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64-465: Boogie is a repetitive , swung note or shuffle rhythm , "groove" or pattern used in blues which was originally played on the piano in boogie-woogie music . The characteristic rhythm and feel of the boogie was then adapted to guitar , double bass , and other instruments. The earliest recorded boogie-woogie song was in 1916. By the 1930s, Swing bands such as Benny Goodman , Glenn Miller , Tommy Dorsey and Louis Jordan all had boogie hits. By

128-415: A different meaning. Most ornaments occur on the beat, and use diatonic intervals more exclusively than ornaments in later periods do. While any table of ornaments must give a strict presentation, consideration has to be given to the tempo and note length, since at rapid tempos it would be difficult or impossible to play all of the notes that are usually required. One realisation of some common Baroque ornaments

192-455: A given melodic line . A singer performing a da capo aria , for instance, would sing the melody relatively unornamented the first time and decorate it with additional flourishes and trills the second time. Similarly, a harpsichord player performing a simple melodic line was expected to be able to improvise harmonically and stylistically appropriate trills, mordents (upper or lower) and appoggiaturas . Ornamentation may also be indicated by

256-453: A glissando tends to assume the whole value of the initial note. A slide (or Schleifer in German) instructs the performer to begin one or two diatonic steps below the marked note and slide upward. The schleifer usually includes a prall trill or mordent trill at the end. Willard A. Palmer writes that "[t]he schleifer is a 'sliding' ornament, usually used to fill in the gap between a note and

320-610: A main note to the performance of a virtuosic and flamboyant trill . The amount of ornamentation in a piece of music can vary from quite extensive (it was often extensive in the Baroque period , from 1600 to 1750) to relatively little or even none. The word agrément is used specifically to indicate the French Baroque style of ornamentation. In the Baroque period, it was common for performers to improvise ornamentation on

384-479: A main note, 'steals' time from it". The first definition of Nachschlag refers to the "shaken" or trilled version of the ornament, while the second definition refers to the "smooth" version. This ornament has also been referred to as a cadent or a springer in English Baroque performance practice. Instruction books from the Baroque period, such as Christopher Simpson 's The Division Violist , refer to

448-688: A note twice but forcefully from a grace note immediately below it the second time. For instance, the third note (Ga) would be rendered plain first time and with a force from the second (Ri) the next time. Ornamentation is a major distinguishing characteristic of Welsh , Irish , Scottish , and Cape Breton music. A singer, fiddler, flautist, harpist, tin whistler , piper or a player of another instrument may add grace notes (known as 'cuts' / 'strikes' in Irish fiddling), slides, rolls, cranns, doubling, mordents, drones, trebles (or birls in Scottish fiddling), or

512-487: A repeated melodic pattern in the bass, and a series of improvised variations in the treble. Boogie woogie developed from a piano style that developed in the rough barrelhouse bars in the Southern states, where a piano player performed for the hard-drinking patrons. The origin of the term boogie-woogie is unknown, according to Webster's Third New International Dictionary . The Oxford English Dictionary states that

576-621: A sexually transmitted disease." In Peter Silvester's book on boogie woogie, Left Hand Like God – the Story of Boogie Woogie he states that, in 1929, "boogie-woogie is used to mean either dancing or music in the city of Detroit". Boogie hit the charts with Pine Top Smith 's Pine Top's Boogie in 1929, which garnered the number 20 spot. In the late 1930s, boogie became part of the then popular Swing style, as big bands such as "Glenn Miller, Tommy Dorsey, and Louis Jordan...all had boogie hits." Swing big band audiences expected to hear boogie tunes, because

640-525: A shorter variant of the long appoggiatura , where the delay of the principal note is quick. It is written using a grace note (often a quaver, or eighth note ), with an oblique stroke through the stem. In the Classical period , an acciaccatura is usually performed before the beat and the emphasis is on the main note, not the grace note. The appoggiatura long or short has the emphasis on the grace note. The exact interpretation of this will vary according to

