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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).
A theme from "America" was referenced by John Williams for his celebratory For New York, composed in 1988 for Bernstein's 70th birthday gala. [8] In 1989, a verse of the song was sampled in Big Audio Dynamite's single "James Brown" with a 4/4 beat underneath. In 2003, the song was used in advertisements for Admiral Insurance though with ...
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.
The song begins with the bass repeatedly playing 6 cross-beats per each measure of 12 8, or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). The following example shows the original ostinato "Afro Blue" bass line. The slashed noteheads indicate the main beats (not bass notes), where you would normally tap your foot to "keep time."
Despite this difficult rhythm, Barber “achieves a piquant, casual” [29] and “overall easy-going bright and cheery mood.” [30] When listening to this piece, there seems to be a free, “bar-less feeling” throughout the main theme. [30] This is accomplished through the unusual rhythmic organization in the right hand.
Riff-driven songs are largely a product of jazz, blues, and post-blues era music (rock and pop). [10] The musical goal of riff-driven songs is akin to the classical continuo effect, but raised to much higher importance (in fact, the repeated riff is used to anchor the song in the ears of the listener). The riff/continuo is brought to the ...
The light construction of the piece allows for the use of solos to emulate a character rarely heard in traditional wind band music. For example, the 2nd Movement features a nearly two-minute long improvisatory cadenza for clarinet alone which lends a nostalgic quality. The work contains five movements, each of which is in a different language: