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class="vector-toc-text"> <span class="vector-toc-numb">1.3</span> <span>Late eighteenth and nineteenth centuries</span> </div> </a> <ul id="toc-Late_eighteenth_and_nineteenth_centuries-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Twentieth_century" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Twentieth_century"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.4</span> <span>Twentieth century</span> </div> </a> <ul id="toc-Twentieth_century-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Sub-Saharan_African_music" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Sub-Saharan_African_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Sub-Saharan African music</span> </div> </a> <button aria-controls="toc-Sub-Saharan_African_music-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only 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class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Afro-Cuban_guajeo"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Afro-Cuban guajeo</span> </div> </a> <ul id="toc-Afro-Cuban_guajeo-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Riff" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Riff"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Riff</span> </div> </a> <ul id="toc-Riff-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Vamp" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Vamp"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Vamp</span> </div> </a> <button aria-controls="toc-Vamp-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Vamp subsection</span> </button> <ul id="toc-Vamp-sublist" class="vector-toc-list"> <li id="toc-Jazz,_fusion,_and_Latin_jazz" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Jazz,_fusion,_and_Latin_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.1</span> <span>Jazz, fusion, and Latin jazz</span> </div> </a> <ul id="toc-Jazz,_fusion,_and_Latin_jazz-sublist" class="vector-toc-list"> <li id="toc-Examples" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Examples"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.1.1</span> <span>Examples</span> </div> </a> <ul id="toc-Examples-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Gospel,_soul,_and_funk" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Gospel,_soul,_and_funk"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.2</span> <span>Gospel, soul, and funk</span> </div> </a> <ul id="toc-Gospel,_soul,_and_funk-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Musical_theater" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Musical_theater"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.3</span> <span>Musical theater</span> </div> </a> <ul id="toc-Musical_theater-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Indian_classical_music" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Indian_classical_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Indian classical music</span> </div> </a> <ul id="toc-Indian_classical_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">10</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " 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Available in 30 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-30" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">30 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Ostinato" title="Ostinato – Catalan" lang="ca" hreflang="ca" data-title="Ostinato" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Ostinato" title="Ostinato – Czech" lang="cs" hreflang="cs" data-title="Ostinato" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Ostinat" title="Ostinat – Danish" lang="da" hreflang="da" data-title="Ostinat" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Ostinato" title="Ostinato – German" lang="de" hreflang="de" data-title="Ostinato" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Ostinaato" title="Ostinaato – Estonian" lang="et" hreflang="et" data-title="Ostinaato" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Ostinato" title="Ostinato – Spanish" lang="es" hreflang="es" data-title="Ostinato" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Ostinato" title="Ostinato – Esperanto" lang="eo" hreflang="eo" data-title="Ostinato" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Ostinato" title="Ostinato – French" lang="fr" hreflang="fr" data-title="Ostinato" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Ostinato" title="Ostinato – Galician" lang="gl" hreflang="gl" data-title="Ostinato" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%98%A4%EC%8A%A4%ED%8B%B0%EB%82%98%ED%86%A0" title="오스티나토 – Korean" lang="ko" hreflang="ko" data-title="오스티나토" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Ostinato" title="Ostinato – Italian" lang="it" hreflang="it" data-title="Ostinato" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%90%D7%95%D7%A1%D7%98%D7%99%D7%A0%D7%98%D7%95" title="אוסטינטו – Hebrew" lang="he" hreflang="he" data-title="אוסטינטו" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Ostinato" title="Ostinato – Hungarian" lang="hu" hreflang="hu" data-title="Ostinato" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Ostinato" title="Ostinato – Dutch" lang="nl" hreflang="nl" data-title="Ostinato" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%AA%E3%82%B9%E3%83%86%E3%82%A3%E3%83%8A%E3%83%BC%E3%83%88" title="オスティナート – Japanese" lang="ja" hreflang="ja" data-title="オスティナート" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Ostinato" title="Ostinato – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Ostinato" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Ostinato" title="Ostinato – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Ostinato" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Ostinato" title="Ostinato – Uzbek" lang="uz" hreflang="uz" data-title="Ostinato" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target"><span>Oʻzbekcha / ўзбекча</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Ostinato" title="Ostinato – Polish" lang="pl" hreflang="pl" data-title="Ostinato" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Ostinato" title="Ostinato – Portuguese" lang="pt" hreflang="pt" data-title="Ostinato" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Ostinato" title="Ostinato – Romanian" lang="ro" hreflang="ro" data-title="Ostinato" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9E%D1%81%D1%82%D0%B8%D0%BD%D0%B0%D1%82%D0%BE" title="Остинато – Russian" lang="ru" hreflang="ru" data-title="Остинато" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Ostinato" title="Ostinato – Simple English" lang="en-simple" hreflang="en-simple" data-title="Ostinato" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Ostinato" title="Ostinato – Finnish" lang="fi" hreflang="fi" data-title="Ostinato" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Ostinato" title="Ostinato – Swedish" lang="sv" hreflang="sv" data-title="Ostinato" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Ostinato" title="Ostinato – Turkish" lang="tr" hreflang="tr" data-title="Ostinato" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9E%D1%81%D1%82%D0%B8%D0%BD%D0%B0%D1%82%D0%BE" title="Остинато – Ukrainian" lang="uk" hreflang="uk" data-title="Остинато" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-vec mw-list-item"><a href="https://vec.wikipedia.org/wiki/Ostinato" title="Ostinato – Venetian" lang="vec" hreflang="vec" data-title="Ostinato" data-language-autonym="Vèneto" data-language-local-name="Venetian" class="interlanguage-link-target"><span>Vèneto</span></a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Ostinato" title="Ostinato – Vietnamese" lang="vi" hreflang="vi" data-title="Ostinato" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target"><span>Tiếng Việt</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%9B%BA%E5%AE%9A%E9%9F%B3%E5%9E%8B" title="固定音型 – Chinese" lang="zh" hreflang="zh" data-title="固定音型" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target"><span>中文</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q216745#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></span></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> <div class="vector-page-toolbar-container"> <div id="left-navigation"> <nav aria-label="Namespaces"> <div id="p-associated-pages" class="vector-menu vector-menu-tabs mw-portlet mw-portlet-associated-pages" > <div class="vector-menu-content"> <ul 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</div> </div> <div id="bodyContent" class="vector-body" aria-labelledby="firstHeading" data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Motif or phrase repeated throughout a piece of music</div> <p class="mw-empty-elt"> </p><p>In <a href="/wiki/Music" title="Music">music</a>, an <b>ostinato</b> (<style data-mw-deduplicate="TemplateStyles:r1177148991">.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}</style><span class="IPA-label IPA-label-small">Italian:</span> <span class="IPA nowrap" lang="it-Latn-fonipa"><a href="/wiki/Help:IPA/Italian" title="Help:IPA/Italian">[ostiˈnaːto]</a></span>; derived from the Italian word for <i>stubborn</i>, compare English <i>obstinate</i>) is a <a href="/wiki/Motif_(music)" title="Motif (music)">motif</a> or <a href="/wiki/Phrase_(music)" title="Phrase (music)">phrase</a> that persistently <a href="/wiki/Repetition_(music)" title="Repetition (music)">repeats</a> in the same musical <a href="/wiki/Part_(music)" title="Part (music)">voice</a>, frequently in the same pitch. Well-known ostinato-based pieces include <a href="/wiki/Classical_music" title="Classical music">classical</a> compositions such as <a href="/wiki/Maurice_Ravel" title="Maurice Ravel">Ravel</a>'s <i><a href="/wiki/Bol%C3%A9ro" title="Boléro">Boléro</a></i> and the <i><a href="/wiki/Carol_of_the_Bells" title="Carol of the Bells">Carol of the Bells</a></i>, and <a href="/wiki/Popular_music" title="Popular music">popular songs</a> such as <a href="/wiki/John_Lennon" title="John Lennon">John Lennon</a>’s “<a href="/wiki/Mind_Games_(John_Lennon_song)" title="Mind Games (John Lennon song)">Mind Games</a>”(1973), <a href="/wiki/Donna_Summer" title="Donna Summer">Donna Summer</a> and <a href="/wiki/Giorgio_Moroder" title="Giorgio Moroder">Giorgio Moroder</a>'s "<a href="/wiki/I_Feel_Love" title="I Feel Love">I Feel Love</a>" (1977), <a href="/wiki/Henry_Mancini" title="Henry Mancini">Henry Mancini</a>'s theme from <i><a href="/wiki/Peter_Gunn_(song)" title="Peter Gunn (song)">Peter Gunn</a></i> (1959), <a href="/wiki/The_Who" title="The Who">The Who</a>'s "<a href="/wiki/Baba_O%27Riley" title="Baba O'Riley">Baba O'Riley</a>" (1971), <a href="/wiki/The_Verve" title="The Verve">The Verve</a>'s "<a href="/wiki/Bitter_Sweet_Symphony" title="Bitter Sweet Symphony">Bitter Sweet Symphony</a>" (1997), and <a href="/wiki/Flo_Rida" title="Flo Rida">Flo Rida's</a> "<a href="/wiki/Low_(Flo_Rida_song)" title="Low (Flo Rida song)">Low</a>" (2007).<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>Both <i>ostinatos</i> and <i>ostinati</i> are accepted English plural forms, the latter reflecting the word's Italian <a href="/wiki/Etymology" title="Etymology">etymology</a>. </p><p>The repeating idea may be a <a href="/wiki/Rhythm" title="Rhythm">rhythmic</a> pattern, part of a tune, or a complete <a href="/wiki/Melody" title="Melody">melody</a> in itself.<sup id="cite_ref-Kamien_3-0" class="reference"><a href="#cite_note-Kamien-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with <a href="/wiki/Variation_(music)" title="Variation (music)">variation</a> and <a href="/wiki/Musical_development" class="mw-redirect" title="Musical development">development</a>, such as the alteration of an ostinato line to fit changing <a href="/wiki/Harmony" title="Harmony">harmonies</a> or <a href="/wiki/Key_(music)" title="Key (music)">keys</a>. </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p>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.</p><div class="templatequotecite">— <cite><a href="/wiki/Edward_Lowinsky" title="Edward Lowinsky">Edward Lowinsky</a><sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></cite></div></blockquote> <p>Within the context of European classical and film music, Claudia Gorbman defines an <i>ostinato</i> as a repeated melodic or rhythmic figure that propels scenes that lack dynamic visual action.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p>Ostinati play an important part in <a href="/wiki/Musical_improvisation" title="Musical improvisation">improvised music</a> (rock and jazz), in which they are often referred to as <b>riffs</b> or <b>vamps</b>. A "favorite technique of contemporary jazz writers", ostinati are often used in <a href="/wiki/Modal_jazz" title="Modal jazz">modal</a> and <a href="/wiki/Latin_jazz" title="Latin jazz">Latin jazz</a> and traditional <a href="/wiki/African_music" class="mw-redirect" title="African music">African music</a> including <a href="/wiki/Gnawa_music" title="Gnawa music">Gnawa music</a>.<sup id="cite_ref-Rawlins_6-0" class="reference"><a href="#cite_note-Rawlins-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>The term <i>ostinato</i> essentially has the same meaning as the medieval Latin word <i>pes</i>, the word <i>ground</i> as applied to classical music, and the word <i>riff</i> in contemporary popular music. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="European_classical_music">European classical music</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=1" title="Edit section: European classical music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Within the domain of European classical music traditions, <i>Ostinati</i> are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's <i>The Rite of Spring</i> <i>Introduction</i> and <i>Augurs of Spring</i>.<sup id="cite_ref-Kamien_3-1" class="reference"><a href="#cite_note-Kamien-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> A famous type of ostinato, called the <i><a href="/wiki/Rossini" class="mw-redirect" title="Rossini">Rossini</a> crescendo</i>, owes its name to a <a href="/wiki/Crescendo" class="mw-redirect" title="Crescendo">crescendo</a> that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other <a href="/wiki/Bel_canto" title="Bel canto">bel canto</a> composers, especially <a href="/wiki/Vincenzo_Bellini" title="Vincenzo Bellini">Vincenzo Bellini</a>; and later by <a href="/wiki/Wagner" class="mw-redirect" title="Wagner">Wagner</a> (in pure instrumental terms, discarding the closing vocal cadenza). </p><p>Applicable in <a href="/wiki/Homophony" title="Homophony">homophonic</a> and <a href="/wiki/Contrapuntal" class="mw-redirect" title="Contrapuntal">contrapuntal</a> <a href="/wiki/Texture_(music)" title="Texture (music)">textures</a>, they are "repetitive rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.<sup id="cite_ref-DeLone_7-0" class="reference"><a href="#cite_note-DeLone-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The technique's appeal to composers from Debussy to <a href="/wiki/Experimental_music" title="Experimental music">avant-garde</a> composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional <a href="/wiki/Chord_progression" title="Chord progression">chord progressions</a> to shape phrases and define tonality".<sup id="cite_ref-DeLone_7-1" class="reference"><a href="#cite_note-DeLone-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Similarly, in <a href="/wiki/Musical_mode" class="mw-redirect" title="Musical mode">modal</a> music, "... relentless, repetitive character help to establish and confirm the modal center".<sup id="cite_ref-Rawlins_6-1" class="reference"><a href="#cite_note-Rawlins-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".<sup id="cite_ref-Rawlins_6-2" class="reference"><a href="#cite_note-Rawlins-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Medieval">Medieval</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=2" title="Edit section: Medieval"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div><p> Ostinato patterns have been present in European music from the Middle Ages onwards. In the famous English <a href="/wiki/Canon_(music)" title="Canon (music)">canon</a> "<a href="/wiki/Sumer_Is_Icumen_In" class="mw-redirect" title="Sumer Is Icumen In">Sumer Is Icumen In</a>", the main vocal lines are underpinned by an ostinato pattern, known as a <i>pes</i>:</p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Sumer_is_Icumen_in.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/22/Sumer_is_Icumen_in.png/500px-Sumer_is_Icumen_in.png" decoding="async" width="500" height="291" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/22/Sumer_is_Icumen_in.png/750px-Sumer_is_Icumen_in.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/22/Sumer_is_Icumen_in.png/1000px-Sumer_is_Icumen_in.png 2x" data-file-width="1771" data-file-height="1029" /></a><figcaption><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=sMCA9nYnLWo">Sumer is Icumen in</a></figcaption></figure><p> Later in the medieval era, <a href="/wiki/Guillaume_Dufay" class="mw-redirect" title="Guillaume Dufay">Guillaume Dufay</a>'s 15th-century chanson <i>Resvelons Nous</i> features a similarly constructed ostinato pattern, but this time 5 bars long. Over this, the main melodic line moves freely, varying the phrase-lengths, while being "to some extent predetermined by the repeating pattern of the canon in the lower two voices."<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="32" data-mwtitle="Dufay_Resvelons_nous_01.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Dufay_Resvelons_nous_01.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/84/Dufay_Resvelons_nous_01.wav/Dufay_Resvelons_nous_01.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/84/Dufay_Resvelons_nous_01.wav/Dufay_Resvelons_nous_01.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/8/84/Dufay_Resvelons_nous_01.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Dufay Resvelons nous</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Dufay_Resvelons_nous_02.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Dufay_Resvelons_nous_02.png/500px-Dufay_Resvelons_nous_02.png" decoding="async" width="500" height="640" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Dufay_Resvelons_nous_02.png/750px-Dufay_Resvelons_nous_02.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Dufay_Resvelons_nous_02.png/1000px-Dufay_Resvelons_nous_02.png 2x" data-file-width="1775" data-file-height="2272" /></a><figcaption><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=4zD8LoZti7g">Dufay Resvelons nous</a></figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Ground_bass:_Late_Renaissance_and_Baroque">Ground bass: Late Renaissance and Baroque</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=3" title="Edit section: Ground bass: Late Renaissance and Baroque"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><span class="anchor" id="Ground_bass"></span> </p><p><i>Ground bass</i> or <i>basso ostinato</i> (obstinate bass) is a type of <a href="/wiki/Variation_form" class="mw-redirect" title="Variation form">variation form</a> in which a <a href="/wiki/Bass_line" class="mw-redirect" title="Bass line">bass line</a>, or <a href="/wiki/Chord_progression" title="Chord progression">harmonic pattern</a> (see <a href="/wiki/Chaconne" title="Chaconne">Chaconne</a>; also common in <a href="/wiki/Music_in_the_Elizabethan_era" title="Music in the Elizabethan era">Elizabethan England</a> as <i>Grounde</i>) is repeated as the basis of a piece underneath variations.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Aaron_Copland" title="Aaron Copland">Aaron Copland</a><sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally [with variation]". However, he cautions, "it might more properly be termed a musical device than a musical form." </p><p> One striking ostinato instrumental piece of the late Renaissance period is "The Bells", a piece for <a href="/wiki/Virginals" title="Virginals">virginals</a> by <a href="/wiki/William_Byrd" title="William Byrd">William Byrd</a>. Here the ostinato (or 'ground') consists of just two notes:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_1" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="34" data-mwtitle="William_Byrd,_The_Bells_01.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:William_Byrd,_The_Bells_01.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/f7/William_Byrd%2C_The_Bells_01.wav/William_Byrd%2C_The_Bells_01.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/f7/William_Byrd%2C_The_Bells_01.wav/William_Byrd%2C_The_Bells_01.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/f/f7/William_Byrd%2C_The_Bells_01.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>William Byrd, The Bells</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:William_Byrd,_The_Bells_02.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/William_Byrd%2C_The_Bells_02.png/500px-William_Byrd%2C_The_Bells_02.png" decoding="async" width="500" height="368" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2c/William_Byrd%2C_The_Bells_02.png/750px-William_Byrd%2C_The_Bells_02.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2c/William_Byrd%2C_The_Bells_02.png/1000px-William_Byrd%2C_The_Bells_02.png 2x" data-file-width="1809" data-file-height="1331" /></a><figcaption>William Byrd, The Bells</figcaption></figure><p> In Italy, during the seventeenth century, <a href="/wiki/Claudio_Monteverdi" title="Claudio Monteverdi">Claudio Monteverdi</a> 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."<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> against both voices and instruments:</p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Monteverdi_Laetatus_sum_(1650)_Ground_bass.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Monteverdi_Laetatus_sum_%281650%29_Ground_bass.png/500px-Monteverdi_Laetatus_sum_%281650%29_Ground_bass.png" decoding="async" width="500" height="31" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Monteverdi_Laetatus_sum_%281650%29_Ground_bass.png/750px-Monteverdi_Laetatus_sum_%281650%29_Ground_bass.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Monteverdi_Laetatus_sum_%281650%29_Ground_bass.png/1000px-Monteverdi_Laetatus_sum_%281650%29_Ground_bass.png 2x" data-file-width="1795" data-file-height="111" /></a><figcaption>Monteverdi Laetatus sum (1650) <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=ekGB_HZRJMI">Ground bass</a></figcaption></figure><p> Later in the same century, <a href="/wiki/Henry_Purcell" title="Henry Purcell">Henry Purcell</a> became famous for his skilful deployment of ground bass patterns. His most famous ostinato is the descending <a href="/wiki/Chromatic" class="mw-redirect" title="Chromatic">chromatic</a> ground bass that underpins the aria "When I am laid in earth" ("<a href="/wiki/Dido%27s_Lament" title="Dido's Lament">Dido's Lament</a>") at the end of his opera <i><a href="/wiki/Dido_and_Aeneas" title="Dido and Aeneas">Dido and Aeneas</a></i>:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_2" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="16" data-mwtitle="Purcell,_Dido's_Lament_ground_bass_01.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Purcell,_Dido%27s_Lament_ground_bass_01.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/0/09/Purcell%2C_Dido%27s_Lament_ground_bass_01.wav/Purcell%2C_Dido%27s_Lament_ground_bass_01.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/0/09/Purcell%2C_Dido%27s_Lament_ground_bass_01.wav/Purcell%2C_Dido%27s_Lament_ground_bass_01.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/0/09/Purcell%2C_Dido%27s_Lament_ground_bass_01.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Purcell, Dido's Lament ground bass</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Purcell,_Dido%27s_Lament_ground_bass_02.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/20/Purcell%2C_Dido%27s_Lament_ground_bass_02.png/500px-Purcell%2C_Dido%27s_Lament_ground_bass_02.png" decoding="async" width="500" height="51" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/20/Purcell%2C_Dido%27s_Lament_ground_bass_02.png/750px-Purcell%2C_Dido%27s_Lament_ground_bass_02.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/20/Purcell%2C_Dido%27s_Lament_ground_bass_02.png/1000px-Purcell%2C_Dido%27s_Lament_ground_bass_02.png 2x" data-file-width="1757" data-file-height="179" /></a><figcaption>Purcell, Dido's Lament ground bass</figcaption></figure><p> While the use of a descending chromatic scale to express pathos was fairly common at the end of the seventeenth century, <a href="/wiki/Richard_Taruskin" title="Richard Taruskin">Richard Taruskin</a> pointed out that Purcell shows a fresh approach to this musical <a href="/wiki/Trope_(literature)" title="Trope (literature)">trope</a>: "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 <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=uGQq3HcOB0Y&t=0m56s">heartache</a>."<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> See also: <a href="/wiki/Lament_bass" title="Lament bass">Lament bass</a>. However, this is not the only ostinato pattern that Purcell uses in the opera. Dido's opening aria "Ah, Belinda" is a further demonstration of Purcell's technical mastery: the phrases of the vocal line do not always coincide with the four-bar ground:</p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Dido%27s_opening_aria_%22Ah!