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Within the context of European classical and film music, Claudia Gorbman defines an ostinato as a repeated melodic or rhythmic figure that propels scenes that lack dynamic visual action. [5] Ostinati play an important part in improvised music (rock and jazz), in which they are often referred to as riffs or vamps.
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 guajeo shares rhythmic, melodic and harmonic similarities with the short ostinato figures played on marimbas, lamellophones, and string instruments in sub-Saharan Africa. The guajeo is a seamless blend of African and European musical sensibilities, and was first played as accompaniment on the tres in the Afro-Cuban son and related music.
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Suzannah Clark, a music professor at Harvard, connected the piece's resurgence in popularity to the harmonic structure, a common pattern similar to the romanesca.The harmonies are complex, but combine into a pattern that is easily understood by the listener with the help of the canon format, a style in which the melody is staggered across multiple voices (as in "Three Blind Mice"). [1]
The tresillo pattern is the rhythmic basis of the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz. [2] [3] Tresillo-based tumbao from "Alza los pies Congo", by Septeto Habanero (1925). Play ⓘ Often the last note of the measure is held over the downbeat of the next measure.
When the rhythm and music are 'in clave,' a great natural 'swing' is produced, regardless of the tempo. All musicians who write and/or interpret Cuban-based music must be 'clave conscious,' not just the percussionists. [19] Salsa is a potent expression of clave, and clave became a rhythmic symbol of the musical movement, as its popularity spread.
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.