1.
Strum
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In music, strumming is a way of playing a stringed instrument such as a guitar. A strum or stroke is an action where a fingernail or plectrum brushes past several strings in order to set them all into motion. Strums are executed by the dominant hand, while the hand holds down notes on the fretboard. Strums are contrasted with plucking, as a means of activating strings into vibration, because in plucking. A hand-held pick or plectrum can only be used to pluck one string at a time, plucking multiple strings simultaneously requires a fingerstyle or fingerpick technique. A strumming pattern or strum is a pattern used by a rhythm guitar. Compare with pattern picking, strumming patterns may be indicated through notation, tablature, up and down arrows, a simple eight-to-a-bar rhythm is known as straight eights as opposed swung eights, in which each pair are played as the first and third notes in a triplet. The fretting hand can also be lifted off the fretboard to damp a chord, creating staccato, in reggae and ska, a few staccato chops are played per bar. In funk rhythm playing, the strumming hand keeps a steady motion in 16th notes, while the left hand. Some of the many possible fingerstyle strums include A slow downstroke with the thumb and this is a sforzando or emphatic way of playing a chord. Light brushing strokes with the fingers moving together at an angle to the strings. Works equally in either direction and can be alternated for a chord tremolo chord effect, upstrokes with one finger make a change from the standard downstroke strum. A pinch with the thumb and fingers moving towards each other gives a crisp effect and it is helpful to clearly articulate the topmost and bass note in the chord, as if plucking, before following through. Rasgueado, Strumming typically done by bunching all the right hand fingers, the rasgueado or rolling strum is particularly characteristic of flamenco. Turning p-a-m-i tremolo plucking into a series of downstrokes and this is a lighter version of the classic rasgueado, which uses upstrokes
2.
Power chord
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In guitar music, especially electric guitar, a power chord Play is a colloquial name for a chord that consists of the root note and the fifth. Power chords are played on amplified guitars, especially on electric guitar with distortion. Power chords are a key element of many styles of rock and especially in heavy metal, and punk rock. This effect is accentuated as most guitars are tuned based on equal temperament, with the result that minor thirds are narrower, however, in a power chord, the ratio between the frequencies of the root and fifth are very close to the just interval 3,2. When played through distortion, the leads to the production of partials closely related in frequency to the harmonics of the original two notes, producing a more coherent sound. Even when played without distortion, the ratios between the harmonics in the notes of a power chord can give a stark and powerful sound. Power chords also have the advantage of being relatively easy to play, allowing fast chord changes and easy incorporation into melodies. Theorists are divided on whether a chord can be considered a chord in the traditional sense. When the same interval is found in traditional and classical music, it would not usually be called a chord, and may be considered a dyad. However, the term is accepted as a pop and rock music term, most strongly associated with the electric guitar styles of hard rock, heavy metal, punk rock. The use of the power chord has, to some extent, spilled over into the vocabulary of other instrumentalists, such as keyboard. Power chords are most commonly notated 5 or, for example, C5 or C refer to playing the root and fifth. These can be inverted, so that the G is played below the C, another notation is ind, designating the chord as indeterminate. This refers to the fact that a chord is neither major nor minor. Power chords can be traced back to commercial recordings in the 1950s, link Wray is often cited as the first mainstream rock and roll musician to have used power chords, with Rumble. A later hit song built around power chords was You Really Got Me by the Kinks and this songs riffs exhibit fast power-chord changes. The Whos guitarist, Pete Townshend, performed power chords with a theatrical windmill-strum, on King Crimsons Red album, Robert Fripp thrashed with power chords. Power chords are important in many forms of rock music
3.
Fingerstyle guitar
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Fingerstyle guitar is the technique of playing the guitar by plucking the strings directly with the fingertips, fingernails, or picks attached to fingers, as opposed to flatpicking. The term is used synonymously with fingerpicking, although fingerpicking can also refer to a specific tradition of folk, blues. Often, the guitarist will play the notes, interspersed with the melodys accompanying chords. Some fingerpicking guitarists also intersperse percussive tapping along with the melody, chords and this enables a single guitarist to provide all of these important song elements. This enables singer-guitarists to accompany themselves, and it enables smaller groups which have only a single guitarist to use one guitarist to provide all of these musical elements. Fingerpicking is a technique on the classical or nylon string guitar. Fingerpicking is less common on electric guitars, except in the metal music virtuoso style of lead guitar playing known as shred guitar. Because individual digits play notes on the rather than the hand working as a single unit. Deep bass notes, harmonic accompaniment, melody, and percussion can all be played simultaneously when playing Fingerstyle, players do not have to carry a plectrum, but fingernails may have to be maintained at the right length and in good condition. It is possible to play multiple non-adjacent strings at exactly the same time and this enables the guitarist to play a very low bass note and a high treble note at the same time. This enables the guitarist to play double stops, such as an octave, a fifth, (an exception to this may be found in the flamenco technique of rasgueado. It is easy to play arpeggios, but the techniques for tremolo and it is possible to play chords without any arpeggiation, because up to five strings can be plucked simultaneously. There is less need for fretting hand damping in playing chords, a greater variation in strokes is possible, allowing greater expressiveness in timbre and dynamics. A wide variety of strums and rasgueados are possible, less energy is generally imparted to strings than with plectrum playing, leading to lower volume when playing acoustically. Playing on heavier gauge strings can damage nails, fingerstyle is more suited to nylon strings or lighter gauge steel strings Nylon string guitars are most frequently played fingerstyle. The term Classical guitar music can refer to any kind of art music played on a nylon string guitar, or more narrowly to music of the classical period, as opposed to baroque or romantic music. The major feature of classical fingerstyle technique is that it enables solo rendition of harmony, the technique is intended to maximise the degree of control over the musical dynamics, texture, volume and timbral characteristics of the guitar. Careful attention is paid to the posture of the player
4.
Outline of guitars
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The following outline is provided as an overview of and topical guide to guitars, Guitar – plucked string instrument, usually played with fingers or a pick. The guitar consists of a body with a neck to which the strings. Guitars are traditionally constructed of various woods and strung with gut or, more recently. Some modern guitars are made of polycarbonate materials, guitars are made and repaired by luthiers. There are two families of guitars, acoustic and electric. Games Guitar Freaks An arcade game featuring playing guitars Guitar Hero Like Guitar Freaks, concerto Suite for Electric Guitar and Orchestra Classical guitar music Instrumental guitar Tablature notation See Guitar tunings and List of guitar tunings. C
5.
Rhythm
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Rhythm generally means a movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions. In the performance arts, rhythm is the timing of events on a scale, of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language. In some performing arts, such as hip hop music, the delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as timed movement through space, in recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, Godfried Toussaint, William Rothstein, and Joel Lester. In Thinking and Destiny, Harold W. Percival defined rhythm as the character and meaning of thought expressed through the measure or movement in sound or form, or by written signs or words. In his television series How Music Works, Howard Goodall presents theories that human rhythm recalls the regularity with which we walk, other research suggests that it does not relate to the heartbeat directly, but rather the speed of emotional affect, which also influences heartbeat. Yet other researchers suggest that certain features of human music are widespread. The perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, Joseph Jordania recently suggested that the sense of rhythm was developed in the early stages of hominid evolution by the forces of natural selection. Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, some types of parrots can know rhythm. There is not a report of an animal being trained to tap, peck. For this reason, the fast-transient sounds of percussion instruments lend themselves to the definition of rhythm, Musical cultures that rely upon such instruments may develop multi-layered polyrhythm and simultaneous rhythms in more than one time signature, called polymeter. Such are the cross-rhythms of Sub-Saharan Africa and the interlocking kotekan rhythms of the gamelan, for information on rhythm in Indian music see Tala. For other Asian approaches to rhythm see Rhythm in Persian music, Rhythm in Arabian music and Usul—Rhythm in Turkish music and this consists of a series of identical yet distinct periodic short-duration stimuli perceived as points in time. It is currently most often designated as a crotchet or quarter note in western notation, faster levels are division levels, and slower levels are multiple levels. Rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit. A rhythmic gesture is any pattern that, in contrast to the rhythmic unit
6.
Pulse (music)
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In music and music theory, the pulse consists of beats in a series of identical yet distinct periodic short-duration stimuli perceived as points in time occurring at the mensural level. This pulse is typically what listeners entrain to as they tap their foot or dance along with a piece of music, the pulse may be audible or implied. The tempo of the piece is the speed of the pulse, if a pulse becomes too fast it would become a drone, one that is too slow would be perceived as unconnected sounds. When the period of any continuous beat is faster than 8–10 per second or slower than 1 per 1. 5–2 seconds, musical pulses are generally specified in the range 40 to 240 beats per minute. The pulse is not necessarily the fastest or the slowest component of the rhythm and this is currently most often designated as a crotchet or quarter note when written. In fact there is a tendency to perceptually group or differentiate an ideal pulse in this way. A repetitive, regularly accented pulse-group is called a meter, pulses can occur at multiple metric levels - see figure. Pulse groups may be distinguished as synchronous, if all pulses on slower levels coincide with those on faster levels, an isochronal or equally spaced pulse on one level that uses varied pulse groups create a pulse on the multiple level that is non-isochronal
7.
Rhythm section
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Many of the rhythm section instruments, such as keyboard instruments and guitars, are also used to play the chord progression upon which the song is based. The bass instrument plays the bassline that supports the chord progression. The term is common in small musical ensembles, such as bands that play jazz, country, blues. In modern rock music, a rhythm guitarist specializes in rhythmic and chordal playing, often repeating quaver, in the louder genres, such as hard rock, heavy metal and punk rock, rhythm guitarists often play power chords with distortion. Rhythm guitarists often strum open chords in pop, rock, country and folk music and play barre chords in many pop, a typical rhythm section comprises one or more guitars, and/or a keyboard instrument a double bass or electric bass, and drums. In some styles of music, there may be additional percussionists playing instruments such as the djembe or shakers, some styles of music often have two electric guitarists, such as rock genres like heavy metal music and punk rock. Some styles of music use multiple keyboard instrument performers simultaneously for a fuller sound, the instrumentalists used in a rhythm section vary according to the style of music and era. Modern pop, rock and jazz band rhythm sections typically consist of a drummer, a bass player, the term rhythm section may also refer to the instruments in this group. In music industry parlance, the amplifiers and some of the instruments are nicknamed the backline, backline instruments are commonly provided for bands at music festivals and other concerts where several bands will play during an event. By providing these backline instruments, this speeds up the process when new bands take the stage. Even when a venue or festival provides a backline, musicians must still supply some instruments themselves, such as guitars, a bass, and, in some cases. Although rhythm sections spend much of the time providing accompaniment for songs, in some cases, in some songs or styles of music, instruments from the rhythm section may play soloistic roles on occasion or play a melodic role. However, since rhythm sections provide the underpinning for a performance by the lead instruments and vocalists. Some of the most accomplished rhythm sections have become famous, such as The Band, The E Street Band and Sly Dunbar, as well, in some popular bands, all of the band members, including rhythm section members, have become famous as individuals. In each style of music, there are different musical approaches and styles that rhythm section members are expected to use, drummers and percussionists are expected to be able to improvise or prepare rhythm parts that suit the style of a given song. In some cases, an arranger, orchestrator or composer will provide a bass part or drum part written in music notation. Rhythm section members may be expected to sing backup vocals or harmony parts in some styles of music, in some types of heavy metal music, rhythm section members may be expected to be able to headbang while performing. Less commonly, some rhythm section members may sing lead vocals, in some groups, one rhythm section member may have other roles, such as bandleader, conductor, songwriter, composer or arranger
8.
