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performance. In Indian
Classical Music, the concept of 'sam' (pronounced as 'sum') carries paramount importance. The sam is the target unison beat (and almost always the first beat) of any rhythmic cycle. The second most important beat is the Khali, which is a complement of the sam. Besides these two prominent beats, there are other beats of emphasis in any given taal, which signify 'khand's (divisions) of the taal. E.g. 'Roopak' or 'Rupak' taal, a 7-beat rhythmic cycle, is divided 3â2â2, further implying that the 1st, 4th, and 6th beats are the prominent beats in that taal. Therefore, it is customary, but not essential, to align the lehara according to the divisions of the Taal. It is done with a view to emphasize those beats that mark the divisions of the Taal.
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540:: "Altogether unconventional and characteristic, however, is the interpolation of an additional cadential measure into the stereotyped ground, increasing its length from a routine four to a haunting five bars, against which the vocal line, with its despondent refrain ("Remember me!"), is deployed with marked asymmetry. That, in addition to Purcell's distinctively dissonant, suspension-saturated harmony, enhanced by additional chromatic descents during the final ritornello and by many deceptive cadences, makes this little aria an unforgettably poignant embodiment of
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1691:" by James Brown, for example). Jazz, blues, and rock are almost always based on chord progressions (a sequence of changing chords), and they use the changing harmony to build tension and sustain listener interest. Unlike these music genres, funk is based on the rhythmic groove of the percussion, rhythm section instruments, and a deep electric bass line, usually all over a single chord. "In funk, harmony is often second to the 'lock,' the linking of contrapuntal parts that are played on guitar, bass, and drums in the repeating vamp."
1726:, one to eight, of music without lyrics that begin a printed copy of a song. The orchestra may repeat the vamp or other accompaniment during dialogue or stage business, as accompaniment for onstage transitions of indeterminate length. The score provides a one or two bar vamp figure, and indicates, "Vamp till cue", by the conductor. The vamp gives the onstage singers time to prepare for the song or the next verse, without requiring the music to pause. Once the vamp section is over, the music continues to the next section.
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1297:. Vamps are usually harmonically sparse: 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 popular songs in the 1930s and 1940s, indicating the accompanist should repeat the musical phrase until the vocalist was ready. Vamps are generally symmetrical, self-contained, and open to variation. They are used in
1883:). It is considered a hallmark of excellence to play lehara alongside a recognised Tabla or Pakhawaj virtuoso as it is a difficult task to keep a steady pulse while the percussionist is improvising or playing difficult compositions in counterpoint. While there may be scores of individually talented instrumentalists, there are very few who are capable of playing the lehra for a Tabla / Pakhawaj solo performance.
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868:". Here, the ostinato pattern stays in the middle register of the piano â 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 undercurrent of our history."
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1867:, which are upheld and honoured in the tradition of Indian Classical Music. The lehara may be interspersed with short and occasional improvisations built around the basic melody. It is also permissible to switch between two or more disparate melodies during the course of the performance. It is essential that the lehara be played with the highest precision in
901:. "Here a rigid pattern of (3+2+2/4) bars is laid over a strictly recurring 23-beat tune (the bars being marked by a cello ostinato), so that their changing relationship is governed primarily by the pre-compositional scheme." "The rhythmical current running through the music is what binds together these curious mosaic-like pieces."
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describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phraseâeither an accompanimental figure or an actual melodyâis repeated over and over again in the bass part, while the upper parts proceed normally ". However, he cautions, "it might more properly
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The harmonic cycle of CâFâGâF prominent in Congo/Zaire popular music simply cannot be defined as a progression from tonic to subdominant to dominant and back to subdominant (on which it ends) because in the performer's appreciation they are of equal status, and not in any hierarchical order as in
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remarked "Your music always has an element of repetition, of ostinato. What is the function of ostinato?" Stravinsky replied; "It is static â that is, anti-development; and sometimes we need a contradiction to development." Stravinsky was particularly skilled at using ostinatos to confound
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The basic idea of the lehara is to provide a steady melodious framework and keep the time-cycle for rhythmic improvisations. It serves as an auditory workbench not only for the soloist but also for the audience to appreciate the ingenuity of the improvisations and thus the merits of the overall
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As Moore states, "One could say that I â IV â V â IV is to
African music what the 12-bar blues is to North American music." Such progressions seem superficially to follow the conventions of Western music theory. However, performers of African popular music do not perceive these
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1193:(1999) defines them as "short rhythmic, melodic, or harmonic figures repeated to form a structural framework". Rikky Rooksby states: "A riff is a short, repeated, memorable musical phrase, often pitched low on the guitar, which focuses much of the energy and excitement of a rock song."
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562:"Purcell's compositions over a ground vary in their working out, and the repetition never becomes a restriction." Purcell's instrumental music also featured ground patterns. A particularly fine and complex example is his Fantasia upon a Ground for three violins and continuo:
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music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".
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The vamp may be written by the composer of the song, a copyist employed by the publisher, or the arranger for the vocalist. The vamp serves three main purposes: it provides the key, establishes the tempo, and provides emotional context. The vamp may be as short as a
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features a similarly constructed ostinato pattern, but this time 5 bars long. Over this, the main melodic line moves freely, varying the phrase-lengths, while being "to some extent predetermined by the repeating pattern of the canon in the lower two voices."
548:. However, this is not the only ostinato pattern that Purcell uses in the opera. Dido's opening aria "Ah, Belinda" is a further demonstration of Purcell's technical mastery: the phrases of the vocal line do not always coincide with the four-bar ground:
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Many vamp-oriented songwriters begin the creative process by attempting to evoke a mood or feeling while riffing freely on an instrument or scat singing. Many well known artists primarily build songs with a vamp/riff/ostinato based approachâincluding
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A guajeo is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. The guajeo is a hybrid of the
African and European ostinato. The guajeo was first played as accompaniment on the tres in the folkloric
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composed many pieces using ostinato patterns in his operas and sacred works. One of these was his 1650 version of "Laetatus sum", an imposing setting of Psalm 122 that pits a four-note "ostinato of unquenchable energy." against both voices and
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feature a passage accompanying a scene where a band of
Knights solemnly processes from the depths of forest to the hall of the Grail. The "Transformation music" that supports this change of scene is dominated by the iterated tolling of four
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This characteristic rhythmic pattern continues in the second variation, but with some engaging harmonic subtleties, especially in the second bar, where an unexpected chord creates a passing implication of a related key:
910:. The choir sing a melody in triple time, while the bass instruments in the orchestra play a 4-beat ostinato against this. "This is built up over an ostinato bass (harp, two pianos and timpani) moving in fourths like a
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1970s-era funk music often takes a short one or two bar musical figure based on a single chord one would consider an introduction vamp in jazz or soul music, and then uses this vamp as the basis of the entire song
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758:, there is a harmonically static passage, with "the repetitiveness of a nursery rhyme" that consists of an ostinato shared between viola and cello supporting a melody in octaves in the first and second violins:
743:, to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back. A famous type of ostinato, called the
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1243:. Instead, 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
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is the transitional music that begins on the downbeat of the last word of the song and is usually two to four bars long, though it may be as short as a sting or as long as a Roxy
Rideout.