_Belinda%22.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/16/Dido%27s_opening_aria_%22Ah%21_Belinda%22.png/500px-Dido%27s_opening_aria_%22Ah%21_Belinda%22.png" decoding="async" width="500" height="90" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/16/Dido%27s_opening_aria_%22Ah%21_Belinda%22.png/750px-Dido%27s_opening_aria_%22Ah%21_Belinda%22.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/16/Dido%27s_opening_aria_%22Ah%21_Belinda%22.png/1000px-Dido%27s_opening_aria_%22Ah%21_Belinda%22.png 2x" data-file-width="1845" data-file-height="333" /></a><figcaption>Dido's opening aria <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=-KY2TlUHggw">"Ah! Belinda"</a></figcaption></figure><p> "Purcell's compositions over a ground vary in their working out, and the repetition never becomes a restriction."<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> 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: </p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Purcell_Fantasia_in_3_parts_to_a_ground.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Purcell_Fantasia_in_3_parts_to_a_ground.png/500px-Purcell_Fantasia_in_3_parts_to_a_ground.png" decoding="async" width="500" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Purcell_Fantasia_in_3_parts_to_a_ground.png/750px-Purcell_Fantasia_in_3_parts_to_a_ground.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Purcell_Fantasia_in_3_parts_to_a_ground.png/1000px-Purcell_Fantasia_in_3_parts_to_a_ground.png 2x" data-file-width="1302" data-file-height="103" /></a><figcaption>Purcell Fantasia in 3 parts to a <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=cOLsVkf_4Gs">ground</a></figcaption></figure><p> The intervals in the above pattern are found in many works of the Baroque Period. <a href="/wiki/Pachelbel%27s_Canon" title="Pachelbel's Canon">Pachelbel's Canon</a> also uses a similar sequence of notes in the bass part:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_3" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="65" data-mwtitle="Pachelbel's_Canon_01.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Pachelbel%27s_Canon_01.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bc/Pachelbel%27s_Canon_01.wav/Pachelbel%27s_Canon_01.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bc/Pachelbel%27s_Canon_01.wav/Pachelbel%27s_Canon_01.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/b/bc/Pachelbel%27s_Canon_01.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Pachelbel's Canon</figcaption></figure> <figure class="mw-default-size mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Pachelbel_Canon_bass_line_(quarter_notes).svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/Pachelbel_Canon_bass_line_%28quarter_notes%29.svg/220px-Pachelbel_Canon_bass_line_%28quarter_notes%29.svg.png" decoding="async" width="220" height="34" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/33/Pachelbel_Canon_bass_line_%28quarter_notes%29.svg/330px-Pachelbel_Canon_bass_line_%28quarter_notes%29.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/33/Pachelbel_Canon_bass_line_%28quarter_notes%29.svg/440px-Pachelbel_Canon_bass_line_%28quarter_notes%29.svg.png 2x" data-file-width="512" data-file-height="78" /></a><figcaption>Ground bass of <i><a href="/wiki/Pachelbel%27s_Canon" title="Pachelbel's Canon">Pachelbel's Canon</a></i></figcaption></figure><p> Two pieces by <a href="/wiki/J.S.Bach" class="mw-redirect" title="J.S.Bach">J.S.Bach</a> are particularly striking for their use of an ostinato bass: the <a href="/wiki/Mass_in_B_minor_structure#Crucifixus" title="Mass in B minor structure">Crucifixus</a> from his <a href="/wiki/Mass_in_B_minor" title="Mass in B minor">Mass in B minor</a> and the <a href="/wiki/Passacaglia" title="Passacaglia">Passacaglia</a> in C minor for organ, which has a ground rich in melodic intervals:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_4" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="20" data-mwtitle="Bach_C_minor_Passacaglia_ground_bass.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Bach_C_minor_Passacaglia_ground_bass.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/5/5b/Bach_C_minor_Passacaglia_ground_bass.wav/Bach_C_minor_Passacaglia_ground_bass.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/5/5b/Bach_C_minor_Passacaglia_ground_bass.wav/Bach_C_minor_Passacaglia_ground_bass.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/5/5b/Bach_C_minor_Passacaglia_ground_bass.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Bach C minor Passacaglia ground bass</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Bach_C_minor_Passacaglia_ground_bass.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Bach_C_minor_Passacaglia_ground_bass.png/500px-Bach_C_minor_Passacaglia_ground_bass.png" decoding="async" width="500" height="31" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Bach_C_minor_Passacaglia_ground_bass.png/750px-Bach_C_minor_Passacaglia_ground_bass.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Bach_C_minor_Passacaglia_ground_bass.png/1000px-Bach_C_minor_Passacaglia_ground_bass.png 2x" data-file-width="1814" data-file-height="114" /></a><figcaption>Bach C minor Passacaglia ground bass</figcaption></figure><p> The first variation that Bach builds over this ostinato consists of a gently <a href="/wiki/Syncopated" class="mw-redirect" title="Syncopated">syncopated</a> motif in the upper voices:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_5" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="30" data-mwtitle="Bach_C_minor_Passacaglia_Variation_1.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Bach_C_minor_Passacaglia_Variation_1.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/60/Bach_C_minor_Passacaglia_Variation_1.wav/Bach_C_minor_Passacaglia_Variation_1.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/60/Bach_C_minor_Passacaglia_Variation_1.wav/Bach_C_minor_Passacaglia_Variation_1.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/6/60/Bach_C_minor_Passacaglia_Variation_1.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Bach C minor Passacaglia Variation 1</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Bach_C_minor_Passacaglia_Variation_1.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Bach_C_minor_Passacaglia_Variation_1.png/500px-Bach_C_minor_Passacaglia_Variation_1.png" decoding="async" width="500" height="251" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Bach_C_minor_Passacaglia_Variation_1.png/750px-Bach_C_minor_Passacaglia_Variation_1.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Bach_C_minor_Passacaglia_Variation_1.png/1000px-Bach_C_minor_Passacaglia_Variation_1.png 2x" data-file-width="1840" data-file-height="924" /></a><figcaption>Bach C minor Passacaglia Variation 1</figcaption></figure><p> 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: </p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_6" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="30" data-mwtitle="Bach_C_minor_Passacaglia_Variation_2.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Bach_C_minor_Passacaglia_Variation_2.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/82/Bach_C_minor_Passacaglia_Variation_2.wav/Bach_C_minor_Passacaglia_Variation_2.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/82/Bach_C_minor_Passacaglia_Variation_2.wav/Bach_C_minor_Passacaglia_Variation_2.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/8/82/Bach_C_minor_Passacaglia_Variation_2.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Bach C minor Passacaglia Variation 2</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Bach_C_minor_Passacaglia_Variation_2.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/08/Bach_C_minor_Passacaglia_Variation_2.png/500px-Bach_C_minor_Passacaglia_Variation_2.png" decoding="async" width="500" height="248" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/08/Bach_C_minor_Passacaglia_Variation_2.png/750px-Bach_C_minor_Passacaglia_Variation_2.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/08/Bach_C_minor_Passacaglia_Variation_2.png/1000px-Bach_C_minor_Passacaglia_Variation_2.png 2x" data-file-width="1840" data-file-height="914" /></a><figcaption>Bach C minor Passacaglia Variation 2</figcaption></figure><p> 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:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_7" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="20" data-mwtitle="Bach_C_minor_Passacaglia_variation_with_ostinato_in_treble.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Bach_C_minor_Passacaglia_variation_with_ostinato_in_treble.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/e/ef/Bach_C_minor_Passacaglia_variation_with_ostinato_in_treble.wav/Bach_C_minor_Passacaglia_variation_with_ostinato_in_treble.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/e/ef/Bach_C_minor_Passacaglia_variation_with_ostinato_in_treble.wav/Bach_C_minor_Passacaglia_variation_with_ostinato_in_treble.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/e/ef/Bach_C_minor_Passacaglia_variation_with_ostinato_in_treble.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Bach C minor Passacaglia variation with ostinato in treble</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Bach_C_minor_Passacaglia_with_ostinato_in_treble.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/91/Bach_C_minor_Passacaglia_with_ostinato_in_treble.png/500px-Bach_C_minor_Passacaglia_with_ostinato_in_treble.png" decoding="async" width="500" height="260" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/91/Bach_C_minor_Passacaglia_with_ostinato_in_treble.png/750px-Bach_C_minor_Passacaglia_with_ostinato_in_treble.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/91/Bach_C_minor_Passacaglia_with_ostinato_in_treble.png/1000px-Bach_C_minor_Passacaglia_with_ostinato_in_treble.png 2x" data-file-width="1838" data-file-height="957" /></a><figcaption>Bach C minor Passacaglia with ostinato in treble</figcaption></figure><p> A performance of the entire piece can be heard <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=Ie52xH8V2L4">here</a>. </p><div class="mw-heading mw-heading3"><h3 id="Late_eighteenth_and_nineteenth_centuries">Late eighteenth and nineteenth centuries</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=4" title="Edit section: Late eighteenth and nineteenth centuries"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Ostinatos feature in many works of the late 18th and early 19th centuries. <a href="/wiki/Mozart" class="mw-redirect" title="Mozart">Mozart</a> uses an ostinato phrase throughout the big scene that ends Act 2 of the <a href="/wiki/The_Marriage_of_Figaro" title="The Marriage of Figaro"><i>Marriage of Figaro</i></a>, to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back. A famous type of ostinato, called the <a href="/wiki/Rossini" class="mw-redirect" title="Rossini">Rossini</a> crescendo, owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. </p><p> In the energetic Scherzo of <a href="/wiki/Beethoven" class="mw-redirect" title="Beethoven">Beethoven</a>’s late <a href="/wiki/String_Quartet_No._14_(Beethoven)" title="String Quartet No. 14 (Beethoven)">C sharp minor Quartet, Op. 131</a>, there is a harmonically static passage, with "the repetitiveness of a nursery rhyme"<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> that consists of an ostinato shared between viola and cello supporting a melody in octaves in the first and second violins:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_8" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="10" data-mwtitle="Beethoven_Op_131_Trio_from_Scherzo,_bars_69-76.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Beethoven_Op_131_Trio_from_Scherzo,_bars_69-76.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/5/55/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.wav/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/5/55/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.wav/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/5/55/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Beethoven Op 131 Trio from Scherzo, bars 69–76</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Beethoven_Op_131_Trio_from_Scherzo,_bars_69-76.