Drum kit
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A drum kit consists of a mix of drums and idiophones most significantly cymbals but also including the woodblock and cowbell. In the 2000s, some also include electronic instruments and both hybrid and entirely electronic kits are used. If some or all of them are replaced by electronic drums, the drum kit is usually played while seated on a drum stool or throne. The drum kit differs from instruments that can be used to produce pitched melodies or chords, even though drums are often placed musically alongside others that do, such as the piano or guitar. The drum kit is part of the rhythm section used in many types of popular and traditional music styles ranging from rock and pop to blues. Other standard instruments used in the section include the electric bass, electric guitar. Many drummers extend their kits from this pattern, adding more drums, more cymbals. Some performers, such as some rockabilly drummers, use small kits that omit elements from the basic setup, some drum kit players may have other roles in the band, such as providing backup vocals, or less commonly, lead vocals. Thus, in an early 1800s orchestra piece, if the called for bass drum, triangle and cymbals. In the 1840s, percussionists began to experiment with foot pedals as a way to them to play more than one instrument. In the 1860s, percussionists started combining multiple drums into a set, the bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Double-drumming was developed to one person to play the bass and snare with sticks. With this approach, the drum was usually played on beats one. This resulted in a swing and dance feel. The drum set was referred to as a trap set. By the 1870s, drummers were using an overhang pedal, most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05, liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist. The bass drum became the central piece around which every other percussion instrument would later revolve and it was the golden age of drum building for many famous drum companies, with Ludwig introducing
9.
Bass guitar
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The bass guitar is a stringed instrument played primarily with the fingers or thumb, by plucking, slapping, popping, strumming, tapping, thumping, or picking with a plectrum, often known as a pick. The bass guitar is similar in appearance and construction to a guitar, but with a longer neck and scale length. The four-string bass, by far the most common, is tuned the same as the double bass. The bass guitar is an instrument, as it is notated in bass clef an octave higher than it sounds to avoid excessive ledger lines. Like the electric guitar, the guitar has pickups and it is plugged into an amplifier and speaker on stage, or into a larger PA system using a DI unit. Since the 1960s, the guitar has largely replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary widely from one style of music to another, many styles of music utilise the bass guitar, including rock, heavy metal, pop, punk rock, country, reggae, gospel, blues, symphonic rock, and jazz. It is often a solo instrument in jazz, jazz fusion, Latin, funk, progressive rock and other rock, the adoption of a guitar form made the instrument easier to hold and transport than any of the existing stringed bass instruments. The addition of frets enabled bassists to play in more easily than on acoustic or electric upright basses. Around 100 of these instruments were made during this period, around 1947, Tutmarcs son, Bud, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948, however, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender, with the help of his employee George Fullerton and his Fender Precision Bass, which began production in October 1951, became a widely copied industry standard. This split pickup, introduced in 1957, appears to have been two mandolin pickups, the pole pieces and leads of the coils were reversed with respect to each other, producing a humbucking effect. Humbucking is a design that electrically cancels the effect of any AC hum, the Fender Bass was a revolutionary new instrument, which could be easily transported, and which was less prone to feedback when amplified than acoustic bass instruments. Monk Montgomery was the first bass player to tour with the Fender bass guitar, roy Johnson, and Shifty Henry with Louis Jordan & His Tympany Five, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from bass to the Fender Precision Bass around 1957. The bass guitar was intended to appeal to guitarists as well as upright bass players, following Fenders lead, in 1953, Gibson released the first short scale violin-shaped electric bass with extendable end pin, allowing it to be played upright or horizontally. In 1959 these were followed by the more conventional-looking EB-0 Bass, the EB-0 was very similar to a Gibson SG in appearance
10.
Harmony
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In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords, the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the aspect of music, as distinguished from melodic line. In popular and jazz harmony, chords are named by their root plus various terms, in many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with tensions. A tension is an additional member that creates a relatively dissonant interval in relation to the bass. Typically, in the common practice period a dissonant chord resolves to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds, in simple words, that occurs when there is a balance between tense and relaxed moments. The term harmony derives from the Greek ἁρμονία, meaning joint, agreement, concord, from the verb ἁρμόζω, to fit together, the term was often used for the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements, in the Middle Ages the term was used to describe two pitches sounding in combination, and in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, which is thought the first work in European history written on the subject of harmony, the underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use, ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and contrapuntal. The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory and this is usually accounted for by the replacement of horizontal writing, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation, as Carl Dahlhaus puts it, It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the structure of chords but also their movement, like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions, pitch simultaneity in particular is rarely a major consideration. Nevertheless, emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias, the conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation. Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, some traditions of Western music performance, composition, and theory have specific rules of harmony. This model provides that the seventh and ninth are not dissonant
11.
Guitar chord
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In music, a guitar chord is a set of notes played on a guitar. A chords notes are played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning, standard tuning requires four chord-shapes for the major triads. There are separate chord-forms for chords having their root note on the third, fourth, fifth, for a six-string guitar in standard tuning, it may be necessary to drop or omit one or more tones from the chord, this is typically the root or fifth. The layout of notes on the fretboard in standard tuning often forces guitarists to permute the order of notes in a chord. The playing of chords is simplified by open tunings, which are especially popular in folk, blues guitar. For example, the typical twelve-bar blues uses only three chords, each of which can be played by fretting six-strings with one finger, open tunings are used especially for steel guitar and slide guitar. Open tunings allow one-finger chords to be played with greater consonance than do other tunings, the playing of guitar chords is simplified by the class of alternative tunings called regular tunings, in which the musical intervals are the same for each pair of consecutive strings. Regular tunings include major-thirds tuning, all-fourths, and all-fifths tunings, for each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies beginners learning of chords and that simplifies advanced players improvisation. On the other hand, in regular tunings 6-string chords are more difficult to play and it can make a possible a chord which is composed of the all same note on different strings. Many chords can be played with the notes in more than one place on the fretboard. The theory of guitar-chords respects harmonic conventions of Western music, discussions of basic guitar-chords rely on fundamental concepts in music theory, the twelve notes of the octave, musical intervals, chords, and chord progressions. The octave consists of twelve notes and its natural notes constitute the C major scale. The unison and octave intervals have perfect consonance, octave intervals were popularized by the jazz playing of Wes Montgomery. The perfect-fifth interval is highly consonant, which means that the playing of the two notes from the perfect fifth sounds harmonious. A semitone is the distance between two adjacent notes on the circle, which displays the twelve notes of an octave. As indicated by their having been emboldened in the table, a handful of intervals—thirds, perfect fifths, as already stated, the perfect-fifths interval is the most harmonious, after the unison and octave intervals. An explanation of perception of harmony relates the mechanics of a vibrating string to the musical acoustics of sound waves using the harmonic analysis of Fourier series
12.
Chord progression
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A chord progression or harmonic progression is a succession of musical chords. Chord progressions are the foundation of harmony in Western musical tradition, in tonal music, chord progressions have the function of establishing or contradicting a tonality. Chord progressions are usually expressed by Roman numerals, a chord may be built upon any note of a musical scale, therefore a seven-note scale allows seven basic chords, each degree of the scale becoming the root of its own chord. A chord built upon the note A is an A chord of some type The harmonic function of any particular chord depends on the context of the chord progression in which it is found. The diatonic harmonization of any major results in three major triads. They are based on the first, fourth, and fifth scale degrees and these three triads include, and therefore can harmonize, every note of that scale. The same scale also provides three relative minor chords, one related to each of the three major chords, separate from these six common chords there is one degree of the scale, the seventh, that results in a diminished chord. In addition, extra notes may be added to any chord, if these notes are also selected from the original scale the harmony remains diatonic. If new chromatic intervals are introduced then a change of scale or modulation occurs and this in turn may lead to a resolution back to the original key, so that the entire sequence of chords helps create an extended musical form. In western classical notation, chords built on the scale are numbered with Roman numerals, other forms of chord notation have been devised, from figured bass to the chord chart. These usually allow or even require an amount of improvisation. Diatonic scales such as the major and minor scales lend themselves well to the construction of common chords because they contain a large number of perfect fifths. Such scales predominate in those regions where harmony is an part of music, as, for example. Alternation between two chords may be thought of as the most basic chord progression, many well-known pieces are built harmonically upon the mere repetition of two chords of the same scale. The Isley Brothers Shout uses I - vi throughout, three-chord tunes, though, are more common, since a melody may then dwell on any note of the scale. They are often presented as successions of four chords, in order to produce a binary harmonic rhythm, often the chords may be selected to fit a pre-conceived melody, but just as often it is the progression itself that gives rise to the melody. (Common in Elizabethan music, this also underpins the American college song Goodnight Ladies, is the exclusive progression used in Kwela, similar progressions abound in African popular music. They may be varied by the addition of sevenths to any chord or by substitution of the minor of the IV chord to give, for example
13.
Chord sequence
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A chord progression or harmonic progression is a succession of musical chords. Chord progressions are the foundation of harmony in Western musical tradition, in tonal music, chord progressions have the function of establishing or contradicting a tonality. Chord progressions are usually expressed by Roman numerals, a chord may be built upon any note of a musical scale, therefore a seven-note scale allows seven basic chords, each degree of the scale becoming the root of its own chord. A chord built upon the note A is an A chord of some type The harmonic function of any particular chord depends on the context of the chord progression in which it is found. The diatonic harmonization of any major results in three major triads. They are based on the first, fourth, and fifth scale degrees and these three triads include, and therefore can harmonize, every note of that scale. The same scale also provides three relative minor chords, one related to each of the three major chords, separate from these six common chords there is one degree of the scale, the seventh, that results in a diminished chord. In addition, extra notes may be added to any chord, if these notes are also selected from the original scale the harmony remains diatonic. If new chromatic intervals are introduced then a change of scale or modulation occurs and this in turn may lead to a resolution back to the original key, so that the entire sequence of chords helps create an extended musical form. In western classical notation, chords built on the scale are numbered with Roman numerals, other forms of chord notation have been devised, from figured bass to the chord chart. These usually allow or even require an amount of improvisation. Diatonic scales such as the major and minor scales lend themselves well to the construction of common chords because they contain a large number of perfect fifths. Such scales predominate in those regions where harmony is an part of music, as, for example. Alternation between two chords may be thought of as the most basic chord progression, many well-known pieces are built harmonically upon the mere repetition of two chords of the same scale. The Isley Brothers Shout uses I - vi throughout, three-chord tunes, though, are more common, since a melody may then dwell on any note of the scale. They are often presented as successions of four chords, in order to produce a binary harmonic rhythm, often the chords may be selected to fit a pre-conceived melody, but just as often it is the progression itself that gives rise to the melody. (Common in Elizabethan music, this also underpins the American college song Goodnight Ladies, is the exclusive progression used in Kwela, similar progressions abound in African popular music. They may be varied by the addition of sevenths to any chord or by substitution of the minor of the IV chord to give, for example
14.
Fret
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A fret is a raised element on the neck of a stringed instrument. Frets usually extend across the width of the neck. On most modern western fretted instruments, frets are metal strips inserted into the fingerboard, on some historical instruments and non-European instruments, frets are made of pieces of string tied around the neck. Frets divide the neck into fixed segments at intervals related to a musical framework, on instruments such as guitars, each fret represents one semitone in the standard western system, in which one octave is divided into twelve semitones. Fret is often used as a verb, meaning simply to press down the string behind a fret, fretting often refers to the frets and/or their system of placement. Pressing the string against the fret reduces the length of the string to that between the bridge and the next fret between the fretting finger and the bridge. This is damped if the string were stopped with the fingertip on a fretless fingerboard. Frets make it easier for a player to achieve an acceptable standard of intonation. Furthermore, a fretted fingerboard makes it easier to play chords accurately, a disadvantage of frets is that they restrict pitches to the temperament defined by the fret positions. A player may still influence intonation, however, by pulling the string to the side to increase string tension and this technique is often used by electric guitarists of all genres, and is an important part of sitar playing. On instruments with frets that are thicker off the fingerboard, string tension, sometimes a player can pull the string toward the bridge or nut, thus lowering or raising the string tension and pitch. However, except for instruments that accommodate extensive string pulling, like the sitar, since the intonation of most modern western fretted instruments is equal tempered, the ratio of the distances of two consecutive frets to the bridge is 212, or approximately 1.059463. Theoretically, the twelfth fret should divide the string in two exact halves, to compensate for the increase in string tension when the string is pressed against the frets, the bridge position is adjusted slightly so the 12th fret plays exactly in tune. Fan frets (also fanned frets, slanted frets, or multi-scale, Frets are generally perpendicular to the instruments neck centerline, on a fanned fretboard, the frets are angled with only one center fret perpendicular to the neck’s centerline. This gives the strings more length and the higher strings shorter length. The idea is to more accurate tuning and deeper bass. Some think that fanned frets might be more ergonomic, fanned frets first appeared on the 16th century Orpharion, a variant of the cittern, tuned like a lute. John Starrett revived the idea in the seventies on his innovative instrument
15.
Arpeggio
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A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord, an arpeggio is a type of broken chord where the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also more than one octave. The word arpeggio comes from the Italian word arpeggiare, which means to play on a harp, even though the notes of an arpeggio are not played or sung all together at the same time, listeners hear the sequence of notes as forming a chord. When an arpeggio also contains passing tones that are not part of the chord, Arpeggios enable composers writing for monophonic instruments that play one note at a time, to voice chords and chord progressions in musical pieces. Arpeggios and broken chords are used to help create rhythmic interest. A notable example of which is the Alberti bass figuration which was used in piano music from the Classical music period. With an Alberti bass, rather play the notes of a chord all at once. An arpeggio is a group of notes which are played one after the other, executing an arpeggio requires the player to play the sounds of a chord individually to differentiate the notes. The notes all belong to one chord, the chord may, for example, be a simple chord with the 1st, 3rd, and 5th notes of the scale in it. An arpeggio for the chord of C major going up two octaves would be the notes, an arpeggio is a type of broken chord. Other types of broken chords play chord notes out of sequence or more than one note, Arpeggios can rise or fall for more than one octave. Students of musical instruments and singers learn how to play and sing scales and they are often a requirement for music examinations. An arpeggiated chord means a chord which is spread, i. e. the notes are not played at the same time, arpeggiated chords are often used in harp and piano music. An arpeggiated chord may be written with a vertical line in front of the chord. It is spread from the lowest to the highest note, occasionally, composers such as Béla Bartók have asked for them to be played from top to bottom. This is shown by adding an arrow pointing down, some ostinato figures consist of arpeggios. Any instrument may employ arpeggiation, but the instruments use arpeggios most often
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Damping (music)
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Damping is a technique in music for altering the sound of a musical instrument. Damping methods are used for a number of instruments, scratching is where the strings are played while damped, i. e. the strings are damped before playing. The term presumably refers to the sound produced. In funk music this is often done over a sixteenth note pattern with occasional sixteenths undamped, skanking is when a note is isolated by left hand damping of the two strings adjacent to the fully fretted string, producing the desired note. The technique is popular among ska, rocksteady and reggae guitarists. Damping is possible on other string instruments by halting the vibration of the using the left hand. On a piano, damping is controlled by the sustain pedal, damping is also important in most percussion instruments in the gamelan, including sarons, gendérs, and gangsas. On instruments that are played with a mallet, the left hand is used to damp the previously hit note when a new note is played. On the gendèr, which is played with mallets in both hands, the keys must be damped by the same hand
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Ostinato
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In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The repeating idea may be a pattern, part of a tune. Both ostinatos and ostinati are accepted English plural forms, the reflecting the words Italian etymology. If the cadence may be regarded as the cradle of tonality, within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action. Ostinato plays an important part in improvised music, in which it is referred to as a riff or a vamp. A favorite technique of contemporary writers, ostinati are often used in modal and Latin jazz. Ostinato are used in 20th-century music to stabilize groups of pitches, as in Stravinskys The Rite of Spring Introduction and Augurs of Spring. A famous type of ostinato, called the Rossini crescendo, owes its name to a crescendo that underlies a persistent musical pattern and this style was emulated by other bel canto composers, especially Vincenzo Bellini, and later by Wagner. Applicable in homophonic and contrapuntal textures they are repetitive rhythmic-harmonic schemes, more familiar as accompanimental melodies, the techniques appeal to composers from Debussy to avant-garde composers until at least the 1970s. Lies in part in the need for unity created by the abandonment of functional chord progressions to shape phrases. Relentless, repetitive character help to establish and confirm the modal center and 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 lead to monotony. Ground bass or basso ostinato is a type of form in which a bass line. Aaron Copland describes basso ostinato as, the easiest to recognize of the variation forms wherein. A long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, however, he cautions, it might more properly be termed a musical device than a musical form. Many instruments south of the Sahara Desert play ostinato melodies and these include lamellophones such as the mbira, as well as xylophones like the balafon, the bikutsi, and the gyil. Ostinato figures are also played on string instruments such as the kora, gankoqui bell ensembles, often, African ostinatos contain offbeats or cross-beats, that contradict the metric structure. Other African ostinatos generate complete cross-rhythms by sounding both the main beats and cross-beats, in the following example, a gyil sounds the three-against-two cross-rhythm
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Jazz guitar
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The term jazz guitar may refer to either a type of guitar or to the variety of guitar playing styles used in the various genres which are commonly termed jazz. The jazz-type guitar was born as a result of using electric amplification to increase the volume of acoustic guitars. Conceived in the early 1930s, the guitar became a necessity as jazz musicians sought to amplify their sound to be heard over loud big bands. When guitarists in big bands only had acoustic guitars, all they could do was play chords, once guitarists switched from acoustic guitar to electric guitar and began using guitar amplifiers, it made the guitar much easier to hear, which enabled guitarists to play guitar solos. Arguably, no musical instrument had greater influence on how jazz evolved since the beginning of the twentieth century. Traditionally, jazz guitarists use an archtop with a relatively broad hollow sound-box, violin-style f-holes, a floating bridge. Solid body guitars, mass-produced since the early 1950s, are also used, Jazz guitar playing styles include comping with jazz chord voicings and blowing over jazz chord progressions with jazz-style phrasing and ornaments. Comping refers to playing chords underneath a melody or another musicians solo improvisations. When jazz guitar players improvise, they may use the scales, modes, the stringed, chord-playing rhythm can be heard in groups which included military band-style instruments such as brass, saxes, clarinets, and drums, such as early jazz groups. As the acoustic guitar became a popular instrument in the early 20th century. The Gibson L5, an acoustic guitar which was first produced in 1923, was an early “jazz”-style guitar which was used by early jazz guitarists such as Eddie Lang. During the late 1930s and through the 1940s—the heyday of big band jazz, some guitarists, such as Freddie Green of Count Basie’s band, developed a guitar-specific style of accompaniment. Few of the big bands, however, featured amplified guitar solos, improved electric guitars such as Gibson’s ES-175, gave players a larger variety of tonal options. In the 1940s through the 1960s, players such as Wes Montgomery, Joe Pass, as jazz-rock fusion emerged in the early 1970s, many players switched to the more rock-oriented solid body guitars. Other jazz guitarists, like Grant Green and Wes Montgomery, turned to applying their skills to pop-oriented styles that fused jazz with soul and R&B, younger jazz musicians rode the surge of electric popular genres such as blues, rock, and funk to reach new audiences. Fusion players such as John McLaughlin adopted the fluid, powerful sound of guitarists such as Clapton. McLaughlin was an innovator, incorporating hard jazz with the new sounds of Clapton, Hendrix, Beck. Guitarists such as Pat Martino, Al Di Meola, Larry Coryell, John Abercrombie, John Scofield, in addition, they also simply turned up to full volume in order to create natural overdrive such as the blues rock players
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Strums
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In music, strumming is a way of playing a stringed instrument such as a guitar. A strum or stroke is an action where a fingernail or plectrum brushes past several strings in order to set them all into motion. Strums are executed by the dominant hand, while the hand holds down notes on the fretboard. Strums are contrasted with plucking, as a means of activating strings into vibration, because in plucking. A hand-held pick or plectrum can only be used to pluck one string at a time, plucking multiple strings simultaneously requires a fingerstyle or fingerpick technique. A strumming pattern or strum is a pattern used by a rhythm guitar. Compare with pattern picking, strumming patterns may be indicated through notation, tablature, up and down arrows, a simple eight-to-a-bar rhythm is known as straight eights as opposed swung eights, in which each pair are played as the first and third notes in a triplet. The fretting hand can also be lifted off the fretboard to damp a chord, creating staccato, in reggae and ska, a few staccato chops are played per bar. In funk rhythm playing, the strumming hand keeps a steady motion in 16th notes, while the left hand. Some of the many possible fingerstyle strums include A slow downstroke with the thumb and this is a sforzando or emphatic way of playing a chord. Light brushing strokes with the fingers moving together at an angle to the strings. Works equally in either direction and can be alternated for a chord tremolo chord effect, upstrokes with one finger make a change from the standard downstroke strum. A pinch with the thumb and fingers moving towards each other gives a crisp effect and it is helpful to clearly articulate the topmost and bass note in the chord, as if plucking, before following through. Rasgueado, Strumming typically done by bunching all the right hand fingers, the rasgueado or rolling strum is particularly characteristic of flamenco. Turning p-a-m-i tremolo plucking into a series of downstrokes and this is a lighter version of the classic rasgueado, which uses upstrokes
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Acoustic music
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Acoustic music is music that solely or primarily uses instruments that produce sound through acoustic means, as opposed to electric or electronic means. The retronym acoustic music appeared after the advent of electric instruments, such as the guitar, electric violin, electric organ. It has its origins in the music of the 1960s. The trend has also dubbed as acoustic rock in some cases. Navigating the Music Industry, Current Issues & Business Models, Music and the Modern Condition, Investigating the Boundaries
21.
Country music
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Country music is a genre of United States popular music that originated in the southern United States in the 1920s. It takes its roots from the genre of United States, such as folk music. Blues modes have been used throughout its recorded history. The term country music is used today to many styles and subgenres. In 2009 country music was the most listened to rush hour radio genre during the evening commute, immigrants to the Southern Appalachian Mountains of North America brought the music and instruments of Europe and Africa along with them for nearly 300 years. Country music was introduced to the world as a Southern phenomenon, Bristol, Tennessee, has been formally recognized by the U. S. Congress as the Birthplace of Country Music, based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum, historians have also noted the influence of the less-known Johnson City sessions of 1928 and 1929, and the Knoxville sessions of 1929 and 1930. Prior to these, pioneer settlers, in the Great Smoky Mountains region, had developed a musical heritage. The first generation emerged in the early 1920s, with Atlantas music scene playing a role in launching countrys earliest recording artists. Okeh Records began issuing hillbilly music records by Fiddlin John Carson as early as 1923, followed by Columbia Records in 1924, many hillbilly musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. The most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville, during the 1930s and 1940s, cowboy songs, or Western music, which had been recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another musician from the Lower Great Plains who had become very popular as the leader of a hot string band. His mix of country and jazz, which started out as dance hall music, Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had played at Carnegie Hall. Gospel music remained a component of country music. It became known as honky tonk, and had its roots in Western swing and the music of Mexico. By the early 1950s a blend of Western swing, country boogie, rockabilly was most popular with country fans in the 1950s, and 1956 could be called the year of rockabilly in country music. Beginning in the mid-1950s, and reaching its peak during the early 1960s, the late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres
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Blues
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Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. Blue notes, usually thirds or fifths flattened in pitch, are also a part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove, Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times, Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society. Many elements, such as the format and the use of blue notes. The origins of the blues are closely related to the religious music of the Afro-American community. The first appearance of the blues is often dated to after the ending of slavery and, later and it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century, the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues, World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a form called blues rock evolved. The term blues may have come from blue devils, meaning melancholy and sadness, the phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the intense visual hallucinations that can accompany severe alcohol withdrawal. As time went on, the phrase lost the reference to devils, by the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, in lyrics the phrase is often used to describe a depressed mood. The lyrics of traditional blues verses probably often consisted of a single line repeated four times. Two of the first published songs, Dallas Blues and Saint Louis Blues, were 12-bar blues with the AAB lyric structure. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times, the lines are often sung following a pattern closer to rhythmic talk than to a melody
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Rock music
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It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of genres such as electric blues and folk. Musically, rock has centered on the guitar, usually as part of a rock group with electric bass guitar. Typically, rock is song-based music usually with a 4/4 time signature using a verse-chorus form, like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. Punk was an influence into the 1980s on the subsequent development of subgenres, including new wave, post-punk. From the 1990s alternative rock began to rock music and break through into the mainstream in the form of grunge, Britpop. Similarly, 1970s punk culture spawned the visually distinctive goth and emo subcultures and this trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, Hammond organ and synthesizers. The basic rock instrumentation was adapted from the blues band instrumentation. A group of musicians performing rock music is termed a rock band or rock group, Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four. Melodies are often derived from older musical modes, including the Dorian and Mixolydian, harmonies range from the common triad to parallel fourths and fifths and dissonant harmonic progressions. Critics have stressed the eclecticism and stylistic diversity of rock, because of its complex history and tendency to borrow from other musical and cultural forms, it has been argued that it is impossible to bind rock music to a rigidly delineated musical definition. These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm, as a result, it has been seen as articulating the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, rock and roll usually implies an identification of male sexuality, according to Simon Frith rock was something more than pop, something more than rock and roll. Rock musicians combined an emphasis on skill and technique with the concept of art as artistic expression, original. The foundations of music are in rock and roll, which originated in the United States during the late 1940s and early 1950s. Its immediate origins lay in a melding of various musical genres of the time, including rhythm and blues and gospel music, with country. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, debate surrounds which record should be considered the first rock and roll record. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis
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Heavy metal music
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Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. Heavy metal lyrics and performance styles are associated with aggression. The first heavy metal such as Led Zeppelin, Black Sabbath. During the mid-1970s, Judas Priest helped spur the evolution by discarding much of its blues influence, Motörhead introduced a punk rock sensibility. Beginning in the late 1970s, bands in the new wave of British heavy metal such as Iron Maiden, before the end of the decade, heavy metal fans became known as metalheads or headbangers. During the 1980s, glam metal became popular with such as Mötley Crüe. Since the mid-1990s popular styles have further expanded the definition of the genre and these include groove metal and nu metal, the latter of which often incorporates elements of grunge and hip hop. Heavy metal is characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound. Metal subgenres variously emphasize, alter, or omit one or more of these attributes, the typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, and a singer, who may or may not be an instrumentalist. Keyboard instruments are used to enhance the fullness of the sound. Deep Purples Jon Lord played an overdriven Hammond organ, in 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III, by the 1990s, in. almost every subgenre of heavy metal synthesizers were used. The electric guitar and the power that it projects through amplification has historically been the key element in heavy metal. The heavy metal guitar sound comes from a use of high volumes. Guitar solos are an element of the heavy metal code. That underscores the significance of the guitar to the genre, most heavy metal songs featur at least one guitar solo, which is a primary means through which the heavy metal performer expresses virtuosity. One exception is nu metal bands, which tend to omit guitar solos, with rhythm guitar parts, the heavy crunch sound in heavy metal. Palm muting the strings with the hand and using distortion. Palm muting creates a tighter, more sound and it emphasizes the low end
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Big band
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A big band is a type of musical ensemble associated with playing jazz music and which became popular during the Swing Era from the early 1930s until the late 1940s. Big Bands evolved with the times and continue to this day, a big band typically consists of approximately 12 to 25 musicians and contains saxophones, trumpets, trombones, and a rhythm section. The terms jazz band, jazz ensemble, stage band, jazz orchestra and this does not, however, mean that each one of these names is technically correct for naming a big band specifically. The music is traditionally called charts, improvised solos may be played only when called for by the arranger. There are two periods in the history of popular bands. Beginning in the mid-1920s, big bands, then consisting of 10–25 pieces. At that time they played a form of jazz that involved very little improvisation, which included a string section with violins. A few bands also had violas and cellos, usually one or two along with them, the dance form of jazz was characterized by a sweet and romantic melody. Orchestras tended to stick to the melody as it was written and vocals would be sung, many of these artists changed styles or retired after the introduction of swing music. Although unashamedly commercial, these bands often featured front-rank jazz musicians - for example Paul Whiteman employed Bix Beiderbecke, there were also all-girl bands such as Helen Lewis and Her All-Girl Jazz Syncopators. Towards the end of the 1920s, a new form of Big Band emerged which was more authentically jazz and this form of music never gained the popularity of the sweet dance form of jazz. The few recordings made in form of jazz were labelled race records and were intended for a limited urban audience. Few white musicians were familiar with music, Johnny Mercer. The three major centres in this development were New York City, Chicago and Kansas City, some big ensembles, like the Joe King Oliver outfit played a kind of half arranged, half improvised jazz, often relying on head arrangements. Other great bands, like the one of Luis Russell became a vehicle for star instrumentalists, there the whole arrangement had to promote all the possibilities of the star, although they often contained very good musicians, like Henry Red Allen, J. C. Earl Hines became the star of Chicago with his Grand Terrace Cafe band, meanwhile, in Kansas City and across the Southwest, an earthier, bluesier style was developed by such bandleaders as Benny Moten and, later, by Jay McShann and Jesse Stone. Radio was a factor in gaining notice and fame for Benny Goodman. Soon, others challenged him, and the battles of the bands became a staple at theater performances featuring many groups on one bill
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Accompaniment
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Accompaniment is the musical parts which provide the rhythmic and/or harmonic support for the melody or main themes of a song or instrumental piece. There are many different styles and types of accompaniment in different genres and styles of music, in homophonic music, the main accompaniment approach used in popular music, a clear vocal melody is supported by subordinate chords. In popular music and traditional music, the accompaniment parts typically provide the beat for the music, the accompaniment for a vocal melody or instrumental solo can be played by a single musician playing an instrument such as piano, pipe organ, or guitar. A solo singer can accompany herself by playing guitar or piano while she sings, and in rare cases. With choral music, the accompaniment to a vocal solo can be provided by other singers in the choir, accompaniment parts range from so simple that a beginner can play them to so complex that only an advanced player or singer can perform them. An accompanist is a musician who plays an accompaniment part, accompanists often play keyboard instruments (e. g. piano, pipe organ, synthesizer or, in folk music and traditional styles, a guitar. A number of classical pianists have found success as accompanists rather than soloists, arguably the best known example is Gerald Moore, the accompaniment instrumentalists and/or singers can be provided with a fully notated accompaniment part written or printed on sheet music. This is the norm in Classical music and in most large ensemble writing, chord-playing musicians can improvise chords, fill-in melodic lines and solos from the chord chart. It is rare for chords to be written out in music notation in pop. Some guitarists, bassists and other stringed instrumentalists read accompaniment parts using tabulature, drummers can play accompaniment by following the lead sheet, a sheet music part in music notation, or by playing by ear. In some cases, an arranger or composer may give a bassist a bass part that is written out in music notation. Comping Counter-melody Figure Figured bass Guitar picking Hauptstimme Strum The dictionary definition of accompaniment at Wiktionary
27.
