STRUCTURE

To write an instrumental piece based on an ostinato pattern.

AOS 4: Musical Structure

An ostinato is a musical device. It is a constantly repeated pattern evident in the music.

It is a motif or phrase which is persistently repeated in the same musical voice.

The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody.

In common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.

Time Lapse Pachelbel’s Canon Lament - Purcell Mars – Holst Take 5 – Dave Brubeck Take a chance on me – ABBA Immigrant song – Led Zeppelin[Note: the ostinato may not be heard

throughout the entire piece – it could be just part of the piece.]

Store your chosen bass line by either playing onto a track using Cubase, (or any other suitable programme), or notate on Sibelius.

As the ostinato is a repeated pattern, copy the material about 6 or 8 times.

Fit in the chords above: either play in using the guitar, or input using the keyboard.

Evaluate, and make any necessary changes. At this point it is advisable to vary and

improve the chordal style as you go along.

To make your melody more convincing, ensure that the phrases are not the same length as the bass pattern. Try to make the tune flow across the ‘joins’ in the bass pattern!

Divide the tune up into sections, or phrases. Think of the ‘question and answer’ procedure for this. You should use ideas from your motifs.

Now create a tune over the repeating bass and chords. Check that you are using the correct scale for this with your teacher.

Listen critically to your piece, identifying the weaker sections. Work out why they don’t work as well as you would like…..then, either amend or delete… and try again!

Add another layer / track which uses shorter or longer notes

Fit in other ‘motifs’ on top of, or in between the melodic phrases

These musical ideas will form the basis of section A of your piece. To improve the standard of your work, try the following ideas:

Don’t forget devices such as sequence, imitation, inversion, scales and

arpeggios – they all help to ‘bond’ the piece!

Creating a contrasting sectionIn your music notebook, divide one page into 2 columns.In column A, make a list of all the chords and compositional ideas used in section A.

In column B, write the opposite or contrast to the words already written. Look at the short example below:

1. Chords of C, F and G 1. Chords of A minor and E minor

2. Stepwise motifs 2. Motifs based on a leap

3. Quick rhythmic patterns 3. Longer, held notes

4. Bass notes –one per chord 4. Walking bass –more interesting!

5. Scales added to decorate 5. Countermelody added

6. Happy mood 6. Sad mood Get the idea?

Store your ideas in the same way as for section A.

Chords MoodStyle Devices

Decide on the overall form – it is a good idea to check this with your teacher.

If you are happy with the two sections already written – what about an intro and a coda?

You could repeat the first section to produce a TERNARY FORM i.e. A B A. Some people develop the ideas in section A even further when they repeat the section!

Remember – evaluate!! Decide what sounds good, and what is less effective…discuss with your teacher, then improve where necessary!