704-549: A slash through it, to indicate that its note value does not count as part of the total time value of the bar . Alternatively, the term may refer more generally to any of the small notes used to mark some other ornament (see § Appoggiatura below), or in association with some other ornament's indication (see § Trill below), regardless of the timing used in the execution. In Spain , melodies ornamented upon repetition (" divisions ") were called " diferencias ", and can be traced back to 1538, when Luis de Narváez published

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768-508: A smooth mix of long single disco records to keep people dancing all night long. The 12-inch single was popularized as a means to this end. While disco songs have some repetitive elements, such as a persistent throbbing beat, these are counterbalanced by the musical variety provided by orchestral arrangements and disco mixes that add different sound textures to the music, ranging from a full, orchestral sound to stripped-down break sections. The electronic dance music genres that followed disco in

832-522: A squiggly line over a note, which indicates a fast lip trill for brass players and a minor third trill for winds). In Carnatic music , the Sanskrit term gamaka (which means "to move") is used to denote ornamentation. One of the most unusual forms of ornamentation in world music is the Carnatic kampitam which is about oscillating a note in diverse ways by varying amplitude, speed or number of times

896-534: A turn is best executed is largely one of context, convention, and taste. The lower and upper added notes may or may not be chromatically raised. An inverted turn (the note below the one indicated, the note itself, the note above it, and the note itself again) is usually indicated by putting a short vertical line through the normal turn sign, though sometimes the sign itself is turned upside down. An appoggiatura ( / ə ˌ p ɒ dʒ ə ˈ tj ʊər ə / ə- POJ -ə- TURE -ə , Italian: [appoddʒaˈtuːra] )

960-407: A variety of additional ornaments such as "dead" or ghost notes (a percussive sound, notated by an "X"), "doit" notes and "fall" notes (annotated by curved lines above the note, indicating by direction of curve that the note should either rapidly rise or fall on the scale), squeezes (notated by a curved line from an "X" to a specific pitch, that denotes an un-pitched glissando), and shakes (notated by

1024-431: Is a feature of all music, of any sort, a high level of repetition may be a specific mark of 'the popular'" and that this allows an "enabling" of "an inclusive rather than exclusive audience". "There is no universal norm or convention" for the amount or type of repetition; "all music contains repetition – but in differing amounts and of an enormous variety of types". This is influenced by "the political economy of production;

1088-425: Is an added note that is important melodically (unlike an acciaccatura) and suspends the principal note by a portion of its time-value, often about half, but this may be considerably more or less depending on the context. The added note (the auxiliary note ) is one degree higher or lower than the principal note, and may or may not be chromatically altered. Appoggiaturas are also usually on the strong or strongest beat of

1152-509: Is based on repetition. Music works because we remember the tones we have just heard and are relating them to the ones that are just now being played. Those groups of tones—phrases—might come up later in the piece in a variation or transposition that tickles our memory system at the same time as it activates our emotional centers...(Levitin, 162–163) Theodor W. Adorno damned repetition and popular music as psychotic and infantile. In contrast, Richard Middleton (1990) argues that "while repetition

1216-448: Is most often nested ( hierarchically ) in larger repetitions and may be thought of as sectional, while musematic repetition may be thought of as additive . Put more simply, musematic repetition is simple repetition of precisely the same musical figure, such as a repeated chorus . Discursive repetition is "both repetitive and non-repetitive" (Lott, p. 174), such as the repetition of the same rhythmic figure with different notes. During

1280-521: Is not repetition of identical elements, so it is not reproduction, but the repetition of the identical in another guise. In traditional music, repetition is a device for creating recognizability, reproduction for the sake of the music notes of that specific line and the representing ego. In repetitive music, repetition does not refer to eros and the ego, but to the libido and to the death instinct." Repetitive music has also been linked with Lacanian jouissance . David Schawrz (1992, p. 134) argues that

1344-549: Is now often called a lower mordent . In the 19th century, however, the name mordent was generally applied to what is now called the upper mordent. Although mordents are now thought of as a single alternation between notes, in the Baroque period a mordant may have sometimes been executed with more than one alternation between the indicated note and the note below, making it a sort of inverted trill. Mordents of all sorts might typically, in some periods, begin with an extra inessential note (the lesser, added note), rather than with

