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31 Cards in this Set
- Front
- Back
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backbeat
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The rhythmic emphasis on beats 2 & 4 within a 4 beat bar. Many rock drum patterns are based around the kick (bass) drum played on beats 1 & 3 with the snare drum sounding the backbeat on beats 2 & 4.
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blues harp
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A harmonica with a specially selected range of notes traditionally used to play blues.
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Bo Diddley beat
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The Bo Diddley rhythm can be remembered by the rhythm of the phrase 'shave and a haircut, two bits'. Popularised by Bo Diddley in his 1955 hit 'Bo Diddley'.
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Boogie-Woogie piano
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An energetic style of piano playing where the left hand (bass) often plays a repeated (ostinato) accompaniment pattern while the right hand plays repeated chords.
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Break
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A break occurs when all instruments suddenly stop playing with one instrument (or singer) continuing alone. A break usually occurs for no longer than a bar or two.
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Call and response vocals
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Derived from Gospel, a short phrase is sung by the lead singer who is then answered by backing vocals.
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Doo Wop progression
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A repeated progression of four chords that have a specific harmonic relationship to each other (often referred to as I - vi - ii - V or "around the clock"). For example, the sequence of chords C - Amin - Dmin - G form a Doo Wop progression in the key of C. This chord sequence is usually repeated at least four times in a song before any changes occur in the chord cycle. The term "Doo Wop" originated with unaccompanied vocal groups in the 1950s who used to sing nonsense words for their sound rather than their meaning. Many of their songs were based on the Doo Wop progression. The Doo Wop progression was often used in popular music of the late 1950s and early 1960s, and occasionally even in instrumental music.
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Eight-to-the-bar bass
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A single bass note rapidly repeated eight times in a bar (count of four). This playing style has a powerful, angry and unrelenting effect. Common in Punk and Heavy Metal styles.
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Flat four beat
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The rhythmic effect generated by playing a percussion instrument on each beat of the bar (each count of 1, 2, 3, 4). The propulsive beat of Disco and other dance styles is often generated by playing the kick (bass) drum on each beat of the bar. Motown recordings often feature the snare drum or tambourine played on each beat of the bar.
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Lead played on bass strings of the guitar
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A distinctive playing style that gives solidity and strength to the sound of a melody when played on an electric guitar. Popularized by Duane Eddy ("Rebel Rouser") and often used in Surf music.
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Offbeat guitar (beats 2 & 4)
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A playing style where the guitar chordal accompaniment plays only on the backbeat (beats 2 & 4). Encountered in many different rock styles but particularly prevalent in Reggae.
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parellel guitar and bass
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A powerful sonic reinforcement of a melody or riff obtained when the bass imitates the guitar with both instruments playing the same notes together. Common in Heavy Metal styles.
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riff
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A short repeated melodic phrase or 'signature' that is constructed to attract attention by rhythmic and melodic means. Most riffs last for two bars but can vary from one to four bars in length. A 'classic' riff can be heard on the introduction to '(I can't get no) Satisfaction' by the Rolling Stones.
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syncopated bass
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Occurs when bass notes are played off the expected beat. The expected beat accents in most rock music occur on beats one and three with backbeat accents on beats two and four. Syncopated bass may play before or after the expected beat or it may miss the beat completely. Syncopated bass is often found in Reggae and Funk styles.
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tremolo guitar effect
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An electronic effect applied to the sound of an electric guitar that varies the volume in a rapid, cyclic manner. Popularised by Duane Eddy.
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twelve bar blues
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A form of song construction that relies upon a fixed sequence of chords occurring over twelve bars. The chord sequence can be outlined as follows:Many of the rock 'n' roll songs of the 1950s followed the twelve bar blues chord progression.
