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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 ...
The music is in C major, 3 4 time, beginning pianissimo and rising in a continuous crescendo to fortissimo. It is built over an unchanging ostinato rhythm played 169 times [18] on one or more snare drums that remains constant throughout the piece:
All these songs use twelve-bar blues riffs, and most of these riffs probably precede the examples given (Covach 2005, p. 71). In classical music, individual musical phrases used as the basis of classical music pieces are called ostinatos or simply phrases. Contemporary jazz writers also use riff- or lick-like ostinatos in modal music and Latin ...
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).
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.
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.
Variation IV reaches a climax, with an ostinato accompaniment providing the grounding for the off-kilter rhythmic setting of the theme. Hindemith introduces a non-traditional key signature (G-sharp and F-Sharp only) that sets the music in a whole-tone mode; while the viola does occasionally play runs and phrases with half-steps, the piano ...
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]