There is a low ostinato pattern, an ostinato is a repeated musical phrase or rhythm.
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Synthesise the Soul arrives on the 24th of February on Ostinato.
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The score opens with a circular piano ostinato evocative of geometric precision.
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A melody that repeats with no change whatsoever is called an ostinato.
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It's Ostinato, the novel which Ezra wrote after the show's season 5 time jump.
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Mr. Trifonov ended with John Corigliano's inventive, mercurial "Fantasia on an Ostinato," from 1985.
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A simple ostinato for his four limbs — hand-hand-foot-foot — turns into a tornado.
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Often he'll land on an ostinato pattern, repeating an insistent phrase until it becomes its own song.
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In rap, especially Southern rap, the repetitive, ringing ostinato is an alarum that signifies fights, mayhem, and death.
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On the final one, a two-note ostinato creates a chugging momentum, quickly joined by a racing, jittery theme.
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Last year saw Sohonie launch Ostinato Records, an imprint that sees him continuing the work he began with Analog Africa.
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And each of the other pieces, made between 1976 ("Radial Courses") and 2015 ("Canto Ostinato"), has its own distinct idiom.
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Then, with a cleverly chugging rhythm, Meredith Monk evokes a train passing, over an ostinato base as consistent as evenly spaced railroad ties.
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Throughout the album, various instruments provide florid ostinato shades, with increasing subtlety, filling in the background's every corner; the echo effects pile up endlessly.
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It opened with John Corigliano's "Fantasia on an Ostinato," a work Mr. Jansons led in its Carnegie debut in 1998, with the Pittsburgh Symphony Orchestra.
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A MINUS Two Niles: To Sing a Melody: The Violins and Synths of Sudan (Ostinato) Not for everybody—in fact, not for me at first.
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Midway through the Philharmonic performance, arranged by Mr. Marsalis, Ellington's plunging ostinato line is given a graver sense of mystery than on most other takes.
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For stretches, this amalgamation of styles held together uneasily, but toward the end, a blend of ostinato propulsion and astringent harmony created a memorable vibe.
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Crunk further developed this, with the timeless "Knuck If You Buck" possibly the greatest example of the tear-the-club-up Dirty South ostinato melody.
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Instead, behold crunchy drums at half speed, ostinato synthesizer gradually dissipating, and a performer whose mumbled raps exhibit the stupor he wishes listeners would emulate.
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The two proved a beautiful match, seamless in their exchanges and well balanced when one took the lead and the other a supporting drone or ostinato.
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"Kangaru" differs to "Heptapod B" in that there is no percussion and the focus is on the vocals, particularly the repeated leaping female vocal ostinato motif.
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Glittery coils moved in tandem with the string quartet's steady ostinato in the opening section, the rotating images becoming denser and more kaleidoscopic as the music intensified.
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The piece begins in trickster style, with the soloist playing a funky ostinato modelled on Henry Mancini's "Peter Gunn" theme and a detuned honky-tonk piano adding offbeat accents.
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The lineup features "Pastime" (1963), "Radial Courses" (1976), "Interior Drama" (1977), "Concerto" (003), a section from "Lollapalooza" (2010), "Canto Ostinato" (2015) and the newly commissioned "Into View" (1:58).
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Then we hear a high female voice singing an ostinato vocal phrase I borrowed and altered slightly from the legendary avant garde singer Joan La Barbara's 1980 piece "Erin" (below).
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Often the keyboards get reduced to ostinato background, a low, eerie presence flickering on and off at will, leaving hook duty to the crunching and clattering of the snare drums.
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Her constant repetition of this thesis is one of the few occasions in which she sounds like a conventional politician, enunciating the same sentence in a Marco Rubio-esque ostinato.
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Ms. Wang, hammering ostinato chords with immense force that belied her small frame, didn't have the look of a soloist with accompaniment, but of a percussionist among others in an ensemble.
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The piece is dominated by the florid, fancy piano part: Whole stretches seem like a virtuosic piano concerto, with the violin supplying the equivalent of solo lines or ostinato figures in the orchestra.
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The hook fades in and out, usually recurring after the verse and triggering the bass; cold electronic ostinato pervades the song, mimicking its church organ intro and lending the song an aura of melancholy.
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Here, the metallic dancebeats skitter and click independently, like they're supposed to, while the keyboards play simple, repetitive tunelets that mesmerize, with conventional daubs of ostinato atmosphere softening the linear boundaries between each instrument.
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The title track's confluence of ominous electronic ostinato, heavy guitar crunch, and plinky cowbellesque percussion produces quite the slinky stunner, while "Shotgun" lopes purposefully along, its interlocking rhythm guitar parts barking at each other.
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While avoiding overtly electronic elements, these songs are beneficiaries of modern production technique; the thundering drums, chilly ostinato violin and thick layers of hollow strummed guitar all merge synthetically, yet with an eerie, windswept quality.
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One can trace the uses of ostinato in the South back to Three 6 Mafia's horrorcore-leaning early music as displayed on 1995's seminal Mystic Stylez and the work of other Hypnotize Minds affiliates.
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Individual songs are exquisite: "Where Do We Go" combines piano plodding and melodic swell to fraught effect, and the ostinato violin in the lead single "Cranes in the Sky" cuts through the smoothness and vocal flutter.
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Three male singers narrate and comment, with exquisite dissonances pointing up the sorrow; then a descending ostinato in the bass instruments lays down a carpet for the most touching soprano entry you could ever want to hear.
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Chewy tunes and underlying ostinato harmonies snake their way through a dense mesh of crackling snare drums, thumping electronic bass, fluttery keyboards, cold, breathy space, and a general textural harshness counteracted in the melodies and not much else.
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The first Ostinato release saw him travel to Haiti, in preparation for the fantastic Tanbou Toujou Lou: Meringue, Kompa Kreyol, Vodou Jazz & Electric Folklore from Haiti 1960 - 1981, a record which took listeners—myself included—on a voyage into the unknown.
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" With "Dark Horse," Gray's arguments focused on the beat in each song, alleging that a specific element in both songs was nearly identical—both songs contained a "repeating 8-note ostinato (or beat)" that are "substantially, if not strikingly, similar.
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I screwed up INSTEP, entering "insole," and VCHIP, entering "virus"; I didn't remember ELMO or Popeye's E.C. SEGAR, even though he has come up before, and OSTINATO was a new one to me (although it has been in the puzzle before).
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Bennett wants to avoid "the valedictory note," but for a man of 83 diagnosed with bowel cancer 20 years ago, that tone is present by default, a basso ostinato rumbling beneath the proceedings as we watch him lose friends to death and undergo medical procedures.
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" If you're after more ballet, Wednesday and Thursday offers Herman Cornejo and Alina Cojocaru executing excerpts from Frederick Ashton's "Rhapsody"; Tiler Peck, Lil Buck and Brooklyn Mack in Jennifer Weber's new "Petrushka"; Lucinda Childs's "Canto Ostinato," performed by Introdans; and Rennie Harris's energizing "Funkedified.
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While she sings straightforwardly around the melody in the foreground, her breathy backup vocals — or strings, or a softly ostinato keyboard texture — fill in the empty spots between the lines drawn by the discrete instruments, tricking the listener into imagining vast expanses of space.
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Her late set spanned six original compositions, starting with "Blue Over Gold" — built around a two-note ostinato and a studded, start-and-stop flow — and ending on the jagged "Western," a jumble of staccato dashes and stubborn momentum, held on course by Ms. Oh's dilated bass sound.
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"Make Me Feel" is an ebullient, bubblegum-funk groove, with contrasting verses to accentuate the kinetic motion: percussive snaps and wobbly keyboards alternate with a slower section whose ostinato vroom builds up theatrically to the regular beat again, culminating in repeated bursts of rapid drumfire syncopated with the rhythm guitar.
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If Mitski's songs resonate in this dystopian age, it's because her prevailing mood is less agony on a grand scale than creeping numbness, constant bombardment and stress, a bunch of little things that wouldn't matter individually, death by a thousand cuts, the ostinato drone in the back of your head slowly corroding your brain away.
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B PLUS Sweet as Broken Dates: Lost Somali Tapes From the Horn of Africa (Ostinato) Fifteen reclaimed '70s and '80s tracks, some literally dug out of the ground, showcase a politically repressed Islamic pop scene long on female singers and more Ethiopian than it wants you to think—just look at a map (Xasan Diiriye, "Qaarami [Love]," Duur Duur Band Feat.
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The problem with "Sacred Guitar and Violin Music of the Modern Aztecs" isn't that it's repetitive, it's that it never builds on top of that repetition: a repeating phrase with variations in it is an ostinato; a perpetually repeating phrase in the background of a song is a chaconne; a song that is just a repeating phrase is a boring song.
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The first bars of Canto Ostinato Canto Ostinato ("Obstinate Song" (as ostinato)) is a musical composition written by the Dutch composer Simeon ten Holt. The piece was completed in 1976 and performed for the first time in 1979 and is by far his most popular and most performed work.
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It > is an ostinato piece, composed and recorded long before the more recent > superficial synthesis of Indian and American music; in fact, it owes more to > Satie and Debussy than to Ravi Shankar. The improvisation starts simply over > a gentle ostinato, which quickly fades into the background. Evans allows the > fantasy that evolves from the opening motive (an inversion of the descending > fifth in the ostinato) more freedom than he would in an improvisation tied > to a changing accompaniment. He takes advantage of the ostinato as a > unifying element against which ideas flower, growing more lush and colorful > as the piece unfolds.
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The crucifixion is illustrated by the solo soprano, marked Andantino sostenuto ( = 80), on a soft ostinato accompaniment.
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Example 12: Tritone between D and A-flat (mm. 38–41) Penderecki builds the movement through the addition of instruments, as the upper strings and winds sound the ostinato as the movement unfolds. The movement's most dramatic shift occurs when the ostinato moves from D to F. Here, Penderecki brings the Passacaglia to a climax with large sections of the brass and winds stating slow chromatic melodies against the incessantly repeating Fs. The result is one of the largest blocks of orchestral sound created in the entire symphony. Example 13: Climactic build against the F ostinato (mm. 68–73) After the climax, the ostinato of the Passacaglia returns to D and the movement experiences a dénouement.
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One example occurs in the funeral march he wrote for László Teleky in his Historische ungarische Bildnisse (Historical Hungarian Portraits). This march is based on a four note ostinato based on the gypsy scale. The question of whether this ostinato is in G minor or B minor, and the resulting tonal ambiguity, remains unresolved.Walker, New Grove, 14:783.
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The clave pattern is used in North American popular music as a rhythmic motif or ostinato, or simply a form of rhythmic decoration.
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Chabrier Mélodiste. In: Emmanuel Chabrier. Ostinato rigore – revue internationale d'études musicales. No.3, 1994, Jean-Michel Place/Centre national du livre, Paris, p60.
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Each section contains seven variations on the seven-note ostinato. Modulation was rarely seen in ostinato variations at the time; nevertheless, an Italian composer of the mid-17th century, Bernardo Storace, used the same scheme in his passacaglias (four sections in different keys, connected by short transitions); but it is unlikely that Buxtehude knew Storace's work. Buxtehude's lifelong interest in numerology is exhibited in the passacaglia's intricate structure. The numbers 4 and 7 are the foundation of the entire piece. The ostinato pattern is composed of 7 notes in 4 bars, and it appears 28 times (4 × 7 = 28).
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Chester devised a system involving internalized patterns employing a drum 'melody' in an attempt to expand drummers' coordination and groove ability. His use of the ostinato figure employed more than repetition; he created drum melodies for a song with variation and development of the drum phrase or motif using the entire drum kit. He advocated alternating an ostinato line to fit changing harmonies or keys to enhance the song. Chester's system also taught how to set up an ostinato with one limb or more and playing freely with the remaining limbs, allowing one drummer to sound like a small percussion section.
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Chabrier Mélodiste. In: Emmanuel Chabrier. Ostinato rigore – revue internationale d'études musicales. No.3, 1994, Jean-Michel Place/Centre national du livre, Paris, p. 64.
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Delage, Roger. Chabrier Mélodiste. In: Emmanuel Chabrier. Ostinato rigore – revue internationale d'études musicales. No.3, 1994, Jean-Michel Place/Centre national du livre, Paris, p59.
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Ostinato used in African music is a principal means of polyphony although other procedures for producing polyphony exist. Arom Simha states "music in the Central African Republic, regardless of the kind of polyphony or polyrhythm that is practiced, always involves the principle of ostinato with variations."Simha Arom, African Polyphony and Polyrhythm. Structure and Methodology (Préface de Györgi Ligeti), Cambridge, Cambridge University Press, published 2004 [1991].
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The three ostinato bass works Buxtehude composed—two chaconnes (BuxWV 159–160) and a passacaglia (BuxWV 161)—not only represent, along with Pachelbel's six organ chaconnes, a shift from the traditional chaconne style, but are also the first truly developed north German contributions to the development of the genre. They are among Buxtehude's best-known works and have influenced numerous composers after him, most notably Bach (whose organ passacaglia is modeled after Buxtehude's) and Johannes Brahms. The pieces feature numerous connected sections, with many suspensions, changing meters, and even real modulation (in which the ostinato pattern is transposed into another key). Some of the praeludia also make use of ostinato models.
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By far the shortest of the five movements at approximately three and a half minutes, the entire movement forms an arch—a slow crescendo to a climax with winds and brass at the halfway point followed by an equally paced diminuendo. Example 1: Bass figure (opening) The opening movement is characterized by an incessant bass ostinato on a low F, which continues in a regular pattern throughout. The bass ostinato introduced here also becomes a unifying motive for four of the five movements (only the third movement does not contain a defined ostinato figure). Two additional motives occur during the build-up to the climax.
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The album was recorded at the Maybeck Recital Hall in Berkeley, California in 1994. The material includes the Alexander original "The Serpent", a "running ostinato blues".
