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Here, the ostinato pattern stays in the middle register of the piano – it is never used as a bass. "Remark that the footfall ostinato remains nearly throughout on the same notes, at the same pitch level... this piece is an appeal to the basic loneliness of all human beings, oft-forgotten perhaps, but, like the ostinato, forming a basic ...
Ostinato from Radiohead's "Creep" features modal mixture, common tones between adjacent triads (B between G & B, C and G between C+ & C−), and an emphasis on subdominant harmony (IV = C in G major). [1] A riff is a short, repeated motif or figure in the melody or accompaniment of a musical composition. [2]
The smallest pitch difference between notes (in most Western music) (e.g. F–F ♯) (Note: some contemporary music, non-Western music, and blues and jazz uses microtonal divisions smaller than a semitone) semplice Simple sempre Always sentimento Feeling, emotion sentito lit. "felt", with expression senza Without senza misura Without measure ...
Licks are more often associated with single-note melodic lines than with chord progressions. However, like riffs, licks can be the basis of an entire song. Single-line riffs or licks used as the basis of Western classical music pieces are called ostinatos. Contemporary jazz writers also use riff- or lick-like ostinatos in modal music and Latin ...
Bassline (also known as a bass line or bass part) is the term used in many styles of music, such as blues, jazz, funk, dub and electronic, traditional, and classical music, for the low-pitched instrumental part or line played (in jazz and some forms of popular music) by a rhythm section instrument such as the electric bass, double bass, cello, tuba or keyboard (piano, Hammond organ, electric ...
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).
The progression has its origins in the various Baroque harmonizations of the descending chromatic fourth in the bass ostinato pattern of passacaglia, known as the "lament bass". [2] However, in its fullest form the omnibus progression involves a descent in the bass which traverses a whole octave and includes every note of the chromatic scale.
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."