Vamp Ostinato

1 vamp

1.1 jazz, fusion, , latin jazz

1.1.1 examples


1.2 gospel, soul, , funk
1.3 musical theater
1.4 indian classical music

vamp

vamp riff typical of funk , r&b  play (help·info)

in music, vamp repeating musical figure, section, or accompaniment used in blues, jazz, gospel, soul, , musical theater. vamps found in rock, funk, reggae, r&b, pop, country, , post-sixties jazz. vamps harmonically sparse: vamp may consist of single chord or sequence of chords played in repeated rhythm. term appeared in instruction vamp till ready on sheet music popular songs in 1930s , 1940s, indicating accompanist should repeat musical phrase until vocalist ready. vamps symmetrical, self-contained, , open variation. equivalent in classical music ostinato, in hip hop , electronic music loop , in rock music riff.

the slang term vamp comes middle english word vampe (sock), old french avanpie, equivalent modern french avant-pied, literally before-foot.

many vamp-oriented songwriters begin creative process attempting evoke mood or feeling while riffing freely on instrument or scat singing. many known artists build songs vamp/riff/ostinato based approach—including john lee hooker ( boogie chillen , house rent boogie ), bo diddley ( hey bo diddley , love? ), jimmy page ( ramble on , bron yr aur ), 9 inch nails ( closer ), , beck ( loser ).

classic examples of vamps in jazz include night in tunisia , take 5 , love supreme , maiden voyage , , cantaloupe island . rock examples include long jam @ ends of loose change neil young , crazy horse , sooner or later king s x.

jazz, fusion, , latin jazz

in jazz, fusion, , related genres, background vamp provides performer harmonic framework supporting improvisation. in latin jazz guajeos fulfill role of piano vamp. vamp @ beginning of jazz tune may act springboard main tune; vamp @ end of song called tag.

examples

take 5 begins repeated, syncopated figure in 5

4 time, pianist dave brubeck plays throughout song (except joe morello s drum solo , variation on chords in middle section).

the music miles davis s modal period (c.1958–1963) based on improvising songs small number of chords. jazz standard uses vamp in two-note sooooo what? figure, regularly played piano , trumpet throughout. jazz scholar barry kernfeld calls music vamp music.

examples include outros george benson s body talk , plum , , solo changes breezin . following songs dominated vamps: john coltrane, kenny burrell, , grant green s versions of favorite things , herbie hancock s watermelon man , chameleon , wes montgomery s bumpin on sunset , , larry carlton s room 335 .

the afro-cuban vamp style known guajeo used in bebop/latin jazz standard night in tunisia . depending upon musician, repeating figure in night in tunisia called ostinato, guajeo, riff, or vamp. cuban-jazz hybrid spans disciplines encompass these terms.

gospel, soul, , funk

in gospel , soul music, band vamps on simple ostinato groove @ end of song, on single chord. in soul music, end of recorded songs contains display of vocal effects—such rapid scales, arpeggios, , improvised passages. recordings, sound engineers gradually fade out vamp section @ end of song, transition next track on album. salsoul singers such loleatta holloway have become notable vocal improvisations @ end of songs, , sampled , used in other songs. andrae crouch extended use of vamps in gospel, introducing chain vamps (one vamp after other, each successive vamp drawn first).

1970s-era funk music takes short 1 or 2 bar musical figure based on single chord 1 consider introduction vamp in jazz or soul music, , uses vamp basis of entire song ( funky drummer james brown, example). jazz, blues, , rock based on chord progressions (a sequence of changing chords), , use changing harmony build tension , sustain listener interest. unlike these music genres, funk based on rhythmic groove of percussion, rhythm section instruments, , deep electric bass line, on single chord. in funk, harmony second lock, linking of contrapuntal parts played on guitar, bass, , drums in repeating vamp.

examples include stevie wonder s vamp-based superstition , little johnny taylor s part time love , features extended improvisation on two-chord vamp.

musical theater

in musical theater, vamp, or intro, few bars, 1 eight, of music without lyrics begin printed copy of song. orchestra may repeat vamp or other accompaniment during dialogue or stage business, accompaniment onstage transitions of indeterminate length. score provides 1 or 2 bar vamp figure, , indicates, vamp till cue , conductor. vamp gives onstage singers time prepare song or next verse, without requiring music pause. once vamp section over, music continues next section.

the vamp may written composer of song, copyist employed publisher, or arranger vocalist. vamp serves 3 main purposes: provides key, establishes tempo, , provides emotional context. vamp may short bell tone, sting (a harmonized bell tone stress on starting note), or measures long. rideout transitional music begins on downbeat of last word of song , 2 4 bars long, though may short sting or long roxy rideout.

indian classical music

in indian classical music, during tabla or pakhawaj solo performances , kathak dance accompaniments, conceptually similar melodic pattern known lehara (sometimes spelled lehra) or nagma played repeatedly throughout performance. melodic pattern set number of beats in rhythmic cycle (tala or taal) being performed , may based on 1 or blend of multiple ragas.

the basic idea of lehara provide steady melodious framework , keep time-cycle rhythmic improvisations. serves auditory workbench not soloist audience appreciate ingenuity of improvisations , merits of overall performance. in indian classical music, concept of sam (pronounced sum ) carries paramount importance. sam target unison beat (and first beat) of rhythmic cycle. second important beat khali, complement of sam. besides these 2 prominent beats, there other beats of emphasis in given taal, signify khand s (divisions) of taal. e.g. roopak or rupak taal, 7-beat rhythmic cycle, divided 3–2–2, further implying 1st, 4th, , 6th beats prominent beats in taal. therefore, customary, not essential, align lehara according divisions of taal. done view emphasize beats mark divisions of taal.

the lehara can played on variety of instruments, including sarangi, harmonium, sitar, sarod, flute , others. playing of lehara relatively free numerous rules , constraints of raga sangeet, upheld , honoured in tradition of indian classical music. lehara may interspersed short , occasional improvisations built around basic melody. permissible switch between 2 or more disparate melodies during course of performance. essential lehara played highest precision in laya (tempo) , swara control, requires years of specialist training (taalim) , practice (riyaaz). considered hallmark of excellence play lehara alongside recognised tabla or pakhawaj virtuoso difficult task keep steady pulse while percussionist improvising or playing difficult compositions in counterpoint. while there may scores of individually talented instrumentalists, there few capable of playing lehra tabla / pakhawaj solo performance.