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Vamp riff typical of funk and R&B [31] Play ⓘ In music, a vamp is a repeating musical figure, section, [31] or accompaniment. Vamps are usually harmonically sparse: [31] A vamp may consist of a single chord or a sequence of chords played in a repeated rhythm. The term frequently appeared in the instruction 'Vamp till ready' on sheet music for ...
The term describes a "chromatic contradiction" [1] between two notes sounding simultaneously (or in close proximity) in two different voices or parts; or alternatively, in music written before 1600, the occurrence of a tritone between two notes of adjacent chords. [2] Ex. 1, from Ave Verum Corpus, by William Byrd. Play ⓘ
In popular music genres such as country, blues, jazz or rock music, a lick is "a stock pattern or phrase" [2] consisting of a short series of notes used in solos and melodic lines and accompaniment. For musicians, learning a lick is usually a form of imitation. By imitating, musicians understand and analyze what others have done, allowing them ...
A Picardy third, Picardy cadence (ˈpɪkərdi ) or, in French, tierce picarde is a harmonic device used in Western classical music. It refers to the use of a major chord of the tonic at the end of a musical section that is either modal or in a minor key. piatti Cymbals, generally meaning a pair of orchestral clashed cymbals piena
The omnibus progression in music is a chord progression characterized by chromatic lines moving in opposite directions. [1] 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]
Vamp most commonly refers to: Vamp (shoe), the upper part of a shoe; Vamp (woman), a seductress or femme fatale; derived from "vampire" Vamp (music), a repeating musical figure or accompaniment; Vamp or vamps may also refer to:
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).
The interlude chords briefly return, and Gadd resumes keeping the beat, with a few more flourishes, while Shorter's solo continues. Then the vamp and drum solo resume for another 17-bar section, this one including one bar in 3 4, that ends with a descending chord progression that takes us back into the intro. [33]