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Hexachord ostinato, in cello, which opens Die JakobsleiterWhittall, Arnold. 2008. The Cambridge Introduction to Serialism. Cambridge Introductions to Music, p.23. New York: Cambridge University Press. (pbk).
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The defendants had contended that Joyful Noise was a derivative work since the ostinato in it was originally part of a beat published earlier by Chike Ojukwu.
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It is possible that BWV 582 was composed in Arnstadt soon after Bach's return from LübeckWolff, 94. (where he may have studied Buxtehude's ostinato works). The first half of the passacaglia's ostinato, which also serves as the fugue's main subject, was most probably taken from a short work by the French composer André Raison, Christe: Trio en passacaille from Messe du deuxieme ton of the Premier livre d'orgue.Williams, 183.
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The motifs of the theme appear in changing combinations and are separated and intensified throughout the movement. 2\. Andante, in C Major, Common Time meter; In the Andante second movement, Bach uses an insistent pattern in the ostinato bass part that is repeated constantly in the movement. He focuses the variation in the harmonic relations. Butt notes that "Bach seems to have associated" the ostinato scheme "particularly with violin concertos.". 3\.
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The End-Cap also accompanies Merry and Pippin, and by the time of their stay in Fangorn is looped into an ostinato that becomes the Hobbit Antics motif.
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When Coltrane's improvisation superimposes this progression over the ostinato bass, it is easy to hear how he used this concept for his more free playing in later years.
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Notable names that have a hand in raising the bar for double bass drumming, include: Terry Bozzio, Simon Philips, Virgil Donati, Derek Roddy, Gene Hoglan, George Kollias, Bobby Jarzombek and Tomas Haake. Bozzio introduced the ostinato in his "Melodic Drumming and the Ostinato" educational DVDs, playing various drum rudiments on the feet, while freely playing with the hands, creating Polyrhythms. Donati is regarded as the first drummer to successfully use inverted double strokes with both feet, in addition to complex, syncopated ostinato patterns. Roddy, Hoglan and Kollias are acknowledged as the leaders of extreme metal drumming with their use of single strokes at 250+ beats per minute, while, Jarzombek and Haake's double bass drumming influenced the djent genre.
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As opposed to a high percentage of modern classical music which is not tonal and/or consonant, Canto Ostinato contains tonal harmonies and does not become (very) dissonant. Another typical aspect is the fact that one can hear the same or similar bass figures and harmonies throughout the piece, which explains the title. If one word would have to catch the essence of Canto Ostinato, one could use "meditative", as the different sections are similar, but generate different emotional reactions. Examples of pieces written by Ten Holt in roughly the same way are Lemniscaat (1983), Horizon (1985), Incantatie IV and Meandres (1997), none of which has become as popular as Canto Ostinato.
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A favorite piano work for students is Albert Ellmenreich's Spinnleidchen (Spinning Song), from his 1863 Musikalische Genrebilder, Op. 14. An ostinato of repeating melodic fifths represents the spinning wheel.
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In the sixth movement, "", a duet of sopranos, often in parallel lines, illustrates how the hungry are filled with good things, on an ostinato figure in the bass line.
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Quinto phrasing is also used as a means of varying the ostinato conga drum part called tumbao (see songo music).Santos, John (1985: 44) “Songo,” Modern Drummer Magazine, December.
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Scapy also supports send functions to replay any saved packets/pcap. Ostinato added support for pcap files in version 0.4. Some packet analyzers are also capable of packet replay.
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Buxtehude's passacaglia only survives in a single source: the so-called Andreas Bach Buch, compiled by Johann Sebastian's eldest brother, Johann Christoph Bach (1671–1721). The same collection contains Buxtehude's other ostinato organ works: two chaconnes (BuxWV 159–160) and Praeludium in C (BuxWV 137), which incorporates a short chaconne. No information on the date of composition survives. Buxtehude scholar Michael Belotti suggested that all three ostinato works were composed after 1690.
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The first movement begins with a simple 8-bar melody played on the horns. The movement is based on an ostinato of twenty-two transposed repetitions of this melody passed backwards and forwards between different groups of instruments. The first Allegro moderato acts as an intermezzo. Initially it seems to be a continuation of the ostinato from the first movement but fast crotchets, flourishes, dissonant chords and increasingly dense tone clusters intrude.
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The music of African Pygmies (e.g. that of the Aka people) is typically ostinato and contrapuntal, featuring yodeling. Other Central African peoples tend to sing with parallel lines rather than counterpoint.
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A most intriguing and unique movement, it begins with a seven-note ostinato in the left hand that Ligeti indicates should be rhythmically and dynamically independent from the right hand. The right hand carries a folk-like melody that is first heard alone in single notes before it gets juxtaposed in a loose canon with various transformed versions of itself, producing a lively counterpoint with rich harmonies and a sense of rhythmic freedom. Eventually, both hands move up an octave, significantly lightening the texture. The piece concludes with the right hand taking over the ostinato at a yet higher octave; the ostinato progressively loses notes until it is only a trill on F and G which proceeds to fade away to silence.
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A guajeo (Anglicized pronunciation: wa-hey-yo) is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. Some musicians only use the term guajeo for ostinato patterns played specifically by a tres, piano, an instrument of the violin family, or saxophones. Piano guajeos are one of the most recognizable elements of modern- day salsa. Piano guajeos are also known as montunos in North America, or tumbaos in the contemporary Cuban dance music timba.
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The music is in four movements, which are played without a break: # Einleitung – Mäßig schnelle Halbe # Sehr lebhafte Halbe # Trio, Basso ostinato – Langsame Viertel, nur sehr wenig Ausdruck. # Finale – Bewegte Halbe Composition began with the second movement, a lively alla breve, completed on 22 February 1923. The third movement, a trio with a basso ostinato, in slow common time, marked "with little expression", was finished on 27 February. The finale, in moving alla breve, was completed in April.
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Guajeos (Afro-Cuban ostinato melodies), or guajeo fragments are commonly used motifs in Latin jazz melodies. For example, the A section of "Sabor" is a 2-3 onbeat/offbeat guajeo, minus some notes.
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The second movement has a perpetual motion energy, its thrusting repeated ostinato pattern relentlessly shared while a pointed first theme – almost incongruous – is presented by the piano in widely spaced octaves, a sonority often used by Shostakovich. The cello’s more light-hearted theme is later imitated, Pierrot-like up in the piano’s brittle high register. Piquant wit abounds in familiar classical gestures set askew, sudden lurches into unrelated keys, until the initial driving ostinato resumes, leading to a sudden conclusion.
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The Passacaglia movement bears similarities to the first movement both in its use of ostinato and in its expressive arch, slowly building to a climax and then slowly coming back down. Here, however, the ostinato is reduced to simple repeated eighth notes, sounded forcefully by the low strings. Example 11: Opening bass (opening) Against this repeated D, however, Penderecki again introduces the tritone; mm. 38–41 establish an A flat in the low brass against the D in the strings and horns.
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Mosolov's earliest music implies that Mosolov was influenced by German romanticism, but this influence waned as he began studying under Myaskovsky and Glière. In an early piece, "Four Songs," Op. 1, Mosolov explored the use of ostinato. Widespread use of ostinato became the defining signature of Mosolov's music:Sitsky, "Man of Steel," p. 69. Iron Foundry is built of many ostinati working in tandem to create the sound of a factory, it is used in the Second and Fifth Piano Sonatas, etc.
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The ostinato lyrical song is a simple tune set to gamelan music along with a single playing flute and synthesized beats. The song has appears to have received influence from ambient and trance music.
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The slow middle section, unlike its counterpart in the first movement, is characterised by ostinato patterns and an eerie mood. Its metrical regularity contrasts sharply with the erratic rhythms of the outer, A sections .
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4–7) The bass ostinato again asserts itself early on, firmly linking the finale with the previous movements. The timpani carry the melody with celli and double basses in accompaniment. Example 17: Rhythmic pattern (mm.
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The praeludium in C major, BuxWV 137, begins with a lengthy pedal solo and concludes not with a postlude of arpeggios and scale runs, but with a comparatively short chaconne built over a three-bar ostinato pattern in the pedal: 720px The praeludium in G minor, BuxWV 148, in which the ostinato pattern is derived from the subject of one of the fugal sections, also ends in a chaconne. In addition, another praeludium in G minor, BuxWV 149, employs a repeating bass pattern in the beginning.
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July 2015 saw the release of the album The Art of Peace - Songs for Tibet II. It was created to celebrate the 80th birthday of the Dalai Lama, and to promote his vision of compassion, non-violence and peace. The album features songs by various artists who donated previously unreleased material or alternative versions of songs to the project. The album was curated by music producer Rupert Hine, and the tracks were coordinated by Tayler, who was responsible for cleaning up, pre-mastering and sequencing the material. Tayler mixed "The Book of My Life (Ostinato Mix)" by Sting, "Mother Within (Ostinato Mix)" by Beyond (feat. Tina Turner, Regula Curti, Dechen Shak-Dagsay & Sawani Shende-Sathaye) and "You Can’t Be Chased (Ostinato Mix)" by Rupert Hine. He also created the ‘Remastered Shimmer’ treatment for Wild Man by Kate Bush.
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Bloom, Ryan Alexander. The Complete Double Bass Drumming Explained. NY: Hudson Music, 2017. Drummers such as Thomas Lang, Virgil Donati, and Terry Bozzio are capable of performing complicated solos on top of an ostinato bass drum pattern.
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New York: Nova Science, pp.125-134 Vocal polyphony based on ostinato formulas and rhythmic drone are widely distributed in all Georgian regional styles.Tamaz Gabisonia. 2010. Criteria for Determining the Types of Polyphony of Georgian Folk Songs.
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In G major, these may be interpreted as "I–V7/vi–IV–iv". According to Guy Capuzzo, the ostinato musically portrays "the song's obsessive lyrics, which depict the 'self-lacerating rage of an unsuccessful crush'." For example, the "highest pitches of the ostinato form a prominent chromatic line that 'creeps' up, then down, involving scale degrees \hat 5– \hat 5– \hat 6– \hat 6....[while] ascend[ing], the lyrics strain towards optimism...descend[ing], the subject sinks back into the throes of self-pity ... The guitarist's fretting hand mirrors this contour".Capuzzo ibid.
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Four motives (pitch sets) are utilized throughout the entire sonata, which also constitute the cyclical elements upon which the rhetoric of the piece is constructed. Each motive is given a particular name: "spring", "struggle", "consolation," and "faith". There are two elements in the primary thematic complex of the first movement: (1) a "swing" theme, characterized by syncopation and dotted rhythms and (2) a chord progression, juxtaposing minor and major seconds over an ostinato pattern in the left hand. The slower secondary theme introduces a melodic element associated with the ostinato element of the previous theme.
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"Echoes of Harlem", also known as "Cootie's Concerto", is a 1936 composition by Duke Ellington. A piece with a jazz blues sound in F minor with an ostinato piano pattern, it has been cited as one of Ellington's "mood" pieces. It opens with trumpet, playing blues sounds in F minor over the ostinato pattern, followed by a segment of 14 bars with some harmony. The third part, played in velvet sound, by the saxophone section, is in Ab majeur, but starts with Db, the subdominant of Ab. The piece contains thus 3 segments.
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The piece consists of a single movement lasting around six minutes, written in a chromatic and dissonant idiom. The opening section begins with a semitonal "anxiety" theme and ostinato figures atop an ostinato bass line, marked by off-beat bass accents. A lyrical section follows in which these elements gradually move to the background while a gentle, contrapuntal "sentimental" theme emerges in the cello. The exchange between the two contrasting main themes is interrupted from time to time by dramatic chords on the piano, representing the point of view of the protagonist.
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Busoni wrote a "Fugue in F major on a theme of W. A. Rémy" (BV 154), and dedicated his Praeludium (Basso ostinato) und Fuge (Doppelfuge zum Choral) Op. 7 (Op. 76), for organ (BV 157) to his teacher.
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November 2016 saw Tayler return to playing live shows with the ensemble Nooten/Barten/Tayler for performances in Amsterdam. In 2017, Tayler performed his audio-visual solo show 'Ostinato - LIVE' at The Pound Arts Centre in Corsham, Wiltshire.
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2:21 The form of this movement is also much less obvious than the first movement. It has a lyrical sound with the oboe playing a recurring jazzy descending ostinato. The voices are again in polyphony for this movement.
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If fragmentation were to anchor harmony in close alliance with melodic rules of diverse systems, one will be able to employ triadic harmony, ostinato and other tools around it, which will result in reconciling both melodic and harmonic approaches.
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Bach's work shares some features with north German ostinato works, most notably Buxtehude's two chaconnes (BuxWV 159 and 160) and a passacaglia (BuxWV 161), and there is clear influence of Pachelbel's chaconnes in several variations and the overall structure.Williams, 184–5.
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Routledge, 2016-02-24, p. 187. . In addition, this first movement features "echoes of primitive Iberian rhythms". Specifically, some of the polyrhythms in the ostinato refer to the Charradas of Salamanca, and at some rate, to the Fandango. Figure 4.
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Todd Decker rebutted by stating that the examples were gross generalizations about the use of ostinato, and he continued to draw arguments to plain audible similarities of the common ostinato in both songs.Gray v. Perry, Wais Declaration in Support of Motion for Summary Judgment, Exhibit 8 Response of Todd Dekker to Expert Report of Lawrence Ferrara (June 9, 2017). Acknowledging that certain elements plaintiffs’ expert relied upon to support substantial similarity may be individually unprotectable, the court reasoned that Decker's expert testimony involved identification of particular features, which in combination, could support a jury's finding of substantial similarity.
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The music of the African diaspora makes frequent use of ostinato, a motif or phrase which is persistently repeated at the same pitch. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody.The Ostinato Idea in Black Improvised Music: A Preliminary Investigation Wendell Logan The Black Perspective in o93-215 The banjo is a direct decedent of the Akonting created by the Jola people, found in Senegal, Gambia and Guinea-Bissau in West Africa. Hence, the melodic traditions of the African diaspora are probably most alive in Blues and Jazz.
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The symphony is scored for piccolo, 3 flutes, 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, double bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, tenor drum, snare drum, cymbals, tambourine, triangle, gong, glockenspiel, celesta, harp, strings. It is in three movements: #Moderato – Allegro con fuoco #Lento molto espressivo #Introduction (Lento moderato) – Scherzo & Trio (Allegro vivace – Andante semplice) – Epilogue (Lento) The first movement opens with a moderato ostinato on bass trombone with the woodwinds on top playing grinding, dissonant chords. The following allegro con fuoco section gives the ostinato to the violas, this time in diminution.
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Apel 1972, 663. Non-imitative pieces in the collection also have a fair share of interesting characteristics. The Chaconne in G minor marks the earliest known instance of an eight-bar ostinato pattern, as opposed to the more traditional four-bar pattern.
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It ends with a gradual recession of momentum and a brief recall of the lyricism of the previous Adagio. Here, solo winds take brief melodies over a now fragmented ostinato, as seen in the English horn solo at mm. 101–103 (Example 14).
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This dialogue or interchange eventually propels the piece to a climactic point of resolution. Kamarinskaya does not follow this pattern. Nor can it. The ostinato melody of the second song will not allow any motivic development without distorting the character of the piece.
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This dialogue or interchange eventually propels the piece to a climactic point of resolution. Kamarinskaya does not follow this pattern. Nor can it. The ostinato melody of the second song will not allow any motivic development without distorting the character of the piece.
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Quasi-tonal quartal harmonies are especially evident, but alternate with polychords in dense ostinato textures and more thinly orchestrated tonal passages. The fourth section, which is developmental, begins with an abrupt change of tempo and a short tonal fugato in the strings .
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Redway, CA: Bembe Inc. . The song begins with the bass repeatedly playing six cross-beats per measure of or six cross- beats per four main beats—6:4 (two cells of 3:2). The following example shows the ostinato "Afro Blue" bass line.
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Tresillo is the rhythmic basis of many African and Afro-Cuban drum rhythms, as well as the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz.Peñalosa (2009: 40)."Alza los pies Congo," Septeto Habanero. (CD: 1925).
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In 1875, during his stay in Vienna, Bruckner drafted an 18-bar sketch for the Introit of another requiem in D minor (WAB 141). The bass-ostinato of the fragment is similar to that of the "nullified" Symphony in D minor and the Te Deum.
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A second theme, fortissimo, offers a passage full of sforzandos and wedge accents. The original theme then returns, forte, but quickly decrescendos. These passages end with repeats. The third theme enters as an ostinato under a thundering accompaniment with a grace note before every chord.
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The tresillo pattern is the rhythmic basis of the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz.Peñalosa, David (2009: 40). The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins. Redway, CA: Bembe Inc. .
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The act of packet crafting can be broken into four stages: Packet Assembly, Packet Editing, Packet Play and Packet Decoding. Tools exist for each of the stages - some tools are focused only on one stage while others such as Ostinato try to encompass all stages.
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The music starts growing in complexity, adding violins and a new bass line as a piano takes over the ostinato. At 0:13, the camera shows a young man chewing gum. At 0:15, a young man spreads his arms in a defensive stance.
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Two pianos and clarinet: the pianos play large, soft chords while the clarinet plays a single two-note ostinato; a C and an A, mimicking the call of a cuckoo bird. Saint-Saëns states in the original score that the clarinetist should be offstage.
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On the Album In Memoriam, recorded a year before the start of their hiatus, the Modern Jazz Quartet was accompanied by an orchestra conducted by Maurice Peress. Pianist John Lewis wrote the title composition in tribute to Walter Keller, his piano teacher at the University of New Mexico. He composed "Jazz Ostinato" around 1960 during the third stream era ; it is based on three ostinato figures, the third of which he said was originally conceived as backing "for an Ornette Coleman – Eric Dolphy approach". Furthermore, the piece contains homages to Arnold Schoenberg and Igor Stravinsky, prompting Lewis to comment that it "also plays a part in the memorium".
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In the first Canone, The Chord was dismantled but here the reverse will occur – The Chord will be rebuilt, starting on C, the lowest note, and gradually going upwards. Each entry consists of a long, arch-like melody. As each entry occurs, the central note of the previous entry becomes the basis of a bizarre, tapping ostinato underneath it, meaning that the note of the ostinato is a step on the chord behind the central note of the corresponding entry. By the end of this Canone, the chord has been rebuilt, ticking away on pizzicato strings and woodwinds as though imitative of a time- bomb, threatening to explode.
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Shepherds were also able to accompany themselves with glutteral humming which produced an ostinato tone or drone. The floyarka is often called a frilka or sometimes zubivka in central Ukraine. The name is rather a contaminant from a Greek-Romanian filiation (more spread is the Slavic sopilka).
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Following is an exultant contraction of all of the material preceding the Benedictus into just five measures.Peloquin, 132. The Agnus Dei, marked "Slow and Solemn", is in D minor. In 5/4 time, an organ pedal ostinato of rising thirds outlines the interval of a minor ninth.
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17 and the fantasy pieces op. 12, 73 and 111. Later examples of fantasias include Anton Bruckner's Fantasia in G major WAB 118 and the Four Fantasias WAB 215, Busoni's Fantasia contrappuntistica, Vaughan Williams' Fantasia on a Theme by Thomas Tallis, and Corigliano's Fantasia on an ostinato.
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This "machine music" ostinato provides an important part of the texture. The second subject is a lyrical counter-theme, marked Piu tranquillo, introduced by the flute. Following the principles of tripartite first-movement form, the earlier material is developed, and then returns in a varied recapitulation.
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A ground bass is a type of ostinato, which is a melodic figure repeated over and over again in the same voice. The ground bass specifically is a melodic line or harmonic pattern repeated in the bass voice. The most famous example of this is Pachelbel's Canon.
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The passacaglia is followed, without break, by a double fugue. The first half of the passacaglia ostinato is used as the first subject; a transformed version of the second half is used as the second subject.Wolff, 97. Both are heard simultaneously in the beginning of the fugue.
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Ostinato rigore – revue internationale d'études musicales. No.3, 1994, Jean-Michel Place/Centre national du livre, Paris, p. 63. Although the song is basically strophic, the composer creates modulations by juxtaposition of a differing melodic vision and adding foreign notes to ordinary chords of the scale.Delage, Roger.
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AllMusic's Richard S. Ginell noted that Ponty's "has opened up considerably", but that he "continues to explore the high-tech, electronic, sequenced ostinato world that he opened the door to on Individual Choice" and that the album is "very even... without any extreme peaks or dips".
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Measures 1–4 of Chopin's Prelude in D Major, Op. 28, No. 15 ("Raindrop"). Urtext edition. The prelude opens with a "serene" theme in D. It then changes to a "lugubrious interlude" in C minor, "with the dominant pedal never ceasing, a basso ostinato".Huneker (1927), p.
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The finale is in an extended sonata form. There are no less than six unique thematic elements in the main themes alone. The development section focuses on the third and sixth thematic elements. There is an extensive use of ostinato in accompaniment of two of the thematic elements.
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Chabrier Mélodiste. In: Emmanuel Chabrier. Ostinato rigore – revue internationale d'études musicales. No.3, 1994, Jean-Michel Place/Centre national du livre, Paris, p. 62. Howat sees a precedent here for the Adagio assai second movement of Ravel's G major concerto « with its undercurrent of across its slow metre ».
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"Islands of the Orient" is a blend of Tangerine Dream-like sequences, chinoiserie-jazzy melody. "Fields of Coral" is the most ambient track on the album. "Aquatic Dance" is built on a synth-bass ostinato and synth-vocals. "Memories of Blue" recalls the "Memories of Green" from Blade Runner.
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With his First Overture on Russian Themes, Balakirev focused on writing symphonic works with Russian character. He chose his themes from folk song collections available at the time he composed the piece, taking Glinka's Kamarinskaya as a model in taking a slow song for the introduction, then for the fast section choosing two songs compatible in structure with the ostinato pattern of the Kamarinskaya dance song. Balakirev's use of two songs in this section was an important departure from the model, as it allowed him to link the symphonic process of symphonic form with Glinka's variations on an ostinato pattern, and in contrasting them treat the songs symphonically instead of merely decoratively.Maes, 64–5.
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It proceeds to the B-flat when the A2 section returns in bar 56. Carter takes it a step further and shows how the G-flat, the lowered scale degree five and a tritone from C, are emphasized. > In measures 29 through 32… the melodic figure is centered on G-flat, > accompanied by the ostinato built on C. Another example of emphasis of the > tri-tone occurs in measures 44 through 46: the right hand pattern is based > on a B seventh chord, while the left-hand [ostinato] pattern is based on F. > These passages also hint at bitonality.Carter, p. 6 New Grove’s definition of boogie-woogie includes the term “momentum” as a characteristic.
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The mass presents sections written with different compositional techniques and style; the cantus firmus technique coexists with ostinato passages as well as more free counterpoint. The aforementioned Gaudeamus Omnes introit, transposed up a fifth, is quoted rather unchanged in the cantus firmus at the tenor up to "Mariae Virginis" in the Kyrie, completely in the Gloria and the Credo. However, borrowings from this melodic material appear in all voices, most notably the Gaudeamus intonation appears in many variations (Planchart classifies 10 different variations,) in all voices, involved in ostinato passages (e.g. Kyrie I, Et in terra, Sanctus, Osanna, Agnus III); other fragments of the chant can be heard in the other voices as well, e.g.
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The commenting chorale, on the almost unadorned melody of "", is sung by the tenor on an ostinato in the continuo derived from the first line of the chorale. Hofmann observes in the continuo ostinato that "at the place where the song text has the word "Herzeleid" (heart ache), it is expanded by means of chromatic notes in between – a figurative expression of sorrow, of the lamentation that characterizes the whole movement". Mincham notes that this central chorale "seems almost to pre-empt the atonal harmonies of the twentieth century". The following short secco recitative marks a turning point, resulting in an aria of consolation in dance-like movement, accompanied by the strings doubled by the oboes.
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This brilliant virtuoso piece is rhythmically complex, contrasting thunderous left-hand ostinato against a jagged right hand melodic line. As in Chopin's Revolutionary Etude, the performer must possess considerable left-hand endurance to maintain a consistent legato throughout the piece. The structural form of the piece is ternary, roughly "ABA" with a coda. The main "idea" of the composition appears in measure 3: 300px Measure 3 Here, the left-hand ostinato continues unimpeded as the treble line, accented and marked sempre marcato and fortissimo makes a regal entrance. By measure 20, the kernel of measure 3 is varied drastically, into a transcendent sequence that introduces an inner voice and offsets the main theme.
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See for instance Mahavishnu Orchestra's Birds of Fire where Jerry Goodman performs an ostinato; John Mayall's USA Union album on which Don "Sugarcane" Harris performs a solo on "Crying". Violin as the featured lead instrument in the rock genre is a rarity and is more frequently associated with regional bands.
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The text of the second movement, "Domine Deus" (Lord God) addresses Jesus as the Lamb of God, asking for mercy and for listening to prayers. It is marked Andante. The movement is mostly soft (piano). It is dominated by an ostinato of the organ, and contains solos for the upper voices.
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The contradanza included many of the traits that are shown in the son, such as duets with melodies in parallel thirds, the presence of a suggested clave rhythm, implicit short vocal refrains borrowed from popular songs, distinctive syncopations, as well as the two-parts song form with an ostinato section.
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The gong instrumentation provide repetitive motifs (see ostinato) during the course of a performance. By contrast, classical singing of the Mahāgīta tradition derived from royal chamber music, which is characterized by a quieter and more restrained musical style, is accompanied by either a classical ensemble or a single saung gauk.
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The second solo aria is for the alto, "Der Zeiten Herr hat viel vergnügte Stunden, du Götterhaus, dir annoch beigelegt" (The Lord of Ages has many happy hours, o godly house, bestowed upon you). Accompanied only by the continuo in ostinato motives, it freely expresses the "" (harmony of the souls).
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Butler, Grove. It is possible that the second half of the ostinato was also taken from Raison, the bass line of Christe: Trio en chaconne of Messe du sixieme ton of the same publication is very similar. See Example 1 for Bach's and Raison's themes. However, some scholars dispute Raison's influence.
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Many of his works are for piano or ensembles of multiple pianos. His most famous work is Canto Ostinato, which he wrote in 1976 and is considered one of the most famous works in contemporary classical Dutch music history. Ten Holt died 25 November 2012 in Alkmaar, the Netherlands, aged 89.
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Tom manages to write his last will before he's wrenched back in and beaten to within an inch of his life. In the end, Tom becomes part of his instrument in place of the strings with Spike strumming the cat's tail while Jerry bows a dramatic ostinato on Tom's whiskers and Toodles watches.
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The first movement begins with an ostinato accompaniment in the left hand part of the piano.Maurício de Carvalho Teixeira. Booklet notes to OSESP Selo Digital 6 It is a sonata form with the second subject in D major. The second movement is a series of variations on a theme in E minor.
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From a KENS-TV Spurs broadcast in the San Antonio series after Washington took a 3-1 lead, Motta adopted the expression "The 'opera' isn't over 'til the fat lady sings" to warn Bullets fans against braggadocio. Motta also used an upbeat ostinato, "Wait for the fat lady!", to encourage the fans.
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Retrieved December 21, 2015. Wilhousky's lyrics are under copyright protection (owned by Carl Fischer Music); the music is in the public domain. The music is based on a four-note ostinato and is in 3/4 time signature. The ringer of the B-flat bell, though, feels it in 6/8 time.
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Glinka's Kamarinskaya is based on two themes, a slow bridal song, "Iz-za gor" (From beyond the mountains), and the title song, a naigrïsh. This second song is actually an instrumental dance played to an ostinato melody. This melody is repeated for as long as the dancers can move to it.Maes, 28.