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had a both familiar and exotic quality to the
African musicians. Gradually, various regional guitar styles emerged, as indigenous influences became increasingly dominant within these
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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 effectsâsuch as rapid scales, arpeggios, and improvised
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is often used to mean specific ostinato patterns played by a tres, piano, an instrument of the violin family, or saxophones. The guajeo is a fundamental component of modern-day
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guajeos fulfill the role of piano vamp. A vamp at the beginning of a jazz tune may act as a springboard to the main tune; a vamp at the end of a song is often called a
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riffs. However, the foreign influences are interpreted through a distinctly
African ostinato sensibility. African guitar styles began with Congolese bands doing Cuban
315:, they are "repetitive rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic. The technique's appeal to composers from Debussy to
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1828:(sometimes spelled Lehra) or Nagma is played repeatedly throughout the performance. This melodic pattern is set to the number of beats in a rhythmic cycle (
1553:" uses a vamp in the two-note "Sooooo what?" figure, regularly played by the piano and the trumpet throughout. Jazz scholar Barry Kernfeld calls this music
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If the cadence may be regarded as the cradle of tonality, the ostinato patterns can be considered the playground in which it grew strong and self-confident.
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progressions in the same way. Harmonic progressions which move from the tonic to the subdominant (as they are known in
European music) have been used in
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In common with other
Passacaglias of the era, the ostinato is not simply confined to the bass, but rises to the uppermost part later in the piece:
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1671:. For recordings, sound engineers gradually fade out the vamp section at the end of a song, to transition to the next track on the album.
1175:. Riffs can be as simple as a tenor saxophone honking a simple, catchy rhythmic figure, or as complex as the riff-based variations in the
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for hundreds of years. Their elaborations follow all the conventions of traditional
African harmonic principles. Gehard Kubik concludes:
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Beethoven reverses this relationship a few bars later with the melody in the viola and cello and the ostinato shared between the violins:
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crescendo, owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza.
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extended the use of vamps in gospel, introducing chain vamps (one vamp after the other, each successive vamp drawn from the first).
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that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other
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is possibly the one most associated with the practice of ostinato. In conversation with the composer, his friend and colleague
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composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional
987:). The left hand (lower notes) sounds the two main beats, while the right hand (upper notes) sounds the three cross-beats.
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979:, that contradict the metric structure. Other African ostinatos generate complete cross-rhythms by sounding both the main
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in itself. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with
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feature ostinato-playing guitars. The African guitar parts are drawn from a variety of sources, including the indigenous
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While the use of a descending chromatic scale to express pathos was fairly common at the end of the seventeenth century,
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have become notable for their vocal improvisations at the end of songs, and they are sampled and used in other songs.
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An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians
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became famous for his skilful deployment of ground bass patterns. His most famous ostinato is the descending
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Ostinato patterns have been present in European music from the Middle Ages onwards. In the famous English
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The guajeo is a seamless Afro-Euro ostinato hybrid, which has had a major influence upon jazz, R&B,
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and others. The playing of the lehara is relatively free from the numerous rules and constraints of
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One striking ostinato instrumental piece of the late Renaissance period is "The Bells", a piece for
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1216:". The verse of "The Hucklebuck"âanother riffâwas "borrowed" from the Artie Matthews composition "
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refers to a brief, relaxed phrase repeated over changing melodies. It may serve as a refrain or
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1631:". Depending upon the musician, a repeating figure in "A Night in Tunisia" could be called an
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as a repeated melodic or rhythmic figure that propels scenes that lack dynamic visual action.
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and cross-beats. In the following example, a gyil sounds the three-against-two cross-rhythm (
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Schmitz, E. R. (1950, pp. 145â7) the Piano Works of Claude Debussy. New York, Dover.
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The Oxford History of Western Music: Music in the Seventeenth and Eighteenth centuries
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Within the context of European classical and film music, Claudia Gorbman defines an
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The intervals in the above pattern are found in many works of the Baroque Period.
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are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's
220:. A "favorite technique of contemporary jazz writers", ostinati are often used in
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1738:(a harmonized bell tone with stress on the starting note), or measures long. The
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White, E.W. (1979, p.365) Stravinsky: the Composer and his Works. London, Faber.
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1647:. The Cuban-jazz hybrid spans the disciplines that encompass all these terms.
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bell ensembles, and pitched drums ensembles. Often, African ostinatos contain
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A subtler metrical conflict can be found in the final section of Stravinsky's
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Radcliffe, .P (1965, p.158) Beethovenâs String Quartets. London, Hutchinson.
2154:, p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall.
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1958â1963) was based on improvising songs with a small number of chords. The
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The first variation that Bach builds over this ostinato consists of a gently
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are accepted English plural forms, the latter reflecting the word's Italian
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Ostinatos feature in many works of the late 18th and early 19th centuries.
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344:", the main vocal lines are underpinned by an ostinato pattern, known as a
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dance accompaniments, a conceptually similar melodic pattern known as the
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DeLone, Richard (1975). "Timbre and Texture in Twentieth Century Music",
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or Taal) being performed and may be based on one or a blend of multiple
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uses an ostinato phrase throughout the big scene that ends Act 2 of the
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The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins
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David Brackett (1999) defines riffs as "short melodic phrases", while
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Arranging Music for the Real World: Classical and Commercial Aspects
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The lehara can be played on a variety of instruments, including the
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riffs, and most of these riffs probably precede the examples given.
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1165:, classical music is also sometimes based on a simple riff, such as
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1710:", which features an extended improvisation over a two-chord vamp.
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1534:'s drum solo and a variation on the chords in the middle section).