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1408-680: Is set in the following table from the Klavierbüchlein für Wilhelm Friedemann Bach by J.S. Bach : Another realisation can be seen in the table in Pièces de clavecin (1689) by Jean-Henri d'Anglebert : In the late 18th and early 19th century, there were no standard ways of performing ornaments and sometimes several distinct ornaments might be performed in a same way. In the 19th century, performers were adding or improvising ornaments on compositions. As C.P.E Bach observed, "pieces in which all ornaments are indicated need give no trouble; on

1472-413: Is the rhythm produced by playing repeated pairs of notes in this way. Repetition (music) A literal repetition of a musical passage is often indicated by the use of a repeat sign , or the instructions da capo or dal segno . Repetition is a part and parcel of symmetry —and of establishing motifs and hooks . You find a melodic or rhythmic figure that you like, and you repeat it throughout

1536-506: Is to say, whether, by including the symbol for a mordent in a musical score , a composer intended the direction of the additional note (or notes) to be played above or below the principal note written on the sheet music varies according to when the piece was written, and in which country. In the Baroque period , a mordant (the German or Scottish equivalent of mordent ) was what later came to be called an inverted mordent and what

1600-472: The Classical era , musical concerts were highly expected events, and because someone who liked a piece of music could not listen to it again, musicians had to think of a way to make the music sink in. Therefore, they would repeat parts of their song at times, making music like sonatas very repetitive, without being dull. Repetition is important in musical form . The repetition of any section of ternary form results in expanded ternary form , and in binary form

1664-594: The cadent as an ornament in which "a Note is sometimes graced by joyning [ sic ] part of its sound to the note following... whose following Quaver is Placed with the ensuing Note, but played with the same Bow." From Silvestro Ganassi 's treatise in 1535 we have instructions and examples of how musicians of the Renaissance and early Baroque periods decorated their music with improvised ornaments. Michael Praetorius spoke warmly of musicians' "sundry good and merry pranks with little runs/leaps". Until

1728-441: The composer . A number of standard ornaments (described below) are indicated with standard symbols in music notation , while other ornamentations may be appended to the score in small notes, or simply written out normally as fully sized notes. Frequently, a composer will have his or her own vocabulary of ornaments, which will be explained in a preface, much like a code. A grace note is a note written in smaller type, with or without

1792-404: The dialectic between the two creates musical form (Campbell, 154). Types of repetition include "exact repetition" (aaa), "repetition after digression" (aba or aba'), and "nonrepetition" (abcd). Copland and Slatkin offer " Au clair de la lune " and " Ach! du lieber Augustin " Play as examples of aba, and "The Seeds of Love" as an example of the last.( Copland & Slatkin, ]) At

1856-404: The principal note as shown in the examples here. The same applies to trills, which in the Baroque and Classical periods would begin with the added, upper note. A lower inessential note may or may not be chromatically raised (that is, with a natural, a sharp, or even a double sharp) to make it one semitone lower than the principal note. A turn is a short figure consisting of the note above

1920-407: The staff . At a moderate tempo, the above might be executed as follows: In Baroque music, the trill is sometimes indicated with a + (plus) sign above or below the note. In the late 18th century, when performers played a trill, it always started from the upper note. However, " [Heinrich Christoph] Koch expressed no preference and observed that it was scarcely a matter of much importance whether

1984-526: The "one finger per fret" rule, where, as in the case directly above, if the third finger always covers the notes on the third fret, the second finger going only on the second fret, etc. The swung notes or shuffle note are a rhythmic device in which the duration of the initial note in a pair is augmented and that of the second is diminished . Also known as " notes inégales ", swung notes are widely used in jazz music and other jazz-influenced music such as blues and Western swing . A swing or shuffle rhythm