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20 minutes. The outer movements have been described as showing Hindemith's "abrasive early modernism at its finest". The slow Trio is like chamber music, and longer than the two first movements together. A reviewer noted that it mixes Bach and blues, with the piano contrasting solo woodwinds over an ostinato pizzicato bass.
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He had also been too busy traveling with Davis to make a record. Evans built "Peace Piece" on a simple one-bar ostinato left hand figure in C major. Over this static harmonic frame, he freely improvised melodies. One of the pieces to appear on the album was Leonard Bernstein's "Some Other Time".
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As stated above, this repetitive nature of the left hand, under an improvisatory right, is a characteristic of a Boogie- woogie. The overall form of movement I is the classic, rondo form Russell Friedewald, in his dissertation entitled "A Formal and Stylistic Analysis of the Published Music of Samuel Barber", divides the sections of this movement into A1BA2CA3 Coda.Friedewald His reasoning for this division of the sections is based upon the bass note of the ostinato pattern. From the beginning of the movement through measure 37, the bass ostinato stays on C. In measures 38 through 55, the bass ostinato moves to F, signifying the B section. Sections A1, A2, and A3 are in the tonic key while B is under the sub-dominant (F) key and C is in the dominant (G) key. The overall I-IV-I-V-I progression is very simple but it provides a “structural unity of this piece in which motivic material freely crosses sectional boundaries.”Sifferman, p. 9 The first A section introduces the main melodic pattern that can be found within other sections of the movement, which can be seen in measures 4 through 6.
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F, B, E.Bartók 1976, 338. # A scale spanning an augmented octave The left hand plays an ostinato arpeggiated quintuplet chord of F, G, B, C, E, of which the E is on the beat ( measure). This figure consists of the ‘pantomime’ chord of F, B, E, to which the fourth of G, C, is added. This ostinato changes at every new episode: # In the second episode, the C is moved an octave down, making the whole figure span a minor tenth (C, F, G, B, E). # In the third episode, the B is moved an octave down B, F, G, C, E, calling in Bartók’s own fingering for a change of hand position in the execution of this figure (1, 5, 4, 2, 1).
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A much quoted passage instructs the performer to carefully observe the tempo of each piece to understand which dance is implied by the texture. First bars of Christe: Trio en passacaille from Messe du Deuxième ton, showing the simple, yet unusual, imitative beginning of the work. The ostinato pattern (seen here in full form) is identical to the first half of the ostinato of Johann Sebastian Bach's Passacaglia in C minor, BWV 582/1. Here, it will be repeated six times, each time either slightly altered using ornaments, or in a heavily modified form. All five masses follow the same standard scheme: 5 versets for Kyrie, 9 for Gloria, 3 for Sanctus, one Elevation, 2 Agnus Dei versets and a Deo Gratias.
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In 1990–1995 Terry developed ostinato-based drum solo compositions and recorded his second instructional video Melodic Drumming and the Ostinato Volumes 1, 2, and 3, as well as Solo Drum Music Volumes 1 & 2 on CD. He also joined Tony Hymas, Tony Coe, and Hugh Burns to form the band Lonely Bears and record The Lonely Bears, Injustice, and The Bears are Running, while living in Paris, France. He also formed the band Polytown with David Torn and Mick Karn. In 1993 Terry joined T. M. Stevens and Devin Townsend on Steve Vai's Sex & Religion album. From 1995 to 2002, Bozzio did tours of the US, Australia, Canada & Europe as a solo drum artist as well as recording two solo CDs: Drawing the Circle and Chamberworks.
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The movement is in ternary form, with the central "Christe" inverting the melody of the Kyrie. The Gloria is based on a 7/8 ostinato derived from the incipit Gloria XV that would be intoned by the celebrant in some liturgical settings.Peloquin, 132. The additive time signature allows for various patterns of word stress.
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Chopin composed the work as a series of 16 short variations on an ostinato ground bass. He first began the work with the theme but wrote two measures of introduction later. The music begins and ends in 6/8 time. The variations of four measures are not divided by rests, but form a steady flow.
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Claves The basic son ensemble of early 20th-century Havana consisted of guitar, tres, claves, bongos, marímbula or botija, and maracas. The tres plays the typical Cuban ostinato figure known as guajeo. The rhythmic pattern of the following generic guajeo is used in many different songs. Note that the first measure consists of all offbeats.
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Ostinato from Radiohead's "Creep" features modal mixture, common tones between adjacent triads (B between G & B, C and G between C & Cm, see: chord letters), and an emphasis on subdominant harmony (IV = C in G major).Capuzzo, Guy. "Neo- Riemannian Theory and the Analysis of Pop-Rock Music", p.186–87, Music Theory Spectrum, Vol.
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The Seventh Van Cliburn International Piano Competition took place in Fort Worth, Texas from May 18 to June 2, 1985. Brazilian pianist José Feghali won the competition, while Philippe Bianconi and Barry Douglas were awarded the Silver and bronze medals.Results in the competition's website John Corigliano composed his Fantasia on an Ostinato for the competition.
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The third movement, mostly in B-flat minor, is in a furiously fast 5/8 time, with a pounding ostinato that gives the piece a rather devilish sound. It makes heavy use of the brass instruments, and is driven by the recapitulation of a brief motivic theme, giving the movement a modified rondo form.
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Peart, Neil. "Soloing in the Shadow of Giants" – Modern Drummer Magazine – (c/o NeilPeart.net) – April 2006"Pieces of Eight" – Modern Drummer Magazine – (c/o 2112.net) – May 1987 – Accessed July 18, 2007 His complex arrangements sometimes result in complete separation of upper- and lower-limb patterns; an ostinato dubbed "The Waltz" is a typical example.
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Instead of dividing forces consistently, Gombert frequently changed the combinations of voice groups. These vocal pieces contained more direct repetition, sequence and ostinato than his other music. His secular compositions – mostly chansons – are less contrapuntally complex than his motets and masses, but more so than the majority of contemporary secular pieces, especially the 'Parisian' chanson.
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Jeffrey Ching hatte für seine Notas ein kalligrafisches Notenbild zu bieten, dessen ornamentale Feinheit sich im Klang wider- spiegelte. Die Pianistin Okuni musste am Flügel klopfen, sich während des Spielens einen Gong umbinden lassen und parallel strapaziöse Ostinato-Figuren, komplexe Akkordarpeggien und blitzartige Dynamikwechsel bewältigen. Sie durchwanderte die Grafik des Notenbildes wie eine Landkarte.
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In 2012, Tayler recorded and released an album of original compositions under the title Ostinato, alongside producing an accompanying set of moving image works in his unique visual language. It was first released in 2012 as a download, and consequently it was re-issued as a CD in 2015 on Esoteric Recordings/Cherry Red.
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A 32-bar tune in AABA-form, with an unusual bass ostinato. The title is a corruption of "shuffle ball", which is a move commonly used in tap dance. It was first recorded by Gigi Gryce with Monk as a sideman on October 15, 1955, for Gryce's album Nica's Tempo, and later appears on It's Monk's Time.
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Winds and brass repeat the string theme, which the strings take over with another brief variation. This transitions directly into a faster and fiercer passage. The violins return with the opening theme of the movement. This builds into a somewhat frantic passage underlaid by an ostinato in the lower strings (a deliberately awkward "oomph-pah" motif).
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Gray v. Perry, No. 2:15-cv-05642 (C.D. Cal.), Wais Declaration in Support of Motion for Summary Judgment, Exhibit 3 Expert Report of Todd Decker (April 6, 2017) In both songs, a short ostinato is used repeatedly to form part of the beat of each song and both ostinatos share similar descending shapes. Gray et. al.
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Defendants had proffered extensive testimony about independent creation the ostinato in Dark Horse. The court said that the jury was entitled to credit or discredit this self-interested testimony as it saw fit, and once the jury decided that the testimony was not credible enough to establish “proof of independent creation,” the Court must, yield to that determination..
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Despite the name it is not a true cadence (i.e., occurring only once, when ending a phrase, section, or piece of musicBuciu, Dan (1989). Tonal Harmony, "Ciprian Porumbescu" Conservatory Publishing House, Bucharest); it is most often used as an ostinato (repeating over and over again). It is heard in rock songs such as "Runaway" by Del Shannon.
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Within an ostinato, vaccine tones stack up in approximate third intervals to each other—creating tritones and arpeggiated diminished chords, but without a harmonic intent—with the two treble-most vaccines often tuned a semitone apart. Landies also reports other intervals between the lowest two voices. One of the vaccine serves as the tonal center of the motif.
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Her very thorough and classic training of music brings an instrumental acuteness and sharpness to her music. Each break is controlled, each period has its sens. She puts her music together using repetitions of more or less long terms, according to the tradition of the ostinato. Music is not her sole inspiration, she is also an artist with words.
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In the Name list, Radić in fact operates with a large pool of means of expressions and treats each of the thirteen parts freely by shifting each of their typical predispositions. Particularly dynamic seems the vocal part that brings intensity and quality of expression by chant-scan, ostinato motives, Sprechstimme, melisma, and instrumental treatment of vocals.
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Musical instruments in traditional African music often serve as a modal and/or rhythmic support for vocal music. Instrumental Music can also be heard frequently without vocal music and to a lesser extent solo. Harmony produced through ostinato produced on instruments is common place. These ostinati can be varied, or embellished, but otherwise provide modal support.
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Frequently in African music two or more ostinatos moving contrapuntally are employed, with or without a longer melodic line to create an orchestral texture (dense textures are desired and aimed for by both composers and performers alike). This type of polyphony is of the contrapuntal or horizontal type. In practice each ostinato moves in independent melodic and rhythmic patterns.
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The chaconne comprises a theme and 22 variations, the last of which is an almost exact repeat of the theme. The ostinato bass pattern is not kept intact in all variations, and disappears in some, anticipating similar passages in Johann Sebastian Bach's famous Passacaglia and Fugue in C minor, BWV 582.Williams 2003, 184–185.Apel 1972, 659.
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This movement, a minute in length, is noticeably more lively than its predecessors. The piece is played detached or staccato for the chordal passages and leggiero for the scalar passages. After this section, the piece goes to a slower, more mellow bass melody. The thematic material is accompanied in the left hand by an ostinato in minor thirds.
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They also began selling advertising space on the website for services to help divorced parents with custody and visitation rights. Within four years of its launch, ThePsychoExWife.com was attracting over 200,000 followers a month. In September 2009, Morelli and Weaver-Ostinato started a consultation service together, Mr. Custody Coach, for clients going through high-conflict divorce and custody cases.
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The composer in 2008 De profundis is in one movement, set for a male choir in four parts, organ and percussion. The optional percussion might be bass drum, tam-tam and a single tubular bell. The organ provides in deep registers a slow continuous ostinato pattern. Pärt built the voices from simple melodic phrases, increasing gradually to a climax.
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Before the turn of the decade—probably in 1918 or 1919—Ornstein produced one of his most distinctive works involving tone clusters, Suicide in an Airplane.See Anderson (2002b) on question of dating. Its score calls for a high-speed bass ostinato pattern meant to simulate the sound of engines and capture the sensation of flight.Levi (2000), p. 331.
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The 84-bar long work in A-flat major is scored for choir, tenor soloist and piano. Strophe 1 is sung by the choir with an ostinato of the piano. In strophe 2, bars 49-58 ('), the soloist is singing with accompaniment of the choir and unison lines of sixteenth notes of the piano. The piece is ending pianissimo.
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The Prelude begins with a rolling ostinato for the left hand. Prelude in Bb, Op. 23 #2 by Sergei Rachmaninoff as performed by Jareth Rader in April, 2014. The Prelude in B-Flat Major, Op. 23 No. 2 is a composition by Sergei Rachmaninoff completed and premiered in 1903.Norris, Geoffrey, Rachmaninoff, Schirmer Books, 1993 (pg. 170).Id.
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The first piano plays a descending ten-on-one, and eight-on-one ostinato, in the style of the second of Chopin's études, while the second plays a six-on-one. These figures, plus the occasional glissando from the glass harmonica towards the end—often played on celesta or glockenspiel—are evocative of a peaceful, dimly lit aquarium.
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By January 2014, it had reached Number 1 on the Billboard 200 chart, where it remained for weeks. In both songs, a short ostinato is used repeatedly to form part of the ‘beat’ of each song and both ostinatos share the same descending shape, though the ostinato of Joyful Noise uses three notes, while that of Dark Horse uses four. The defendants alleged that public distribution of CDs of Prism, duplication and uploading of digital versions of defendants’ song on websites for purchase, as well as public performance of the song at various concerts and events by the plaintiff violated their copyright in Joyful Noise. In addition, Capitol Records prepared the music video of defendants’ song and arranged for its commercial syndication and publication on YouTube and other commercial sites.
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118) describes the cut, repetition on the level of the beat, ostinato, and the harmonic sequence, as what makes improvisation possible. In a cut repetition is not considered accumulation. "Progress in the sense of 'avoidance of repetition' would at once sabotage such an effort" (Snead, "Repetition as a Figure of Black Culture", 1984, p. 68). Brackett (ibid) finds the cut in all African American folk and popular music "from ring to rap" and lists the blues (AAB), "Rhythm" changes in jazz, the AABA form of bebop, the ostinato vamps at the end of gospel songs allowing improvisation and a rise in energy, short ostinatos of funk which spread that intensity throughout the song, samples in rap, the last of which cuts on two levels, the repetition of the sample itself and its intertexual repetition.
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The suite consists of five movements featuring different music styles. The first movement features a hasty boogie- woogie in which up to seven layers of melodic and rhythmic structures are superimposed. The second movement features a blues, with a twelve-bar ostinato in the bass line which is repeated ten times. The third movement also has a blues character with canonic passages.
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In the three arias Bach sets extreme affekts to music: desperate lament, intense longing and blissful joy. The first aria is based on an ostinato continuo, comparable to the opening of . First the violin, then the tenor perform an expressive melody and repeat it several times. The contrasting middle section is underlined by tremolos in the strings in daring harmonies.
