![]() However, the most effective groove in this piece is the leading anacrusis of the popular saxophone melody. As this offbeat note creates a dotted “swing” rhythm with the on-beat left hand bass, Desmond employs groove from the beginning of his piece. The first note of the piece, in the right hand of the piano, with a semiquaver that is played after a dotted quaver rest creates the first groove as instead of going on the beat or the regular quaver off-beat positions, Desmond has placed the note like a semiquaver in a crochet dotted rhythm. Groove can be found in various places in Take Five. A piece is normally classified as having a groove when it includes a “swing” rhythm and is a term to describe the cohesive rhythmic "feel" in a jazz context. This element can be linked the compositional device groove. An example of the rhythm can be found from Bar 1 with a semiquaver on edge of the 1st beat and short staccato crochet notes in beat 3 and 5. Rhythm is commonly associated as a regular, repeated pattern of sound varying the length of notes. With a slight emphasis on beat 1 and 4, this rhythm creates the base for the riff. The rhythm of the accompaniment is also a crucial element in the composition. The vamp always precedes the entry of the saxophone melody. ![]() This affects the solo part as their improvisation would be based on the two-chord vamp instead of the chorus section. A vamp is an accompaniment consisting of a succession of simple chords, in this case switching between E flat minor and B flat minor seventh chords. The tonic chord Im is played for the first four beats of the bar and the last bar is the special effect of a dominant seventh harmony variation, also being the extra differentiating beat to the ordinary 4/4 jazz pieces. ![]() The piece commences with the accompaniment playing Take Five’s special rhythm in a chord progression of Im to Vm7. Take Five is written in the key of E flat minor. Another significant compositional device is the repeated two-chord vamp. ![]()
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