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.png/500px-Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.png" decoding="async" width="500" height="113" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.png/750px-Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/00/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.png/1000px-Beethoven_Op_131_Trio_from_Scherzo%2C_bars_69-76.png 2x" data-file-width="1835" data-file-height="413" /></a><figcaption>Beethoven Op 131 Trio from Scherzo, bars 69–76</figcaption></figure><p> Beethoven reverses this relationship a few bars later with the melody in the viola and cello and the ostinato shared between the violins:</p><figure class="mw-default-size" typeof="mw:File/Thumb"><span><audio id="mwe_player_9" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="10" data-mwtitle="Beethoven_Op_131_Trio_from_Scherzo,_bars_93-100.wav" data-mwprovider="wikimediacommons" resource="/wiki/File:Beethoven_Op_131_Trio_from_Scherzo,_bars_93-100.wav"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/6e/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.wav/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.wav.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/6e/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.wav/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.wav.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/6/6e/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.wav" type="audio/wav" data-width="0" data-height="0" /></audio></span><figcaption>Beethoven Op 131 Trio from Scherzo, bars 93–100</figcaption></figure><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Beethoven_Op_131_Trio_from_Scherzo,_bars_93-100.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.png/500px-Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.png" decoding="async" width="500" height="101" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.png/750px-Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.png/1000px-Beethoven_Op_131_Trio_from_Scherzo%2C_bars_93-100.png 2x" data-file-width="1835" data-file-height="370" /></a><figcaption>Beethoven Op 131 Trio from Scherzo, bars 93–100</figcaption></figure><p> Both the first and third acts of <a href="/wiki/Wagner" class="mw-redirect" title="Wagner">Wagner</a>'s final opera <i><a href="/wiki/Parsifal" title="Parsifal">Parsifal</a></i> feature a passage accompanying a scene where a band of Knights solemnly processes from the depths of forest to the hall of the Grail. The "Transformation music" that supports this change of scene is dominated by the iterated tolling of four bells:</p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Wagner,_Parsifal_Act_1,_transformation_music.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3a/Wagner%2C_Parsifal_Act_1%2C_transformation_music.png/500px-Wagner%2C_Parsifal_Act_1%2C_transformation_music.png" decoding="async" width="500" height="109" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3a/Wagner%2C_Parsifal_Act_1%2C_transformation_music.png/750px-Wagner%2C_Parsifal_Act_1%2C_transformation_music.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3a/Wagner%2C_Parsifal_Act_1%2C_transformation_music.png/1000px-Wagner%2C_Parsifal_Act_1%2C_transformation_music.png 2x" data-file-width="1861" data-file-height="407" /></a><figcaption>Wagner, Parsifal Act 1, <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=bTraCEg0x68&t=05m0s">transformation music</a></figcaption></figure> <p><a href="/wiki/Brahms" class="mw-redirect" title="Brahms">Brahms</a> used ostinato patterns in both the finale of his <a href="/wiki/Symphony_No._4_(Brahms)" title="Symphony No. 4 (Brahms)">Fourth Symphony</a> and in the closing section of his <i><a href="/wiki/Variations_on_a_Theme_by_Haydn" title="Variations on a Theme by Haydn">Variations on a Theme by Haydn</a></i>: </p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Brahms_Variations_on_a_Theme_by_Haydn,_final_section_with_ground_bass.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/98/Brahms_Variations_on_a_Theme_by_Haydn%2C_final_section_with_ground_bass.png/500px-Brahms_Variations_on_a_Theme_by_Haydn%2C_final_section_with_ground_bass.png" decoding="async" width="500" height="46" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/98/Brahms_Variations_on_a_Theme_by_Haydn%2C_final_section_with_ground_bass.png/750px-Brahms_Variations_on_a_Theme_by_Haydn%2C_final_section_with_ground_bass.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/98/Brahms_Variations_on_a_Theme_by_Haydn%2C_final_section_with_ground_bass.png/1000px-Brahms_Variations_on_a_Theme_by_Haydn%2C_final_section_with_ground_bass.png 2x" data-file-width="1276" data-file-height="118" /></a><figcaption>Brahms Variations on a Theme by Haydn, final section with <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=-5Wm_MFnAto&t=13m15s">ground bass</a></figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Twentieth_century">Twentieth century</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=5" title="Edit section: Twentieth century"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Debussy" class="mw-redirect" title="Debussy">Debussy</a> featured an ostinato pattern throughout his Piano Prelude "<a href="/wiki/Des_pas_sur_la_neige" title="Des pas sur la neige">Des pas sur la neige</a>". Here, the ostinato pattern stays in the middle register of the piano – it is never used as a bass. "Remark that the footfall ostinato remains nearly throughout on the same notes, at the same pitch level... this piece is an appeal to the basic loneliness of all human beings, oft-forgotten perhaps, but, like the ostinato, forming a basic undercurrent of our history."<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Debussy,_Des_pas_sur_la_neige.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/79/Debussy%2C_Des_pas_sur_la_neige.png/500px-Debussy%2C_Des_pas_sur_la_neige.png" decoding="async" width="500" height="134" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/79/Debussy%2C_Des_pas_sur_la_neige.png/750px-Debussy%2C_Des_pas_sur_la_neige.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/79/Debussy%2C_Des_pas_sur_la_neige.png/1000px-Debussy%2C_Des_pas_sur_la_neige.png 2x" data-file-width="1824" data-file-height="488" /></a><figcaption>Debussy, <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=Eym3nCRxev0">Des pas sur la neige</a></figcaption></figure><p> Of all the major classical composers of the 20th century, <a href="/wiki/Stravinsky" class="mw-redirect" title="Stravinsky">Stravinsky</a> is possibly the one most associated with the practice of ostinato. In conversation with the composer, his friend and colleague <a href="/wiki/Robert_Craft" title="Robert Craft">Robert Craft</a> remarked "Your music always has an element of repetition, of ostinato. What is the function of ostinato?" Stravinsky replied; "It is static – that is, anti-development; and sometimes we need a contradiction to development."<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Stravinsky was particularly skilled at using ostinatos to confound rather than confirm rhythmic expectations. In the first of his <a href="/wiki/Three_Pieces_for_String_Quartet_(Stravinsky)" class="mw-redirect" title="Three Pieces for String Quartet (Stravinsky)"><i>Three Pieces for String Quartet</i></a>, Stravinsky sets up three repeated patterns, which overlap one another and never <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=dUepDjGgUnc">coincide</a>. "Here a rigid pattern of (3+2+2/4) bars is laid over a strictly recurring 23-beat tune (the bars being marked by a cello ostinato), so that their changing relationship is governed primarily by the pre-compositional scheme."<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> "The rhythmical current running through the music is what binds together these curious mosaic-like pieces."<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>A subtler metrical conflict can be found in the final section of Stravinsky's <i><a href="/wiki/Symphony_of_Psalms" title="Symphony of Psalms">Symphony of Psalms</a></i>. 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 <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=DqWZGUO_eoc&t=15m39s">pendulum</a>."<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Sub-Saharan_African_music">Sub-Saharan African music</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=6" title="Edit section: Sub-Saharan African music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Gyil.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Gyil.JPG/310px-Gyil.JPG" decoding="async" width="310" height="182" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Gyil.JPG/465px-Gyil.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/df/Gyil.JPG/620px-Gyil.JPG 2x" data-file-width="4024" data-file-height="2356" /></a><figcaption>Ghanaian gyil</figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Counter-metric_structure">Counter-metric structure</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=7" title="Edit section: Counter-metric structure"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Many instruments <a href="/wiki/Sub-Saharan_African_music_traditions" title="Sub-Saharan African music traditions">south of the Sahara Desert</a> play ostinato melodies.<sup class="noprint Inline-Template" style="margin-left:0.1em; white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify"><span title="The text near this tag may need clarification or removal of jargon. (June 2017)">clarification needed</span></a></i>]</sup> These include <a href="/wiki/Lamellophone" title="Lamellophone">lamellophones</a> such as the <a href="/wiki/Mbira" title="Mbira">mbira</a>, as well as <a href="/wiki/Xylophone" title="Xylophone">xylophones</a> like the <a href="/wiki/Balafon" title="Balafon">balafon</a>, the <a href="/wiki/Bikutsi" title="Bikutsi">bikutsi</a>, and the <a href="/wiki/Xylophone" title="Xylophone">gyil</a>. Ostinato figures are also played on string instruments such as the <a href="/wiki/Kora_(instrument)" title="Kora (instrument)">kora</a>, <a href="/wiki/Gankoqui" class="mw-redirect" title="Gankoqui">gankoqui</a> bell ensembles, and pitched drums ensembles. Often, African ostinatos contain <a href="/wiki/Offbeat_(music)" class="mw-redirect" title="Offbeat (music)">offbeats</a> or <a href="/wiki/Cross-beat" title="Cross-beat">cross-beats</a>, that contradict the metric structure.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> Other African ostinatos generate complete cross-rhythms by sounding both the main <a href="/wiki/Beat_music" title="Beat music">beats</a> and cross-beats. In the following example, a gyil sounds the three-against-two cross-rhythm (<a href="/wiki/Hemiola" title="Hemiola">hemiola</a>). The left hand (lower notes) sounds the two main beats, while the right hand (upper notes) sounds the three cross-beats.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Ghanaian_gyil.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Ghanaian_gyil.jpg/300px-Ghanaian_gyil.jpg" decoding="async" width="300" height="86" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Ghanaian_gyil.jpg/450px-Ghanaian_gyil.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Ghanaian_gyil.jpg/600px-Ghanaian_gyil.jpg 2x" data-file-width="2206" data-file-height="635" /></a><figcaption>Ghanaian gyil cross-rhythmic ostinato <span class="noprint"><span class="ext-phonos"><span data-nosnippet="" id="ooui-php-1" class="ext-phonos-PhonosButton noexcerpt oo-ui-widget oo-ui-widget-enabled oo-ui-buttonElement oo-ui-buttonElement-frameless oo-ui-iconElement oo-ui-labelElement oo-ui-buttonWidget" data-ooui="{"_":"mw.Phonos.PhonosButton","href":"\/\/upload.wikimedia.org\/wikipedia\/commons\/transcoded\/a\/ac\/Ghanaian_gyil.mid\/Ghanaian_gyil.mid.mp3","rel":["nofollow"],"framed":false,"icon":"volumeUp","label":{"html":"Play"},"data":{"ipa":"","text":"","lang":"en","wikibase":"","file":"Ghanaian gyil.mid"},"classes":["ext-phonos-PhonosButton","noexcerpt"]}"><a role="button" tabindex="0" href="//upload.wikimedia.org/wikipedia/commons/transcoded/a/ac/Ghanaian_gyil.mid/Ghanaian_gyil.mid.mp3" rel="nofollow" aria-label="Play audio" title="Play audio" class="oo-ui-buttonElement-button"><span class="oo-ui-iconElement-icon oo-ui-icon-volumeUp"></span><span class="oo-ui-labelElement-label">Play</span><span class="oo-ui-indicatorElement-indicator oo-ui-indicatorElement-noIndicator"></span></a></span><sup class="ext-phonos-attribution noexcerpt navigation-not-searchable"><a href="/wiki/File:Ghanaian_gyil.mid" title="File:Ghanaian gyil.mid">ⓘ</a></sup></span></span></figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="African_harmonic_progressions">African harmonic progressions</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=8" title="Edit section: African harmonic progressions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Popular dance bands in West Africa and the <a href="/wiki/Congo_(area)" class="mw-redirect" title="Congo (area)">Congo region</a> feature ostinato-playing guitars. The African guitar parts are drawn from a variety of sources, including the indigenous <a href="/wiki/Mbira" title="Mbira">mbira</a>, as well as foreign influences such as <a href="/wiki/James_Brown" title="James Brown">James Brown</a>-type <a href="/wiki/Funk" title="Funk">funk</a> riffs. However, the foreign influences are interpreted through a distinctly African ostinato sensibility. African guitar styles began with Congolese bands doing Cuban <a href="/wiki/Cover_song" class="mw-redirect" title="Cover song">cover songs</a>. The Cuban <a href="/wiki/Guajeo" title="Guajeo">guajeo</a> had a both familiar and exotic quality to the African musicians. Gradually, various regional guitar styles emerged, as indigenous influences became increasingly dominant within these <i>Africanized guajeos</i>.