Editing Ostinato (section)

==Vamp==
<!-- [[Vampire (music)]] redirects here. -->
[[File:Funk & R&B vamp riff.png|thumb|left|400px|Vamp riff typical of funk and R&B<ref name="Marshall" /> {{Audio|Funk & R&B vamp riff.mid|Play}}]]

In music, a '''vamp''' is a [[Repetition (music)|repeating]] [[musical figure]], [[Section (music)|section]],<ref name="Marshall">Marshall, Wolf (2008). ''Stuff! Good Guitar Players Should Know'', p. 138. {{ISBN|1-4234-3008-5}}.</ref> or [[accompaniment]]. Vamps are usually harmonically sparse:<ref name="Marshall" /> A vamp may consist of a single chord or a sequence of chords played in a repeated rhythm. The term frequently appeared in the instruction "vamp till ready" on sheet music for popular songs in the 1930s and 1940s, indicating the accompanist should repeat the musical phrase until the vocalist was ready. Vamps are generally symmetrical, self-contained, and open to variation.<ref name="Marshall" /> They are used in [[blues]], [[jazz]], [[Gospel music|gospel]], [[Soul music|soul]], and [[musical theater]].<ref>{{cite book |last=Corozine |first=Vince |title=Arranging Music for the Real World: Classical and Commercial Aspects |page=124 |year=2002 |publisher=Mel Bay |location=Pacific, MO |isbn=0-7866-4961-5 |oclc=50470629 |ref=Corozine2002}}</ref> Vamps are also found in [[Rock music|rock]], [[funk]], [[reggae]], [[Rhythm and blues|R&B]], [[Pop music|pop]], and [[Country music|country]].<ref name="Marshall" /> The equivalent in [[European classical music|classical music]] is an ostinato, in [[hip hop]] and [[electronic music]] the [[Music loop|loop]], and in rock music the [[riff]].<ref name="Marshall" />

The slang term ''vamp'' comes from the Middle English word ''vampe'' (sock), from Old French ''avanpie'', equivalent to Modern French ''avant-pied'', literally ''before-foot''.<ref name="Marshall" /><ref name=answers>[http://www.answers.com/topic/vamp "Vamp: Definition, Synonyms and Much More"]. ''Answers.com''. Answers Corporation.</ref>

Many vamp-oriented songwriters begin the creative process by attempting to evoke a mood or feeling while riffing freely on an instrument or scat singing. Many well known artists primarily build songs with a vamp/riff/ostinato based approach—including [[John Lee Hooker]] ("[[Boogie Chillen]]", "House Rent Boogie"), [[Bo Diddley]] ("[[Hey Bo Diddley]]", "[[Who Do You Love? (Bo Diddley song)|Who Do You Love?]]"), [[Jimmy Page]] ("[[Ramble On]]", "[[Bron Yr-Aur (song)|Bron Yr Aur]]"), [[Nine Inch Nails]] ("[[Closer (Nine Inch Nails song)|Closer]]") and [[Beck]] ("[[Loser (Beck song)|Loser]]").

Classic examples of vamps in jazz include "[[A Night in Tunisia]]", "[[Take Five]]", "[[A Love Supreme]]", "[[Maiden Voyage (composition)|Maiden Voyage]]" and "[[Cantaloupe Island]]".<ref name="Rawlins" /> Rock examples include the long jam at the ends of "[[Broken Arrow (album)|Loose Change]]" by [[Neil Young and Crazy Horse]] and "[[Ogre Tones|Sooner or Later]]" by [[King's X]].

===Jazz, fusion, and Latin jazz===
In [[jazz]], [[Jazz fusion|fusion]], and related genres, a background vamp provides a performer with a harmonic framework supporting improvisation. In [[Latin jazz]] guajeos fulfill the role of piano vamp. A vamp at the beginning of a jazz tune may act as a springboard to the main tune; a vamp at the end of a song is often called a ''tag''.

====Examples====
"[[Take Five]]" begins with a repeated, syncopated figure in {{music|time|5|4}} time, which pianist [[Dave Brubeck]] plays throughout the song (except for [[Joe Morello]]'s drum solo and a variation on the chords in the middle section).

The music from [[Miles Davis]]'s modal period ({{circa}}1958–1963) was based on improvising songs with a small number of chords. The [[jazz standard]] "[[So What (instrumental)|So What]]" uses a vamp in the two-note "Sooooo what?" figure, regularly played by the piano and the trumpet throughout. Jazz scholar Barry Kernfeld calls this music ''vamp music''.{{full citation needed|date=November 2012}}

Examples include the outros to [[George Benson]]'s "[[Body Talk (Robyn album)|Body Talk]]" and "Plum", and the solo changes to "[[Breezin']]".<ref name="Marshall" /> The following songs are dominated by vamps: [[John Coltrane]], [[Kenny Burrell]], and [[Grant Green]]'s versions of "[[My Favorite Things (song)|My Favorite Things]]", [[Herbie Hancock]]'s "[[Watermelon Man (composition)|Watermelon Man]]" and "[[Chameleon (composition)|Chameleon]]", [[Wes Montgomery]]'s "[[Tequila (Wes Montgomery album)|Bumpin' on Sunset]]" and [[Larry Carlton]]'s "[[Room 335]]".<ref name="Marshall" />

The Afro-Cuban vamp style known as guajeo is used in the [[bebop]]/[[Latin jazz]] standard "[[A Night in Tunisia]]". Depending upon the musician, a repeating figure in "A Night in Tunisia" could be called an ''ostinato'', ''guajeo'', ''riff'', or ''vamp''. The Cuban-jazz hybrid spans the disciplines that encompass all these terms.

===Gospel, soul, and funk===
In [[Gospel music|gospel]] and [[soul music]], the band often vamps on a simple ostinato [[Groove (music)|groove]] at the end of a song, usually over a single chord. In soul music, the end of recorded songs often contains a display of vocal effects—such as rapid scales, arpeggios, and improvised [[section (music)|passages]]. For recordings, sound engineers gradually fade out the vamp section at the end of a song, to transition to the next track on the album. [[Salsoul]] singers such as [[Loleatta Holloway]] have become notable for their vocal improvisations at the end of songs, and they are sampled and used in other songs. [[Andrae Crouch]] extended the use of vamps in gospel, introducing chain vamps (one vamp after the other, each successive vamp drawn from the first).<ref name="California">Jacqueline Cogdell DjeDje, Eddie S. Meadows (1998). ''California Soul'', p. 224. {{ISBN|0-520-20628-2}}.</ref>

1970s-era funk music often takes a short one or two bar musical figure based on a single chord one would consider an introduction vamp in jazz or soul music, and then uses this vamp as the basis of the entire song ("[[Funky Drummer]]" by James Brown, for example). Jazz, blues, and rock are almost always based on chord progressions (a sequence of changing chords), and they use the changing harmony to build tension and sustain listener interest. Unlike these music genres, funk is based on the rhythmic groove of the percussion, rhythm section instruments, and a deep electric bass line, usually all over a single chord. "In funk, harmony is often second to the 'lock,' the linking of contrapuntal parts that are played on guitar, bass, and drums in the repeating vamp."<ref name="Marshall" />

Examples include [[Stevie Wonder]]'s vamp-based "[[Superstition (song)|Superstition]]"<ref name="Marshall" /> and [[Little Johnny Taylor]]'s "[[Part Time Love]]", which features an extended improvisation over a two-chord vamp.<ref name="California" />

===Musical theater===
In [[musical theater]], a vamp, or intro, is the few [[Bar (music)|bars]], one to eight, of music without lyrics that begin a printed copy of a song.<ref name="Craig">Craig, David (1990). ''On Singing Onstage'', p. 22. {{ISBN|1-55783-043-6}}.</ref> The orchestra may repeat the vamp or other accompaniment during dialogue or stage business, as accompaniment for onstage transitions of indeterminate length. The score provides a one or two bar vamp figure, and indicates, "Vamp till cue", by the conductor. The vamp gives the onstage singers time to prepare for the song or the next verse, without requiring the music to pause. Once the vamp section is over, the music continues to the next section.

The vamp may be written by the composer of the song, a copyist employed by the publisher, or the arranger for the vocalist.<ref name="Craig" /> The vamp serves three main purposes: it provides the key, establishes the tempo, and provides emotional context.<ref name="Craig 23">Craig (1990), p. 23.</ref> The vamp may be as short as a ''bell tone'', ''sting'' (a harmonized bell tone with stress on the starting note), or measures long.<ref name="Craig 23" /> The ''rideout'' is the transitional music that begins on the downbeat of the last word of the song and is usually two to four bars long, though it may be as short as a sting or as long as a Roxy Rideout.<ref name="Craig 26">Craig (1990), p. 26.</ref>