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in C minor for organ, which has a ground rich in melodic intervals:
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101 Raga-s for the 21st Century and Beyond: A Music Lover's Guide
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Walsh, S. (1988, p57) The Music of Stravinsky. London, Routledge.
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are particularly striking for their use of an ostinato bass: the
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pointed out that Purcell shows a fresh approach to this musical
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ground bass that underpins the aria "When I am laid in earth" ("
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rather than confirm rhythmic expectations. In the first of his
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of a musical composition. Though they are most often found in
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449:. Here the ostinato (or 'ground') consists of just two notes:
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Jazzology: The Encyclopedia of Jazz Theory for All Musicians
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essentially has the same meaning as the medieval Latin word
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featured an ostinato pattern throughout his Piano Prelude "
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http://www.timba.com/artist_pages/1974-first-lp-of-the-70s
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Of all the major classical composers of the 20th century,
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Brahms Variations on a Theme by Haydn, final section with
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Bach C minor Passacaglia variation with ostinato in treble
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Within the domain of European classical music traditions,
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The Afro-Cuban vamp style known as guajeo is used in the
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212:(rock and jazz), in which they are often referred to as
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instruments or solo instruments that form the basis or
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also uses a similar sequence of notes in the bass part:
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Form and Music: Key Terms in Popular Music and Culture
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control, which requires years of specialist training (
1459:". Rock examples include the long jam at the ends of "
1085:. The following example shows a basic guajeo pattern.
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to shape phrases and define tonality". Similarly, in
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Jacqueline Cogdell DjeDje, Eddie S. Meadows (1998).
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Bartlette, Christopher, and Steven G. Laitz (2010).
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Motif or phrase repeated throughout a piece of music
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832:used ostinato patterns in both the finale of his
438:be termed a musical device than a musical form."
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2487:Riffs: How to create and play great guitar riffs
2223:Monteverdi: sacred, Secular and Occasional Music
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717:Bach C minor Passacaglia with ostinato in treble
2489:. San Francisco: Backbeat Books. pp. 6â7.
2393:. Jackson, MS: University Press of Mississippi.
2358:Afro-Cuban Comes Home: The Birth of Congo Music
2171:Fallows, D. (1982, p. 89). Dufay. London, Dent.
1572:". The following songs are dominated by vamps:
1511:" begins with a repeated, syncopated figure in
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800:Beethoven Op 131 Trio from Scherzo, bars 93â100
792:Beethoven Op 131 Trio from Scherzo, bars 93â100
721:A performance of the entire piece can be heard
777:Beethoven Op 131 Trio from Scherzo, bars 69â76
769:Beethoven Op 131 Trio from Scherzo, bars 69â76
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2426:. p. 255. Petaluma, California: Sher Music.
2225:. New Jersey, Associated University Presses.
2184:. New York: Oxford University Press, p. 230
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251:as applied to classical music, and the word
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2535:
2533:
2531:
2076:Tonal space in the music of Antonio Vivaldi
1439:Classic examples of vamps in jazz include "
1014:Popular dance bands in West Africa and the
930:
258:
3371:
3357:
3068:
3054:
2815:
2801:
2619:
2610:"Vamp: Definition, Synonyms and Much More"
1228:'s "Tar Paper Stomp". All these songs use
472:In Italy, during the seventeenth century,
2459:
2404:Origins of Cuban Music and Dance; ChangĂŒĂ
2278:Stravinsky, I. and Craft R. (1959, p.42)
2122:
2120:
2118:
2116:
1796:Learn how and when to remove this message
1745:
1650:
396:Ground bass: Late Renaissance and Baroque
2779:Freymann, Jeffrey (September 14, 2018).
2778:
2679:
2667:
2648:
2646:
2528:
2515:Engaging Music: Essays in Music Analysis
2513:, p. 71, in Stein, Deborah (2005).
2146:
2144:
2046:
2044:
1258:
1087:
1022:, as well as foreign influences such as
989:
921:
870:
844:
817:
795:
783:
772:
760:
729:Late eighteenth and nineteenth centuries
712:
700:
689:
677:
665:
653:
638:
626:
594:
582:
564:
550:
523:
511:
479:
463:
451:
384:
372:
350:
278:. A famous type of ostinato, called the
2724:"The GAT: Raaga Yaman and Yaman Kalyan"
2603:
2484:
2464:. Philadelphia: Open University Press.
2406:p. 16â18. Lanham, MA: Scarecrow Press.
2371:Ritmo Oriental's First Album of the 70s
1972:Traditional sub-Saharan African harmony
1568:" and "Plum", and the solo changes to "
1048:Traditional sub-Saharan African harmony
165:pattern, part of a tune, or a complete
14:
3511:
2694:
2557:Stuff! Good Guitar Players Should Know
2424:Salsa Guidebook for Piano and Ensemble
2360:. Original Music cassette tape (1986).
2326:pp. 22â26, 62. Redway, CA: Bembe Inc.
2200:Copland, Aaron and Rich, Alan (2002).
2113:
2016:
1530:plays throughout the song (except for
1263:Vamp riff typical of funk and R&B
994:Ghanaian gyil cross-rhythmic ostinato
939:play ostinato melodies. These include
3352:
3049:
2796:
2744:Horner, Bruce; Swiss, Thomas (1999).
2695:Bakshi, Haresh (September 26, 2006).
2643:
2581:. Pacific, MO: Mel Bay. p. 124.
2517:. New York: Oxford University Press.
2141:
2041:
44:
1778:adding citations to reliable sources
1749:
1059:
856:
694:Bach C minor Passacaglia Variation 2
686:Bach C minor Passacaglia Variation 2
670:Bach C minor Passacaglia Variation 1
662:Bach C minor Passacaglia Variation 1
643:Bach C minor Passacaglia ground bass
635:Bach C minor Passacaglia ground bass
49:; derived from the Italian word for
1368:comes from the Middle English word
208:Ostinati play an important part in
24:
2789:Explanation with musical examples.
2737:
2721:
2280:Conversations with Igor Stravinsky
1713:
836:and in the closing section of his
528:Purcell, Dido's Lament ground bass
520:Purcell, Dido's Lament ground bass
25:
3570:
2822:
2767:
2576:
2097:Film Studies: Critical Approaches
1133:In various popular music styles,
1092:Cuban guajeo written in cut-time
804:Both the first and third acts of
569:Purcell Fantasia in 3 parts to a
3194:
3075:
2888:
2095:Gorbman, Claudia. "Film Music".
1754:
1235:Neither of the terms 'riff' or '
2715:
2688:
2570:
2503:
2478:
2453:
2444:New Harvard Dictionary of Music
2437:
2416:
2396:
2383:
2363:
2350:
2337:
2316:
2307:
2294:
2285:
2272:
2263:
2254:
2249:Henry Purcell's Dido and Aeneas
2241:
2234:Taruskin, R. (2010, p.13&)
2228:
2215:
2194:
2182:Graduate Review of Tonal Theory
1925:Glossary of musical terminology
1765:needs additional citations for
1722:, a vamp, or intro, is the few
1560:Examples include the outros to
1251:often uses guajeo-based riffs.
894:Three Pieces for String Quartet
484:Monteverdi Laetatus sum (1650)
255:in contemporary popular music.
2446:(1986) p. 708. Cambridge, MA:
2247:Harris, Ellen T. (1987, p108)
2174:
2165:
2089:
2074:Bella Brover-Lubovsky (2008).
2068:
2010:
1989:
1376:, equivalent to Modern French
1119:" guitar riff is guajeo-like.
1111:and popular music in general.
839:Variations on a Theme by Haydn
756:C sharp minor Quartet, Op. 131
409:(obstinate bass) is a type of
13:
1:
2152:Aspects of 20th Century Music
1983:
1542:
1010:African harmonic progressions
3378:
2511:Form in Rock Music: A Primer
2460:Middleton, Richard (2002) .
1479:Jazz, fusion, and Latin jazz
750:In the energetic Scherzo of
161:The repeating idea may be a
7:
2202:What to Listen for in Music
2020:The Music Industry Handbook
1886:
1502:
1055:Western musicâ(Kubik 1999).
503:") at the end of his opera
491:Later in the same century,
361:Later in the medieval era,
331:
10:
3575:
2304:. Oxford University Press.
2251:. Oxford, Clarendon Press.
2238:. Oxford University Press.
1465:Neil Young and Crazy Horse
1317:. Vamps are also found in
1126:
937:south of the Sahara Desert
651:motif in the upper voices:
3524:Italian words and phrases
3401:Consonance and dissonance
3386:
3308:
3203:
3192:
3083:
3005:
2897:
2886:
2830:
2752:. Malden, MA: Blackwell.
1396:", "House Rent Boogie"),
1224:" had an earlier life as
918:Sub-Saharan African music
2577:Corozine, Vince (2002).
2448:Harvard University Press
2343:Peñalosa, David (2010).
2322:Peñalosa, David (2010).
2126:Rawlins, Robert (2005).
1372:(sock), from Old French
1357:, and in rock music the
931:Counter-metric structure
822:Wagner, Parsifal Act 1,
365:'s 15th-century chanson
259:European classical music
3458:Otonality and utonality
2555:Marshall, Wolf (2008).
2485:Rooksby, Rikky (2002).
2422:MauleĂłn, Rebeca (1993)
2389:Kubik, Gerhard (1999).
2221:Stevens, D (1978, p81)
2101:Oxford University Press
1254:
1122:
468:William Byrd, The Bells
460:William Byrd, The Bells
2616:. Answers Corporation.
2462:Studying Popular Music
2055:Music: An Appreciation
1820:solo performances and
1810:Indian classical music
1746:Indian classical music
1651:Gospel, soul, and funk
1275:
1141:, often played by the
1104:
1057:
1006:
927:
879:
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573:
559:
529:
521:
488:
469:
461:
392:
382:
358:
293:composers, especially
199:
3323:Low-frequency effects
2898:Techniques and styles
2781:"Obstinate Ostinatos"
2652:Craig, David (1990).
2402:Lapidus, Ben (2008).
2369:Moore, Kevin (2011).
2356:Roberts, John Storm.
2017:Rutter, Paul (2010).
1262:
1184:Count Basie Orchestra
1091:
1052:
993:
925:
874:
848:
821:
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519:
483:
467:
459:
388:
380:
354:
285:, owes its name to a
187:
133:Bitter Sweet Symphony
77:compositions such as
3478:Schenkerian analysis
3473:Progressive tonality
3091:Acoustic bass guitar
2685:Craig (1990), p. 26.
2676:Craig (1990), p. 23.
2391:Africa and the Blues
2300:Vlad, R (1978, p52)
1774:improve this article
1704:Little Johnny Taylor
1526:time, which pianist
1341:. The equivalent in
877:Des pas sur la neige
866:Des pas sur la neige
824:transformation music
555:Dido's opening aria
390:Dufay Resvelons nous
381:Dufay Resvelons nous
69:in the same musical
46:[ostiËnaËto]
3539:Musical terminology
3146:Contrabass trombone
2832:Musical instruments
1345:is an ostinato, in
1220:". Glenn Miller's "
1040:Africanized guajeos
427:Elizabethan England
3544:Repetition (music)
3416:Secondary function
2654:On Singing Onstage
1995:Bufe, Chaz (1994).
1629:A Night in Tunisia
1586:My Favorite Things
1441:A Night in Tunisia
1276:
1105:
1007:
928:
907:Symphony of Psalms
880:
854:
827:
802:
794:
779:
771:
740:Marriage of Figaro
719:
711:
696:
688:
672:
664:
645:
637:
606:
593:
574:
560:
530:
522:
489:
474:Claudio Monteverdi
470:
462:
393:
383:
359:
356:Sumer is Icumen in
342:Sumer Is Icumen In
321:chord progressions
269:The Rite of Spring
90:Carol of the Bells
65:that persistently
53:, compare English
3506:
3505:
3411:Diatonic function
3346:
3345:
3096:Bass (voice type)
3043:
3042:
2774:Jazz Guitar Riffs
2412:978-0-8108-6204-3
2190:978-0-19-537698-2
1935:Imitation (music)
1806:
1805:
1798:
1694:Examples include
1677:Loleatta Holloway
1606:Bumpin' on Sunset
1541:'s modal period (
1457:Cantaloupe Island
1191:Richard Middleton
1155:heavy metal music
1060:Afro-Cuban guajeo
935:Many instruments
857:Twentieth century
789:
766:
706:
683:
659:
632:
602:Pachelbel's Canon
591:Pachelbel's Canon
588:
578:Pachelbel's Canon
517:
457:
425:; also common in
378:
16:(Redirected from
3566:
3549:Rhythm and meter
3534:Musical analysis
3488:Tonality diamond
3396:Circle of fifths
3373:
3366:
3359:
3350:
3349:
3198:
3126:Bass synthesizer
3070:
3063:
3056:
3047:
3046:
3020:Musical ensemble
2892:
2817:
2810:
2803:
2794:
2793:
2788:
2763:
2751:
2732:
2731:
2722:Bakshi, Haresh.
