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In gospel and soul music, the band often vamps on a simple ostinato groove at the end of a song, usually over a single chord. In soul music, the end of recorded songs often contains a display of vocal effects—such as rapid scales, arpeggios, and improvised passages. For recordings, sound engineers gradually fade out the vamp section at the ...
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
Oom-pah played by accordion on C major chord with alternate bass Play ⓘ.. Oom-pah, Oompah, Ooumpah or Umpapa is an onomatopoeic term describing the rhythmic sound of a deep brass instrument in combination with the response of other instruments or registers in a band, a form of background ostinato.
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."
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 clave pattern is also found in the African diaspora music of Haitian Vodou drumming, Afro-Brazilian music, African-American music, Louisiana Voodoo drumming, and Afro-Uruguayan music . The clave pattern (or hambone, as it is known in the United States) is used in North American popular music as a rhythmic motif or simply a form of rhythmic ...
Dizzy Gillespie 1955 "Manteca" is one of the earliest foundational tunes of Afro-Cuban jazz.Co-written by Dizzy Gillespie, Chano Pozo and Gil Fuller in 1947, it is among the most famous of Gillespie's recordings (along with the earlier "A Night in Tunisia") and is "one of the most important records ever made in the United States", according to Gary Giddins of The Village Voice. [1] "
The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States, and reinforced and inspired the use of tresillo-based rhythms in African American music. [b] From the perspective of African American music, the habanera rhythm can be thought of as a combination of tresillo and the backbeat. [19]