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A riff is a repeated chord progression or refrain in music (also known as an ostinato figure in classical music); it is a pattern, or melody, often played by the rhythm section instruments or solo instrument, that forms the basis or accompaniment of a musical composition.[2] Though riffs are most often found in rock music, heavy metal music, Latin, funk, and jazz, classical music is also sometimes based on a riff, such as Ravel's Bolro. Riffs can be as simple as a tenor saxophone honking a simple, catchy rhythmic figure, or as complex as the riff-based variations in the head arrangements played by the Count Basie Orchestra.

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David Brackett (1999) defines riffs as "short melodic phrases", while Richard Middleton (1999)[3] defines them as "short rhythmic, melodic, or harmonic figures repeated to form a structural framework". Rikky Rooksby states: "A riff is a short, repeated, memorable musical phrase, often pitched low on the guitar, which focuses much of the energy and excitement of a rock song."[4]

BBC Radio 2, in compiling its list of 100 Greatest Guitar Riffs, defined a riff as the "main hook of a song", often beginning the song, and is "repeated throughout it, giving the song its distinctive voice".[5]

The term riff entered musical slang in the 1920s (Rooksby, ibid[where?], p. 6) and is used primarily in discussion of forms of rock music, heavy metal or jazz. "Most rock musicians use riff as a near-synonym for musical idea" (Middleton 1990, p. 125).

The etymology of the term is not clearly known. Ian Anderson, in the documentary "A World Without Beethoven",[7] states (repeatedly) that "riff" is the abbreviation of "repeated motif." Other sources propose riff as an abbreviation for "rhythmic figure" or "refrain".[8]

In jazz, blues and R&B, riffs are often used as the starting point for longer compositions. Charlie Parker used riff on "Now's the Time". Blues guitarist John Lee Hooker used riff on "Boogie Chillen" in 1948.[9]

The riff from Charlie Parker's bebop number "Now's the Time" (1945) re-emerged four years later as the R&B dance hit "The Hucklebuck". The verse of "The Hucklebuck", which was another riff, was "borrowed" from the Artie Matthews composition "Weary Blues". Glenn Miller's "In the Mood" had an earlier life as Wingy Manone's "Tar Paper Stomp". All these songs use twelve-bar blues riffs, and most of these riffs probably precede the examples given (Covach 2005, p. 71).

In classical music, individual musical phrases used as the basis of classical music pieces are called ostinatos or simply phrases. Contemporary jazz writers also use riff- or lick-like ostinatos in modal music and Latin jazz.

The term "riff-driven" is used to describe a piece of music that relies on a repeated instrumental riff as the basis of its most prominent melody, cadence, or (in some cases) leitmotif. Riff-driven songs are largely a product of jazz, blues, and post-blues era music (rock and pop).[10] The musical goal of riff-driven songs is akin to the classical continuo effect, but raised to much higher importance (in fact, the repeated riff is used to anchor the song in the ears of the listener). The riff/continuo is brought to the forefront of the musical piece and often is the primary melody that remains in the listener's ears. A call and response often holds the song together, creating a "circular" rather than linear feel.[11]

A few examples of riff-driven songs are "Whole Lotta Love" and "Black Dog" by Led Zeppelin,[12][13] "Day Tripper" by The Beatles,[14] "Brown Sugar" and "(I Can't Get No) Satisfaction" by The Rolling Stones,[15] "Smoke on the Water" by Deep Purple,[14][16] "Back in Black" by AC/DC,[14][16] "Smells Like Teen Spirit" by Nirvana,[14][16] "Johnny B Goode" by Chuck Berry,[14][16] "Back in the Saddle" by Aerosmith,[17] and "You Really Got Me" by The Kinks.[14][16]

The riff is excellent sounding, packs a punch.

It's a great amp for practice anywhere, anytime. The only draw back, it s should have come with a recharging cord . Also, there should be equaliser settings downloads available through the riff app

I was curious about all the new settings in the riff repeater and what they do. I've been having too much fun playing the songs to screw with it myself, but I found a post from Bandin on the smithyanvil forums where he goes through each of the settings, which I thought some here might appreciate.

to experiment with a thing or idea, making changes that create a new and novel version of it (often followed by on): My partner likes to let his ideas quietly simmer, but I prefer to riff on mine in conversations where I can bounce my thoughts off other people.

Where it clearly differs is when you start incorporating diads or chords into your riffing, where a downstroke raking across two or three strings is going to sound differently than an upstroke simply because the notes are being hit at slightly different times.

A riff is something repeated so often that it forms part of the structure of a song and can crossover into being a rhythmic element because of the repetition. A hook is the most ear-catching element of a song, quite short and not recurring all that often. A melody is just the lead part of a song or section and can be quite long (like a vocal).

If folks could indulge me - how do the different elements (hook, riff, melody, etc) line up with this track? Like what would you consider the melody (the repeating perc?) Is that vocal the hook? What do you call that organ synth thing that comes in around 4 minutes? The riff?

Which means that if you havent played any riffs before your first riff you cant get the finale effect. Its a very weird finale effect that have you play one riff before the next ones have the effect working. ff782bc1db