2719:
2713:
2712:
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2686:
2683:
2677:
2674:
2665:
2650:
2641:
2626:
2617:
2607:
2601:
2600:
2574:
2568:
2553:
2526:
2507:
2501:
2500:
2482:
2476:
2475:
2457:
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2441:
2435:
2420:
2414:
2400:
2394:
2387:
2381:
2367:
2361:
2354:
2348:
2345:The Clave Matrix
2341:
2335:
2320:
2314:
2311:
2305:
2298:
2292:
2289:
2283:
2282:. London, Faber.
2276:
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2124:
2111:
2093:
2087:
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2066:
2048:
2039:
2038:
2014:
2008:
1993:
1967:Sequence (music)
1879:) and practice (
1801:
1794:
1790:
1787:
1781:
1758:
1750:
1675:singers such as
1584:'s versions of "
1544:
1525:
1524:
1523:
1522:
1406:Who Do You Love?
1351:electronic music
1274:
1273:
1272:
1270:
1230:twelve bar blues
1103:
1102:
1101:
1099:
1005:
1004:
1003:
1001:
790:
767:
707:
684:
660:
633:
589:
534:Richard Taruskin
518:
458:
419:harmonic pattern
379:
295:Vincenzo Bellini
276:Augurs of Spring
228:and traditional
210:improvised music
197:
48:
43:
21:
3574:
3573:
3569:
3568:
3567:
3565:
3564:
3563:
3509:
3508:
3507:
3502:
3438:Major and minor
3428:Just intonation
3382:
3377:
3347:
3342:
3310:
3304:
3205:
3199:
3190:
3079:
3074:
3044:
3039:
3007:Music ensembles
3001:
2893:
2884:
2860:Electric guitar
2840:Acoustic guitar
2826:
2821:
2770:
2760:
2740:
2738:Further reading
2735:
2720:
2716:
2709:
2693:
2689:
2684:
2680:
2675:
2668:
2651:
2644:
2630:California Soul
2627:
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2255:
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2216:
2199:
2195:
2179:
2175:
2170:
2166:
2149:
2142:
2130:, pp. 132â133.
2125:
2114:
2103:. 2000. p. 43.
2094:
2090:
2073:
2069:
2049:
2042:
2035:
2015:
2011:
1994:
1990:
1986:
1981:
1945:Music sequencer
1889:
1802:
1791:
1785:
1782:
1771:
1759:
1748:
1720:musical theater
1716:
1714:Musical theater
1698:'s vamp-based "
1653:
1537:The music from
1521:
1516:
1515:
1514:
1513:
1512:
1505:
1481:
1469:Sooner or Later
1422:Nine Inch Nails
1390:John Lee Hooker
1364:The slang term
1343:classical music
1315:musical theater
1268:
1265:
1264:
1257:
1241:classical music
1131:
1125:
1097:
1094:
1093:
1062:
1012:
999:
996:
995:
933:
920:
859:
834:Fourth Symphony
808:'s final opera
784:
761:
731:
701:
678:
654:
627:
618:Mass in B minor
599:Ground bass of
583:
512:
506:Dido and Aeneas
452:
398:
373:
363:Guillaume Dufay
334:
297:; and later by
261:
198:
195:Edward Lowinsky
193:
103:Giorgio Moroder
41:
28:
23:
22:
15:
12:
11:
5:
3572:
3562:
3561:
3556:
3551:
3546:
3541:
3536:
3531:
3526:
3521:
3504:
3503:
3501:
3500:
3495:
3490:
3485:
3480:
3475:
3470:
3465:
3460:
3455:
3450:
3445:
3440:
3435:
3430:
3425:
3420:
3419:
3418:
3408:
3406:Diatonic scale
3403:
3398:
3393:
3387:
3384:
3383:
3376:
3375:
3368:
3361:
3353:
3344:
3343:
3341:
3340:
3335:
3330:
3325:
3320:
3318:Bass amplifier
3314:
3312:
3306:
3305:
3303:
3302:
3297:
3292:
3287:
3282:
3277:
3272:
3267:
3265:Unfigured bass
3262:
3257:
3252:
3250:Basso continuo
3247:
3242:
3237:
3236:
3235:
3230:
3220:
3215:
3213:Alternate bass
3209:
3207:
3201:
3200:
3193:
3191:
3189:
3188:
3183:
3178:
3176:Pedal keyboard
3173:
3168:
3163:
3158:
3153:
3148:
3143:
3138:
3133:
3128:
3123:
3121:Bass saxophone
3118:
3113:
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3103:
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3093:
3087:
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3081:
3080:
3073:
3072:
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3050:
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3040:
3038:
3037:
3035:Rhythm section
3032:
3027:
3022:
3017:
3011:
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3003:
3002:
3000:
2999:
2994:
2989:
2984:
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2974:
2969:
2964:
2959:
2954:
2952:Counter-melody
2949:
2944:
2943:
2942:
2937:
2927:
2925:Basso continuo
2922:
2917:
2912:
2907:
2901:
2899:
2895:
2894:
2887:
2885:
2883:
2882:
2877:
2872:
2867:
2865:Electric piano
2862:
2857:
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2847:
2842:
2836:
2834:
2828:
2827:
2820:
2819:
2812:
2805:
2797:
2791:
2790:
2776:
2769:
2768:External links
2766:
2765:
2764:
2758:
2739:
2736:
2734:
2733:
2728:Sound of India
2714:
2707:
2687:
2678:
2666:
2642:
2618:
2602:
2587:
2569:
2527:
2509:Covach, John.
2502:
2495:
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2140:
2112:
2088:
2067:
2040:
2033:
2027:. p. 78.
