Second
Rhythm and pulse – Ostinato
SECOND LEVEL ACTIVITY
LEVEL
ACTIVITY
Learning intention
•
I can compose a piece based on an ostinato.
Success criteria
• I am able to include at least two instruments (including voice) in my piece.
• I am able to critically self and peer assess.
• I am able to compose a piece using simple meter.
Resources
•
A computer with internet access.
Focus
Skills, knowledge and understanding
What learners are communicating: Learners
are communicating their understanding of
ostinato.
Learners will be able to:
• create an ostinato
• explore how a rhythm is
constructed
• explore musical structure
• explore dynamics and tempo
• use music technology.
How learners are communicating: Learners
are composing a repeated musical pattern.
Musical building blocks: Learners are
developing dynamics, tempo and ostinato.
Experiences and outcomes
Links to other areas of the curriculum
Expressive arts:
Art and Design; Numeracy
•
Useful links
•
I can use my voice, musical instruments and
music technology to experiment with sounds,
pitch, melody, rhythm, timbre and dynamics.
EXA 2-17a
I have listened to a range of music and can
respond by discussing my thoughts and
feelings. I can give and accept constructive
comment on my own and others’ work.
EXA 2-19a
https://www.tes.com/teachingresource/harry-potter-ostinato3009996
http://www.emcnotes.com/pdf/BangA-Gong_sample.pdf
http://www.zotzinguitarlessons.com/
ostinato-boost-your-songwritingcreativity/
Steve Reich – Clapping Music
Process/next steps
1) Listen to a selection of songs and pieces which contain an ostinato. Ask the children to listen
carefully and identify what the songs/pieces have in common.
•
•
•
•
•
Maurice Ravel - Bolero
Gustav Holt – Mars (from The Planets)
Johann Pachelbel - Canon in D Major
Pink Floyd – Money
Vince Guaraldi Trio - Linus And Lucy
2) Explain that an ostinato is a musical pattern which repeats without ever changing.
3) Children should work independently (or in pairs) to compose an ostinato. They should use
crotchets and quavers, including rests. Consider experimenting with different simple meters such
as the tables provided below. It may be helpful to refer to Ravel’s ‘Bolero’ score as an example.
4/4
1
2
♩
♫
3
4
1
2
♫
♩
♩
3
4
♩
3/4
1
2
3
1
2
3
♩
♫
♩
♩
♩
1
2
3
♫
♩
1
2
3
♫
♫
2/4
1
2
1
♫
♩
2
1
♫
2
1
2
1
2
♫
♫
♩
♫
1
2
1
♩
2
1
2
♫
♩
4) Working in pairs, ask one child to clap or play their ostinato while the other child improvises
(either clapping or playing on an instrument) over the top of the ostinato. Encourage the children
to repeat the ostinato at least four times.
5) Ask the children to consider the following questions:
•
•
•
How is your piece going to start?
At what point will the additional part enter?
How is your piece going to finish?
•
•
•
How will you contrast each sound? Could different indefinitely-tune percussion be used, for
example?
Will the dynamics stay the same or change?
What will the tempo be?
6) Children should have the opportunity to record and evaluate their own ostinato. It is also
important to provide children with the opportunity to peer assess.
The recorded ostinato could form the start of a longer song which children compose, record and
layer sounds using music technology.
7) To extend this activity, children may add an additional rhythm on an instrument of their choice.
By doing this, children will develop their experience with more complicated textures.