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All variations continue developmentally one into another, making the piece Pachelbel's most structurally sophisticated chaconne. Of the other five ostinato pieces, only Chaconne in F minor comes close to this design.Hill 1987, 251–252. Together with the F minor chaconne, Chaconne in D minor anticipates a number of features found in Johann Sebastian Bach's famous Passacaglia and Fugue in C minor, BWV 582.
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The work opens with a series of timpani strokes, a reminder perhaps of Beethoven's Violin Concerto. The rhythm is taken up by the bassoon and other instruments, persisting as an ostinato throughout the entire work. The violin enters with a song-like lament, soaring above the orchestra. The music is soon interrupted by a more militaristic and percussive secondary theme.
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But, while it too is constructed in episodes each with its own Basque tune, it conforms to her rhapsody type by beginning unhurriedly and gradually increasing in speed. The central highlight is another zortzico, this one introduced by piccolo and oboe over an ostinato rhythm on a traditional Basque drum. The exhilarating ending is based on the unofficial Basque anthem Gernikako arbola.
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This row, which seems to show a preference for minor thirds and sixths, is used as the basis of both the melody and the rhythmic ostinato that accompanies it. The motivic repetition and overall ABA form lessens the usual harsh sound of a tone row. At the time, this piece was rejected by many colleagues and the majority of the general public.
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Ragtime music, popularized by composers such as Scott Joplin, reached a broader audience by 1900. The popularity of ragtime music was quickly succeeded by Jazz piano. New techniques and rhythms were invented for the piano, including ostinato for boogie-woogie, and Shearing voicing. George Gershwin's Rhapsody in Blue broke new musical ground by combining American jazz piano with symphonic sounds.
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The typical tres ostinato is the guajeo. It emerged in Cuba in the 19th century in the musical genres nengón, kiribá, changüí, and son.Lapidus (2008). p. 16-18. The tres playing technique of changüí, and to a lesser extent nengón, has influenced contemporary son musicians, most notably pianist Lilí Martínez and tresero Pancho Amat, both of whom learned the style from Chito Latamblé.
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The final movement, "", is a chaconne, a form which is typically constructed over a repeated ground bass. Bach uses a ground bass which is possibly a borrowing from Pachelbel. It is the inversion of the chromatic fourth ostinato from the opening movement. Bach's orchestration includes strumming effects which could be seen as recalling the origin of the chaconne in Spanish guitar music.
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The song starts after a short introduction, pensively, in a minor key, with the solo voice which is joined by a simple ostinato-like bass line. The gentle middle section seems to show the sentiment of hope. The song ends triumphally in the relative major key, with words of thanksgiving. This song was also arranged by the composer as a part-song.
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Some bands add one or more percussionists. In small groups, the rhythm section members typically improvise their accompaniment parts. Bass instrument players improvise a bassline using the chord progression of the key as a guide. Common styles of bass comping parts include a walking bassline for 1920s-1950s jazz; rock-style ostinato riffs for jazz-rock fusion; and Latin basslines for Latin jazz.
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Representing African Music: Postcolonial Notes, Queries, Positions New York: Routledge. . African Xylophones such as the balafon and gyil play cross-rhythms, which are often the basis of ostinato melodies. In the following example, a Ghanaian gyil sounds the three-against-two cross-rhythm. The left hand (lower notes) sounds the two main beats, while the right hand (upper notes) sounds the three cross- beats.
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Roseberry, 16. The threefold repeat of the Agnus Dei text gains intensity with each repetition through rising dynamics and register. The closing Dona Nobis Pacem builds to fortissimo; it is set with hammered repeated notes and overlapping intervals of a second between the voices. The organ ostinato finally breaks its pattern for the last two bars and the chorus closes with a pianississimo D minor triad.
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Moments later, a solo oboe plays a high variation on the tune. Other instruments continue with tunes of their own for several moments. Then, in the middle of the movement, woodwinds interject with a brash, shrill theme, followed by brass, then strings, then woodwinds. This eventually leads to a quick, majestic passage that is another ostinato, but different from the invasion theme in the first movement.
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Movement 4 is a scene from the gospel, and forms the centre of the composition. The tenor as the Evangelist announces "" (Jesus said to Simon). The direct speech of Jesus, calling Peter as his disciple, is sung by the bass as the vox Christi (voice of Christ): "" (Fear not, from henceforth thou shalt catch men). The careful phasing is set on a continuo quasi ostinato.
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It is a series of 16 variations on an ostinato ground bass. In an early sketch of the composition, the "variantes" were even assigned numbers. Chopin first began the work with the theme but wrote two measures of introduction later. At first the composer titled the work Variantes, but the title was altered for publication to the current Berceuse, "berceuse" literally meaning "Cradle song".
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A demonstration of the ostinato in Les sirènes Les sirènes (1911) is written for solo soprano and three part choir. The topic, mermaids, uses a text by Charles Grandmougin. This work was first premiered at one of her mother's exclusive musical gatherings. Auguste Mangeot, a critic from the Paris music journal Le Monde Musicale, reported that everyone liked the piece so well it had to be repeated.
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The opening ostinato derives from the opening of a similar Reich piece, Music for 18 Musicians (1976). Out of the synthetic pulses arises a simple melody which repeats in phase with other groupings of clarinets. The use of interlocking repeated melodic patterns, according to Reich, echoes his earlier works Piano Phase (1967) and Violin Phase (1967). The theme recapitulates the pulses in an identical harmonic progression.
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The work is in 3/2 time with a four-bar ostinato pattern: Image:Buxtehude-buxwv161-bass.gif There are four sections, exploring a total of three keys. The first section is in D minor (the tonic), the second in F major (the relative major), the third in A minor (the dominant), and the fourth returns to D minor. The sections are connected by short modulatory passages.
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On a typical diatonic harmonica, the tones that are created when air is drawn through the instrument correspond to the dominant of the key of the instrument, not the tritone. This further illustrates Barber's use of the tritone in this movement. Barber uses the bass ostinato, the “blue” chords, improvisatory melodic lines and characteristics that are similar to instruments to achieve an idiomatic style within classic limitations.
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42 Barber uses more complex rhythms between the right and left hands. The right hand uses dotted sixteenth-notes, triplets, and sextuplets, while the left hand plays the implied ostinato harmonic progression in quintuplets. The b section is repeated with increased complexity of rhythms: dotted sixteenth-note to thirty-second note patterns. Measure 32 contains a large scale that ascends from the C3 to the high B6.
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When the b section appears in measure 37, it is the first time that the melody is heard in the left hand rather the right. The b melody is played with open block chords consisting of primarily sixths in parallel motion, creating a new sonority during the b section. The right hand has a constant sixteenth-note ostinato pattern that has an octave displacement every two beats.
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The rhythmic inventions in songo, share similarities with the contemporaneous inventions by folkloric rumba groups such as Los Muñequitos de Matanzas, and Los Papines from Havana. Not only is songo percussion heavily influenced by rumba, but the syncopated quality of the singing and other melodic elements reflect more rumba influence than heard in earlier genres. The guajeos (ostinato melodies) are often built upon offbeat patterns.Mauleón, Rebeca (1993).
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The first movement opens in the calm mood of the first violin; only in the middle part is the expression more passionate. The movement is accompanied with a rhythmical ostinato in the second violin and with a "bass" accompaniment in the viola. The second movement is written in an optimistic mood, with simple harmonic variations. It also contains some reminiscences of folk music, particularly at the end.
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One end is sharpened and the breath is broken against one of the sides of the tube at the playing end. Six holes (now often 10) in groups of three are burnt out in the center of the instrument. It was often played at funerals in the Carpathian mountains. Shepherds were also able to accompany themselves with glutteral humming which produced an ostinato tone or drone.
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The song opens with a distinctive solo ostinato on bass guitar performed by Hoppus, preceding a refrain that repeats the phrase "so sorry it's over." As the song begins, Tom DeLonge contributes melodic guitar lines while Barker energetically drums. According to sheet music published at Musicnotes.com by Kobalt Music Publishing America, "Man Overboard" is written in common time with a fast tempo of 192 beats per minute.
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A guajeo is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. Guajeos are a seamless blend of European harmonic and African rhythmic structures. A piano guajeo may be played during the verse section of a song, but it is at the center of the montuno section. That is why some salsa musicians refer to piano guajeos as montunos.
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At approximately 13 minutes, the Adagio is a long, expansive unfolding of melodic ideas. Very often, the texture of the third movement consists of a solo wind or brass instrument with a lyrical melody over the supporting string ensemble. It is not as dramatically complex as the preceding Allegro, though. Notably, it also does not contain a clearly stated instance of the ostinato figure.
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What we normally experience with amplitude is, for example, pressing a key on a piano, a loud sound emerges then slowly fades away; the second operation's objective is the opposite. Le Caine also used four different tape loops to produce ostinato patterns heard in Dripsody. Three different speeds creates twelve different loops not needing to add additional splices. However, he did use splices as his fourth operation.
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Reflecting is a technique in which the music therapist expresses the same moods or feelings which have been presented by the client. Rhythmic grounding is implemented by establishing a steady beat or rhythm, supporting the client's improvisation. The use of a rhythmic ostinato is an example of rhythmic grounding. Dialoguing is a process in which the music therapist and the client communicate through their improvisations.
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In his autobiography Did They Mention the Music? Mancini stated: > The Peter Gunn title theme actually derives more from rock and roll than > from jazz. I used guitar and piano in unison, playing what is known in music > as an ostinato, which means obstinate. It was sustained throughout the > piece, giving it a sinister effect, with some frightened saxophone sounds > and some shouting brass.
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According to James Bakst, what made Khachaturian unique among Soviet composers is "the blending of national Armenian vocal and instrumental intonations with contemporary orchestral techniques". Khachaturian's music is characterized by an active rhythmic development, which reaches either a mere repetition of the basic formula (ostinato) or "a game of emphasis within this formula". The Central Bank of Russia issued a commemorative coin depicting Spartacus in 2001.
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The refrain was constructed upon one of a series of typical harmonic schemes (e.g. I-VI-IV-V; I-V-VI-V). Some composers used the same melody throughout the piece, repeating it in the manner of a ground bass." Many of these chaconne characteristics, such as a refrain in a "typical" harmonic scheme and an almost ostinato-like ground bass, are found in Ginastera's "Chacarera.
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According to the sheet music published by Oxford University Press at OUP.com, Rutter set the text in one movement, marked Bright and rhythmic. He scored it for a four-part choir and organ, but also made a version with orchestra. Beginning in common time, the accompaniment has an ostinato-syncopated rhythm in the bass, grouping the eighth notes in a measure 3 + 3 + 2.
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To make instruments blend more effectively, Xenakis used amplification in all of his works for harpsichord. The composition can be divided in five sections, which also contains interludes and variations. The opening section features an ostinato played by the bongos, while the harpsichord plays mainly rising tone clusters. In this case, the bongos stress beats and offbeats unevenly to produce the sensation of "anthypheresis".
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The segunda is the bass drum. The drummer playing this instrument repeats a single duple-meter ostinato throughout the song. While the second drum plays steady, the first drum and the other instruments like the maracas and conch shell improvise solos similar to those in a jazz song. The punta ritual for a wake is sung in Garifuna, with a soloist and a chorus.
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It is not clear that this is actually a secondary thematic group as found in a sonata-allegro form. It is instead developmental in essence . The middle section is contrasted by its simplicity, slower tempo, and 3/4 metre (though there are metrical variations throughout the section). It is features a lyrical, two-voiced theme, first presented by the clarinet and bassoon over an ostinato bass accompaniment.
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After the death of his patron in 1680 he became the Italian secretary at the elector's court in Mainz and was ordained a canon. He died in Mainz. Alongside Biber and Westhoff, J.J. Walther is one of the most significant German violinists of the 17th century. Besides a virtuoso technique including doublestops and arpeggios, his works display a wealth of formal devices, especially in the treatment of ostinato variations.
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The recitative, "" (How difficult it is for flesh and blood), combines the hymn tune sung by the four-part choir, with interpolated text sung by the soloists in turn. The lines of the hymn are separated by a joyful ostinato motif derived from the chorale tune. The musicologist Julian Mincham writes that the "hybrid recitative provides an excellent example of Bach's experiments of investing long texts with sustained musical interest".
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It was also noted that, an eternal conflict between good and evil, humanity and the Devil's home was expressed through Huseyn Javid's poetry. The Devil's home was expressed through a modern threat of atom and hydrogen bomb. Aydin Azimov's “horror influencing” music, which is based on tremolo string and ostinato beats of timpani, dissonances of woodwind and brass instruments of orchestra created panicky condition of humanity before the terrible.
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116 # On a more technical musical level, a piece or movement of night music style may show any of the following characteristics. ## An ostinato sound on every beat in the slow prevailing tempo, often this sound is dissonant, and/or a cluster chord. Because of the slow and repetitive nature, these sounds come to fulfil an accompanying or background role. ## Curt motives at irregular time intervals within the meter.
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Many had seen the Fifth, composed when he was seventy, as a valedictory work, and the turbulent, troubled Sixth came as a shock. After violent orchestral clashes in the first movement, the obsessive ostinato of the second and the "diabolic" scherzo, the finale perplexed many listeners. Described as "one of the strangest journeys ever undertaken in music",Cox, p. 111 it is marked pianissimo throughout its 10–12-minute duration.
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Barber's first movement from Excursions shows how the composer combines classic forms with contemporary idioms. He uses many characteristics of Blues within the restrictions of classic forms to create these contemporary songs that have a familiar aspect about them. The first movement of Samuel Barber's Excursions, entitled “Un poco allegro,” is a classic five-part rondo form. Barber begins with the main element of the movement, the bass Ostinato.
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The right hand continues with a new ostinato pattern involving D-flat and E-flat rather than C and D-flat. It is similar to the previous variation, but still uses a two-octave displacement. The left hand utilizes sixteenth-note arpeggiations down from the main accented melodic tone. In the music, Barber shows the distinction between the melody and the arpeggiations through the use of upward-facing stems.