2009:
1987:
1985:
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1969:
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1952:
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1937:
1932:
1927:
1922:
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1905:
1898:
1895:Canto Ostinato
1890:
1888:
1885:
1804:
1803:
1762:
1760:
1753:
1747:
1744:
1715:
1712:
1708:Part Time Love
1652:
1649:
1602:Wes Montgomery
1594:Watermelon Man
1590:Herbie Hancock
1517:
1504:
1501:
1480:
1477:
1449:A Love Supreme
1402:Hey Bo Diddley
1394:Boogie Chillen
1287:musical figure
1256:
1253:
1239:' are used in
1214:The Hucklebuck
1210:Now's the Time
1202:Charlie Parker
1182:played by the
1143:rhythm section
1139:melodic figure
1127:Main article:
1124:
1121:
1061:
1058:
1011:
1008:
932:
929:
919:
916:
858:
855:
730:
727:
608:Two pieces by
411:variation form
407:basso ostinato
397:
394:
367:Resvelons Nous
333:
330:
304:Applicable in
260:
257:
191:
135:" (1997), and
113:'s theme from
26:
9:
6:
4:
3:
2:
3571:
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3557:
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3520:
3519:Accompaniment
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3516:
3514:
3499:
3498:Voice leading
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3489:
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3166:Keyboard bass
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3152:
3149:
3147:
3144:
3142:
3141:Contrabassoon
3139:
3137:
3134:
3132:
3131:Bass trombone
3129:
3127:
3124:
3122:
3119:
3117:
3114:
3112:
3109:
3107:
3104:
3102:
3101:Bass clarinet
3099:
3097:
3094:
3092:
3089:
3088:
3086:
3082:
3078:
3071:
3066:
3064:
3059:
3057:
3052:
3051:
3048:
3036:
3033:
3031:
3030:Pit orchestra
3028:
3026:
3023:
3021:
3018:
3016:
3013:
3012:
3010:
3008:
3004:
2998:
2995:
2993:
2990:
2988:
2985:
2983:
2980:
2978:
2977:Harmonization
2975:
2973:
2970:
2968:
2965:
2963:
2960:
2958:
2955:
2953:
2950:
2948:
2945:
2941:
2938:
2936:
2935:Triadic chord
2933:
2932:
2931:
2928:
2926:
2923:
2921:
2918:
2916:
2913:
2911:
2908:
2906:
2903:
2902:
2900:
2896:
2891:
2881:
2878:
2876:
2873:
2871:
2870:Hammond organ
2868:
2866:
2863:
2861:
2858:
2856:
2855:Electric bass
2853:
2851:
2848:
2846:
2843:
2841:
2838:
2837:
2835:
2833:
2829:
2825:
2824:Accompaniment
2818:
2813:
2811:
2806:
2804:
2799:
2798:
2795:
2786:
2782:
2777:
2775:
2772:
2771:
2761:
2759:0-631-21263-9
2755:
2750:
2749:
2742:
2741:
2729:
2725:
2718:
2710:
2704:
2700:
2699:
2691:
2682:
2673:
2671:
2663:
2662:1-55783-043-6
2659:
2655:
2649:
2647:
2639:
2638:0-520-20628-2
2635:
2631:
2625:
2623:
2615:
2611:
2606:
2598:
2594:
2590:
2588:0-7866-4961-5
2584:
2580:
2573:
2566:
2565:1-4234-3008-5
2562:
2558:
2552:
2550:
2548:
2546:
2544:
2542:
2540:
2538:
2536:
2534:
2532:
2524:
2523:0-19-517010-5
2520:
2516:
2512:
2506:
2498:
2496:0-87930-710-2
2492:
2488:
2481:
2473:
2471:0-335-15275-9
2467:
2463:
2456:
2449:
2445:
2440:
2433:
2432:0-9614701-9-4
2429:
2425:
2419:
2413:
2409:
2405:
2399:
2392:
2386:
2380:
2376:
2372:
2366:
2359:
2353:
2346:
2340:
2333:
2332:1-886502-80-3
2329:
2325:
2319:
2310:
2303:
2297:
2288:
2281:
2275:
2266:
2257:
2250:
2244:
2237:
2231:
2224:
2218:
2211:
2210:0-451-52867-0
2207:
2203:
2197:
2191:
2187:
2183:
2177:
2168:
2161:
2160:0-13-049346-5
2157:
2153:
2147:
2145:
2137:
2136:0-634-08678-2
2133:
2129:
2123:
2121:
2119:
2117:
2110:
2109:0-19-874280-0
2106:
2102:
2098:
2092:
2085:
2084:0-253-35129-4
2081:
2077:
2071:
2064:
2063:0-07-284484-1
2060:
2056:
2052:
2051:Kamien, Roger
2047:
2045:
2036:
2034:9781136725074
2030:
2026:
2022:
2021:
2013:
2006:
2005:9781884365003
2002:
1998:
1992:
1988:
1978:
1977:Minimal music
1975:
1973:
1970:
1968:
1965:
1963:
1960:
1958:
1957:
1953:
1951:
1948:
1946:
1943:
1941:
1938:
1936:
1933:
1931:
1928:
1926:
1923:
1921:
1920:
1916:
1914:
1911:
1909:
1906:
1904:
1903:
1899:
1897:
1896:
1892:
1891:
1884:
1882:
1878:
1874:
1870:
1866:
1862:
1858:
1854:
1850:
1846:
1841:
1837:
1835:
1831:
1827:
1823:
1819:
1815:
1811:
1800:
1797:
1789:
1779:
1775:
1769:
1768:
1763:This section
1761:
1757:
1752:
1751:
1743:
1741:
1737:
1733:
1727:
1725:
1721:
1711:
1709:
1705:
1701:
1697:
1696:Stevie Wonder
1692:
1690:
1689:Funky Drummer
1684:
1682:
1681:Andrae Crouch
1678:
1674:
1670:
1666:
1662:
1658:
1648:
1646:
1642:
1638:
1634:
1630:
1626:
1622:
1617:
1615:
1611:
1610:Larry Carlton
1607:
1603:
1599:
1595:
1591:
1587:
1583:
1579:
1578:Kenny Burrell
1575:
1574:John Coltrane
1571:
1567:
1563:
1562:George Benson
1558:
1556:
1552:
1548:
1547:jazz standard
1540:
1535:
1533:
1529:
1520:
1510:
1500:
1498:
1494:
