STRUCTURE
To write an instrumental
piece based on an
ostinato pattern.
AOS 4: Musical Structure
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An ostinato is a musical device. It is a
constantly repeated pattern evident in the
music.
It is a motif or phrase which is persistently
repeated in the same musical voice.
The repeating idea may be a rhythmic
pattern, part of a tune, or a complete melody.
In common usage, the term covers repetition
with variation and development, such as the
alteration of an ostinato line to fit changing
harmonies or keys.
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Time Lapse
Pachelbel’s Canon
Lament - Purcell
Mars – Holst
Take 5 – Dave Brubeck
Take a chance on me – ABBA
Immigrant song – Led Zeppelin
[Note: the ostinato may not be heard
throughout the entire piece – it could be just
part of the piece.]
Decide on some chords:
•Experiment on an instrument, and decide which notes sound good
together.
•Choose about 8 of them, and jot ideas down in your music notebook.
Compose three short motifs to go with each chord:
•Look at the notes of each chord –use these as a starting point.
•Don’t use too many notes in each melodic idea. (3,4 or 5 will be fine!)
Create a bass line based on the chosen order of your chords:
• You could just use the main note of your chords in the bass
• To make it more interesting, move to neighbour notes, and/or
other notes of the chord.
Evaluate
your
ideas
•Play the
chords,
motifs
and bass
lines
•Pinpoint
the best
ideas.
Choose
•Decide
on the
order of
chords
•Choose
your
favourite
bass line
•The
instruments
Decide •The mood
on
and style
•The time
signature
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Store your chosen bass line by either playing
onto a track using Cubase, (or any other
suitable programme), or notate on Sibelius.
As the ostinato is a repeated pattern, copy
the material about 6 or 8 times.
Fit in the chords above: either play in using
the guitar, or input using the keyboard.
Evaluate, and make any necessary changes.
At this point it is advisable to vary and
improve the chordal style as you go along.
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Now create a tune
over the repeating
bass and chords.
Check that you are
using the correct
scale for this with
your teacher.
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Divide the tune up
into sections, or
phrases. Think of
the ‘question and
answer’ procedure
for this. You should
use ideas from your
motifs.
To make your melody more convincing, ensure that the
phrases are not the same length as the bass pattern. Try to
make the tune flow across the ‘joins’ in the bass pattern!
These musical ideas will form the basis of
section A of your piece. To improve the
standard of your work, try the following ideas:
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Listen critically to your piece, identifying the
weaker sections. Work out why they don’t work
as well as you would like…..then, either amend or
delete… and try again!
Add another layer / track which uses shorter or
longer notes
Fit in other ‘motifs’ on top of, or in between the
Don’t forget devices such as sequence,
melodic phrases
imitation, inversion, scales and arpeggios –
they all help to ‘bond’ the piece!
Creating a contrasting section
In your music notebook, divide
one page into 2 columns.
In column A, make a list of all the
chords and compositional ideas
used in section A.
In column B, write the opposite or
contrast to the words already
written. Look at the short example
below:
1. Chords of C, F and G
1. Chords of A minor and E minor
2. Stepwise motifs
2. Motifs based on a leap
3. Quick rhythmic patterns
3. Longer, held notes
4. Bass notes –one per chord
4. Walking bass –more interesting!
5. Scales added to decorate
5. Countermelody added
6. Happy mood
6. Sad mood
Get the idea?
Chords
Style
Mood
Devices
Store your ideas in the same way as for section A.
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Decide on the overall form – it is a good idea
to check this with your teacher.
If you are happy with the two sections already
written – what about an intro and a coda?
You could repeat the first section to produce
a TERNARY FORM i.e. A B A. Some people
develop the ideas in section A even further
when they repeat the section!
Remember – evaluate!! Decide what sounds
good, and what is less effective…discuss with
your teacher, then improve where necessary!