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Canto Ostinato ("Obstinate Song" (as ostinato)) is a musical composition written by the Dutch composer Simeon ten Holt. The piece was completed in 1976 and performed for the first time in 1979 and is by far his most popular and most performed work.
Bel canto vocal music also frequently uses ossia, also called oppure, passages to illustrate a more embellished version of the vocal line. [ 1 ] On the other hand, an ossia marking does not always indicate a change in difficulty; the piano solo music of Franz Liszt is typically full of alternative passages, often no easier or more difficult ...
The music from Miles Davis's modal period (c.1958–1963) was based on improvising songs with a small number of chords. The jazz standard "So What" uses a vamp in the two-note "Sooooo what?" figure, regularly played by the piano and the trumpet throughout. Jazz scholar Barry Kernfeld calls this music vamp music. [full citation needed]
In singing, a controlled swell (i.e. crescendo then diminuendo, on a long held note, especially in Baroque music and in the bel canto period) [2] mesto Mournful, sad meter or metre The pattern of a music piece's rhythm of strong and weak beats mezza voce Half voice (i.e. with subdued or moderated volume) mezzo
2.3 Piano. 2.4 Chamber. 2.5 Choral music. 3 Notes. 4 References. ... Canto d'anime (1904) Dios y ... Free scores by Giacomo Puccini at the International Music Score ...
Here it is usually a faster, brasher, semi-improvised instrumental section, sometimes with a repetitive vocal refrain. Finally, the term montuno is also used for a piano guajeo, [1] the ostinato figure accompanying the montuno section, when it describes a repeated syncopated piano vamp, often with chromatic root movement. [2]
A guajeo (Anglicized pronunciation: wa-hey-yo) is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. Some musicians only use the term guajeo for ostinato patterns played specifically by a tres, piano, an instrument of the violin family, or saxophones.
The piano part develops from free composition (movement 1) to following the orchestra using a parallel chart (movement 2) and then to sharing the same chart with the orchestra (movement 3). Piano preparation in the Concerto is rather complex and involves, among other things, a moveable plastic bridge that makes possible microtonal effects. [42]