1490:
1486:
1476:
1474:
1470:
1466:
1462:
1458:
1454:
1453:Maiden Voyage
1450:
1446:
1442:
1437:
1435:
1431:
1427:
1423:
1419:
1415:
1411:
1407:
1403:
1399:
1395:
1391:
1385:
1383:
1379:
1375:
1371:
1367:
1362:
1360:
1356:
1352:
1348:
1344:
1340:
1336:
1332:
1328:
1324:
1320:
1316:
1312:
1308:
1304:
1300:
1296:
1295:accompaniment
1292:
1288:
1285:
1281:
1271:
1261:
1252:
1250:
1246:
1242:
1238:
1233:
1231:
1227:
1223:
1219:
1215:
1211:
1207:
1203:
1199:
1194:
1192:
1187:
1185:
1181:
1178:
1174:
1173:
1168:
1164:
1160:
1156:
1152:
1148:
1147:accompaniment
1144:
1140:
1136:
1130:
1120:
1118:
1114:
1110:
1109:rock 'n' roll
1100:
1090:
1086:
1084:
1080:
1076:
1072:
1068:
1056:
1051:
1049:
1043:
1041:
1037:
1033:
1029:
1025:
1021:
1017:
1002:
992:
988:
986:
982:
978:
974:
970:
966:
962:
958:
954:
950:
947:, as well as
946:
942:
941:lamellophones
938:
926:Ghanaian gyil
924:
915:
913:
909:
908:
902:
900:
896:
895:
889:
885:
878:
873:
869:
867:
863:
852:
847:
843:
841:
840:
835:
831:
825:
820:
816:
813:
812:
807:
798:
782:
775:
759:
757:
753:
748:
746:
742:
741:
736:
726:
724:
715:
699:
692:
676:
668:
652:
650:
641:
625:
623:
619:
615:
611:
604:
603:
597:
581:
579:
572:
567:
563:
558:
557:"Ah! Belinda"
553:
549:
547:
544:." See also:
543:
539:
535:
526:
510:
508:
507:
502:
501:Dido's Lament
498:
494:
493:Henry Purcell
487:
482:
478:
475:
466:
450:
448:
444:
439:
436:
435:Aaron Copland
432:
428:
424:
420:
416:
412:
408:
404:
400:
391:
387:
371:
368:
364:
357:
353:
349:
347:
343:
339:
329:
326:
322:
318:
314:
311:
307:
302:
300:
296:
292:
288:
284:
282:
277:
273:
270:
266:
256:
254:
250:
246:
242:
237:
235:
231:
230:African music
227:
223:
219:
215:
211:
206:
204:
196:
190:
186:
184:
180:
176:
172:
168:
164:
159:
157:
153:
149:
144:
142:
138:
134:
130:
126:
122:
118:
117:
112:
111:Henry Mancini
108:
104:
100:
96:
95:popular songs
92:
91:
86:
85:
80:
76:
72:
68:
64:
60:
56:
52:
47:
39:
35:
30:
19:
3529:Bass (sound)
3493:Tonicization
3468:Polytonality
3463:Parallel key
3452:
3423:Figured bass
3311:reproduction
3300:Walking bass
3284:
3260:Figured bass
3223:Bass effects
3204:Performance/
3186:Washtub bass
3077:Bass (sound)
2986:
2905:Alberti bass
2784:
2747:
2727:
2717:
2701:. Trafford.
2697:
2690:
2681:
2653:
2629:
2613:
2605:
2578:
2572:
2556:
2514:
2510:
2505:
2486:
2480:
2461:
2455:
2443:
2439:
2423:
2418:
2403:
2398:
2390:
2385:
2374:
2370:
2365:
2357:
2352:
2344:
2339:
2323:
2318:
2309:
2301:
2296:
2287:
2279:
2274:
2265:
2256:
2248:
2243:
2235:
2230:
2222:
2217:
2201:
2196:
2181:
2176:
2167:
2151:
2127:
2096:
2091:
2075:
2070:
2054:
2019:
2012:
1996:
1991:
1954:
1930:Hook (music)
1917:
1913:Fill (music)
1900:
1893:
1880:
1876:
1871:(Tempo) and
1865:Raga Sangeet
1864:
1842:
1838:
1825:
1807:
1792:
1786:October 2015
1783:
1772:Please help
1767:verification
1764:
1739:
1735:
1731:
1728:
1717:
1700:Superstition
1693:
1685:
1654:
1644:
1640:
1636:
1632:
1618:
1559:
1554:
1536:
1528:Dave Brubeck
1518:
1506:
1496:
1482:
1461:Loose Change
1438:
1386:
1381:
1380:, literally
1377:
1373:
1369:
1365:
1363:
1279:
1278:In music, a
1277:
1234:
1226:Wingy Manone
1196:In jazz and
1195:
1188:
1180:arrangements
1170:
1134:
1132:
1106:
1074:
1063:
1053:
1044:
1039:
1034:. The Cuban
1016:Congo region
1013:
943:such as the
934:
905:
903:
893:
888:Robert Craft
881:
860:
837:
828:
809:
803:
780:
749:
739:
732:
720:
697:
673:
646:
607:
600:
575:
561:
531:
504:
490:
477:instruments:
471:
447:William Byrd
440:
430:
406:
402:
401:
399:
366:
360:
345:
335:
310:contrapuntal
303:
279:
275:
272:Introduction
271:
268:
264:
262:
252:
248:
244:
240:
238:
217:
213:
207:
202:
200:
188:
160:
151:
147:
145:
125:Baba O'Riley
114:
99:Donna Summer
88:
82:
54:
50:
37:
31:
29:
18:Vamp (music)
3483:Sonata form
3448:Neotonality
3280:Lament bass
3228:Bass chorus
3151:Double bass
3116:Bass pedals
3111:Bass guitar
3084:Instruments
3015:Backup band
2940:Power chord
2845:Double bass
2614:Answers.com
1962:Pedal point
1956:Passacaglia
1582:Grant Green
1539:Miles Davis
1532:Joe Morello
1418:Bron Yr Aur
1382:before-foot
1222:In the Mood
1218:Weary Blues
1161:, funk and
1117:I Feel Fine
1113:The Beatles
1073:. The term
1032:cover songs
1024:James Brown
977:cross-beats
851:ground bass
622:Passacaglia
546:Lament bass
486:Ground bass
413:in which a
403:Ground bass
317:avant-garde
247:, the word
234:Gnawa music
175:development
107:I Feel Love
3513:Categories
3443:Modulation
3270:Partimento
2962:Figuration
2915:Banjo roll
2880:Pipe organ
2708:1412231353
2632:, p. 224.
2559:, p. 138.
2302:Stravinsky
2204:, p. 117.
2099:. Oxford:
2078:, p. 151.
2057:, p. 611.