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Music by Aka Pygmies, performed by Aka Pygmies; Ligeti and Reich, performed by Aimard. Teldec Classics: 8573 86584-2. The polyphonic singing of the Aka Pygmies was relisted on the Representative List of the Intangible Cultural Heritage of Humanity in 2008. Mbenga–Mbuti Pygmy music consists of up to four parts and can be described as an "ostinato with variations" similar to a passacaglia in that it is cyclical.
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The mouthpiece is sharpened into a cone-like edge and the instrument produces a sound similar to that of the flute. Shepherds were also able to accompany themselves with glutteral humming which produced an ostinato tone or drone. The floyarka is often called a frilka or sometimes zubivka in central Ukraine. The name is rather a contaminant from a Greek-Romanian filiation (more spread is the Slavic sopilka).
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The song ends with a string ostinato that simply fades away, without fully resolving to the tonic chord. In an interview with The New York Times, Madonna commented that the lyrics to "Frozen" are built around "Retaliation, revenge, hate, regret, that's what I deal with in "Frozen". Everyone's going to say, 'That's a song about Carlos' [her ex- boyfriend], but it's not really; it's just about people in general".
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Classical Western approach to harmony has been Triad-centric for centuries though other important tools include ostinato, contrary movements, rhythmic augmentation or diminution, imitation etc. are also vital techniques. However, extrapolating a triad-centric approach to melodic systems like Indian Carnatic classical which have intricate rules for hundreds of modes (ragas) often creates conflicting results. Melharmony shifts the focus from triad-centric harmony to fragmentation for creating multiple parts.
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V, published in 2008), is Gert Westphal, one of Germany's most important contemporary reciters. Some of his CDs feature works by Sieglinde Ahrens. Petr Eben's Moto Ostinato from "Sunday Music" is played by English organist Gillian Weir in her "The King of Instruments" series (Priory Records' PRDVD 7001). The Canadian organist Philip Crozier, playing the Fulda Cathedral organ, has also recorded a number of Eben's works on the Azimuth label.
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Kofi Agawu, Representing African Music: Postcolonial Notes, Queries, Positions (New York: Routledge, 2003): 92. . In the following example, a Ghanaian gyil plays a hemiola as the basis of an ostinato melody. The left hand (lower notes) sounds the two main beats, while the right hand (upper notes) sounds the three cross- beats.David Peñalosa, The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins (Redway, CA: Bembe Inc.
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Arsenio Rodríguez revolutionized the son montuno. For example, he introduced the idea of layered guajeos (typical Cuban ostinato melodies)—an interlocking structure consisting of multiple contrapuntal parts. This aspect of the son's modernization can be thought of as a matter of "re-Africanizing" the music. Helio Orovio recalls: "Arsenio once said his trumpets played figurations the 'Oriente' tres-guitarists played during the improvisational part of el son" (1992: 11).
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"Take a Pebble" by Greg Lake is a full band arrangement, with the primary sections being a jazz arrangement by keyboardist Keith Emerson, and the middle section being a folk guitar work by Lake with water- like percussion effects by Carl Palmer, plus a bit of clapping and whistling. The end returns to the jazz arrangement by Emerson, starting with a modal based improvisation on top of the primary ostinato.
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The sonata is divided into three movements and has a duration of around 25 minutes. The movements are untitled, except for the third movement, which is a set of 20 variations on an ostinato-like accompaniment. The movement list is as follows: The sonata is known for its demanding violin and piano parts and its complex tonal system. Rhythm patterns are also very complex, as time signatures do not always match.
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Rodríguez introduced the idea of layered guajeos (typical Cuban ostinato melodies)—an interlocking structure consisting of multiple contrapuntal parts. This aspect of the son's modernization can be thought of as a matter of "re-Africanizing" the music. Helio Orovio recalls: "Arsenio once said his trumpets played figurations the 'Oriente' tres-guitarists played during the improvisational part of el son" (1992: 11).Helio Orovio quoted by Max Salazar 1992.
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After 16 measures of instrumental introduction in time, driven by an ostinato rhythm in the basses, Chorus I intones , until in measure 26 they sing (Hark!) and Chorus II promptly asks (Whom?), Chorus I replying with (the bridegroom – implying Christ). The next call by Chorus I is (See him!), followed by the question (How?) by Chorus II, to which Chorus I answers (just like a lamb – another reference to Christ).
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Traditional sub-Saharan African harmony is a music theory of harmony in Sub- Saharan Africa music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter melody (secondary melody) and ostinato-variation (variations based on a repeated theme). Polyphony (contrapuntal and ostinato variation) is common in African music and heterophony (the voices move at different times) is a common technique as well. Although these principles of traditional (precolonial and pre-Arab) African music are of Pan-African validity, the degree to which they are used in one area over another (or in the same community) varies. Specific techniques that used to generate harmony in Africa are the "span process", "pedal notes" (a held note, typically in the bass, around which other parts move), "Rhythmic harmony", "harmony by imitation", and "scalar clusters" (see below for explanation of these terms).
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The new score mixes Balinese and Western musical traditions. The score is quite unique in that it uses heavy violin ostinato with shouting over the top of it during scenes depicting crowds and cockfighting.Entretien avec Richard Marriott and I Made Subandi, Milestone DVD This mixture of Balinese music with western instruments creates an unique sound. The score took roughly two months to compose though they had six months in advance to prepare.
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The song is written in the key of F major, and performed in that key on the album. The original album recording features an ostinato piano part, played by Newman (who also sings the lyrics), accompanied by a full orchestra (strings, winds and brass) for harmonic and melodic fills. It features a set of relatively simple (for Newman) chord changes in the blues-country-rock- gospel progression that Newman is so well known for.
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Following the invention of music printing at the beginning of the sixteenth century, there is more detailed documentation of improvisational practice, in the form of published instruction manuals, mainly in Italy.E.g., Ganassi 1535; Ortiz 1553; Dalla Casa 1584. In addition to improvising counterpoint over a cantus firmus, singers and instrumentalists improvised melodies over ostinato chord patterns, made elaborate embellishments of melodic lines, and invented music extemporaneously without any predetermined schemata.Brown 1976, viii–x.
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Robert Watson Hughes AO MBE (27 March 19121 August 2007) was a Scottish-born Australian composer. His melodies are driven by short motives and unrelenting ostinato figures. Hughes wrote orchestral works, music for ballet and film, some chamber works and an opera that has never been performed. While some of his works are available in published form, there are a number of well-crafted orchestral works that were recorded but never commercially published.
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It was arranged for the ballet Crises, by Merce Cunningham and John Cage, and again for piano four-hands. The Study No. 5 was premiered in the same festival as the Study No. 4. It is a study of repeated and rapid runs and chordal motifs, superimposed over two ostinato rhythmic and melodic lines in the bass at tempos 5:7. It starts with only two voices but ends up with thirteen.
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The song's chord progression has a basic form I-IV-V-IV, an ostinato (repetitive beat) that continues through its verses and chorus. Ramiro Burr of Billboard magazine called the song a "reggae-tinged tune" and suggested that it could have worked well with French lyrics. Writing for Billboard, Paul Verna called the recording a "spunky cumbia". In his book Encyclopedia of Recorded Sound, Frank Hoffman called the song "reggae-inflected dance fare".
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"Afro Blue," Afro Roots (Mongo Santamaria) Prestige CD 24018-2 (1959). "Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm, or hemiola. The song begins with the bass repeatedly playing 6 cross-beats per each measure of , or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). The following example shows the original ostinato "Afro Blue" bass line.
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This section comes to an end with a passage of vocal glissandi, and is followed by the Indianist imitation of a woodpecker that gives the work its subtitle. However, "Nozani-ná" recurs over this ostinato, in longer note values and with some adjustment to the pitches, until the work comes to an end with a unison shout of the word "Brasil!" (; ; ). Concerning the sense of the words to "Nozani-ná", opinions differ.
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The second movement is in 5/4 time and marked andante, un poco mosso. The slow movement features solos by the English horn, flute, and E-flat clarinet. The piece, which tries to emulate a flier at night, is based on a slow ostinato 5/4 rhythm that is first played by the muted cellos and basses. The English horn enters over the accompaniment to perform a "lonely" melody in 4/4 time.
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Using his new Rickenbacker 4001S bass, McCartney inaugurated an ostinato-heavy style that would feature prominently on the band's 1966 recordings, particularly the song "Rain". The group carried out their vocal overdubs during the afternoon of 18 October. Over the instrumental break and the outro, the harmonies consist of McCartney singing a third above and Lennon a tenth below Harrison's double-tracked lead vocal. During the same session, Ringo Starr added a tambourine part.
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Mikhail Glinka Mikhail Glinka's Kamarinskaya, which became famous as the first orchestral work based entirely on Russian folk song, is a case in point of the limits Russian composers faced and how they attempted to work around them.Maes, 27. Kamarinskaya is based on two themes, a slow bridal song, "Izza gor" (From beyond the mountains), and the title song, a naigrïsh. This second song is actually an instrumental dance played to an ostinato melody.
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He is also professor at the Royal Conservatory of The Hague. Notable violinists are Janine Jansen and André Rieu. The latter, together with his Johann Strauss Orchestra, has taken classical and waltz music on worldwide concert tours, the size and revenue of which are otherwise only seen from the world's biggest rock and pop music acts. The most famous Dutch classical composition is "Canto Ostinato" by Simeon ten Holt, a minimalistic composition for multiple instruments.
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Anatoly Sheludyakov (, , born 1955) is a classical pianist and composer. He was born in Moscow, Russia, where he completed his doctoral studies under professor Anatoly Vedernikov at the Gnesin Institute of Music. He also graduated from the Moscow Conservatory where he studied composition with Tikhon Khrennikov. His works include Variations for Orchestra, Ostinato for Orchestra, String Trio, Five Intermezzi for Percussion, Suite for Violin and Piano, the cantata Brotherhood Songs, vocal cycles.
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Delage, Roger: "Chabrier Mélodiste", in: Emmanuel Chabrier: Ostinato rigore – Revue internationale d'études musicales, No. 3, 1994 (Paris: Jean-Michel Place/Centre national du livre), p. 68. All are strophic songs, but the rhythm is usually cleverly modified in each stanza to suit the prosody of the literary text. They require, together with perfect precision, a supple, elegant style of interpretation, slightly whimsical; as remarked by Poulenc, a "laisser-aller contrôlé".Bernac, 1970, p. 81.
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Mbira music, like much of the sub-Saharan African music traditions is based on cross-rhythm. An example from the kutsinhira part of the traditional mbira dzavadzimu piece "Nhema Musasa" is given by David Peñalosa, who observes that the left hand plays the ostinato "bass line," while the right hand plays the upper melody. The composite melody is an embellishment of the 3:2 cross-rhythm (also known as a hemiola).Peñalosa, David (2010).
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Brekke's contributions to modernist poetry in the 1960s are the collection Det skjeve smil i rosa (1965), poetry combined with political sarcasm, and Granatmannen kommer (poems and other texts, 1968). In the 1970s he issued Aftenen er stille (1972), for which he received the critics prize, Syng, ugle (1978), and Flimmer. Og strek (1980). Late in his life he released the two collections Men barnet i meg spør (1992) and Ostinato (1994, posthumous).
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Packet Editing is the modification of created or captured packets. This involves modifying packets in manners which are difficult or impossible to do in the Packet Assembly stage, such as modifying the payload of a packet. Programs such as Scapy, Ostinato, Netdude allow a user to modify recorded packets' fields, checksums and payloads quite easily. These modified packets can be saved in packet streams which may be stored in pcap files to be replayed later.
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The symphony is in four movements: The first movement is in sonata form and opens with the main theme played in unison strings. The second theme is also presented by the strings, with woodwinds in the background. The development section is contrapuntal in nature, reminiscent of the fugues Kalinnikov composed in the 1880s. The second movement opens with an ostinato of the harp and first violins that leads into a solo for the cor anglais.
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The Cuban contradanza, known outside of Cuba as the habanera, was the first written music to be rhythmically based on an African motif (tresillo and its variants). Tresillo is used as an ostinato figure in the left hand. The habanera was the first dance music from Cuba to be exported all over the world. Because of the habanera's global popularity, tresillo and its variants are found in popular music in nearly every city on the planet.
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The second stanza, "" (No one could defeat death),, is set as a soprano and alto duet, over an ostinato continuo. It deals with "humanity helpless and paralysed as it awaits God's judgement against sin". Bach has the music almost freeze on the first words "" (death), and the word "" (imprisoned) is marked by a sharp dissonance of the soprano and alto. In the Halleluja, the voices imitate each other on long notes in fast succession, creating a sequence of suspensions.
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An obrom is a type of musical instrument in the percussion family, originating in Nigeria. Formed from one large piece of wood, often a log of paduc, the obrom has two recesses connected to each other by a small channel. This is why it is sometimes referred to as a slit dum. The obrom, when struck with mallets near the recesses, plays two to four tones; these are generally alternated in a repetitive beat, or played in an ostinato.
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"Clocks" is an alternative rock song that is viewed by some as featuring elements of psychedelic rock. It features a repeating piano melody and a minimalist, atmospheric soundscape of synthesizer pads, drums, electric guitar, and bass guitar. Martin applied an ostinato, with emphasis that imitates a three against two polyrhythm, as well as a descending scale on the piano chord progression, which switches from major to minor chords. The themes of the lyrics include contrast, contradictions and urgency.
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Movement 3, again subtitled “Joyeux,” is a mixed-meter movement, defined by the constant repetition (ostinato) of the flute’s simple four measure phrase. The woodwinds’ playfully articulated polytonal melodies are supported by rhythmically-driven string parts, both based on duple subdivisions. Woodwind melodies are individually pleasant-sounding, but they do not match up harmonically. Throughout the movement, the melody alternates between instruments, most notably in the violin’s birdcall phrases, which define the contours of the movement.
