, coordinated tempo shifts are used in many important hardcore albums) and the drummer should have listened to a lot of hardcore, so that they can understand the "raw emotions" it expresses.<ref name=GU/> [[Lucky Lehrer]], the drummer and co-founder of the [[Circle Jerks]] in 1979, was an early developer of hardcore drumming; he has been called the "Godfather of hardcore drumming" and ''[[Flipside (fanzine)|Flipside]]'' zine calls him the best punk drummer.<ref>{{cite web |url=https://www.axs.com/interview-punk-icon-lucky-lehrer-talks-music-and-mary-jane-part-two-109013 |title=Interview: Punk icon Lucky Lehrer talks music and Mary Jane [marijuana], Part Two |last=Rose |first=Rustyn |date=October 28, 2016 |website=Axs.com |publisher=AXS |access-date=June 26, 2017 |url-status=live |archive-url=https://web.archive.org/web/20170612225441/https://www.axs.com/interview-punk-icon-lucky-lehrer-talks-music-and-mary-jane-part-two-109013 |archive-date=June 12, 2017 }}</ref> According to Tobias Hurwitz, "[h]ardcore drumming falls somewhere between the straight-ahead rock styles of old-school punk and the frantic, warp-speed bashing of thrash."<ref>{{cite book |last1=Hurwitz |first1=Tobias |date=1999 |title=Punk Guitar Styles: The Guitarist's Guide to Music of the Masters |pages=32 |publisher= WAlfred Music Publishing}}</ref> Some hardcore punk drummers play fast [[D-beat]] one moment and then drop tempo into elaborate musical [[Break (music)|breakdowns]] in the next. Drummers typically play eighth notes on the cymbals, because at the tempos used in hardcore, it would be difficult to play a smaller subdivision of the beat.<ref name="academia.edu"/>