![]() ![]() This leads to a very climactic end to the piece. ![]() However, differences become apparent in the way that the rhythm speeds up very quickly in Rangilo Maro Dholna at 0:18-0:43 in Track 4 and increases the tempo. It is played by the percussion and also remains consistent throughout the piece. An ostinato rhythm is apparent in Rangilo Maro Dholna all through Track 3, but is especially apparent from 0:00-0:08. It serves as the backbone of the piece and is consistent in the background, playing accented notes on first and third beat of every measure, with the key signature of the piece being in duple simple. The reeded instrument keeps playing the ostinato part throughout the entire piece. In La Pollera Colora, the ostinato is found at 0:00-0:11 in Track 1. This is especially noticeable because both have influences of dance music. The ostinato rhythms are extremely clear and consistent throughout both of the pieces. The pieces can be compared in terms of their use of ostinato rhythms, call and response, and a contralto female voice.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |