| Call and response (antiphonal) |
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| In music, a call and response is a succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first. |
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| beats 2 and 4 of a measure (in 4/4 time) |
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| a musical figure often repeated for other musicians or a singer to improvise over |
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| a standard song form where different verses are repeated over the same instrumentation |
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| the use of tape loops, tape manipulation, and found sound to make new music |
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| multiple melodies occurring at once with equal importance |
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| an album where all of the songs are united under an overarching concept; like Dark Side, or The Wall |
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| a short musical passage, riff, or rhythmic sound which helps to sustain the listener’s attention during a break between the phrases of a melody. |
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| a type of beat in 4/4 time with equal emphasis on all four beats; found in Motown and dance music |
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| derived from psych-rock. many sub styles; loud, think led zepplin, Maiden, Anthrax, metallica, Ratt, blue oyster cult; etc. more umlats, man; vocals and guitar mixed equally; loud, shouty vox, riff based. |
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| a repeated musical phrase; usually the basis of a song |
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| a performance, event or situation meant to be considered art, usually as performance art |
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| pedals and the such used to change the sound of the instrument (usually guitar) through amplification. |
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| a band made of members of other bands. Think Cream and audioslave. |
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| an extended improvisation over the 12 bar blues song form
(used by the Yardbirds) |
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| a type of latin musical style characteristic used by grateful dead in Dark Star; Use of two chords over an entire song. |
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| a descendant of heavy metal and punk; Hard rock, but with more makeup |
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| short improvisation over a held syllable in vocal music. |
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| chance music – the orchestral sessions in A Day In the Life; music dependent on the musician’s choice. |
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| more than one rhythm played on top of each other |
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| similar to punk; not as angry; more polished sound; more keyboards |
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| a band made up of three members: Jimi Hendrix Experience/ Cream |
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| Manager for the Rolling Stones until 1966 |
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| the man who discovered and produced Jimi Hendrix |
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| Symbolist poet who heavily influenced the lyrics for the Doors |
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| Beat poet who influenced the lyrics for the Doors |
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Super group from 1966 – 1968;
Eric Clapton (guitar), Jack Bruce (bass), and Ginger Baker (drums)
first super group
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album oriented rock band |
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| Early sound guy for the Greatful Dead; Also made a SHIT TON of LSD. |
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| the production pseudonyms of Mick Jagger and Keith Richards |
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| Bassist for Jimi Hendrix’s band Band Of Gypsies; |
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| Sound engineer for Pink Floyd |
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| the band that both Eric Clapton and Jimmy Page were a part of for a while. They did blues rave ups and stuff. |
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| Writer ( a brave New world, the Doors of Perception) that the Doors got their name from. |
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| in rock, he discovered the Velvet Underground, and produced them. |
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| the group pseudonym that the Rolling Stones used when they song-wrote as a group. |
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| Guitarist and Vocals for Pink Floyd (died 2006) |
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| Born To Be Wild; forerunner of heavy metal |
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| was in the BluesBreakers with Eric Clapton from 1965 – 1966 |
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| proto punk band, found and produced by andy worhol |
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| Singer for the Dead Kennedys |
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