Polyrhythm
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Polyrhythm is the simultaneous use of two or more conflicting rhythms, that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic conflict may be the basis of a piece of music. In some European art music, polyrhythm periodically contradicts the prevailing meter, for example, polyrhythm is heard near the opening of Beethovens Third Symphony. It is a common feature of the music of Brahms. Writing about the Violin Sonata in G major, Op and these ideas gather at the climax at measure 235, with the layering of phrases making an effect that perhaps during the 19th century only Brahms could have conceived. The illusion of simultaneous 34 and 68, suggests polymeter, triple meter combined with compound duple meter, however, the two beat schemes interact within a metric hierarchy. The triple beats are primary and the beats are secondary. The four-note ostinato pattern of Mykola Leontovychs Carol of the Bells is the composite of the two-against-three hemiola, another example of polyrhythm can be found in measures 64 and 65 of the first movement of Wolfgang Amadeus Mozarts Twelfth Piano Sonata. Three evenly spaced sets of three attack-points span two measures, the physical basis of cross-rhythms can be described in terms of interference of different periodicities. A simple example of a cross-rhythm is 3 evenly spaced notes against 2, other cross-rhythms are 4,3,5,2,5,3,5,4, etc. All these interval ratios are found in the harmonic series, in traditional European rhythms, the most fundamental parts typically emphasize the primary beats. By contrast, in rhythms of sub-Saharan African origin, the most fundamental parts typically emphasize the secondary beats and this often causes the uninitiated ear to misinterpret the secondary beats as the primary beats, and to hear the true primary beats as cross-beats. In other words, the background and foreground may mistakenly be heard. In Non-Saharan African music traditions, cross-rhythm is the generating principle, cross-rhythm was first explained as the basis of non-Saharan rhythm in lectures by C. K. Ladzekpo and the writings of David Locke, from the philosophical perspective of the African musician, cross-beats can symbolize the challenging moments or emotional stress we all encounter. Playing cross-beats while fully grounded in the beats, prepares one for maintaining a life-purpose while dealing with lifes challenges. Many non-Saharan languages do not have a word for rhythm, or even music, from the African viewpoint, the rhythms represent the very fabric of life itself, they are an embodiment of the people, symbolizing interdependence in human relationships—Peñalosa. At the center of a core of rhythmic traditions within which the composer conveys his ideas is the technique of cross-rhythm, the technique of cross-rhythm is a simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter
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Keyboard instrument
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A keyboard instrument is a musical instrument played using a keyboard. The most common of these are the piano, organ, and various keyboards, including synthesizers. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, and carillons, today, the term keyboard often refers to keyboard-style synthesizers. Another important use of the keyboard is in historical musicology. Particularly in the 18th century, the harpsichord, the clavichord, and the piano were in competition. Hence in a phrase like Mozart excelled as a player the word keyboard is usefully noncommittal. The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, the keys were likely balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu. Intent, that is “let him thunder forth as he presses out mighty roarings with a light touch”, from its invention until the fourteenth century, the organ remained the only keyboard instrument. Often, the organ did not feature a keyboard at all, almost every keyboard until the fifteenth century had seven naturals to each octave. The clavichord and the harpsichord appeared during the 14th century—the clavichord probably being earlier, the harpsichord and clavichord were both common until widespread adoption of the piano in the 18th century, after which their popularity decreased. The piano was revolutionary, because a pianist could vary the volume of the sound by varying the vigor with which each key was struck. The pianos full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late 19th century, in fact, the modern piano is significantly different from even the 19th-century pianos used by Liszt, Chopin, and Brahms. See Piano history and musical performance, keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century and this was a very important contribution to the keyboards history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size, the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period, more recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Concerns celebrated keyboard players and the various instruments used over the centuries
29.
Electric guitar
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The vibrations of the strings are sensed by a pickup, of which the most common type is the magnetic pickup, which uses the principle of direct electromagnetic induction. The signal generated by a guitar is too weak to drive a loudspeaker, so it is plugged into a guitar amplifier before being sent to a loudspeaker. The output of a guitar is an electric signal. Invented in 1931, the electric guitar was adopted by jazz guitarists. Early proponents of the guitar on record included Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker. During the 1950s and 1960s, the guitar became the most important instrument in pop music. It has evolved into an instrument that is capable of a multitude of sounds and styles in genres ranging from pop and rock to country music, blues and jazz. It served as a component in the development of electric blues, rock and roll, rock music, heavy metal music. Electric guitar design and construction vary greatly in the shape of the body and the configuration of the neck, bridge, Guitars may have a fixed bridge or a spring-loaded hinged bridge that lets players bend the pitch of notes or chords up or down or perform vibrato effects. The sound of a guitar can be modified by new playing techniques such as string bending, tapping, hammering on, using audio feedback, in a small group, such as a power trio, one guitarist switches between both roles. In larger rock and metal bands, there is often a rhythm guitarist, many experiments at electrically amplifying the vibrations of a string instrument were made dating back to the early part of the 20th century. Patents from the 1910s show telephone transmitters were adapted and placed inside violins, hobbyists in the 1920s used carbon button microphones attached to the bridge, however, these detected vibration from the bridge on top of the instrument, resulting in a weak signal. With numerous people experimenting with electrical instruments in the 1920s and early 1930s, Electric guitars were originally designed by acoustic guitar makers and instrument manufacturers. Some of the earliest electric guitars adapted hollow-bodied acoustic instruments and used tungsten pickups, the first electrically amplified guitar was designed in 1931 by George Beauchamp, the general manager of the National Guitar Corporation, with Paul Barth, who was vice president. The maple body prototype for the one-piece cast aluminum frying pan was built by Harry Watson, commercial production began in late summer of 1932 by the Ro-Pat-In Corporation, in Los Angeles, a partnership of Beauchamp, Adolph Rickenbacker, and Paul Barth. In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company, in that year Beauchamp applied for a United States patent for an Electrical Stringed Musical Instrument and the patent was issued in 1937. The Electro-Spanish Ken Roberts provided players a full 25 scale, with 17 frets free of the fretboard and it is estimated that fewer than 50 Electro-Spanish Ken Roberts were constructed between 1933 and 1937, fewer than 10 are known to survive today. The need for the guitar became apparent during the big band era as orchestras increased in size, particularly when acoustic guitars had to compete with large
30.
Acoustic guitar
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An acoustic guitar is a guitar that produces sound acoustically—by transmitting the vibration of the strings to the air—as opposed to relying on electronic amplification. The sound waves from the strings of an acoustic guitar resonate through the guitars body and this typically involves the use of a sound board and a sound box to strengthen the vibrations of the strings. The main source of sound in a guitar is the string. The string vibrates at a frequency and also creates many harmonics at various different frequencies. The frequencies produced can depend on string length, mass, gitterns, a small plucked guitar were the first small guitar-like instruments created during the Middle Ages with a round back like that of a lute. Modern guitar shaped instruments were not seen until the Renaissance era where the body, the earliest string instruments that related to the guitar and its structure where broadly known as the vihuelas within Spanish musical culture. Vihuelas where string instruments that were seen in the 16th century during the Renaissance. Later, Spanish writers distinguished these instruments into 2 categories of vihuelas, the vihuela de arco was an instrument that mimicked the violin, and the vihuela de penola was played with a plectrum or by hand. When it was played by hand it was known as the vihuela de mano, vihuela de mano shared extreme similarities with the Renaissance guitar as it used hand movement at the sound hole or sound chamber of the instrument to create music. The real production of guitars kicked off in France where the popularity, the production became so large that early famous creators such as Gaspard Duyffooprucgars instruments were being sold as copies by other guitar makers in Lyon. Benoist Lejeune, a maker, offered and sold guitar copies of Duyffoprucgars instruments and was later imprisoned for using his mark and work. During this time, the production was increasing tremendously but it was not until Robert and Claude Denis appeared overproducing the early Renaissance guitar in Paris, as father and son, Robert and Claude produced hundreds of guitars that increased the popularity of the instrument greatly. Because of them and the great many guitar inventors of this time, by 1790 only six-course vihuela guitars were being created and had become the main type and model of guitar used in Spain. Most of the older 5-course guitars where still in use but were also being modified to a six-coursed acoustical guitar, by the 19th century, coursed strings where evolved into 6 single-stringed instruments much like that of the guitar today. It had evolved into the modern look except for size, retaining a smaller frame, the acoustic guitars soundboard, or top, also has a strong effect on the loudness of the guitar. No amplification actually occurs in this process, because no energy is added to increase the loudness of the sound. All the energy is provided by the plucking of the string, but without a soundboard, the string would just cut through the air without actually moving it much. The soundboard increases the surface of the area in a process called mechanical impedance matching
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Recording studio
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A recording studio is a facility for sound recording and mixing. Ideally both the recording and monitoring spaces are designed by an acoustician or audio engineer to achieve optimum acoustic properties. The engineers and producers listen to the music and the recorded tracks on monitor speakers and/or headphones. Major recording studios typically have a range of large, heavy, Isolation booths are small sound-insulated rooms with doors, designed for instrumentalists. This equipment may interfere with the recording process, Recording studios are carefully designed around the principles of room acoustics to create a set of spaces with the acoustical properties required for recording sound with precision and accuracy. This will consist of both room treatment and soundproofing to prevent sound from leaving the property. Even though sound isolation is a key goal, the musicians, singers, audio engineers and record producers still need to be able to see other, to see cue gestures. As such, the room, isolation booths, vocal booths. Some smaller studios do not have instruments, and bands and artists are expected to bring their own instruments, having musical instruments and equipment in the studio creates additional costs for a studio, as pianos have to be tuned and instruments need to be maintained. However, it makes it convenient for recording artists, as they do not have to bring in large. As well, less costly studio time is spent moving in gear, drummers bring their own snare drum, cymbals and sticks/brushes. The types and brands of equipment owned by a studio depends on the styles of music for the bands. A studio that mainly records heavy metal music will be likely to have large, powerful guitar amp heads, in contrast, a studio which mainly records country bands will likely have a selection of small, vintage combo amps. A studio that records a lot of 1970s-style funk may have an electric piano. General purpose computers have rapidly assumed a role in the recording process. A computer thus outfitted is called a Digital Audio Workstation, or DAW, other software applications include Ableton Live, Mixcraft, Cakewalk Sonar, ACID Pro, FL Studio, Adobe Audition, Auto-Tune, Audacity, and Ardour. While Apple Macintosh is used for most studio work, there is a breadth of available for Microsoft Windows. If no mixing console is used and all mixing is done using only a keyboard and mouse, the OTB is used when mixing with other hardware and not just the PC software
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Bluegrass music
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Bluegrass music is a form of American roots music, and a related genre of country music. Settlers from Britain and Ireland arrived in Appalachia during the 18th century and these traditions consisted primarily of English and Scottish ballads—which were essentially unaccompanied narrative—and dance music, such as Irish reels, which were accompanied by a fiddle. Many older bluegrass songs come directly from the British Isles, several Appalachian bluegrass ballads, such as Pretty Saro, Barbara Allen, Cuckoo Bird and House Carpenter, come from England and preserve the English ballad tradition both melodically and lyrically. Others, such as The Two Sisters, also come from England, however, some bluegrass fiddle songs popular in Appalachia, such as Leather Britches, and Pretty Polly, have Scottish roots. The dance tune Cumberland Gap may be derived from the tune that accompanies the Scottish ballad Bonnie George Campbell and this is in contrast to old-time music, in which all instruments play the melody together or one instrument carries the lead throughout while the others provide accompaniment. Breakdowns are often characterized by rapid tempos and unusual instrumental dexterity, there are three major subgenres of bluegrass and one unofficial subgenre. Traditional bluegrass has musicians playing folk songs, tunes with traditional chord progressions, progressive bluegrass groups may use electric instruments and import songs from other genres, particularly rock & roll. Examples include Cadillac Sky and Bearfoot, another subgenre, Bluegrass gospel uses Christian lyrics, soulful three- or four-part harmony singing, and sometimes the playing of instrumentals. Bluegrass music has attracted a following worldwide. Bluegrass pioneer Bill Monroe characterized the genre as, Scottish bagpipes and its Methodist and Holiness and Baptist. Its blues and jazz, and it has a high lonesome sound, unlike mainstream country music, bluegrass is traditionally played on acoustic stringed instruments. The fiddle, five-string banjo, guitar, mandolin, and upright bass are often joined by the resonator guitar and this instrumentation originated in rural dance bands and is the basis on which the earliest bluegrass bands were formed. The guitar is now most commonly played with a style referred to as flatpicking, unlike the style of bluegrass guitarists such as Lester Flatt. Banjo players often use the three-finger picking style made popular by such as Don Reno. Fiddlers frequently play in thirds and fifths, producing a sound that is characteristic to the bluegrass style, bassists almost always play pizzicato, occasionally adopting the slap-style to accentuate the beat. A bluegrass bass line is generally a rhythmic alternation between the tonic and dominant of each chord, with walking bass excursions. Instrumentation has been a topic of debate. Traditional bluegrass performers believe the correct instrumentation is used by Bill Monroes band
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Folk music
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Folk music includes both traditional music and the genre that evolved from it during the 20th century folk revival. The term originated in the 19th century, but is applied to music older than that. Some types of music are also called world music. Traditional folk music has been defined in several ways, as music transmitted orally, music with unknown composers and it has been contrasted with commercial and classical styles. Starting in the century, a new form of popular folk music evolved from traditional folk music. This process and period is called the revival and reached a zenith in the 1960s. This form of music is called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times and this type of folk music also includes fusion genres such as folk rock, folk metal, electric folk, and others. Even individual songs may be a blend of the two, a consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions and they are extensions of the term folklore, which was coined in 1846 by the English antiquarian William Thoms to describe the traditions, customs, and superstitions of the uncultured classes. Traditional folk music also includes most indigenous music, however, despite the assembly of an enormous body of work over some two centuries, there is still no certain definition of what folk music is. Some do not even agree that the term Folk Music should be used, Folk music may tend to have certain characteristics but it cannot clearly be differentiated in purely musical terms. One meaning often given is that of old songs, with no known composers, the fashioning and re-fashioning of the music by the community that give it its folk character. Such definitions depend upon processes rather than abstract musical types, one widely used definition is simply Folk music is what the people sing. For Scholes, as well as for Cecil Sharp and Béla Bartók, Folk music was already. seen as the authentic expression of a way of life now past or about to disappear, particularly in a community uninfluenced by art music and by commercial and printed song. In these terms folk music may be seen as part of a schema comprising four types, primitive or tribal, elite or art, folk. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre
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Beat (music)
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In music and music theory, the beat is the basic unit of time, the pulse, of the mensural level. In popular use, beat can refer to a variety of related concepts including, tempo, meter, specific rhythms, Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats and divided into bars organized by time signature and tempo indications. Metric levels faster than the level are division levels. Beat has always been an important part of music, some music genres such as disco will in general de-emphasize the beat, while other such as funk emphasize the beat to accompany dance. The downbeat is the first beat of the bar, i. e. number 1, the upbeat is the last beat in the previous bar which immediately precedes, and hence anticipates, the downbeat. Both terms correspond to the direction taken by the hand of a conductor, an anticipatory note or succession of notes occurring before the first barline of a piece is sometimes referred to as an upbeat figure, section or phrase. Alternative expressions include pickup and anacrusis, the latter term was borrowed from the field of poetry, in which it refers to one or more unstressed extrametrical syllables at the beginning of a line. In music that progresses regularly in 44 time, counted as 1234,1234. The first beat of the bar is usually the strongest accent in the melody and the likeliest place for a change, the third is the next strongest. The second and fourth are weaker—the off-beats, subdivisions that fall between the pulse beats are even weaker and these, if used frequently in a rhythm, can also make it off-beat. The effect can be simulated by evenly and repeatedly counting to four. This is a technique of African polyrhythm that transferred to popular western music. According to Grove Music, the Offbeat is where the downbeat is replaced by a rest or is tied over from the preceding bar, the downbeat can never be the off-beat because it is the strongest beat in 44 time. Certain genres tend to emphasize the off-beat, where this is a characteristic of rocknroll. A back beat, or backbeat, is a syncopated accentuation on the off beat, in a simple 44 rhythm these are beats 2 and 4. A big part of R&Bs attraction had to do with the stompin backbeats that make it so eminently danceable, an early record with an emphasised back beat throughout was Good Rockin Tonight by Wynonie Harris in 1948. There is a back beat on Roll Em Pete by Pete Johnson and Big Joe Turner. A distinctive back beat can be heard on Back Beat Boogie by Harry James And His Orchestra, outside U. S. popular music, there are early recordings of music with a distinctive backbeat, such as the 1949 recording of Mangaratiba by Luiz Gonzaga in Brazil
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Syncopation
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In music, syncopation involves a variety of rhythms which are in some way unexpected which make part or all of a tune or piece of music off-beat. More simply, syncopation is a term for a disturbance or interruption of the regular flow of rhythm. The correlation of at least two sets of time intervals, also known as an Uneven movement from bar to bar. Syncopation is used in musical styles, especially dance music--All dance music makes use of syncopation. In the form of a beat, syncopation is used in virtually all contemporary popular music. The latter frequently occurs in tonal cadences in 18th and early 19th century music and is the conclusion of any section. A hemiola can also be seen as one measure in 3 with one long chord and one short chord. Usually, the last chord in a hemiola is a dominant, technically, syncopation occurs when a temporary displacement of the regular metrical accent occurs, causing the emphasis to shift from a strong accent to a weak accent. Syncopation is, however, very simply, a disruption of the two- or three-beat stress pattern, most often by stressing an off-beat. In the following example, there are two points of syncopation where the beats are carried over from the second beats rather than missed. In the same way, the first beat of the bar is carried over from the fourth beat of the first bar. Play Though syncopation may be complex, dense or complex looking rhythms often contain no syncopation. For example, in meters with even numbers of beats, the stress falls on the odd-numbered beats. If the even-numbered beats are stressed instead, the rhythm is syncopated, accordingly, the former implies duple meter while the latter implies quadruple meter. In general emphasizing the and would be considered the off-beat, anticipated bass is a bass tone that comes syncopated shortly before the downbeat, which is used in Son montuno Cuban dance music. Timing can vary, but it falls on the 2+ as well as the 4 of the 44 time, thus anticipating the third. This pattern is known as the Afro-Cuban bass tumbao. Richard Middleton suggests adding the concept of transformation to Narmours prosodic rules which create rhythmic successions in order to explain or generate syncopations, the syncopated pattern is heard with reference to, in light of, as a remapping of, its partner
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Accent (music)
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In music, an accent is an emphasis, stress, or stronger attack placed on a particular note or set of notes, or chord, either as a result of its context or specifically indicated by an accent mark. Accents contribute to the articulation and prosody of a performance of a musical phrase, accents may be written into a score or part by a composer or added by the performer as part of his or her interpretation of a musical piece. Compared to surrounding notes, A dynamic accent or stress accent is an emphasis using louder sound or a stronger articulation, a tonic accent is an emphasis on notes by virtue of being higher in pitch as opposed to higher in volume. An agogic accent is an emphasis by virtue of being longer in duration, accents which do not correspond to the stressed beats of the prevailing meter are said to be syncopated. For example, in time, also called 4/4, the most common metre in popular music. If chords or notes are played on two or four, this creates syncopation, as the music is emphasizing the weak beats of the bar. Syncopation is used in Classical music, popular music and traditional music, however, it is more prominent in blues, jazz, funk, disco and Latin music. There are four kinds of accents, Longer notated duration of a note, for example. Extended duration of a note within its full-time value, for example, players of organ and harpsichord can emphasize one of a sequence of staccato quarter notes by making it less staccato. Extended duration of a note with the effect of slowing down the tempo. Delayed onset of a note, for example by doing a pause before starting a note, in music notation, an accent mark indicates a louder dynamic and a stronger attack to apply to a single note or an articulation mark. The most common is the accent, the fourth symbol in the diagram above. The vertical accent, third in the diagram, may be stronger or weaker than the horizontal accent, in most musical works this type of accent is meant to be played more forcefully and usually shorter. The remaining marks typically shorten a note, staccato, the first symbol shown above, indicates that the last part of a note should be silenced to create separation between it and the following note. For example, a quarter note should be played as an eighth note followed by an eighth rest. The duration of a note may be about half as long as the note value would indicate, although the tempo. In jazz articulation, it is stated as dit, the staccatissimo, shown second, is usually interpreted as shorter than the staccato, but composers up to the time of Mozart used these symbols interchangeably. A staccatissimo crotchet would be played in traditional art music as a lightly articulated semi-quaver followed by rests which fill the remainder of the beat
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Rhythm and blues
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Rhythm and blues, often abbreviated as R&B or RnB, is a genre of popular African-American music that originated in the 1940s. In the commercial rhythm and blues music typical of the 1950s through the 1970s, R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy. Lyrics focus heavily on the themes of triumphs and failures in terms of relationships, freedom, economics, aspirations, the term rhythm and blues has undergone a number of shifts in meaning. In the early 1950s it was applied to blues records. This tangent of RnB is now known as British rhythm and blues, by the 1970s, the term rhythm and blues changed again and was used as a blanket term for soul and funk. In the 1980s, a style of R&B developed, becoming known as Contemporary R&B. It combines elements of rhythm and blues, soul, funk, pop, hip hop, popular R&B vocalists at the end of the 20th century included Michael Jackson, R. Kelly, Stevie Wonder, Whitney Houston, and Mariah Carey. Although Jerry Wexler of Billboard magazine is credited with coining the term rhythm and blues as a term in the United States in 1948. It replaced the term race music, which came from within the black community. The term rhythm and blues was used by Billboard in its chart listings from June 1949 until August 1969, before the Rhythm and Blues name was instated, various record companies had already begun replacing the term race music with sepia series. In 2010 LaMont Robinson founded the Rhythm & Blues Hall of Fame Museum, writer and producer Robert Palmer defined rhythm & blues as a catchall term referring to any music that was made by and for black Americans. He has used the term R&B as a synonym for jump blues, however, AllMusic separates it from jump blues because of its stronger, gospel-esque backbeat. Lawrence Cohn, author of Nothing but the Blues, writes that rhythm, according to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts. Well into the 21st century, the term R&B continues in use to music made by black musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, while singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. The bands dressed in suits, and even uniforms, an associated with the modern popular music that rhythm. Lyrics often seemed fatalistic, and the music typically followed predictable patterns of chords, there was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone
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Rock and roll
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While elements of rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until the 1950s. For the purpose of differentiation, this deals with the first definition. The beat is essentially a blues rhythm with an accentuated backbeat, classic rock and roll is usually played with one or two electric guitars, a double bass or string bass or an electric bass guitar, and a drum kit. Beyond simply a style, rock and roll, as seen in movies and on television, influenced lifestyles, fashion, attitudes. In addition, rock and roll may have contributed to the civil rights movement because both African-American and white American teens enjoyed the music and it went on to spawn various genres, often without the initially characteristic backbeat, that are now more commonly called simply rock music or rock. The term rock and roll now has at least two different meanings, both in common usage, the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the hand, regards it as the music that originated in the mid-1950s. In 1934, the song Rock and Roll by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round, in 1942, Billboard magazine columnist Maurie Orodenker started to use the term rock-and-roll to describe upbeat recordings such as Rock Me by Sister Rosetta Tharpe. By 1943, the Rock and Roll Inn in South Merchantville, in 1951, Cleveland, Ohio disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it. The origins of rock and roll have been debated by commentators. The migration of former slaves and their descendants to major urban centers such as St. The immediate roots of rock and roll lay in the rhythm and blues, then called race music, particularly significant influences were jazz, blues, gospel, country, and folk. The 1940s saw the use of blaring horns, shouted lyrics. In the same period, particularly on the West Coast and in the Midwest, similarly, country boogie and Chicago electric blues supplied many of the elements that would be seen as characteristic of rock and roll. Rock and roll arrived at a time of technological change, soon after the development of the electric guitar, amplifier and microphone. It was the realization that relatively affluent white teenagers were listening to music that led to the development of what was to be defined as rock. Because the development of rock and roll was a process, no single record can be identified as unambiguously the first rock. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Little Richard, Jerry Lee Lewis
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Popular music
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Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training and it stands in contrast to both art music and traditional or folk music. Art music was historically disseminated through the performances of music, although since the beginning of the recording industry. Traditional music forms such as blues songs or hymns were passed along orally, or to smaller. The original application of the term is to music of the 1880s Tin Pan Alley period in the United States, although popular music sometimes is known as pop music, the two terms are not interchangeable. Popular music songs and pieces typically have easily singable melodies, in the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have an appeal within the culture of their origin. Through the mixture of genres, new popular music forms are created to reflect the ideals of a global culture. The examples of Africa, Indonesia and the Middle East show how Western pop music styles can blend with local traditions to create new hybrid styles. Sales of recordings or sheet music are one measure, middleton and Manuel note that this definition has problems because multiple listens or plays of the same song or piece are not counted. Manuel states that one criticism of music is that it is produced by large media conglomerates and passively consumed by the public. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, moreover, understandings of popular music have changed with time. A societys popular music reflects the ideals that are prevalent at the time it is performed or published, david Riesman states that the youth audiences of popular music fit into either a majority group or a subculture. The majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values and this allows youth to choose what music they identify with, which gives them power as consumers to control the market of popular music. Form in popular music is most often sectional, the most common sections being verse, chorus or refrain, other common forms include thirty-two-bar form, chorus form *, and twelve-bar blues. Popular music songs are rarely composed using different music for each stanza of the lyrics, the verse and chorus are considered the primary elements. Each verse usually has the melody, but the lyrics change for most verses. The chorus usually has a phrase and a key lyrical line which is repeated
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Triad (music)
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In music, a triad is a set of three notes that can be stacked vertically in thirds. The term harmonic triad was coined by Johannes Lippius in his Synopsis musicae novae, when stacked in thirds, notes produce triadic chords. Perfect fifths are the most commonly used interval above the root in Western classical, popular, some twentieth-century theorists, notably Howard Hanson and Carlton Gamer, expand the term to refer to any combination of three different pitches, regardless of the intervals amongst them. The word used by other theorists for this general concept is trichord. Others, notably Allen Forte, use the term to refer to combinations apparently stacked of other intervals, the root tone of a triad, together with the degree of the scale to which it corresponds, primarily determine a given triads function. Secondarily, a function is determined by its quality, major, minor. Major and minor chords are the most commonly used chord qualities in Western classical, popular, in standard tonal music, only major and minor chords can be used as a tonic in a song or some other piece of music. That is, a song or other vocal or instrumental piece can be in the key of C major or A minor, three of these four kinds of triads are found in the major scale. In popular music and 18th-century classical music, major and minor triads are considered to be consonant and stable, when we consider musical works we find that the triad is ever-present and that the interpolated dissonances have no other purpose than to effect the continuous variation of the triad. Triads are built by superimposing every other note of a diatonic scale, for example, a C major triad uses the notes C–E–G. This spells a triad by skipping over D and F, minor triads contain a minor third with a major third stacked above it, e. g. in the minor triad A–C–E, A–C is a minor third and C–E is a major third. Diminished triads contain two minor thirds stacked, e. g. B–D–F augmented triads contain two major thirds stacked, e. g. D–F♯–A♯, each triad found in a diatonic key corresponds to a particular diatonic function. Functional harmony tends to rely heavily on the primary triads, triads built on the tonic, subdominant, the roots of these triads begin on the first, fourth, and fifth degrees of the diatonic scale, otherwise symbolized, I, IV, and V. Primary triads, express function clearly and unambiguously and they function as auxiliary or supportive triads to the primary triads. Upper structure triad – triads superimposed on another harmony fretjam Guitar Theory - Triads on Guitar
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Scale (music)
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In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is a scale. Some scales contain different pitches when ascending than when descending, for example, the Melodic minor scale. Due to the principle of equivalence, scales are generally considered to span a single octave. A musical scale represents a division of the space into a certain number of scale steps. A measure of the width of each scale step provides a method to classify scales, based on their interval patterns, scales are put into categories including diatonic, chromatic, major, minor, and others. A specific scale is defined by its interval pattern and by a special note. The tonic of a scale is the selected as the beginning of the octave. Typically, the name of the scale specifies both its tonic and its interval pattern, for example, C major indicates a major scale with a C tonic. Scales are typically listed from low to high, most scales are octave-repeating, meaning their pattern of notes is the same in every octave. An octave-repeating scale can be represented as an arrangement of pitch classes. The distance between two notes in a scale is called a scale step. The notes of a scale are numbered by their steps from the root of the scale, for example, in a C major scale the first note is C, the second D, the third E and so on. Two notes can also be numbered in relation to other, C and E create an interval of a third. A single scale can be manifested at many different pitch levels, for example, a C major scale can be started at C4 and ascending an octave to C5, or it could be started at C6, ascending an octave to C7. As long as all the notes can be played, the octave they take on can be altered, the pitch distances or intervals among the notes of a scale tell us more about the sound of the music than does the mere number of tones. The notes of a scale form intervals with each of the notes of the chord in combination. A 5-note scale has 10 of these intervals, a 6-note scale has 15, a 7-note scale has 21
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Dominant seventh chord
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In music theory, a dominant seventh chord, or major minor seventh chord, is a chord composed of a root, major third, perfect fifth, and minor seventh. It can be viewed as a major triad with an additional minor seventh. When using popular-music symbols, it is denoted by adding a superscript 7 after the letter designating the chord root, the dominant seventh is found almost as often as the dominant triad. In Roman numerals it is represented as V7, the chord can be represented by the integer notation. Of all the chords, perhaps the most important is the dominant seventh. It was the first seventh chord to appear regularly in classical music, the name comes from the fact that it occurs naturally in the seventh chord built upon the dominant of a given major diatonic scale. Take for example the C major scale, The note G is the dominant degree of C major—its fifth note, the note F is a minor seventh from G, and it is also called the dominant seventh with respect to G. The function of the dominant seventh chord is to drive to or resolve to the note or chord. The demand of the V7 for resolution is, to our ears, the dominant seventh is, in fact, the central propulsive force in our music, it is unambiguous and unequivocal. This basic dominant seventh chord is useful to composers because it both a major triad and the interval of a tritone. The major triad confers a very strong sound, the tritone is created by the co-occurrence of the third degree and seventh degree. In a diatonic context, the third of the chord is the leading-tone of the scale, the seventh of the chord acts as an upper leading-tone to the third of the scale. Because of this usage, it also quickly became an easy way to trick the listeners ear with a deceptive cadence. The dominant seventh may work as part of a progression, preceded by the supertonic. S. A. and Loggins. Chuck Berrys Rock And Roll Music uses the dominant seventh on I, IV, the dominant seventh is enharmonically equivalent to the German sixth, causing the chords to be spelled enharmonically, for example the German sixth G♭–B♭–D♭–E and the dominant seventh F♯–A♯–C♯–E. The dominant seventh is used to approximate a Harmonic seventh chord. Others include 20,25,30,36 Play, found on I, renaissance composers decided in terms of intervals rather than chords, however, certain dissonant sonorities suggest that the dominant seventh chord occurred with some frequency. Monteverdi and other early baroque composers begin to treat the V7 as a chord as part of the introduction of functional harmony, the V7 was in constant use during the classical period, with similar treatment to that of the baroque
43.
Twelve-bar blues
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The 12-bar blues or blues changes is one of the most prominent chord progressions in popular music. The blues progression has a form in lyrics, phrase, chord structure. In its basic form, it is based on the I-IV-V chords of a key. The blues can be played in any key, mastery of the blues and rhythm changes are critical elements for building a jazz repertoire. In the key of C, one basic blues progression is as follows, a basic example of the progression would look like this, using T to indicate the tonic, S for the subdominant, and D for the dominant, and representing one chord. In Roman numeral analysis the tonic is called the I, the sub-dominant the IV, using said notations, the chord progression outlined above can be represented as follows. The first line takes four bars, as do the two lines, for a total of twelve bars. However, the vocal or lead phrases, though they come in threes. This overlap between the grouping of the accompaniment and the vocal is part of what creates interest in the twelve bar blues, handy, the Father of the Blues, codified this blues form to help musicians communicate chord changes. The length of sections may be varied to create eight-bar blues or sixteen-bar blues, seventh chords are often used just before a change, and more changes can be added. Basic jazz blues progression Play In jazz, 12-bar blues progressions are expanded with moving substitutions, the cadence uniquely leads to the root by perfect intervals of fourths. The Bebop blues, Play This progression is similar to Charlie Parkers Nows the Time, Billies Bounce, Sonny Rollinss Tenor Madness and it is a bop soloists cliche to arpeggiate this chord from the 3 up to the ♭9. Minor blues Play There are also minor 12-bar blues, such as John Coltranes Equinox and Mr. P. C. made famous by Lil Green with Big Bill Broonzy and then Peggy Lee with the Benny Goodman Orchestra. The chord on the scale degree may be major or minor, in which case it fits a dorian scale along with the minor i7 and iv7 chords. Major and minor can also be mixed together, a characteristic of the music of Charles Brown. While the blues is most often considered to be in strophic form with a verse-chorus pattern. Handys St. Louis Blues However, many using the blues chord progression have lyrics that are not in the three-line form. For instance, Im Moving On has a verse in the first four bars, Im movin on, Ill soon be gone You were flyin too high for my little old sky So Im movin on
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Distortion (music)
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Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain. Distortion is most commonly used with the guitar, but may also be used with other electric instruments. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, the terms distortion and overdrive are often used interchangeably, where a distinction is made, distortion is used to denote a more extreme version of the effect than overdrive. Fuzz is a used to describe a particular form of distortion originally created by guitarists using faulty equipment. Distortion, overdrive, and fuzz can be produced by effects pedals, rackmounts, pre-amplifiers, power amplifiers, speakers and by digital amplifier modeling devices and these effects are used with electric guitars, electric basses, electronic keyboards, and more rarely as a special effect with vocals. The first guitar amplifiers were relatively low-fidelity, and would often produce distortion when their volume was increased beyond their design limit or if they sustained minor damage. Around 1945, Western-swing guitarist Junior Barnard began experimenting with a rudimentary humbucker pick-up, in early rock music, Goree Carters Rock Awhile featured an over-driven electric guitar style similar to that of Chuck Berry several years later, as well as Joe Hill Louis Boogie in the Park. In the early 1950s, pioneering rock guitarist Willie Johnson of Howlin Wolf′s band began deliberately increasing gain beyond its intended levels to produce distorted sounds. Guitar Slim also experimented with distorted overtones, which can be heard in his hit electric blues song The Things That I Used to Do, Chuck Berrys 1955 classic Maybellene features a guitar solo with warm overtones created by his small valve amplifier. Rock guitarists began intentionally doctoring amplifiers and speakers in order to emulate this form of distortion, according to other sources Burlisons amp had a partially broken loudspeaker cone. In the late 1950s, Guitarist Link Wray began intentionally manipulating his amplifiers vacuum tubes to create a noisy and dirty sound for his solos after a similarly accidental discovery. Wray also poked holes in his speaker cones with pencils to further distort his tone, used electronic echo chambers, the recent powerful and fat Gibson humbucker pickups, the resultant sound can be heard on his highly influential 1958 instrumental, Rumble and Rawhide. In 1961, Grady Martin scored a hit with a fuzzy tone caused by a faulty preamplifier that distorted his guitar playing on the Marty Robbins song Dont Worry, later that year Martin recorded an instrumental tune under his own name, using the same faulty preamp. The song, on the Decca label, was called The Fuzz, Martin is generally credited as the discoverer of the fuzz effect. Rhodes offered The Ventures a fuzzbox he had made, which used to record 2000 Pound Bee in 1962. The best-known early commercial distortion circuit was the Maestro FZ-1 Fuzz-Tone, manufactured by Gibson, in May 1965 Keith Richards used a Gibson Maestro FZ-1 Fuzz-Tone to record Satisfaction. The songs success boosted sales of the device, and all available stock sold out by the end of 1965. In music the different forms of linear distortion have specific names describing them, in the context of music, the most common source of distortion is clipping in amplifier circuits and is most commonly known as overdrive
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Banjo
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The banjo is a four-, five- or six-stringed instrument with a thin membrane stretched over a frame or cavity as a resonator, called the head. The membrane, or head, is made of plastic, although animal skin is still occasionally but rarely used. Early forms of the instrument were fashioned by Africans in America, the banjo is frequently associated with country, folk, Irish traditional and bluegrass music. Historically, the banjo occupied a place in African American traditional music. The banjo, with the fiddle, is a mainstay of American old-time music and it is also very frequently used in Traditional Jazz. The modern banjo derives from instruments that had used in the Caribbean since the 17th century by enslaved people taken from West Africa. Written references to the banjo in North America appear in the 18th century, the etymology of the name banjo is uncertain. The word could have come from the Yoruba word Bami jo and it may derive from the Kimbundu word mbanza. A Banza, a five double string courses Portuguese viuhela with two short strings, mbanza is a string African instrument that has been built after the Portuguese Banza. Banza is quite similar to Banjo, various instruments in Africa, chief among them the kora, feature a skin head and gourd body. Banjos with fingerboards and tuning pegs are known from the Caribbean as early as the 17th century, 18th- and early 19th-century writers transcribed the name of these instruments variously as bangie, banza, bonjaw, banjer and banjar. Instruments similar to the banjo have been played in many countries, another likely relative of the banjo is the akonting, a spike folk lute played by the Jola tribe of Senegambia, and the ubaw-akwala of the Igbo. Early, African-influenced banjos were built around a body and a wooden stick neck. These instruments had varying numbers of strings, though often including some form of drone, the five-string banjo was popularized by Joel Walker Sweeney, an American minstrel performer from Appomattox Court House, Virginia. In the 1830s Sweeney became the first white performer to play the banjo on stage and his version of the instrument replaced the gourd with a drum-like sound box and included four full-length strings alongside a short fifth string. This new banjo was at first tuned dGdf♯a, though by the 1890s this had been transposed up to gcgbd, Banjos were introduced in Britain by Sweeneys group, the American Virginia Minstrels, in the 1840s, and became very popular in music halls. In the Antebellum South, many black slaves played the banjo, two techniques closely associated with the five-string banjo are rolls and drones. Rolls are right hand fingering pattern that consist of eight notes that subdivide each measure
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The Animals
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The Animals are an English rhythm and blues and rock band of the 1960s, formed in Newcastle upon Tyne, during the early part of the decade. The band moved to London upon finding fame in 1964, the band balanced tough, rock-edged pop singles against rhythm and blues-orientated album material. They were known in the US as part of the British Invasion, the Animals underwent numerous personnel changes in the mid-1960s and suffered from poor business management. Altogether, the group had ten Top Twenty hits in both the UK Singles Chart and the US Billboard Hot 100. The original lineup of Burdon, Alan Price, Chas Chandler, Hilton Valentine and they later had brief comebacks in 1975 and 1983. There have been several partial regroupings of the original era members since then under various names, the Animals were inducted into the Rock and Roll Hall of Fame in 1994. It has often said they were dubbed animals because of their wild stage act. In a 2013 interview, Eric Burdon denied this, stating it came from a gang of friends used to hang out with, one of whom was Animal Hogg. The Animals performed fiery versions of the rhythm and blues repertoire, covering songs by Jimmy Reed, John Lee Hooker, Nina Simone. Signed to EMIs Columbia label, a version of the standard Baby Let Me Follow You Down was their first single. It was followed in June 1964 by the number one hit House of the Rising Sun. Burdons howling vocals and the arrangement, featuring Alan Prices haunting organ riffs. In contrast, their album tracks stayed with rhythm and blues, with John Lee Hookers Boom Boom, in November 1964, the group was poised to make their American debut on The Ed Sullivan Show and begin a short residency performing regularly in theatres across New York City. The group drove to their hotel accompanied by the occasional shrieks of girls who had chased them down once they discovered who they were, the Animals sang Im Crying and The House of the Rising Sun to a packed audience of hysterical girls screaming throughout both performances on Sullivans show. In December, the MGM movie Get Yourself a College Girl was released with the Animals headlining with the Dave Clark Five, the Animals sang a Chuck Berry song, Around and Around, in the movie. By May 1965, the group was starting to feel internal pressures, Price left due to personal and musical differences as well as fear of flying on tour. He went on to a career as a solo artist. Mick Gallagher filled in for him on keyboards for a time until Dave Rowberry replaced him and was on hand for the hit songs We Gotta Get out of This Place
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The House of the Rising Sun
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The House of the Rising Sun is a traditional folk song, sometimes called Rising Sun Blues. It tells of a life gone wrong in New Orleans, many versions also urge a sibling to avoid the same fate. The most successful version, recorded in 1964 by British rock group the Animals, was a number one hit on the UK Singles Chart and also in the United States. As a traditional song recorded by an electric rock band. Like many classic folk ballads, The House of the Rising Sun is of uncertain authorship, musicologists say that it is based on the tradition of broadside ballads, and thematically it has some resemblance to the 16th century ballad The Unfortunate Rake. According to Alan Lomax, Rising Sun was used as the name of a house in two traditional English songs, and it was also a name for English pubs. Lomax proposed that the location of the house was relocated from England to New Orleans by white southern performers. House of Rising Sun was said to have known by miners in 1905. The oldest published version of the lyrics is that printed by Robert Winslow Gordon in 1925, Ashley said he had learned it from his grandfather, Enoch Ashley. Roy Acuff, a friend and apprentice of Ashleys, learned it from him. Several older blues recordings of songs with similar titles are unrelated, for example, Rising Sun Blues by Ivy Smith and The Risin Sun by Texas Alexander. The song was among those collected by folklorist Alan Lomax, who, on an expedition with his wife to eastern Kentucky, Lomax set up his recording equipment in Middlesboro, Kentucky, in the house of singer and activist Tilman Cadle. In 1937 he recorded a performance by Georgia Turner, the 16-year-old daughter of a local miner and he called it The Rising Sun Blues. Lomax later recorded a different version sung by Bert Martin and a sung by Daw Henson. In his 1941 songbook Our Singing Country, Lomax credits the lyrics to Turner, in 1941, Woody Guthrie recorded a version. White learned the song from a hillbilly singer, who might have been Ashley. In 1957 Glenn Yarbrough recorded the song for Elektra Records, the song is also credited to Ronnie Gilbert on an album by The Weavers released in the late 1940s or early 1950s. Pete Seeger released a version on Folkways Records in 1958, which was re-released by Smithsonian Folkways in 2009, frankie Laine recorded the song under the title New Orleans on his 1959 album Balladeer