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p><p>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."<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Traditional_sub-Saharan_African_harmony" title="Traditional sub-Saharan African harmony">Traditional sub-Saharan African harmony</a> for hundreds of years. Their elaborations follow all the conventions of traditional African harmonic principles. Gehard Kubik concludes: </p> <blockquote><p>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).<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup></p></blockquote> <div class="mw-heading mw-heading2"><h2 id="Afro-Cuban_guajeo">Afro-Cuban guajeo</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=9" title="Edit section: Afro-Cuban guajeo"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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 <a href="/wiki/Chang%C3%BC%C3%AD" title="Changüí">changüí</a> and <a href="/wiki/Son_music" class="mw-redirect" title="Son music">son</a>.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> The term <i>guajeo</i> is often used to mean specific ostinato patterns played by a tres, piano, an instrument of the violin family, or saxophones.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> The guajeo is a fundamental component of modern-day <a href="/wiki/Salsa_music" title="Salsa music">salsa</a>, and <a href="/wiki/Latin_jazz" title="Latin jazz">Latin jazz</a>. The following example shows a basic guajeo pattern. </p> <figure class="mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:Generic_3-2_guajeo.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Generic_3-2_guajeo.jpg/400px-Generic_3-2_guajeo.jpg" decoding="async" width="400" height="64" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Generic_3-2_guajeo.jpg/600px-Generic_3-2_guajeo.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Generic_3-2_guajeo.jpg/800px-Generic_3-2_guajeo.jpg 2x" data-file-width="7516" data-file-height="1200" /></a><figcaption>Cuban guajeo written in cut-time <span class="noprint"><span class="ext-phonos"><span data-nosnippet="" id="ooui-php-2" class="ext-phonos-PhonosButton noexcerpt oo-ui-widget oo-ui-widget-enabled oo-ui-buttonElement oo-ui-buttonElement-frameless oo-ui-iconElement oo-ui-labelElement oo-ui-buttonWidget" data-ooui="{"_":"mw.Phonos.PhonosButton","href":"\/\/upload.wikimedia.org\/wikipedia\/commons\/transcoded\/e\/e9\/Generic_3-2_guajeo.mid\/Generic_3-2_guajeo.mid.mp3","rel":["nofollow"],"framed":false,"icon":"volumeUp","label":{"html":"Play"},"data":{"ipa":"","text":"","lang":"en","wikibase":"","file":"Generic 3-2 guajeo.mid"},"classes":["ext-phonos-PhonosButton","noexcerpt"]}"><a role="button" tabindex="0" href="//upload.wikimedia.org/wikipedia/commons/transcoded/e/e9/Generic_3-2_guajeo.mid/Generic_3-2_guajeo.mid.mp3" rel="nofollow" aria-label="Play audio" title="Play audio" class="oo-ui-buttonElement-button"><span class="oo-ui-iconElement-icon oo-ui-icon-volumeUp"></span><span class="oo-ui-labelElement-label">Play</span><span class="oo-ui-indicatorElement-indicator oo-ui-indicatorElement-noIndicator"></span></a></span><sup class="ext-phonos-attribution noexcerpt navigation-not-searchable"><a href="/wiki/File:Generic_3-2_guajeo.mid" title="File:Generic 3-2 guajeo.mid">ⓘ</a></sup></span></span></figcaption></figure> <p>The guajeo is a seamless Afro-Euro ostinato hybrid, which has had a major influence upon jazz, R&B, <a href="/wiki/Rock_%27n%27_roll" class="mw-redirect" title="Rock 'n' roll">rock 'n' roll</a> and popular music in general. <a href="/wiki/The_Beatles" title="The Beatles">The Beatles</a>' "<a href="/wiki/I_Feel_Fine" title="I Feel Fine">I Feel Fine</a>" guitar riff is guajeo-like. </p> <div class="mw-heading mw-heading2"><h2 id="Riff">Riff</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=10" title="Edit section: Riff"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Riff" title="Riff">Riff</a></div> <p>In various popular music styles, <b>riff</b> refers to a brief, relaxed phrase repeated over changing melodies. It may serve as a refrain or <a href="/wiki/Melody" title="Melody">melodic figure</a>, often played by the <a href="/wiki/Rhythm_section" title="Rhythm section">rhythm section</a> instruments or solo instruments that form the basis or <a href="/wiki/Accompaniment" title="Accompaniment">accompaniment</a> of a musical composition.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> Though they are most often found in <a href="/wiki/Rock_music" title="Rock music">rock music</a>, <a href="/wiki/Heavy_metal_music" title="Heavy metal music">heavy metal music</a>, <a href="/wiki/Latin_American_music" class="mw-redirect" title="Latin American music">Latin</a>, funk and <a href="/wiki/Jazz" title="Jazz">jazz</a>, classical music is also sometimes based on a simple riff, such as <a href="/wiki/Ravel" class="mw-redirect" title="Ravel">Ravel</a>'s <i><a href="/wiki/Bol%C3%A9ro" title="Boléro">Boléro</a></i>. 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 <a href="/wiki/Head_(music)" title="Head (music)">head</a> <a href="/wiki/Arrangement" title="Arrangement">arrangements</a> played by the <a href="/wiki/Count_Basie_Orchestra" title="Count Basie Orchestra">Count Basie Orchestra</a>. </p><p>David Brackett (1999) defines riffs as "short melodic phrases", while <a href="/wiki/Richard_Middleton_(musicologist)" title="Richard Middleton (musicologist)">Richard Middleton</a> (1999)<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> defines them as "short rhythmic, melodic, or harmonic figures repeated to form a structural framework". Rikky Rooksby<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> 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." </p><p>In jazz and <a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">R&B</a>, riffs are often used as the starting point for longer compositions. The riff from <a href="/wiki/Charlie_Parker" title="Charlie Parker">Charlie Parker</a>'s <a href="/wiki/Bebop" title="Bebop">bebop</a> number "<a href="/wiki/Charlie_Parker%27s_Savoy_and_Dial_Sessions#Session_1" class="mw-redirect" title="Charlie Parker's Savoy and Dial Sessions">Now's the Time</a>" (1945) re-emerged four years later as the R&B dance hit "<a href="/wiki/The_Hucklebuck" title="The Hucklebuck">The Hucklebuck</a>". The verse of "The Hucklebuck"—another riff—was "borrowed" from the Artie Matthews composition "<a href="/wiki/Weary_Blues" title="Weary Blues">Weary Blues</a>". Glenn Miller's "<a href="/wiki/In_the_Mood" title="In the Mood">In the Mood</a>" had an earlier life as <a href="/wiki/Wingy_Manone" title="Wingy Manone">Wingy Manone</a>'s "Tar Paper Stomp". All these songs use <a href="/wiki/Twelve_bar_blues" class="mw-redirect" title="Twelve bar blues">twelve bar blues</a> riffs, and most of these riffs probably precede the examples given.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p><p>Neither of the terms 'riff' or '<a href="/wiki/Lick_(music)" title="Lick (music)">lick</a>' are used in <a href="/wiki/European_classical_music" class="mw-redirect" title="European classical music">classical music</a>. Instead, 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 <a href="/wiki/Modal_jazz" title="Modal jazz">modal</a> music. <a href="/wiki/Latin_jazz" title="Latin jazz">Latin jazz</a> often uses guajeo-based riffs. </p> <div class="mw-heading mw-heading2"><h2 id="Vamp">Vamp</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=11" title="Edit section: Vamp"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Funk_%26_R%26B_vamp_riff.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/54/Funk_%26_R%26B_vamp_riff.png/400px-Funk_%26_R%26B_vamp_riff.png" decoding="async" width="400" height="107" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/54/Funk_%26_R%26B_vamp_riff.png/600px-Funk_%26_R%26B_vamp_riff.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/54/Funk_%26_R%26B_vamp_riff.png/800px-Funk_%26_R%26B_vamp_riff.png 2x" data-file-width="2151" data-file-height="575" /></a><figcaption>Vamp riff typical of funk and R&B<sup id="cite_ref-Marshall_31-0" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> <span class="noprint"><span class="ext-phonos"><span data-nosnippet="" id="ooui-php-3" class="ext-phonos-PhonosButton noexcerpt oo-ui-widget oo-ui-widget-enabled oo-ui-buttonElement oo-ui-buttonElement-frameless oo-ui-iconElement oo-ui-labelElement oo-ui-buttonWidget" data-ooui="{"_":"mw.Phonos.PhonosButton","href":"\/\/upload.wikimedia.org\/wikipedia\/commons\/transcoded\/6\/6b\/Funk_%26_R%26B_vamp_riff.mid\/Funk_%26_R%26B_vamp_riff.mid.mp3","rel":["nofollow"],"framed":false,"icon":"volumeUp","label":{"html":"Play"},"data":{"ipa":"","text":"","lang":"en","wikibase":"","file":"Funk & R&B vamp riff.mid"},"classes":["ext-phonos-PhonosButton","noexcerpt"]}"><a role="button" tabindex="0" href="//upload.wikimedia.org/wikipedia/commons/transcoded/6/6b/Funk_%26_R%26B_vamp_riff.mid/Funk_%26_R%26B_vamp_riff.mid.mp3" rel="nofollow" aria-label="Play audio" title="Play audio" class="oo-ui-buttonElement-button"><span class="oo-ui-iconElement-icon oo-ui-icon-volumeUp"></span><span class="oo-ui-labelElement-label">Play</span><span class="oo-ui-indicatorElement-indicator oo-ui-indicatorElement-noIndicator"></span></a></span><sup class="ext-phonos-attribution noexcerpt navigation-not-searchable"><a href="/wiki/File:Funk_%26_R%26B_vamp_riff.mid" title="File:Funk & R&B vamp riff.mid">ⓘ</a></sup></span></span></figcaption></figure> <p>In music, a <b>vamp</b> is a <a href="/wiki/Repetition_(music)" title="Repetition (music)">repeating</a> <a href="/wiki/Musical_figure" class="mw-redirect" title="Musical figure">musical figure</a>, <a href="/wiki/Section_(music)" title="Section (music)">section</a>,<sup id="cite_ref-Marshall_31-1" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> or <a href="/wiki/Accompaniment" title="Accompaniment">accompaniment</a>. Vamps are usually harmonically sparse:<sup id="cite_ref-Marshall_31-2" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> A vamp may consist of a single chord or a sequence of chords played in a repeated rhythm. The term frequently appeared in the instruction 'Vamp till ready' on sheet music for popular songs in the 1930s and 1940s, indicating the accompanist should repeat the musical phrase until the vocalist was ready. Vamps are generally symmetrical, self-contained, and open to variation.<sup id="cite_ref-Marshall_31-3" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> They are used in <a href="/wiki/Blues" title="Blues">blues</a>, <a href="/wiki/Jazz" title="Jazz">jazz</a>, <a href="/wiki/Gospel_music" title="Gospel music">gospel</a>, <a href="/wiki/Soul_music" title="Soul music">soul</a>, and <a href="/wiki/Musical_theater" class="mw-redirect" title="Musical theater">musical theater</a>.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> Vamps are also found in <a href="/wiki/Rock_music" title="Rock music">rock</a>, <a href="/wiki/Funk" title="Funk">funk</a>, <a href="/wiki/Reggae" title="Reggae">reggae</a>, <a href="/wiki/R%26B" class="mw-redirect" title="R&B">R&B</a>, <a href="/wiki/Pop_music" title="Pop music">pop</a>, and <a href="/wiki/Country_music" title="Country music">country</a>.<sup id="cite_ref-Marshall_31-4" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> The equivalent in <a href="/wiki/European_classical_music" class="mw-redirect" title="European classical music">classical music</a> is an ostinato, in <a href="/wiki/Hip_hop" class="mw-redirect" title="Hip hop">hip hop</a> and <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a> the <a href="/wiki/Music_loop" class="mw-redirect" title="Music loop">loop</a>, and in rock music the <a href="/wiki/Riff" title="Riff">riff</a>.