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2048-404: The 'psychic economy' of individuals; the musico-technological media of production and reproduction (oral, written, electric); and the weight of the syntactic conventions of music-historical traditions". Middleton distinguishes between discursive and musematic repetition. A museme is a minimal unit of meaning, analogous to a morpheme in linguistics, and musematic repetition is "at the level of

2112-436: The 1950s, boogie became incorporated into the emerging rockabilly and rock and roll styles. In the late 1980s and the early 1990s country bands released country boogies. Today, the term "boogie" usually refers to dancing to pop, disco, or rock music. The boogie was originally played on the piano in boogie-woogie music and adapted to guitar . Boogie-woogie is a style of blues piano playing characterized by an up-tempo rhythm,

2176-589: The 1980s and 1990s, such as house music and techno , kept disco's bass drum rhythm but discarded orchestral arrangements and horn sections. House and techno had a more minimalist sound that layered electronic sounds and samples over a drum machine and a repetitive synth bassline. Extremely repetitive song structures are also used by some black metal bands like Burzum , Darkthrone , Forgotten Woods , Lustre and Striborg . Ornament (music) In music , ornaments or embellishments are musical flourishes—typically, added notes—that are not essential to carry

2240-454: The Euro disco group Silver Convention , " Get Up and Boogie ". The boogie groove is often used in rock and roll and country music . A simple rhythm guitar or accompaniment boogie pattern, sometimes called country boogie , is as follows: [REDACTED] The "B" and "C" notes are played by stretching the fourth finger from the "A" two and three frets up to "B" and "C" respectively on

2304-516: The Italian verb acciaccare , "to crush". In the 18th century, it was an ornament applied to any of the main notes of arpeggiated chords, either a tone or semitone below the chord tone, struck simultaneously with it and then immediately released. Hence the German translation Zusammenschlag (together-stroke). In the 19th century, the acciaccatura (sometimes called short appoggiatura ) came to be

2368-585: The beat could be used for the then-popular dances such as the jitterbug and the Lindy Hop . As well, country artists began playing boogie woogie in the late 1930s, when Johnny Barfield recorded "Boogie Woogie". The Delmore Brothers "Freight Train Boogie" shows how country music and blues were being blended to form the genre which would become known as rockabilly . The Sun Records -era rockabilly sound used "wild country boogie piano" as part of its sound. By

2432-424: The bowed strings. A mordent is a rapid alternation between an indicated note, the note above (called the upper mordent , pralltriller , or simply mordent ) or below (called the inverted mordent or lower mordent ), and the indicated note again. The upper mordent is indicated by a short thick tilde (which may also indicate a trill); the lower mordent is the same with a short vertical line through it. As with

2496-430: The classical ones mentioned above as well as a number of their own. Most of these ornaments are added either by performers during their solo extemporizations or as written ornaments. While these ornaments have universal names, their realizations and effects vary depending on the instrument. Jazz music incorporates most of the standard "classical" ornaments, such as trills, grace notes, mordents, glissandi and turns but adds

2560-520: The course of the melody or song . This sort of repetition...helps to unify your melody; it's the melodic equivalent of a steady drumbeat, and serves as an identifying factor for listeners. However, too much of a good thing can get annoying. If you repeat your figure too often, it will start to bore the listener. Memory affects the music-listening experience so profoundly that it would not be hyperbole to say that without memory there would be no music. As scores of theorists and philosophers have noted...music

2624-424: The early 1950s, boogie became less popular, but the new rock and roll sometimes incorporated its patterns. In the 1960s, a new form, boogie rock , emerged. However, it did not rely on the same patterns as the earlier styles. By the mid-1970s, the meaning of the term returned to its roots, in a certain sense, as during the disco era, "to boogie" meant "to dance in a disco style" with one hit song in particular sung by

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2688-450: The eye – indistinguishable from Mussorgsky 's and Prokofiev 's before-the-beat acciaccaturas. A glissando is a slide from one note to another, signified by a wavy line connecting the two notes. All of the intervening diatonic or chromatic notes (depending on instrument and context) are heard, albeit very briefly. In this way, the glissando differs from portamento . In contemporary classical music (especially in avant garde pieces),

2752-413: The first collection of such music for the vihuela . A trill , also known as a "shake", is a rapid alternation between an indicated note and the one above it. In simple music, trills may be diatonic , using just the notes of the scale; in other cases, the trill may be chromatic . The trill is usually indicated by either a tr or a tr~~ , with the ~ representing the length of the trill, above

2816-476: The last decade of the 16th century the emphasis is on divisions , also known as diminutions , passaggi (in Italian), gorgia ("throat", first used as a term for vocal ornamentation by Nicola Vicentino in 1555), or glosas (by Ortiz, in both Spanish and Italian) – a way to decorate a simple cadence or interval with extra shorter notes. These start as simple passing notes, progress to step-wise additions and in

2880-421: The most complicated cases are rapid passages of equal valued notes – virtuosic flourishes. There are rules for designing them, to make sure that the original structure of the music is left intact. Towards the end of this period the divisions detailed in the treatises contain more dotted and other uneven rhythms and leaps of more than one step at a time. Starting with Antonio Archilei  [ it ] (1589),

2944-402: The note above the principal note, immediately before the last sounding of the principal note), or some other variation. Such variations are often marked with a few grace notes following the note that bears the trill indication. There is also a single tone trill variously called trillo or tremolo in late Renaissance and early Baroque. Trilling on a single note is particularly idiomatic for

3008-480: The note is oscillated. This is a highly subtle, yet scientific ornamentation as the same note can be oscillated in different ways based on the raga or context within a raga. For instance, the fourth note (Ma) in Shankarabharanam or Begada allows at least three to five types of oscillation based on the phrasings within the raga. Another important gamaka in Carnatic is the "Sphuritam" which is about rendering

3072-441: The one indicated, the note itself, the note below the one indicated, and the note itself again. It is marked by a backwards S-shape lying on its side, sometimes known as an "inverted lazy S", above the staff. The details of its execution depend partly on the exact placement of the turn mark. For instance, the turns below may be executed as The exact speed with which a turn is executed can vary, as can its rhythm. The question of how

3136-506: The other hand, pieces in which little or nothing is marked must be supplied with ornaments in the usual way." Clive Brown explains that "For many connoisseurs of that period the individuality of a performer's embellishment of the divine notation was a vital part of the musical experience." In Beethoven 's work, however, there should not be any additional ornament added from a performer. Even in Mozart 's compositions, ornaments not included in

3200-415: The overall line of the melody (or harmony ), but serve instead to decorate or "ornament" that line (or harmony), provide added interest and variety, and give the performer the opportunity to add expressiveness to a song or piece . Many ornaments are performed as "fast notes" around a central, main note . There are many types of ornaments, ranging from the addition of a single, short grace note before

3264-411: The previous one." The word Nachschlag ( German: [ˈnaːxʃlaːk] ) translates, literally, to "after-beat", and refers to "the two notes that sometimes terminate a trill, and which, when taken in combination with the last two notes of the shake, may form a turn". The term Nachschlag may also refer to "an ornament that took the form of a supplementary note that, when placed after

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3328-622: The repetition in John Adams 's Nixon in China is "trapping listeners in a narrow acoustic corridor of the Real" while Naomi Cumming (1997, p. 129–152) argues that the repetitive string ostinatos of Steve Reich 's Different Trains are "prearticulate" pieces of the Real providing a refuge from the Holocaust and its "horror of identification". DJs at disco clubs in the 1970s played

3392-419: The repetition of the first section at the end of the second results in rounded binary form . Schenker argued that musical technique 's "most striking and distinctive characteristic" is repetition (Kivy, 327) while Boulez argues that a high level of interest in repetition and variation ( analogy and difference , recognition and the unknown) is characteristic of all musicians, especially contemporary , and

3456-531: The resolution, are themselves emphasised, and are approached by a leap and left by a step in the opposite direction of the leap. An appoggiatura is often written as a grace note prefixed to a principal note and printed in small character, without the oblique stroke: This may be executed as follows: The word acciaccatura ( UK : / ə ˌ tʃ æ k ə ˈ tj ʊər ə / ə- CHAK -ə- TURE -ə , US : /- ˌ tʃ ɑː k ə -/ -⁠ CHAHK - ; Italian: [attʃakkaˈtuːra] ) comes from

3520-418: The same string. This pattern is an elaboration or decoration of the chord or level and is the same on all the primary triads (I, IV, V), although the dominant , or any chord, may include the seventh on the third beat (see also, degree (music) ). A simple lead guitar boogie pattern is as follows: [REDACTED] Boogie patterns are played with a swing or shuffle rhythm and generally follow

3584-402: The schema of catatonic conditions. In certain schizophrenics , the process by which the motor apparatus becomes independent leads to infinite repetition of gestures or words, following the decay of the ego." Similar criticism was leveled at Ravel 's Bolero . Wim Mertens (1980, pp. 123–124) writes, "In repetitive music, repetition in the service of the death instinct prevails. Repetition

3648-424: The score are not allowed, as Brown explains: "Most of the chamber music from Mozart onwards that still remains in the repertoire belongs to the kind in which every note is thought out and which tolerates virtually no ornamental additions of the type under consideration here..." Recent scholarship has however brought this statement in question. Jazz music incorporates a wide variety of ornaments including many of

3712-452: The short figure , often used to generate an entire structural framework". Discursive repetition is "at the level of the phrase or section, which generally functions as part of a larger-scale 'argument'". He gives "paradigmatic case[s]": the riff and the phrase . Musematic repetition includes circularity, synchronic relations, and openness. Discursive repetition includes linearity, rational control, and self-sufficiency. Discursive repetition

3776-449: The tempo of the piece, but the following is possible: Whether the note should be played before or on the beat is largely a question of taste and performance practice. Exceptionally, the acciaccatura may be notated in the bar preceding the note to which it is attached, showing that it is to be played before the beat. The implication also varies with the composer and the period. For example, Mozart 's and Haydn 's long appoggiaturas are – to

3840-750: The tone level, repetition creates a drone . Some music features a relatively high degree of repetition in its creation or reception . Examples include minimalist music , krautrock , disco (and its later derivatives such as house music ), some techno , some of Igor Stravinsky 's compositions, barococo , and the Suzuki method (Fink 2005, p. 5). Other important genres with repetitive songwriting are post rock , ambient / dark ambient , and black metal . Repetitive music has often been negatively linked with Freudian thanatos . Theodor W. Adorno provides an example in his criticism of Igor Stravinsky , whose "rhythmic procedures ostinato closely resemble

3904-542: The treatises bring in a new set of expressive devices called graces alongside the divisions. These have a lot more rhythmic interest and are filled with affect as composers took much more interest in text portrayal. It starts with the trillo and cascate , and by the time we reach Francesco Rognoni (1620) we are also told about fashionable ornaments: portar la voce , accento , tremolo , gruppo , esclamatione and intonatio . Key treatises detailing ornamentation: Ornaments in Baroque music take on

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3968-410: The trill began one way or the other, since there was no audible difference after the initial note had been sounded." Clive Brown writes that "Despite three different ways of showing the trills, it seems likely that a trill beginning with the upper note and ending with a turn was envisaged in each case." Sometimes it is expected that the trill will end with a turn (by sounding the note below rather than

4032-433: The trill, the exact speed with which a mordent is performed will vary according to the tempo of the piece, but, at a moderate tempo, the above might be executed as follows: Confusion over the meaning of the unadorned word mordent has led to the modern terms upper and lower mordent being used, rather than mordent and inverted mordent . Practice, notation, and nomenclature vary widely for all of these ornaments; that

4096-464: The word is a redoubling of boogie , which was used for rent parties as early as 1913. The term may be derived from Black West African English, from the Sierra Leone term "bogi", which means "to dance"; as well, it may be akin to the phrase "hausa buga", which means "to beat drums". In the late 1920s and early 1930s, the term "could mean anything from a racy style of dance to a raucous party or to

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