Call and response – simple from involving a solo (call) followed by a group answering phrase (response) There are different rhythms in this piece, like Polyrhythm, syncopation and cross rhythms, etc. Polyrhythms in this piece which is all the rhythms add together. Syncopation is playing off the beat. Cross rhythms are rhythms that don’t fit in the bar line. In African instrumental music, there are five common features; they are repetition (including ostinato), cyclic structures, intertwining melodies, improvisation, and polyphonic texture.
Bunn almost has one. Callender and Thompson don’t have any. 4. I thought this piece is very well done, and is fun to listen to. Bebop soloists are usually more rhythmically advanced than swing soloists.
In the harmony we have a minor triad on the 6th and 5th degree, also a harmonic device used a lot in gospel music. On the 9th bar Miles plays the major seventh, Cannonball the 4th,Coltrane doubles Miles an octave lower and the rhythm section plays a dominant chord on the 5th. This voicing is then three times transposed and they end up playing on the eleventh bar the same voicing with the flat six on top, which means the rhythm section is playing a dominant chord on the flat seventh, which then resolves back to one after two bars and which is a substitution of a very gospel like chord change, 4 minor to
Adding it all together, it felt like each sound worked together to get this awesome combination of sounds. Most of their songs sounded homophonic, but obviously, the song Amazing Grace was monophonic. I wasn’t sure if Ovambo Summit was monophonic because there were some vocals but those weren’t played throughout the song. Also, many of their songs seemed to switch from monophony to homophony to polyphony during different sections. A lot of the songs had a fast rhythm but there were a few slow ones such as Lover’s leap, especially during the steel drum solo that made me feel peaceful and like I could float off into dreams.
The two chromatic notes [notes not in the original key] of a sharpened 4th and a flattened 7th appear in both keys, and the vocal melody ends on the flattened 7th of D major [C natural]. The augmented 4th interval [forming a tritone] is used frequently in West side Story. The flattened 7th is a blue note [the influence from jazz]. The harmony is tonal, but the chords contain added 6th,7ths, 9ths and 11ths. There is a dramatic neopolitan chord [the flattened supertonic- Eb major 1st inversion] in bar 95.
There’s an ostinato in the melody and no syncopation or unusual rhythms. The excerpt from For the First Time in Forever is forte, which means loud, with no crescendos or decrescendos. There are a lot of ties and a slur in the last bar of the harmony. There are also many dotted notes, which increases the note value by half. The chords used in the excerpt are C, F, G, A minor, E minor and B flat.
The performer sings a verse and then repeats the first line, sometimes with some variation. The third line completes the thought, often with a rhyme. A second form begins with the A-A-B pattern, but it also has an additional four lines, followed by a two-line refrain. The blues are about more than being sad. They were also delivering messages in musical code.
Dizzy Gillespie started adding the solos to the music. Dizzy Gillespie might meant to make he first three choruses to be introduction to this music. The pitch of each chorus is high to low. But if you listen to the music numerous times, you can find out that the whole music’s pitch it low to high. “Manteca” by Dizzy Gillespie is not really that exiting music.
By 16, he made the successful choice to switch to the baritone saxophone and was then involved in the Lucky Thompson’s band in 1947. His music has been described as being “very long, tumbling, double-time melodic lines. And that raw, piercing, bark-like timbre”. He had an amazing ability to play the difficult baritone at very fast paces of hard bop music like no other player had before. Some of his most famous songs include; Binary, Alone Together, and Now in Our lives.
However, the specific approach to the expression of this musical time (the "groove") is the primary differentiation between one genre and another. Except for rap, the performing ensemble is generally divided into a rhythm section and a horn section. Origin: