Ostinato
In music, an ostinato (Italian: [ostiˈnaːto]; derived from Italian word for stubborn, compare English obstinate) is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's Boléro and the Carol of the Bells, and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from Peter Gunn (1959), The Who's "Baba O'Riley" (1971), The Verve's "Bitter Sweet Symphony" (1997), and Flo Rida's "Low" (2007).[1][2]
Both ostinatos and ostinati are accepted English plural forms, the latter reflecting the word's Italian etymology.
The repeating idea may be a
.If the cadence may be regarded as the cradle of tonality, the ostinato patterns can be considered the playground in which it grew strong and self-confident.
Within the context of European classical and film music, Claudia Gorbman defines an ostinato as a repeated melodic or rhythmic figure that propels scenes that lack dynamic visual action.[5]
Ostinati play an important part in
The term ostinato essentially has the same meaning as the medieval Latin word pes, the word ground as applied to classical music, and the word riff in contemporary popular music.
European classical music
Within the domain of European classical music traditions, Ostinati are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's The Rite of Spring Introduction and Augurs of Spring.
Applicable in
Medieval
Ostinato patterns have been present in European music from the Middle Ages onwards. In the famous English
Later in the medieval era,
Ground bass: Late Renaissance and Baroque
Ground bass or basso ostinato (obstinate bass) is a type of
One striking ostinato instrumental piece of the late Renaissance period is "The Bells", a piece for virginals by William Byrd. Here the ostinato (or 'ground') consists of just two notes:
In Italy, during the seventeenth century, Claudio Monteverdi composed many pieces using ostinato patterns in his operas and sacred works. One of these was his 1650 version of "Laetatus sum", an imposing setting of Psalm 122 that pits a four-note "ostinato of unquenchable energy."[11] against both voices and instruments:
Later in the same century,
While the use of a descending chromatic scale to express pathos was fairly common at the end of the seventeenth century, Richard Taruskin pointed out that Purcell shows a fresh approach to this musical trope: "Altogether unconventional and characteristic, however, is the interpolation of an additional cadential measure into the stereotyped ground, increasing its length from a routine four to a haunting five bars, against which the vocal line, with its despondent refrain ("Remember me!"), is deployed with marked asymmetry. That, in addition to Purcell's distinctively dissonant, suspension-saturated harmony, enhanced by additional chromatic descents during the final ritornello and by many deceptive cadences, makes this little aria an unforgettably poignant embodiment of heartache."[12] See also: Lament bass
"Purcell's compositions over a ground vary in their working out, and the repetition never becomes a restriction."[13] Purcell's instrumental music also featured ground patterns. A particularly fine and complex example is his Fantasia upon a Ground for three violins and continuo:
The intervals in the above pattern are found in many works of the Baroque Period. Pachelbel's Canon also uses a similar sequence of notes in the bass part:
Two pieces by
This characteristic rhythmic pattern continues in the second variation, but with some engaging harmonic subtleties, especially in the second bar, where an unexpected chord creates a passing implication of a related key:
In common with other Passacaglias of the era, the ostinato is not simply confined to the bass, but rises to the uppermost part later in the piece:
A performance of the entire piece can be heard here
Late eighteenth and nineteenth centuries
Ostinatos feature in many works of the late 18th and early 19th centuries.
In the energetic Scherzo of
Beethoven reverses this relationship a few bars later with the melody in the viola and cello and the ostinato shared between the violins:
Both the first and third acts of
Twentieth century
A subtler metrical conflict can be found in the final section of Stravinsky's Symphony of Psalms. The choir sing a melody in triple time, while the bass instruments in the orchestra play a 4-beat ostinato against this. "This is built up over an ostinato bass (harp, two pianos and timpani) moving in fourths like a pendulum."[19]
Sub-Saharan African music
Counter-metric structure
Many instruments
African harmonic progressions
Popular dance bands in West Africa and the
As Moore states, "One could say that I – IV – V – IV [chord progressions] is to African music what the 12-bar blues is to North American music."[23] Such progressions seem superficially to follow the conventions of Western music theory. However, performers of African popular music do not perceive these progressions in the same way. Harmonic progressions which move from the tonic to the subdominant (as they are known in European music) have been used in Traditional sub-Saharan African harmony for hundreds of years. Their elaborations follow all the conventions of traditional African harmonic principles. Gehard Kubik concludes:
The harmonic cycle of C–F–G–F [I–IV–V–IV] prominent in Congo/Zaire popular music simply cannot be defined as a progression from tonic to subdominant to dominant and back to subdominant (on which it ends) because in the performer's appreciation they are of equal status, and not in any hierarchical order as in Western music—(Kubik 1999).[24]
Afro-Cuban guajeo
A guajeo is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. The guajeo is a hybrid of the African and European ostinato. The guajeo was first played as accompaniment on the tres in the folkloric
The guajeo is a seamless Afro-Euro ostinato hybrid, which has had a major influence upon jazz, R&B,
Riff
In various popular music styles, riff refers to a brief, relaxed phrase repeated over changing melodies. It may serve as a refrain or
David Brackett (1999) defines riffs as "short melodic phrases", while Richard Middleton (1999)[28] defines them as "short rhythmic, melodic, or harmonic figures repeated to form a structural framework". Rikky Rooksby[29] 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."
In jazz and
Neither of the terms 'riff' or '
Vamp
In music, a vamp is a
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.[31][33]
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
").Classic examples of vamps in jazz include "
Jazz, fusion, and Latin jazz
In jazz, 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 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
Examples include the outros to
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
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."[31]
Examples include Stevie Wonder's vamp-based "Superstition"[31] and Little Johnny Taylor's "Part Time Love", which features an extended improvisation over a two-chord vamp.[34]
Musical theater
In
The vamp may be written by the composer of the song, a copyist employed by the publisher, or the arranger for the vocalist.[35] The vamp serves three main purposes: it provides the key, establishes the tempo, and provides emotional context.[36] The vamp may be as short as a bell tone, sting (a harmonized bell tone with stress on the starting note), or measures long.[36] 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.[37]
Indian classical music
This section needs additional citations for verification. (October 2015) |
In
The basic idea of the lehara is to provide a steady melodious framework and keep the time-cycle for rhythmic improvisations. It serves as an auditory workbench not only for the soloist but also for the audience to appreciate the ingenuity of the improvisations and thus the merits of the overall performance. In Indian Classical Music, the concept of 'sam' (pronounced as 'sum') carries paramount importance. The sam is the target unison beat (and almost always the first beat) of any rhythmic cycle. The second most important beat is the Khali, which is a complement of the sam. Besides these two prominent beats, there are other beats of emphasis in any given taal, which signify 'khand's (divisions) of the taal. E.g. 'Roopak' or 'Rupak' taal, a 7-beat rhythmic cycle, is divided 3–2–2, further implying that the 1st, 4th, and 6th beats are the prominent beats in that taal. Therefore, it is customary, but not essential, to align the lehara according to the divisions of the Taal. It is done with a view to emphasize those beats that mark the divisions of the Taal.
The lehara can be played on a variety of instruments, including the
See also
References
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- ^ Fallows, D. (1982, p. 89). Dufay. London, Dent.
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- ISBN 0-451-52867-0.
- ^ Stevens, D (1978, p81) Monteverdi: sacred, Secular and Occasional Music. New Jersey, Associated University Presses.
- ^ Taruskin, R. (2010, p.13&) The Oxford History of Western Music: Music in the Seventeenth and Eighteenth centuries. Oxford University Press.
- ^ Harris, Ellen T. (1987, p108) Henry Purcell's Dido and Aeneas. Oxford, Clarendon Press.
- ^ Radcliffe, .P (1965, p.158) Beethoven’s String Quartets. London, Hutchinson.
- ^ Schmitz, E. R. (1950, pp. 145–7) the Piano Works of Claude Debussy. New York, Dover.
- ^ Stravinsky, I. and Craft R. (1959, p.42) Conversations with Igor Stravinsky. London, Faber.
- ^ Walsh, S. (1988, p57) The Music of Stravinsky. London, Routledge.
- ^ Vlad, R (1978, p52) Stravinsky. Oxford University Press.
- ^ White, E.W. (1979, p.365) Stravinsky: the Composer and his Works. London, Faber.
- ISBN 1-886502-80-3.
- ^ Peñalosa, David (2010). The Clave Matrix p. 22.
- ^ Roberts, John Storm. Afro-Cuban Comes Home: The Birth of Congo Music. Original Music cassette tape (1986).
- ^ Moore, Kevin (2011). Ritmo Oriental's First Album of the 70s. Web. Timba.com. http://www.timba.com/artist_pages/1974-first-lp-of-the-70s
- ^ Kubik, Gerhard (1999). Africa and the Blues. Jackson, MS: University Press of Mississippi.
- ISBN 978-0-8108-6204-3
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- ^ New Harvard Dictionary of Music (1986) p. 708. Cambridge, MA: Harvard University Press.
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- ^ "Vamp: Definition, Synonyms and Much More". Answers.com. Answers Corporation.
- ^ ISBN 0-520-20628-2.
- ^ ISBN 1-55783-043-6.
- ^ a b Craig (1990), p. 23.
- ^ Craig (1990), p. 26.
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- ^ Bakshi, Haresh. "The GAT: Raaga Yaman and Yaman Kalyan". Sound of India.
Further reading
- Horner, Bruce; Swiss, Thomas (1999). Form and Music: Key Terms in Popular Music and Culture. Malden, MA: Blackwell. ISBN 0-631-21263-9.
External links
- Jazz Guitar Riffs
- Freymann, Jeffrey (September 14, 2018). "Obstinate Ostinatos". KDFC. Explanation with musical examples.