Often the last chord was a V chord instead of a I (i.e. in the key of Cmajor, a G chord instead of a C). Another common variation of this form was to repeat the first four bars. |
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"Time is on my side" -Rolling Stones (Hot Rocks 1964-1971)
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Beat Division: triple
Form: A BC BC D BC BBB Instrumentation: vocal, backing vocal, drums, guitar, organ, bass Stylistic Characteristics: spoken lyric in D section, tambourine on every 2nd beat, B section is repeated at end |
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"Eleanor Rigby" -The Beatles (Revolver)
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Beat Division: even
Form: A B B A B Instrumentation: strings, vocal, backing vocal Characteristics: strings play counter melodies over insistent, on-the-beat notes, A section is heard with the B section at the end |
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"Wipe out" -The Surfers (Wipe Out!)
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Beat Division: even
Form: A BB1 BB1 BB1 B BB1 B Instrumentation: drums, guitar, bass Characteristics: Twelve-bar chord progression in B, instrumental, melody played mostly on bass strings of the guitar, wave sound effect at the beginning |
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"Ain't that a shame" -Fats Domino (Fats Domino)
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Beat Division: triple
Form: A A A A1 A A Instrumentation: vocal, piano, saxophone, guitar, drums Characteristics: Boogie Woogie piano, Breaks used at start of each vocal A section, no breaks in the A1 section, guitar and sax play same bassline riff throughout A1 sections |
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"Bo Diddley" -Bo Diddley (The Great Tomato Blues Package)
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BD: event
F: A BB B1 BB B1CB1 BBB B1 I: guitar, vocal, drums C: original Bo Diddley beat played on the guitar and drums, whole song based on one chord, tremolo guitar sound in instrumental section |
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"Oh Carol" -Neil Sedaka (The Very Best of Neil Sedaka)
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BD: even
F: A BB BB B1B1 BB I: vocal, backing vocals, sax, drums, bass, guitar C: Doo Wop chord progression, spoken vocal in B1 section, break at end of every second B section, intro is one doo wop cycle of backing vocals |
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"Gloria" -Van Morrison
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BD: even
F: A1AAAA...A1AAA... I: vocal, guitar, bass, backing vocal, organ, drums C: based on a repeated riff throughout, guitar and organ prominent in instrumental break |
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"Jailhouse Rock" -Elvis Presley
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BD: even
F: A BBB CBB I: vocal, guitar, bass, drums, piano C: twelve-bar blues chord progression, guitar plays riff on bass strings, each vocal (B) section begins with break, instrumental played on guitar |
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"You should be dancing" -The Bee Gees
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BD: even
F: A BB CB D I: falsetto vocals, bass, drums, guitar, organ, brass C: disco, four on the floor, drums very evident, guitar and brass on instrumental |
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"Please, please, please" -James Brown
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BD: triple
F: A A A A A A I: vocal, brass, piano, drums, bass, backing vocals C: dramatic singing, each A introduced with unaccompanied vocal, no instrumental |
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"Trip through your wires" -U2
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BD: triple
F: A BBB C B1B1 BB C BB I: vocal, backing vocal, guitar, drums, bass, electric piano C: drum and blues harp intro, blues harp and guitar feature in B1 section |
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"With a little help from my friends" -Joe Cocker
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BD: triple
F: A BB C B C I: vocals, backing vocals, guitar, organ, bass, drums C: vocal introduced with subdued organ and drum backing, breaks in C section, call and response, by with a little help repeated at end |
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"Lucretia Mac Evil" -Blood, Sweat, and Tears
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BD: even
F: A A B A C I: brass, drums, vocal, bass, guitar, electric piano C: tight brass riffs introduce song, brass answers vocal, breaks at end of each A and B |
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"Could you be loved" -Bob Marley
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BD: even
F: A BC BD BE I: guitar, bass, drums, vocal, backing vocal C: reggae offbeat guitar, syncopated bass line |
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"Rock and roll" -Led Zeppelin
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BD: even
F: Ai AA AiiAi AA (Aii=1/2 Ai) I: guitar, vocal, drums, bass, piano C: 12 bar blues, eight to the bar repeated bass, pounding piano entrance for last two A's, break in vocal A sections |