2023:. London:
1984:References
1661:soul music
1627:standard "
1625:Latin jazz
1555:vamp music
1493:Latin jazz
1410:Jimmy Page
1398:Bo Diddley
1378:avant-pied
1249:Latin jazz
1151:rock music
1083:Latin jazz
959:, and the
949:xylophones
884:Stravinsky
649:syncopated
614:Crucifixus
306:homophonic
232:including
226:Latin jazz
143:" (2007).
137:Flo Rida's
127:" (1971),
116:Peter Gunn
109:" (1977),
3333:Subwoofer
3290:Slap bass
3275:Jazz bass
3240:Bass note
3233:Fuzz bass
3218:Bass clef
3161:GuitarrĂłn
3156:Euphonium
3106:Bass drum
3025:Orchestra
2982:Obbligato
2656:, p. 22.
2375:Timba.com
2025:Routledge
1999:, p. 59.
1950:O Fortuna
1940:Leitmotif
1849:harmonium
1812:, during
1732:bell tone
1598:Chameleon
1566:Body Talk
1509:Take Five
1445:Take Five
1414:Ramble On
1284:repeating
951:like the
875:Debussy,
752:Beethoven
616:from his
542:heartache
497:chromatic
443:virginals
415:bass line
291:bel canto
287:crescendo
283:crescendo
239:The term
179:harmonies
171:variation
156:etymology
148:ostinatos
129:The Verve
75:classical
55:obstinate
3559:Tonality
3453:Ostinato
3380:Tonality
3328:Sub-bass
3295:Walkdown
3285:Ostinato
3245:Bassline
3206:notation
3171:Octobass
2987:Ostinato
2920:Bassline
2910:Arpeggio
2850:Drum kit
2597:50470629
2053:(1258).
1908:Chanking
1902:Chaconne
1887:See also
1818:Pakhawaj
1669:passages
1633:ostinato
1614:Room 335
1570:Breezin'
1503:Examples
1473:King's X
1455:", and "
1428:"), and
1208:number "
973:offbeats
969:gankoqui
912:pendulum
899:coincide
811:Parsifal
754:âs late
620:and the
610:J.S.Bach
423:Chaconne
332:Medieval
313:textures
265:Ostinati
241:ostinato
203:ostinato
192:â
163:rhythmic
152:ostinati
119:(1959),
97:such as
87:and the
51:stubborn
42:Italian:
38:ostinato
3391:Cadence
3136:Bassoon
2947:Comping
2373:. Web.
1845:sarangi
1740:rideout
1673:Salsoul
1608:", and
1596:" and "
1551:So What
1374:avanpie
1347:hip hop
1339:country
1331:R&B
1291:section
1247:music.
1198:R&B
1067:changĂŒĂ
985:hemiola
957:bikutsi
953:balafon
862:Debussy
745:Rossini
431:Grounde
281:Rossini
121:The Who
67:repeats
57:) is a
3338:Woofer
3255:Burden
2972:Groove
2756:
2705:
2660:
2636:
2595:
2585:
2563:
2521:
2493:
2468:
2430:
2410:
2347:p. 22.
2330:
2208:
2188:
2158:
2134:
2107:
2082:
2061:
2031:
2003:
1881:Riyaaz
1877:Taalim
1826:Lehara
1822:Kathak
1702:" and
1665:groove
1657:gospel
1637:guajeo
1580:, and
1489:fusion
1426:Closer
1337:, and
1327:reggae
1313:, and
1307:gospel
1172:Boléro
1081:, and
1075:guajeo
1036:guajeo
1026:-type
955:, the
830:Brahms
815:bells:
806:Wagner
735:Mozart
571:ground
299:Wagner
249:ground
167:melody
93:, and
84:Boléro
63:phrase
3554:Riffs
3309:Sound
2957:Drone
2930:Chord
2875:Piano
1919:Folia
1873:Swara
1861:flute
1857:sarod
1853:sitar
1834:Ragas
1814:Tabla
1736:sting
1643:, or
1621:bebop
1471:" by
1467:and "
1463:" by
1434:Loser
1370:vampe
1299:blues
1293:, or
1282:is a
1245:modal
1206:bebop
1167:Ravel
1159:Latin
1079:salsa
1020:mbira
981:beats
945:mbira
538:trope
421:(see
417:, or
338:canon
325:modal
222:modal
218:vamps
214:riffs
146:Both
79:Ravel
71:voice
59:motif
36:, an
34:music
3181:Tuba
2997:Vamp
2992:Riff
2967:Fill
2785:KDFC
2754:ISBN
2703:ISBN
2658:ISBN
2634:ISBN
2593:OCLC
2583:ISBN
2561:ISBN
2519:ISBN
2491:ISBN
2466:ISBN
2428:ISBN
2408:ISBN
2328:ISBN
2206:ISBN
2186:ISBN
2156:ISBN
2132:ISBN
2105:ISBN
2080:ISBN
2059:ISBN
2029:ISBN
2001:ISBN
1869:Laya
1830:Tala
1724:bars
1706:'s "
1659:and
1645:vamp
1641:riff
1612:'s "
1604:'s "
1592:'s "
1564:'s "
1485:jazz
1451:", "
1447:", "
1443:", "
1436:").
1430:Beck
1420:"),
1416:", "
1408:"),
1404:", "
1366:vamp
1359:riff
1355:loop
1353:the
1349:and
1323:funk
1319:rock
1311:soul
1303:jazz
1280:vamp
1269:Play
1255:Vamp
1237:lick
1177:head
1163:jazz
1135:riff
1129:Riff
1123:Riff
1098:Play
1069:and
1028:funk
1000:Play
965:kora
961:gyil
723:here
308:and
274:and
253:riff
224:and
183:keys
173:and
150:and
131:'s "
123:'s "
105:'s "
101:and
3433:Key
1816:or
1808:In
1776:by
1718:In
1655:In
1616:".
1600:",
1588:",
1497:tag
1483:In
1335:pop
1204:'s
1169:'s
1115:' "
1071:son
975:or
914:."
445:by
429:as
405:or
346:pes
245:pes
216:or
181:or
141:Low
81:'s
61:or
32:In
3515::
2783:.
2726:.
2669:^
2645:^
2621:^
2612:.
2591:.
2530:^
2377:.
2143:^
2115:^
2043:^
1859:,
1855:,
1851:,
1847:,
1836:.
1734:,
1687:("
1639:,
1635:,
1576:,
1557:.
1543:c.
1499:.
1487:,
1475:.
1432:("
1424:("
1412:("
1400:("
1392:("
1384:.
1361:.
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