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A typical vaccine band is composed of three to five players, usually marching abreast of each other. Players use a method called hocketing, whereby each individual blows a single tone rhythmically to create an ostinato motif together. These motifs are usually composed through a process of group improvisation. To keep rhythm, vaccine players also beat a rhythmic timeline, called kata with a long stick on the side of the tube, making the instrument both melodic and percussive.
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Des Forêts's only novel, The Beggars (Les Mendiants) was published by Éditions Gallimard in 1943. The rest of his works include shorter narratives, among which his best known work, Le Bavard, and poetry.PN Review His work has been commented by authors such as Maurice Blanchot or Yves Bonnefoy.Article about ‘Ostinato’, Des Forêts’s last work on Encyclopædia Universalis In 1954, Des Forêts cofounded a committee against the Algerian war, with Dionys Mascolo, Edgar Morin and Robert Antelme.
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"Panini" is named after the fictional cabbit of the same name—a character in the animated television series Chowder. It is composed in the key of Fm and employs common time meter. The synth-driven ostinato simulates the timbre of a brass instrument and implies a v-VI harmonic progression with the tonic chord momentarily bridging the other two and effectively behaving as a passing tone; a similar approach is likewise found in Toto's hit "Africa".
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The drum machines are usually accompanied by simple, repeated synthesizer melodies in the form of ostinato, to create a hypnotic effect, and heavy bass stabs. The tempo of the music is somewhat slower than hip hop, around the speed of reggaeton. The focal point of crunk is more often the beats and music than the lyrics therein. Crunk rappers, such as Lil Jon, however, often shout and scream their lyrics, creating a heavy, aggressive style of hip hop.
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Born in Berchidda, Sardinia, he picked up the trumpet at the age of 11, and played in the band Bernardo de Muro in his home town Berchidda.Official biography Fresu graduated from the Conservatory of Cagliari in 1984, in trumpet studies under Enzo Morandini, and attended the University of Bologna School of music and performing arts in Bologna.Jazz Musiques Productions Paolo Fresu Retrieved August 29, 2019. He made his debut in 1985, with the release of his first album Ostinato.
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He cited Brown v. Entertainment Merchants Association, in which the U.S. Supreme Court struck down a California state ban on the sale of violent video games to minors, as an example of an unlawful restriction on constitutionally protected speech for the purposes of child welfare. Morelli and Weaver-Ostinato also started another website, SaveThePsychoExWife.com, both as a way to inform the public of the ruling, the progress of their appeal, and to raise funds for their legal defense.
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The following aria, "" (No doubt can disturb me), is dominated by a virtuoso solo violin. The words "Ich glaube" (I believe) are illustrated by very long notes in the voice, while an ostinato bass line renders "steadfastness" in a different way. The musicologist Julian Mincham notes that Bach uses the key F-sharp minor selectively, "often for slowish movements of great expressive force", for example for the alto aria Buß und Reu from his St Matthew Passion.
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The A theme concludes with a cadential resting point, as the percussion section introduces a layered ostinato as a backdrop for the B Section fugue. The fugue theme is introduced in the horns, and answered in the trombones. Each time the theme is re-stated, it is varied using ornamentation based on the skeletal thematic material of the original fugue theme. The third entrance is in the trumpets and the final entrance is in the tubas and bass trombone.
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Played in music halls, the dance music (oyun havası) required at the end of each fasıl has been incorporated with Ottoman rakkas or belly dancing motifs. The rhythmic ostinato accompanying the instrumental improvisation (ritimli taksim) for the belly-dance parallels that of the classical gazel, a vocal improvisation in free rhythm with rhythmic accompaniment. Popular musical instruments in this kind of fasıl are the clarinet, violin, kanun and darbuka. Clarinetist Mustafa Kandıralı is a well known fasıl musician.
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This csárdás begins with a repeated F-sharp, essentially taking up where the first dance left off, before an ostinato accompaniment begins. An F-sharp major triad in the left hand is contrasted with a falling phrase beginning with an A natural in the right hand. The piece on the whole is written in B minor-major, with major and minor chords being struck simultaneously, a device Liszt came to use with increasing frequency.Walker, Man and Music, 359.
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Ostinato rigore – revue internationale d'études musicales. No.3 , 1994, Jean-Michel Place/Centre national du livre, Paris, p. 61. Howat remarks that this song, with echoes of Mussorgsky (specifically "In the corner", no.2 from The Nursery), is probably the earliest example of the assimilation of contemporary Russian musical syntax into French music, and which Chabrier would have been exposed to only via scores, as Mussorgsky's songs were not heard in Paris until the mid 1890s.
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Played in music halls, the dance music (oyun havası) required at the end of each fasıl has been incorporated with Ottoman rakkas or belly dancing motifs. The rhythmic ostinato accompanying the instrumental improvisation (ritimli taksim) for the bellydance parallels that of the classical gazel, a vocal improvisation in free rhythm with rhythmic accompaniment. Popular musical instruments in this kind of fasıl are the clarinet, violin, kanun, and darbuka. Clarinetist Mustafa Kandıralı is a well-known fasil musician.
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Packet Assembly is the creation of the packets to be sent. Some popular programs used for packet assembly are Hping, Nemesis, Ostinato, Cat Karat packet builder, Libcrafter, libtins, PcapPlusPlus, Scapy, Wirefloss and Yersinia. Packets may be of any protocol and are designed to test specific rules or situations. For example, a TCP packet may be created with a set of erroneous flags to ensure that the target machine sends a RESET command or that the firewall blocks any response.
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As a discipline, Ching tried to restrict his compositional interventions to the tonal and rhythmic limits of Mozart's already highly chromatic and dissonant language, so that the distinction between "text" and "commentary" is eventually blurred. The movement ends when the minuet is interrupted by the ostinato march rhythm on Eb-A in the piano's lowest octaves, which accompanies the procession onstage of the string trio, percussionist, and the two woodwinds, and continues throughout the following movement.
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Andrea Olmstead agrees that Montezuma may aptly be compared with Berg's Lulu and Wozzeck, but primarily because of their shared extensive use of ostinato rhythms.Olmstead 1985, 17–18. Michael Steinberg says that it is "arguably the richest opera yet written by an American composer", and like Olmstead compares it to Wozzeck and Lulu (as well as to Les Troyens, Moses und Aron, War and Peace, and Palestrina) because, like them, Montezuma has long remained a "legend".Steinberg 1976, 11.
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Television crews arrived at her family home the next day. Guy Deutscher spoke of his concerns surrounding Alma's initial press coverage. He explained that the family had been unprepared for the intense exposure, and that they view as their most important tasks protecting her and ensuring that she has a happy childhood. In September 2014, a viral YouTube mashup video released by Israeli musician Kutiman ("Give It Up") featured a 4-second ostinato assembled from pieces of one of Deutscher's early videos.
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Fitz and Simmons' theme is " less melodic than the other themes, and more motivic. It’s essentially an ostinato that rolls over itself again and again, evolving into subtly different variations with each turn through the pattern. This musically emulates their speaking pattern, where they are constantly stumbling over one another and saying the same thing in slightly different ways." "The Hub" introduces the audience (and Skye) to "Big S.H.I.E.L.D.", as opposed to Coulson's small team, which McCreary gave its own, more militaristic theme.
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The second aria, "" (Highest, renew Your goodness), is accompanied only by the continuo "quasi ostinato" which supports expressive coloraturas of the voice. The lines in the continuo, in constant movement in 12/8 time seem to constantly rise, towards the addressed "Höchster" (Highest) which appears as an octave jump down. Two extended melismas express gratefulness for being a child of God. The musicologist Julian Minchem notes that Bach is able to convey with modest means a "profound expression of commitment to God".
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Revueltas first composed Sensemayá in Mexico City in 1937, in a version for small orchestra. In 1938, he expanded it into a full-scale orchestral work for 27 wind instruments (woodwinds and brass), 14 percussion instruments, and strings. As one advertising blurb for the score describes it: > The work begins with a slow trill in the bass clarinet as the percussion > plays the sinuous, syncopated rhythm that drives the work. Soon a solo > bassoon enters playing an eerie but rhythmic ostinato bassline.
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"" (So we celebrate the high festival), is a duet for soprano and tenor accompanied only by the ostinato continuo. The chorale is shared by the voices, with the soprano singing it in E minor, the tenor in B minor. The movement is a dance of joy: the word "Wonne" (joy) is rendered in figuration that Gardiner finds reminiscent of Purcell. Bach incorporates the solemn rhythms of the French overture into this verse, reflecting the presence of the word "" (celebrate) in the text.
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The "happy passengers" melody is not as thick as the main "locomotion" gauntlet. The composition is marked vivacissimamente (extremely brisk, from vivace), 112 half notes per minute. The first theme is sixteenth notes accompanied by a repetitive ostinato bass in eighth notes, illustrating the fleeting steam locomotive. The second is a more lightweight melody that appears first in the submediant major, B-flat major, then in C major, still comprising just sixteenth notes, which depicts the happy journey of the passengers.
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Narváez's models include both sacred (volume 4 only) and secular melodies, and the music stands out by virtue of a very wide palette of techniques. Apart from melodic variations, there are also two sets on ostinato harmonies: Guardame las vacas and Conde claros, both in volume six. The remaining music comprises villancicos, romances, and a Baxa de contrapunto. With the exception of two motets, no other music by Narváez survives, although he must have composed a substantial amount of vocal music.
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"Where No One Has Gone Before" was the second episode scored by Ron Jones. Some themes in the soundtrack were rearrangements of Jerry Goldsmith's score from Star Trek: The Motion Picture. In the piece "Talk with Mom" (played during Picard's meeting with his mother), Jones tried to create an effect identical to the finale of Aaron Copland's 1944 Appalachian Spring. Alexander Courage's themes from The Original Series are included in a seven-note ostinato in the pieces "Log", "Visitors", and "Fly-By".
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The French troubadours were influenced by the Spanish music. The Andalusian cadence known today, using triads, may not have occurred earlier than the Renaissance, though the use of parallel thirds or sixths was evident as early as the 13th century. One of the earliest uses of this chord sequence is seen in Claudio Monteverdi's choral work, Lamento della Ninfa. The piece begins in A minor and clearly uses the cadence pattern as a basso ostinato - resulting in Amin - Emin - Fmaj - E7.
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Hexachord ostinato, in cello, which opens Die Jakobsleiter by Arnold Schoenberg, notable for its compositional use of hexachordsArnold Whittall, The Cambridge Introduction to Serialism, Cambridge Introductions to Music (New York: Cambridge University Press, 2008): 23. (hardback) (pbk). In music, a hexachord (also hexachordon) is a six-note series, as exhibited in a scale (hexatonic or hexad) or tone row. The term was adopted in this sense during the Middle Ages and adapted in the 20th century in Milton Babbitt's serial theory.
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The word's use in music journalism may be derived from a punning modification of "motoric", a term long used by music critics to describe relentless ostinato rhythm, or simply from a combination of "motor" and the German "Musik". The name may derive from the repetitive yet forward-flowing feel of the rhythm, which has been compared to the experience of driving on a motorway. The motorik beat is heard in one section of Kraftwerk's "Autobahn", a song designed to celebrate exactly this experience.
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The following studies would continue to explore varied meters and tempos. Among them, the Study No. 9, which can be described as a collage with three repeating loops at different tempos. As his previous studies, the bass line is in ostinato and the ratios used in the study are 3:4:5. It was also premiered in the performance of the studies 7 and 8, in Mexico City and was arranged for chamber orchestra, piano four-hands and two pianos.
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Claves have been very important in the development Afro-Cuban music, such as the son and guaguancó. They are often used to play an ostinato, or repeating rhythmic figure, throughout a piece known as the clave.Godfried T. Toussaint, “A mathematical analysis of African, Brazilian, and Cuban clave rhythms,” Proceedings of BRIDGES: Mathematical Connections in Art, Music and Science, Towson University, Towson, MD, July 27–29, 2002, pp. 157–168. Many examples of clave-like instruments can be found around the world.
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164 Theo Hirsbrunner has pointed out other signs of influence of Berlioz on Schumann.Hirsbrunner, Theo: Schumann und Berlioz. Ein Franzose in Deutschland, Laaber-Verlag, Laaber 2005 The same idea is used as opening for the next movement of Nachtstücke in varied form (stepwise descending and ascending seconds, with a characteristic accentuation of the upbeat quarter, again reminding the upbeat half note of the ostinato theme in the fourth movement of Symphonie Fantastique). The theme is recapitulated in heroic fashion before collapsing into nothingness.
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During a trip to Maiduguri while he was still a pre-teen, he was impressed by musicians some playing with the Kuntigi instrument, upon his return to Jos, he made a kuntigi, with which he has accompanied himself ever since. The kuntigi is a small, single-stringed lute. The body is usually a large, oval-shaped sardine can covered with goatskin. Dan Maraya and other kuntigi players are solo performers who accompany themselves with a rapid ostinato on the kuntigi.
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"Six pianos" by Steve Reich among others with Post & Mulder (Borealis Festival 2010), Makrokosmos by George Crumb at the Moscow Conservatory in 2011. She was concertmaster of the State Capella Choir in Baku from 2011 to 2012. In 2013 she performed with the State Chamber Orchestra of Azerbaidschan In 2014 she performed one of the parts in a live radio broadcast on MDR Kultur of Simeon ten Holts Canto Ostinato for four pianos. She has won prizes at international competitions (i.e.
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Because of the unpredictable entrances of each voice an improvisatory quality is suggested. In A Fool's Journey, it is the complex textures that create the illusion of improvisation. The complex layering of lines or polyphony in this example from "A Fool's Journey" purposely avoids the coming together of the independent voices. The Prelude to "Lament" for piano solo demonstrates another way to create the sense of improvisation by using a basso ostinato in the left hand and a rhythmically free right hand.
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"Inferno" was commissioned by the James Madison University Band, and was completely published in 1995. The movement follows the events of the epic poem, using musical references to the events in select cantos of Inferno. An oboe solo in B-flat minor begins the symphony, then, enormous crescendos, violent percussion, and towering blocks of sound quickly lead the audience into Dante’s vision of hell. A furious ostinato is used three times in this piece, first by flutes, then clarinets, and finally by saxophones.