<sup id="cite_ref-Marshall_31-5" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p><p>The slang term <i>vamp</i> comes from the Middle English word <i>vampe</i> (sock), from Old French <i>avanpie</i>, equivalent to Modern French <i>avant-pied</i>, literally <i>before-foot</i>.<sup id="cite_ref-Marshall_31-6" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-answers_33-0" class="reference"><a href="#cite_note-answers-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p><p>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 <a href="/wiki/John_Lee_Hooker" title="John Lee Hooker">John Lee Hooker</a> ("<a href="/wiki/Boogie_Chillen" class="mw-redirect" title="Boogie Chillen">Boogie Chillen</a>", "House Rent Boogie"), <a href="/wiki/Bo_Diddley" title="Bo Diddley">Bo Diddley</a> ("<a href="/wiki/Hey_Bo_Diddley" class="mw-redirect" title="Hey Bo Diddley">Hey Bo Diddley</a>", "<a href="/wiki/Who_Do_You_Love%3F_(Bo_Diddley_song)" title="Who Do You Love? (Bo Diddley song)">Who Do You Love?</a>"), <a href="/wiki/Jimmy_Page" title="Jimmy Page">Jimmy Page</a> ("<a href="/wiki/Ramble_On" title="Ramble On">Ramble On</a>", "<a href="/wiki/Bron_Yr-Aur_(song)" class="mw-redirect" title="Bron Yr-Aur (song)">Bron Yr Aur</a>"), <a href="/wiki/Nine_Inch_Nails" title="Nine Inch Nails">Nine Inch Nails</a> ("<a href="/wiki/Closer_(Nine_Inch_Nails_song)" title="Closer (Nine Inch Nails song)">Closer</a>"), and <a href="/wiki/Beck" title="Beck">Beck</a> ("<a href="/wiki/Loser_(Beck_song)" title="Loser (Beck song)">Loser</a>"). </p><p>Classic examples of vamps in jazz include "<a href="/wiki/A_Night_in_Tunisia" title="A Night in Tunisia">A Night in Tunisia</a>", "<a href="/wiki/Take_Five" title="Take Five">Take Five</a>", "<a href="/wiki/A_Love_Supreme" title="A Love Supreme">A Love Supreme</a>", "<a href="/wiki/Maiden_Voyage_(composition)" title="Maiden Voyage (composition)">Maiden Voyage</a>", and "<a href="/wiki/Cantaloupe_Island" title="Cantaloupe Island">Cantaloupe Island</a>".<sup id="cite_ref-Rawlins_6-3" class="reference"><a href="#cite_note-Rawlins-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> Rock examples include the long jam at the ends of "<a href="/wiki/Broken_Arrow_(album)" title="Broken Arrow (album)">Loose Change</a>" by <a href="/wiki/Neil_Young_and_Crazy_Horse" class="mw-redirect" title="Neil Young and Crazy Horse">Neil Young and Crazy Horse</a> and "<a href="/wiki/Ogre_Tones" title="Ogre Tones">Sooner or Later</a>" by <a href="/wiki/King%27s_X" title="King's X">King's X</a>. </p> <div class="mw-heading mw-heading3"><h3 id="Jazz,_fusion,_and_Latin_jazz"><span id="Jazz.2C_fusion.2C_and_Latin_jazz"></span>Jazz, fusion, and Latin jazz</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=12" title="Edit section: Jazz, fusion, and Latin jazz"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In <a href="/wiki/Jazz" title="Jazz">jazz</a>, <a href="/wiki/Jazz_fusion" title="Jazz fusion">fusion</a>, and related genres, a background vamp provides a performer with a harmonic framework supporting improvisation. In <a href="/wiki/Latin_jazz" title="Latin jazz">Latin jazz</a> 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 <i>tag</i>. </p> <div class="mw-heading mw-heading4"><h4 id="Examples">Examples</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=13" title="Edit section: Examples"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>"<a href="/wiki/Take_Five" title="Take Five">Take Five</a>" begins with a repeated, syncopated figure in <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>5</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sub></span></span></span></span> time, which pianist <a href="/wiki/Dave_Brubeck" title="Dave Brubeck">Dave Brubeck</a> plays throughout the song (except for <a href="/wiki/Joe_Morello" title="Joe Morello">Joe Morello</a>'s drum solo and a variation on the chords in the middle section). </p><p>The music from <a href="/wiki/Miles_Davis" title="Miles Davis">Miles Davis</a>'s modal period (<abbr title="circa">c.</abbr>1958–1963) was based on improvising songs with a small number of chords. The <a href="/wiki/Jazz_standard" title="Jazz standard">jazz standard</a> "<a href="/wiki/So_What_(instrumental)" class="mw-redirect" title="So What (instrumental)">So What</a>" uses a vamp in the two-note "Sooooo what?" figure, regularly played by the piano and the trumpet throughout. Jazz scholar Barry Kernfeld calls this music <i>vamp music</i>.<sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" title="Wikipedia:Citing sources"><span title="A complete citation is needed. (November 2012)">full citation needed</span></a></i>]</sup> </p><p>Examples include the outros to <a href="/wiki/George_Benson" title="George Benson">George Benson</a>'s "<a href="/wiki/Body_Talk_(Robyn_album)" title="Body Talk (Robyn album)">Body Talk</a>" and "Plum", and the solo changes to "<a href="/wiki/Breezin%27" title="Breezin'">Breezin'</a>".<sup id="cite_ref-Marshall_31-7" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> The following songs are dominated by vamps: <a href="/wiki/John_Coltrane" title="John Coltrane">John Coltrane</a>, <a href="/wiki/Kenny_Burrell" title="Kenny Burrell">Kenny Burrell</a>, and <a href="/wiki/Grant_Green" title="Grant Green">Grant Green</a>'s versions of "<a href="/wiki/My_Favorite_Things_(song)" title="My Favorite Things (song)">My Favorite Things</a>", <a href="/wiki/Herbie_Hancock" title="Herbie Hancock">Herbie Hancock</a>'s "<a href="/wiki/Watermelon_Man_(composition)" title="Watermelon Man (composition)">Watermelon Man</a>" and "<a href="/wiki/Chameleon_(composition)" title="Chameleon (composition)">Chameleon</a>", <a href="/wiki/Wes_Montgomery" title="Wes Montgomery">Wes Montgomery</a>'s "<a href="/wiki/Tequila_(Wes_Montgomery_album)" title="Tequila (Wes Montgomery album)">Bumpin' on Sunset</a>", and <a href="/wiki/Larry_Carlton" title="Larry Carlton">Larry Carlton</a>'s "<a href="/wiki/Room_335" class="mw-redirect" title="Room 335">Room 335</a>".<sup id="cite_ref-Marshall_31-8" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p><p>The Afro-Cuban vamp style known as guajeo is used in the <a href="/wiki/Bebop" title="Bebop">bebop</a>/<a href="/wiki/Latin_jazz" title="Latin jazz">Latin jazz</a> standard "<a href="/wiki/A_Night_in_Tunisia" title="A Night in Tunisia">A Night in Tunisia</a>". Depending upon the musician, a repeating figure in "A Night in Tunisia" could be called an <i>ostinato</i>, <i>guajeo</i>, <i>riff</i>, or <i>vamp</i>. The Cuban-jazz hybrid spans the disciplines that encompass all these terms. </p> <div class="mw-heading mw-heading3"><h3 id="Gospel,_soul,_and_funk"><span id="Gospel.2C_soul.2C_and_funk"></span>Gospel, soul, and funk</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=14" title="Edit section: Gospel, soul, and funk"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In <a href="/wiki/Gospel_music" title="Gospel music">gospel</a> and <a href="/wiki/Soul_music" title="Soul music">soul music</a>, the band often vamps on a simple ostinato <a href="/wiki/Groove_(music)" title="Groove (music)">groove</a> at the end of a song, usually over a single chord. In soul music, the end of recorded songs often contains a display of vocal effects—such as rapid scales, arpeggios, and improvised <a href="/wiki/Section_(music)" title="Section (music)">passages</a>. For recordings, sound engineers gradually fade out the vamp section at the end of a song, to transition to the next track on the album. <a href="/wiki/Salsoul" class="mw-redirect" title="Salsoul">Salsoul</a> singers such as <a href="/wiki/Loleatta_Holloway" title="Loleatta Holloway">Loleatta Holloway</a> have become notable for their vocal improvisations at the end of songs, and they are sampled and used in other songs. <a href="/wiki/Andrae_Crouch" class="mw-redirect" title="Andrae Crouch">Andrae Crouch</a> extended the use of vamps in gospel, introducing chain vamps (one vamp after the other, each successive vamp drawn from the first).<sup id="cite_ref-California_34-0" class="reference"><a href="#cite_note-California-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>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 ("<a href="/wiki/Funky_Drummer" title="Funky Drummer">Funky Drummer</a>" 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."<sup id="cite_ref-Marshall_31-9" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p><p>Examples include <a href="/wiki/Stevie_Wonder" title="Stevie Wonder">Stevie Wonder</a>'s vamp-based "<a href="/wiki/Superstition_(song)" title="Superstition (song)">Superstition</a>"<sup id="cite_ref-Marshall_31-10" class="reference"><a href="#cite_note-Marshall-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Little_Johnny_Taylor" title="Little Johnny Taylor">Little Johnny Taylor</a>'s "<a href="/wiki/Part_Time_Love" title="Part Time Love">Part Time Love</a>", which features an extended improvisation over a two-chord vamp.<sup id="cite_ref-California_34-1" class="reference"><a href="#cite_note-California-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Musical_theater">Musical theater</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=15" title="Edit section: Musical theater"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In <a href="/wiki/Musical_theater" class="mw-redirect" title="Musical theater">musical theater</a>, a vamp, or intro, is the few <a href="/wiki/Bar_(music)" title="Bar (music)">bars</a>, one to eight, of music without lyrics that begin a printed copy of a song.<sup id="cite_ref-Craig_35-0" class="reference"><a href="#cite_note-Craig-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> The orchestra may repeat the vamp or other accompaniment during dialogue or stage business, as accompaniment for onstage transitions of indeterminate length. The score provides a one or two bar vamp figure, and indicates, "Vamp till cue", by the conductor. The vamp gives the onstage singers time to prepare for the song or the next verse, without requiring the music to pause. Once the vamp section is over, the music continues to the next section. </p><p>The vamp may be written by the composer of the song, a copyist employed by the publisher, or the arranger for the vocalist.<sup id="cite_ref-Craig_35-1" class="reference"><a href="#cite_note-Craig-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> The vamp serves three main purposes: it provides the key, establishes the tempo, and provides emotional context.<sup id="cite_ref-Craig_23_36-0" class="reference"><a href="#cite_note-Craig_23-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> The vamp may be as short as a <i>bell tone</i>, <i>sting</i> (a harmonized bell tone with stress on the starting note), or measures long.<sup id="cite_ref-Craig_23_36-1" class="reference"><a href="#cite_note-Craig_23-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> The <i>rideout</i> 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.<sup id="cite_ref-Craig_26_37-0" class="reference"><a href="#cite_note-Craig_26-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Indian_classical_music">Indian classical music</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=16" title="Edit section: Indian classical music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-More_citations_needed_section plainlinks metadata ambox ambox-content ambox-Refimprove" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><a href="/wiki/File:Question_book-new.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png" decoding="async" width="50" height="39" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/75px-Question_book-new.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/100px-Question_book-new.svg.png 2x" data-file-width="512" data-file-height="399" /></a></span></div></td><td class="mbox-text"><div class="mbox-text-span">This section <b>needs additional citations for <a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">verification</a></b>.<span class="hide-when-compact"> Please help <a href="/wiki/Special:EditPage/Ostinato" title="Special:EditPage/Ostinato">improve this article</a> by <a href="/wiki/Help:Referencing_for_beginners" title="Help:Referencing for beginners">adding citations to reliable sources</a> in this section. Unsourced material may be challenged and removed.