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In music, syncopation is a variety of rhythms played together to make a piece of music, making part or all of a tune or piece of music off-beat.More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur". [1]
Acid jazz [1] [2] Combined elements of soul music, funk, disco, including looping beats and modal harmony 1980s–1990s Afro-Cuban jazz: It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. 1940s -> Avant-garde jazz: A style of music and improvisation that combines avant-garde art music and composition ...
Boogie – 1. a repetitive form of rhythm found in boogie-woogie. 2. a style of funk characterized by a mid-tempo post-disco rhythm, prominent use of slap bass, loud clapping sound, and its new wave melodic chords and synthesizers. Boogie rock – a style of blues rock that fuses rock music with boogie-woogie.
The rhythmic sequence (or sinus rhythm) of this signaling across the heart is coordinated by two groups of specialized cells, the sinoatrial (SA) node, which is situated in the upper wall of the right atrium, and the atrioventricular (AV) node located in the lower wall of the right heart between the atrium and ventricle.
Rhythm changes is a common 32-bar jazz chord progression derived from George Gershwin's "I Got Rhythm". The progression is in AABA form , with each A section based on repetitions of the ubiquitous I–vi–ii–V sequence (or variants such as iii–vi–ii–V), and the B section using a circle of fifths sequence based on III 7 –VI 7 –II 7 ...
In a jazz context, when "blues" or "solo on blues" appears at the start of a solo section, it is an abbreviation for "blues progression"; it instructs the performer to improvise solos over a 12-bar blues progression based on I, IV, and V7 chords. The term "blues" also refers to a style of soloing and playing over this type of progression.
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According to Francesca T. Royster, in Rickey Vincent's book Funk: The Music, The People, and The Rhythm of The One, he analyzes the impact of Labelle but only in limited sections. Royster criticizes Vincent's analysis of the group, stating: "It is a shame, then, that Vincent gives such minimal attention to Labelle's performances in his study.