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In music, an ostinato (Italian: [ostiˈnaːto]; derived from the Italian word for stubborn, compare English obstinate) is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch.
Tresillo is the rhythmic basis of many African and Afro-Cuban drum rhythms, as well as the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz. [12] [13] The example below shows a tresillo-based tumbao from "Alza los pies Congo" by Septeto Habanero (1925).
The tres plays the typical Cuban ostinato figure known as guajeo. The rhythmic pattern of the following generic guajeo is used in many different songs. Note that the first measure consists of all offbeats. The figure can begin in the first measure, or the second measure, depending upon the structure of the song.
The 1957 Encyclopédie Larousse [1] defines a cell in music as a "small rhythmic and melodic design that can be isolated, or can make up one part of a thematic context". The cell may be distinguished from the figure or motif: the 1958 Encyclopédie Fasquelle [1] defines a cell as "the smallest indivisible unit", unlike the motif, which may be divisible into more than one cell.
Latin jazz is a genre of jazz with Latin American rhythms. The two main categories are Afro-Cuban jazz, rhythmically based on Cuban popular dance music, with a rhythm section employing ostinato patterns or a clave, and Afro-Brazilian jazz, which includes samba and bossa nova.
Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern, called a talea, in at least one voice part throughout a composition. Taleae are typically applied to one or more melodic patterns of pitches or colores , which may be of the same or a different length from the talea .
Introduction and Theme; Variation I; Variation II; Interlude I; Variation III; Variation IV; Interlude II; Variation V; Coda; The interludes are Ives's first notated use of bitonality: the first combines F major for the right hand and D-flat major for the left hand and pedals, whilst the second combines A-flat major and F major.
The right hand has a constant sixteenth-note ostinato pattern that has an octave displacement every two beats. This section is also the first time in the movement that the rhythmic organization of the melody is simple with a few slightly syncopated dotted eighth- to sixteenth-note fragments.