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In jazz, comping (an abbreviation of accompaniment; [2] or possibly from the verb, to "complement") is the chords, rhythms, and countermelodies that keyboard players (piano or organ), guitar players, or drummers use to support a musician's improvised solo or melody lines. It is also the action of accompanying, and the left-hand part of a solo ...
Approaches or techniques to musical analysis. Assumption and advocating could be considered missing. Musical analysis is the study of musical structure in either compositions or performances. [1] According to music theorist Ian Bent, music analysis "is the means of answering directly the question 'How does it work?'". [2]
In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. [1]
In vocal music, also expressed by colla voce colla voce literally "with the voice". An instruction, in a choral or orchestral part, that a vocal part should be followed, e.g., play the same notes as the vocal part and accommodate the tempo, expression, etc. of the vocalist coloratura
Jazz often features a prominent rhythm section, typically consisting of at least drums and bass, and sometimes a comping instrument such as piano or guitar.. A rhythm section is a group of musicians within a music ensemble or band that provides the underlying rhythm, harmony and pulse of the accompaniment, providing a rhythmic and harmonic reference and "beat" for the rest of the band.
A Schenkerian analysis perspective on these roles shifts the discussion somewhat from "outer and inner voices" to "upper and bass voices." Although the outer voices still play the dominant, form-defining role in this view, the leading soprano voice is often seen as a composite line that draws on the voice leadings in each of the upper voices of ...
Voice exchange is also used in Schenkerian analysis to refer to a pitch class exchange involving two voices across registers, one of which is usually the bass. In this sense, it is a common secondary structural feature found in the music of a wide variety of composers. [12]
In music, prosody is the way the composer sets the text of a vocal composition in the assignment of syllables to notes in the melody to which the text is sung, or to set the music with regard to the ambiance of the lyrics. However, the relationship between syllables and melodic notes is just one dimension of musical prosody.