</span> <span class="date-container"><i>(<span class="date">October 2015</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <p>In <a href="/wiki/Indian_classical_music" title="Indian classical music">Indian classical music</a>, during <a href="/wiki/Tabla" title="Tabla">Tabla</a> or <a href="/wiki/Pakhawaj" class="mw-redirect" title="Pakhawaj">Pakhawaj</a> solo performances and <a href="/wiki/Kathak" title="Kathak">Kathak</a> dance accompaniments, a conceptually similar melodic pattern known as the <b>Lehara</b> (sometimes spelled Lehra)<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> or Nagma is played repeatedly throughout the performance. This melodic pattern is set to the number of beats in a rhythmic cycle (<a href="/wiki/Tala_(music)" title="Tala (music)">Tala</a> or Taal) being performed and may be based on one or a blend of multiple <a href="/wiki/Raga" title="Raga">Ragas</a>. </p><p>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. </p><p>The lehara can be played on a variety of instruments, including the <a href="/wiki/Sarangi" title="Sarangi">sarangi</a>, <a href="/wiki/Harmonium" class="mw-redirect" title="Harmonium">harmonium</a>, <a href="/wiki/Sitar" title="Sitar">sitar</a>, <a href="/wiki/Sarod" title="Sarod">sarod</a>, <a href="/wiki/Flute" title="Flute">flute</a> and others. The playing of the lehara is relatively free from the numerous rules and constraints of <i>Raga Sangeet</i>, which are upheld and honoured in the tradition of Indian Classical Music. The lehara may be interspersed with short and occasional improvisations built around the basic melody. It is also permissible to switch between two or more disparate melodies during the course of the performance. It is essential that the lehara be played with the highest precision in <a href="/wiki/Tempo" title="Tempo">Laya</a> (Tempo) and <a href="/wiki/Swara" class="mw-redirect" title="Swara">Swara</a> control, which requires years of specialist training (<i>Taalim</i>) and practice (<i>Riyaaz</i>). It is considered a hallmark of excellence to play lehara alongside a recognised Tabla or Pakhawaj virtuoso as it is a difficult task to keep a steady pulse while the percussionist is improvising or playing difficult compositions in counterpoint. While there may be scores of individually talented instrumentalists, there are very few who are capable of playing the lehra for a Tabla / Pakhawaj solo performance.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=17" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1184024115">.mw-parser-output .div-col{margin-top:0.3em;column-width:30em}.mw-parser-output .div-col-small{font-size:90%}.mw-parser-output .div-col-rules{column-rule:1px solid #aaa}.mw-parser-output .div-col dl,.mw-parser-output .div-col ol,.mw-parser-output .div-col ul{margin-top:0}.mw-parser-output .div-col li,.mw-parser-output .div-col dd{page-break-inside:avoid;break-inside:avoid-column}</style><div class="div-col" style="column-width: 20em;"> <ul><li><i><a href="/wiki/Canto_Ostinato" title="Canto Ostinato">Canto Ostinato</a></i></li> <li><i><a href="/wiki/Chaconne" title="Chaconne">Chaconne</a></i></li> <li><a href="/wiki/Chanking" title="Chanking">Chanking</a></li> <li><a href="/wiki/Fill_(music)" title="Fill (music)">Fill (music)</a></li> <li><i><a href="/wiki/Folia" title="Folia">Folia</a></i></li> <li><a href="/wiki/Glossary_of_musical_terminology" class="mw-redirect" title="Glossary of musical terminology">Glossary of musical terminology</a></li> <li><a href="/wiki/Hook_(music)" title="Hook (music)">Hook (music)</a></li> <li><a href="/wiki/Imitation_(music)" title="Imitation (music)">Imitation (music)</a></li> <li><a href="/wiki/Leitmotif" title="Leitmotif">Leitmotif</a></li> <li><a href="/wiki/Music_sequencer" title="Music sequencer">Music sequencer</a></li> <li><a href="/wiki/O_Fortuna" title="O Fortuna">O Fortuna</a></li> <li><i><a href="/wiki/Passacaglia" title="Passacaglia">Passacaglia</a></i></li> <li><a href="/wiki/Pedal_point" title="Pedal point">Pedal point</a></li> <li><a href="/wiki/Sequence_(music)" title="Sequence (music)">Sequence (music)</a></li> <li><a href="/wiki/Traditional_sub-Saharan_African_harmony" title="Traditional sub-Saharan African harmony">Traditional sub-Saharan African harmony</a></li> <li><a href="/wiki/Minimal_music" title="Minimal music">Minimal music</a></li></ul></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=18" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Bufe, Chaz (1994).<i>An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians</i>, p. 59. <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781884365003" title="Special:BookSources/9781884365003">9781884365003</a>.</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRutter2010" class="citation book cs1">Rutter, Paul (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=srusAgAAQBAJ&pg=PA78"><i>The Music Industry Handbook</i></a>. London: <a href="/wiki/Routledge" title="Routledge">Routledge</a>. p. 78. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781136725074" title="Special:BookSources/9781136725074"><bdi>9781136725074</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Music+Industry+Handbook&rft.place=London&rft.pages=78&rft.pub=Routledge&rft.date=2010&rft.isbn=9781136725074&rft.aulast=Rutter&rft.aufirst=Paul&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DsrusAgAAQBAJ%26pg%3DPA78&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOstinato" class="Z3988"></span></span> </li> <li id="cite_note-Kamien-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-Kamien_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Kamien_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="/wiki/Roger_Kamien" title="Roger Kamien">Kamien, Roger</a> (1258). <i>Music: An Appreciation</i>, p. 611. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-07-284484-1" title="Special:BookSources/0-07-284484-1">0-07-284484-1</a>.</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Bella Brover-Lubovsky (2008). <i>Tonal space in the music of Antonio Vivaldi</i>, p. 151. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-253-35129-4" title="Special:BookSources/0-253-35129-4">0-253-35129-4</a>.</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Gorbman, Claudia. "Film Music". <i>Film Studies: Critical Approaches</i>. Oxford: <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>. 2000. p. 43. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-874280-0" title="Special:BookSources/0-19-874280-0">0-19-874280-0</a></span> </li> <li id="cite_note-Rawlins-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-Rawlins_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Rawlins_6-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Rawlins_6-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Rawlins_6-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text">Rawlins, Robert (2005). <i>Jazzology: The Encyclopedia of Jazz Theory for All Musicians</i>, pp. 132–133. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-634-08678-2" title="Special:BookSources/0-634-08678-2">0-634-08678-2</a>.</span> </li> <li id="cite_note-DeLone-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-DeLone_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-DeLone_7-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">DeLone, Richard (1975). "Timbre and Texture in Twentieth Century Music", <i>Aspects of 20th Century Music</i>, p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-13-049346-5" title="Special:BookSources/0-13-049346-5">0-13-049346-5</a>.</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Fallows, D. (1982, p. 89). Dufay. London, Dent.</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Bartlette, Christopher, and Steven G. Laitz (2010). <i>Graduate Review of Tonal Theory</i>. New York: Oxford University Press, p. 230 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-537698-2" title="Special:BookSources/978-0-19-537698-2">978-0-19-537698-2</a></span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Copland, Aaron and Rich, Alan (2002). <i>What to Listen for in Music</i>, p. 117. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-451-52867-0" title="Special:BookSources/0-451-52867-0">0-451-52867-0</a>.</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Stevens, D (1978, p81) <i>Monteverdi: sacred, Secular and Occasional Music</i>. New Jersey, Associated University Presses.</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Taruskin, R. (2010, p.13&) <i>The Oxford History of Western Music: Music in the Seventeenth and Eighteenth centuries</i>. Oxford University Press.</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Harris, Ellen T. (1987, p108) <i>Henry Purcell's Dido and Aeneas</i>. Oxford, Clarendon Press.</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Radcliffe, .P (1965, p.158) Beethoven’s String Quartets. London, Hutchinson.</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Schmitz, E. R. (1950, pp. 145–7) the Piano Works of Claude Debussy. New York, Dover.</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Stravinsky, I. and Craft R. (1959, p.42) <i>Conversations with Igor Stravinsky</i>. London, Faber.</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Walsh, S. (1988, p57) The Music of Stravinsky. London, Routledge.</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Vlad, R (1978, p52) <i>Stravinsky</i>. Oxford University Press.</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">White, E.W. (1979, p.365) Stravinsky: the Composer and his Works. 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Petaluma, California: Sher Music. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-9614701-9-4" title="Special:BookSources/0-9614701-9-4">0-9614701-9-4</a>.</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><i>New Harvard Dictionary of Music</i> (1986) p. 708. Cambridge, MA: <a href="/wiki/Harvard_University_Press" title="Harvard University Press">Harvard University Press</a>.</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMiddleton2002" class="citation book cs1">Middleton, Richard (2002) [1990]. <i>Studying Popular Music</i>. Philadelphia: Open University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-335-15275-9" title="Special:BookSources/0-335-15275-9"><bdi>0-335-15275-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Studying+Popular+Music&rft.place=Philadelphia&rft.pub=Open+University+Press&rft.date=2002&rft.isbn=0-335-15275-9&rft.aulast=Middleton&rft.aufirst=Richard&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOstinato" class="Z3988"></span></span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRooksby2002" class="citation book cs1">Rooksby, Rikky (2002). <i>Riffs: How to create and play great guitar riffs</i>. San Francisco: Backbeat Books. pp. 6–7. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87930-710-2" title="Special:BookSources/0-87930-710-2"><bdi>0-87930-710-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Riffs%3A+How+to+create+and+play+great+guitar+riffs&rft.place=San+Francisco&rft.pages=6-7&rft.pub=Backbeat+Books&rft.date=2002&rft.isbn=0-87930-710-2&rft.aulast=Rooksby&rft.aufirst=Rikky&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOstinato" class="Z3988"></span></span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">Covach, John. <i>Form in Rock Music: A Primer</i>, p. 71, in Stein, Deborah (2005). <i>Engaging Music: Essays in Music Analysis</i>. New York: Oxford University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-517010-5" title="Special:BookSources/0-19-517010-5">0-19-517010-5</a>.</span> </li> <li id="cite_note-Marshall-31"><span class="mw-cite-backlink">^ <a href="#cite_ref-Marshall_31-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Marshall_31-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Marshall_31-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Marshall_31-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Marshall_31-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Marshall_31-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Marshall_31-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Marshall_31-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-Marshall_31-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-Marshall_31-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-Marshall_31-10"><sup><i><b>k</b></i></sup></a></span> <span class="reference-text">Marshall, Wolf (2008). <i>Stuff! Good Guitar Players Should Know</i>, p. 138. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-4234-3008-5" title="Special:BookSources/1-4234-3008-5">1-4234-3008-5</a>.</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="Corozine2002" class="citation book cs1">Corozine, Vince (2002). <i>Arranging Music for the Real World: Classical and Commercial Aspects</i>. Pacific, MO: Mel Bay. p. 124. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7866-4961-5" title="Special:BookSources/0-7866-4961-5"><bdi>0-7866-4961-5</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/50470629">50470629</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Arranging+Music+for+the+Real+World%3A+Classical+and+Commercial+Aspects&rft.place=Pacific%2C+MO&rft.pages=124&rft.pub=Mel+Bay&rft.date=2002&rft_id=info%3Aoclcnum%2F50470629&rft.isbn=0-7866-4961-5&rft.aulast=Corozine&rft.aufirst=Vince&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOstinato" class="Z3988"></span></span> </li> <li id="cite_note-answers-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-answers_33-0">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.answers.com/topic/vamp">"Vamp: Definition, Synonyms and Much More"</a>. <i>Answers.com</i>. Answers Corporation.</span> </li> <li id="cite_note-California-34"><span class="mw-cite-backlink">^ <a href="#cite_ref-California_34-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-California_34-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Jacqueline Cogdell DjeDje, Eddie S. Meadows (1998). <i>California Soul</i>, p. 224. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-20628-2" title="Special:BookSources/0-520-20628-2">0-520-20628-2</a>.</span> </li> <li id="cite_note-Craig-35"><span class="mw-cite-backlink">^ <a href="#cite_ref-Craig_35-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Craig_35-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Craig, David (1990). <i>On Singing Onstage</i>, p. 22. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-55783-043-6" title="Special:BookSources/1-55783-043-6">1-55783-043-6</a>.</span> </li> <li id="cite_note-Craig_23-36"><span class="mw-cite-backlink">^ <a href="#cite_ref-Craig_23_36-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Craig_23_36-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Craig (1990), p. 23.</span> </li> <li id="cite_note-Craig_26-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-Craig_26_37-0">^</a></b></span> <span class="reference-text">Craig (1990), p. 26.</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBakshi2006" class="citation book cs1">Bakshi, Haresh (September 26, 2006). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=DQdWAAAAQBAJ&q=lehra+meaning&pg=PT59"><i>101 Raga-s for the 21st Century and Beyond: A Music Lover's Guide</i></a>. Trafford. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1412231353" title="Special:BookSources/1412231353"><bdi>1412231353</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=101+Raga-s+for+the+21st+Century+and+Beyond%3A+A+Music+Lover%27s+Guide&rft.pub=Trafford&rft.date=2006-09-26&rft.isbn=1412231353&rft.aulast=Bakshi&rft.aufirst=Haresh&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DDQdWAAAAQBAJ%26q%3Dlehra%2Bmeaning%26pg%3DPT59&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOstinato" class="Z3988"></span></span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBakshi" class="citation web cs1">Bakshi, Haresh. <a rel="nofollow" class="external text" href="http://www.soundofindia.com/showarticle.asp?in_article_id=-904088624">"The GAT: Raaga Yaman and Yaman Kalyan"</a>. <i>Sound of India</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sound+of+India&rft.atitle=The+GAT%3A+Raaga+Yaman+and+Yaman+Kalyan&rft.aulast=Bakshi&rft.aufirst=Haresh&rft_id=http%3A%2F%2Fwww.soundofindia.com%2Fshowarticle.asp%3Fin_article_id%3D-904088624&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOstinato" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=19" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHornerSwiss1999" class="citation book cs1">Horner, Bruce; Swiss, Thomas (1999). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/keytermsinpopula0000unse"><i>Form and Music: Key Terms in Popular Music and Culture</i></a></span>. Malden, MA: Blackwell. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-631-21263-9" title="Special:BookSources/0-631-21263-9"><bdi>0-631-21263-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Form+and+Music%3A+Key+Terms+in+Popular+Music+and+Culture&rft.place=Malden%2C+MA&rft.pub=Blackwell&rft.date=1999&rft.isbn=0-631-21263-9&rft.aulast=Horner&rft.aufirst=Bruce&rft.au=Swiss%2C+Thomas&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fkeytermsinpopula0000unse&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOstinato" class="Z3988"></span></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ostinato&action=edit&section=20" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/40px-Wiktionary-logo-en-v2.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/60px-Wiktionary-logo-en-v2.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/80px-Wiktionary-logo-en-v2.svg.png 2x" data-file-width="512" data-file-height="512" /></span></span></div> <div class="side-box-text plainlist">Look up <i><b><a href="https://en.wiktionary.org/wiki/vamp" class="extiw" title="wiktionary:vamp">vamp</a></b></i> in Wiktionary, the free dictionary.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="http://www.jazzguitar.be/jazzguitar_licks.html">Jazz Guitar Riffs</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFreymann2018" class="citation web cs1">Freymann, Jeffrey (September 14, 2018). <a rel="nofollow" class="external text" href="https://www.kdfc.com/2018/09/obstinate-ostinatos">"Obstinate Ostinatos"</a>. <i>KDFC</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=KDFC&rft.atitle=Obstinate+Ostinatos&rft.date=2018-09-14&rft.aulast=Freymann&rft.aufirst=Jeffrey&rft_id=https%3A%2F%2Fwww.kdfc.com%2F2018%2F09%2Fobstinate-ostinatos&rfr_id=info%3Asid%2Fen.wikipedia.org%3AOstinato" class="Z3988"></span> Explanation with musical examples.</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol 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href="/wiki/Electric_piano" title="Electric piano">Electric piano</a></li> <li><a href="/wiki/Hammond_organ" title="Hammond organ">Hammond organ</a></li> <li><a href="/wiki/Piano" title="Piano">Piano</a></li> <li><a href="/wiki/Pipe_organ" title="Pipe organ">Pipe organ</a></li></ul> </div></td><td class="noviewer navbox-image" rowspan="3" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"><a href="/wiki/File:FClef.svg" class="mw-file-description"><img alt="F (bass) clef symbol" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/FClef.svg/30px-FClef.svg.png" decoding="async" width="30" height="33" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/FClef.svg/45px-FClef.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c5/FClef.svg/60px-FClef.svg.png 2x" data-file-width="18" data-file-height="20" /></a></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Techniques and styles</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Alberti_bass" title="Alberti bass">Alberti bass</a></li> <li><a href="/wiki/Arpeggio" title="Arpeggio">Arpeggio</a></li> <li><a href="/wiki/Banjo_roll" title="Banjo roll">Banjo roll</a></li> <li><a href="/wiki/Bassline" title="Bassline">Bassline</a></li> <li><a href="/wiki/Figured_bass" title="Figured bass">Basso continuo</a></li> <li><a href="/wiki/Chord_(music)" title="Chord (music)">Chord</a> <ul><li><a href="/wiki/Triad_(music)" title="Triad (music)">Triadic chord</a></li> <li><a href="/wiki/Power_chord" title="Power chord">Power chord</a></li></ul></li> <li><a href="/wiki/Comping_(jazz)" title="Comping (jazz)">Comping</a></li> <li><a href="/wiki/Counter-melody" title="Counter-melody">Counter-melody</a></li> <li><a href="/wiki/Drone_(music)" class="mw-redirect" title="Drone (music)">Drone</a></li> <li><a href="/wiki/Figure_(music)" title="Figure (music)">Figuration</a></li> <li><a href="/wiki/Fill_(music)" title="Fill (music)">Fill</a></li> <li><a href="/wiki/Groove_(music)" title="Groove (music)">Groove</a></li> <li><a href="/wiki/Harmonization" title="Harmonization">Harmonization</a></li> <li><a href="/wiki/Obbligato" title="Obbligato">Obbligato</a></li> <li><a class="mw-selflink selflink">Ostinato</a></li> <li><a href="/wiki/Riff" title="Riff">Riff</a></li> <li><a href="/wiki/Vamp_(music)" class="mw-redirect" title="Vamp (music)">Vamp</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Music_ensemble" class="mw-redirect" title="Music ensemble">Music ensembles</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Backup_band" title="Backup band">Backup band</a></li> <li><a href="/wiki/Musical_ensemble" title="Musical ensemble">Musical ensemble</a></li> <li><a href="/wiki/Orchestra" title="Orchestra">Orchestra</a></li> <li><a href="/wiki/Pit_orchestra" title="Pit orchestra">Pit orchestra</a></li> <li><a href="/wiki/Rhythm_section" title="Rhythm section">Rhythm section</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Bass_(sound)" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="3"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a 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href="/wiki/Bass_clarinet" title="Bass clarinet">Bass clarinet</a></li> <li><a href="/wiki/Bass_drum" title="Bass drum">Bass drum</a></li> <li><a href="/wiki/Bass_guitar" title="Bass guitar">Bass guitar</a></li> <li><a href="/wiki/Bass_pedals" title="Bass pedals">Bass pedals</a></li> <li><a href="/wiki/Bass_saxophone" title="Bass saxophone">Bass saxophone</a></li> <li><a href="/wiki/Bass_synthesizer" class="mw-redirect" title="Bass synthesizer">Bass synthesizer</a></li> <li><a href="/wiki/Bass_trombone" title="Bass trombone">Bass trombone</a></li> <li><a href="/wiki/Bassoon" title="Bassoon">Bassoon</a></li> <li><a href="/wiki/Contrabassoon" title="Contrabassoon">Contrabassoon</a></li> <li><a href="/wiki/Contrabass_trombone" title="Contrabass trombone">Contrabass trombone</a></li> <li><a href="/wiki/Double_bass" title="Double bass">Double bass</a></li> <li><a href="/wiki/Euphonium" title="Euphonium">Euphonium</a></li> <li><a href="/wiki/Guitarr%C3%B3n_mexicano" title="Guitarrón mexicano">Guitarrón</a></li> <li><a href="/wiki/Keyboard_bass" title="Keyboard bass">Keyboard bass</a></li> <li><a href="/wiki/Octobass" title="Octobass">Octobass</a></li> <li><a href="/wiki/Pedal_keyboard" title="Pedal keyboard">Pedal keyboard</a></li> <li><a href="/wiki/Tuba" title="Tuba">Tuba</a></li> <li><a href="/wiki/Washtub_bass" title="Washtub bass">Washtub bass</a></li></ul> </div></td><td class="noviewer navbox-image" rowspan="3" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"><a href="/wiki/File:FClef.svg" class="mw-file-description"><img alt="F (bass) clef symbol" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/FClef.svg/40px-FClef.svg.png" decoding="async" width="40" height="44" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/FClef.svg/60px-FClef.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c5/FClef.svg/80px-FClef.svg.png 2x" data-file-width="18" data-file-height="20" /></a></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Performance/<br />notation</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Alternate_bass" title="Alternate bass">Alternate bass</a></li> <li><a href="/wiki/Bass_clef" class="mw-redirect" title="Bass clef">Bass clef</a></li> <li><a href="/wiki/Bass_effects" title="Bass effects">Bass effects</a> <ul><li><a href="/wiki/Bass_chorus" title="Bass chorus">Bass chorus</a></li> <li><a href="/wiki/Fuzz_bass" title="Fuzz bass">Fuzz bass</a></li></ul></li> <li><a href="/wiki/Bass_note" title="Bass note">Bass note</a></li> <li><a href="/wiki/Bassline" title="Bassline">Bassline</a></li> <li><a href="/wiki/Basso_continuo" title="Basso continuo">Basso continuo</a></li> <li><a href="/wiki/Drone_(sound)" title="Drone (sound)">Burden</a></li> <li><a href="/wiki/Figured_bass" title="Figured bass">Figured bass</a></li> <li><a href="/wiki/Unfigured_bass" title="Unfigured bass">Unfigured bass</a></li> <li><a href="/wiki/Partimento" title="Partimento">Partimento</a></li> <li><a href="/wiki/Jazz_bass" title="Jazz bass">Jazz bass</a></li> <li><a href="/wiki/Lament_bass" title="Lament bass">Lament bass</a></li> <li><a class="mw-selflink selflink">Ostinato</a></li> <li><a href="/wiki/Slapping_(music)" title="Slapping (music)">Slap bass</a></li> <li><a href="/wiki/Walkdown" title="Walkdown">Walkdown</a></li> <li><a href="/wiki/Walking_bass" class="mw-redirect" title="Walking bass">Walking bass</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Sound<br />reproduction</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_amplifier" title="Bass amplifier">Bass amplifier</a></li> <li><a href="/wiki/Low-frequency_effects" title="Low-frequency effects">Low-frequency effects</a></li> <li><a href="/wiki/Sub-bass" title="Sub-bass">Sub-bass</a></li> <li><a href="/wiki/Subwoofer" title="Subwoofer">Subwoofer</a></li> <li><a href="/wiki/Woofer" title="Woofer">Woofer</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Tonality" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a 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