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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 ...
A false relation (also known as cross-relation, non-harmonic relation) is the name of a type of dissonance that sometimes occurs in polyphonic music, most commonly in vocal music of the Renaissance and particularly in English music into the eighteenth century.
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:
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]
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).