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The following example shows the original ostinato "Afro Blue" bass line. The slashed noteheads indicate the main beats (not bass notes), where you would normally tap your foot to "keep time." "Afro Blue" bass line with main beats indicated by slashed noteheads In 1960 Santamaría went to Havana, Cuba with Willie Bobo to record two albums "Mongo In Havana" and "Bembe y Nuestro Hombre En La Habana." After recording, he returned to New York City to form the charanga orquestra La Sabrosa.
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This piece is unique among Pachelbel's ostinato works in that the bass pattern is preserved throughout the work without alterations (except for a minor modification in variation 8). The variations are not actual melodic variations based on the theme, but rather free material based on the harmonies provided by bass. The process, which also serves as the basis of some of Pachelbel's other chaconnes, has been described thus: "the harmonies are dissected through an amazing—though controlled—profusion of devices."Nolte, Butt, Grove.
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"... Cultural Sinocentrism was the basso ostinato of East Asia for more than a millennium: the classical Chinese language and writing system; ideological frames of the Confucian social and familial order; legal and administrative systems; Buddhism, which was transmitted to Korea, Vietnam, and China via Chinese translations of canonical texts and Chinese versions of Buddhist prac- tice; and the art of historiography itself" The Oxford History of Historical Writing. Volume 3. Jose Rabasa, Masayuki Sato, Edoardo Tortarolo, Daniel Woolf - 1400-1800, page 2.
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The same as "naturale". ; organ trio : In jazz or rock, a group of three musicians which includes a Hammond organ player and two other instruments, often an electric guitar player and a drummer. ; oppure or ossia : Or (giving an alternative way of performing a passage, which is marked with a footnote, additional small notes, or an additional staff) ; ostinato : Obstinate, persistent (i.e. a short musical pattern that is repeated throughout an entire composition or portion of a composition) ; ottava : Octave (e.g.
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The Psycho Ex-Wife, also known by the domain name ThePsychoExWife.com, was a blog and community website that operated in the United States between 2007 and 2011. The website was created by Anthony Morelli and Misty Weaver-Ostinato in 2007. Morelli, then writing as an anonymous blogger, originally used the site as an online journal to describe the troubled relationship with his former wife as well as his negative experiences with the family court system, and criticism of the "divorce industry".
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One exception was Yahoo! Shine senior editor Lylah Alphonse who commented "the posts that Morelli and Weaver-Ostinato wrote at The Psycho Ex-Wife may have been libelous, but libel is a civil court issue, not a criminal one". William Belle of Salon.com compared Morelli's behavior to that of Tricia Walsh who posted insulting videos of her husband on YouTube in order gain an advantage in their divorce settlement and her attempts to have the pre-nuptial agreement thrown out.
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" "Faro" is a track with "a simple ostinato bass, a transition section and a loud climax." The opening track, "Rezo", is an interlude inspired by the work of French composer Claude Debussy and American performer Duke Ellington, and is "based on Afro-Cuban melodies sung during Santería rites." "Silencio" is a tribute to Cuban boleros. "Prologo (Prologue to a Fantasy)" features a "congenial intellectual playfulness alternating between something like Spanish piano music of a century ago, and the dance-hall.
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Mannheim Steamroller began as an alias for record producer and composer Chip Davis. The name "Mannheim Steamroller" comes from an 18th-century German musical technique, Mannheim roller (German: Mannheimer Walze), a crescendo passage having a rising melodic line over an ostinato bass line, popularized by the Mannheim school of composition. Before the fame of Steamroller, Davis had been best known for collaborating with his friend Bill Fries on the songs of the country music character "C. W. McCall" (of "Convoy" fame).
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The dhantal is played by striking a metal rod (usually iron or steel) with a metal beater shaped like a horseshoe. The amount of resonance is controlled by opening and closing the hand that is holding the rod. The dhantal's timbre is sharply metallic and provides a clearly defined tal (beat or pulse) to help the ensemble stay in rhythmic sync. The basic rhythm of the dhantal is an ostinato consisting of two sixteenth-notes followed by an eighth-note.
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2, Hits France 2003 and NRJ Music Awards 2004. The song was performed on Jenifer's first tour and was thus included on her live album Jenifer fait son live, as the sixth track. "Donne-moi le temps" was performed as a duet by Jenifer and Grégory Lemarchal on the French show Star Academy 4. In 2013, the song was covered by Hélène Segara, Natasha St Pier, Claire Keim, Alizée and L'Orchestre Ostinato on the album La boîte à musique des Enfoirés.
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The structure but not the sound of Jewish cantillation influenced the composition, particularly of the flute and piccolo melodies . The work is cast in a single movement about 15 to 18 minutes long, in a quick meter. Its core is a syncopated piano ostinato, superimposed over transposed and shifted versions of itself. The woodwinds and strings play fragmented versions of these figures in unison with the pianos, as well as melodies of their own and slow drones in the background.
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Widely considered a classic suspense film, its score's ominous, two-note ostinato has become synonymous with sharks and approaching danger. The score earned Williams his second Academy Award, his first for an original composition. Shortly thereafter, Spielberg and Williams began a long collaboration on their next feature film, Close Encounters of the Third Kind. During the two-year collaboration, they crafted its distinctive five-note figure that functions both in the background music and as the communications signal of the film's extraterrestrials.
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In a review of the remastered edition, Blair Anderson of AllMusic praised side one of the album, commenting on its "fascinating vocabulary" and writing that interest is sustained by the variety of gestures and tones. He nonetheless felt the second side was weaker, as it consisted of "rather predictable sequences over a steady ostinato". Musician Julian Cope, also a musicologist, wrote in a retrospective review that the album reflected Subotnick's interest in both technology and music, and described it as an "unsung" release.
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In more contemporary settings, especially in New York, the Segon is played with two bare hands. In modern settings conga drums are used as a substitute for traditional Haitian instruments, particularly with the Segon. The Boula – This drum is the smallest of the three (7-8 inches in diameter and 18 – 24 inches tall) and is responsible for playing an ostinato pattern which really propels the rhythm forward. This drum is played with two sticks, and the base rests flat on the floor.
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The movement ends with the sonorous theme which was first stated by the lower woodwinds at the beginning of the symphony. A typical performance of this movement lasts 16 minutes. The second movement begins with an ostinato on harp and the flutes, which eventually develops into a beautiful melody that forms a basis for the development of the movement. A quotation of Bax's tone poem In Memoriam is used, and motifs are quoted from the opening movement of the symphony.
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Britten begins, setting the mood of fear for the day of judgement, with an ostinato in the pedal, which recurs throughout the piece, also in the manuals. The voices begin with a unison line, which later reappears at the end as a canon of the high voices and the low voices. In the end, the opening line is sung pianissimo, addressing the "King of Kings" with "hushed awe", as Paul Spicer describes. When Britten conducted the work, he wanted it sung "with fire".
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The Three Easy Pieces take approximately three minutes to perform. The pieces are: Even though they are titled as "easy", only the left part is easy, the right hand sustaining the whole burden of the composition. In this case, the secondo has only one staff and uses both hands to play ostinato parts. The set features an overtly satirical character, in contrast to its twin set, which is much more serious and displays much more insight into Stravinsky's compositional method.
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The characteristic features of Tal's music are broad dramatic gestures and driving bursts of energy generated, by various types of ostinato or sustained textural accumulations. Complex rhythmic patterning is typical of the widely performed Second Symphony and of a number of notable dance scores. But Tal's marked dramatic and philosophical propensities find total expression only in opera, particularly in the large-scale, 12-note opera Ashmedai...Ringer, Alexander L.: Tal, Josef. in: The New Grove's Dictionary of Music and Musicians, (1980) p.
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The composition is in only one movement and takes 6 to 7 minutes to perform. However, it is in a theme and variations form. The whole piece can be structured into one initial introductory section, in which a solo second violin and the drums indicate the ostinato rhythm, the theme, and eleven variations in which the melodies are further developed, which are followed by a final coda. These sections are not separated, but the variations are marked in the original score as such.
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Gardiner calls the movement "in effect a sonata da chiesa". The tenor aria illustrates the "masochistic" "Hate me, then, hate me with all your might, o hostile race!" by a first dissonant entry on an ostinato bass line full of chromatic, leaps and interrupting rests. Oboe d'amore and viola da gamba return to accompany the last aria, and "the sombre qualities of both voice and instruments create a feeling of peace and introspection". The music of the closing chorale is identical to that of Part I.
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He also produced and co-wrote a number of tracks on Sweet's 1980 album, Waters Edge, and worked with their singer, Brian Connolly, on a number of his solo efforts. Some of his most creative work has come out of his ability as an arranger. From the string arrangements for the Moody Blues and Colin Blunstone, to the oriental ostinato patterns on Carl Douglas' "Kung Fu Fighting". Other collaborators in this field include Barbara Dickson, Ringo Starr, The Sensational Alex Harvey Band and The Kinks.
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It was also arranged for Crises and, later on, for chamber orchestra. The Study No. 6 has a rather bluesy style, with a tune on top of a quasi-ostinato bass line, which tempo ratios of 4:5:6, shifting back and forth every four notes along the whole movement. It was first performed in Kassel, in Summer 1982, and has since been arranged for a Marantz computer-piano, chamber orchestra, piano four-hands, two pianos and small orchestra. Amongst the arrangers is British composer Thomas Adès.
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It starts with one voice and ends up with seven. The study has been arranged for 7 hands on two to four pianos, piano four-hands, small orchestra and chamber ensemble. It was first performed at the Kassel event in 1982. In the Study No. 27, Nancarrow came back to the acceleration canons. This study is a canon 5%/6%/8%/11%/, and consists of an ostinato bass line at a constant speed, with up to eight voices accelerating and decelerating at different speeds.
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The symphony closes with a magisterial passacaglia. After the announcement of the bass ostinato in the tuba, there follow thirty-four variations, a fugue with two expositions, and then a further seven variations to conclude. The twenty-ninth variation evokes a Brahmsian sound as a culmination, reflecting the illustrious antecedent Chávez has accepted as his model, and the main theme from the first movement returns in the thirtieth. The last statement of the bass theme brings the movement to an imposing close in C major .
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In its final form, Incantations took shape as a double album and separated into four distinct parts, each one taking up one side of an LP record. Oldfield had felt guilty that he had not released new material in three years, which influenced him to make a double. Oldfield named composer and electronic musician Terry Riley as a big influence on Incantations, particularly his use of ostinato. At 72 minutes in total length, Incantations remained Oldfield's longest album until his 2005 double album, Light + Shade.
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His Ostinato Pianissimo (1934) placed him in the vanguard of those writing original scores for percussion ensemble. He created forceful large-ensemble pieces during this period as well, such as the Concerto for Piano and Orchestra (1928)—with its three movements, "Polyharmony," "Tone Cluster," and "Counter Rhythm" ()—and the Sinfonietta (1928), whose scherzo Anton Webern conducted in Vienna.Kirkpatrick (1997), p. 105. In the early 1930s, Cowell began to delve seriously into aleatoric procedures, creating opportunities for performers to determine primary elements of a score's realization.
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All four members of Led Zeppelin have agreed that "Kashmir" is one of their best musical achievements. John Paul Jones suggested that it showcases all of the elements that made up the Led Zeppelin sound. Led Zeppelin archivist Dave Lewis comments: In a retrospective review of Physical Graffiti (Deluxe Edition), Brice Ezell of PopMatters described "Kashmir" as Physical Graffitis "quintessential track". Ezell called "Kashmir"'s "doomy ostinato riff and rapturous post-chorus brass/mellotron section" as "inimitable moments in the legacy of classic rock".
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The Symphony for Organ and Orchestra established Copland as a serious modern composer. Musicologist Gayle Murchison cites Copland's use melodic, harmonic and rhythmic elements endemic in jazz, which he would also use in his Music for the Theater and Piano Concerto to evoke an essentially "American" sound. he fuses these qualities with modernist elements such as octatonic and whole-tone scales, polyrhythmic ostinato figures, and dissonant counterpoint. Murchinson points out the influence of Igor Stravinsky in the work's nervous, driving rhythms and some of its harmonic language.
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On the larger scale, the final stanza is made to begin like a slight variation of the first, but continues quite differently to achieve a powerful conclusion. The three stanzas in between are rich in tone painting, using the full choir in rising and falling movements and ostinato formations . The third movement, "Agnus Dei", opens with an archaising two-voice texture for the first stanza, followed by a four-voiced choral texture in the following stanzas. The text of the first two stanzas portray the lamb.
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The non-imitative parts frequently employ techniques unusual for the genre at the time: extended duets, motifs transforming into ostinato patterns.Apel 1972, 188–189. Twelve more tientos appear in Obras de música: six from an earlier period in Cabezón's career, and six late works. While the earlier pieces are similar in many respects to the Libro de cifra pieces, Cabezón's late tientos use smaller note values, have a tendency towards longer and more characteristic subjects, and many of their features anticipate the music of the Baroque period.
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When one plays the Kafir harp one has to balance the sound box on the left arm, leaving the strings to face up, rather than away from the musician. It is played with a plectrum in the right hand while using the left hand to mute certain strings. Stylistically, a piece of music featuring the kafir harp may begin with an ostinato figure on the harp, underneath a soloist (who may or may not be the kafir player himself) and/or by syncopated hand-clapping.
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René T. A. Lysloff and Leslie C. Gay, Jr. wrote: "one of the three main sections of the whole song is the Bolero ostinato (0:00-1:36). The sounds Björk uses to cover the rhythmic patterns from Bolero are tightly interwoven". The song features "militaristic" electronic percussion programmed by Mark Bell. Björk recorded the vocals, bassline and chord structure before Bell met her in Spain; after she explained how she wanted the percussion to sound, Bell recorded one take on a Roland TR-909 drum machine.
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The continuo plays ostinato a motif which is derived from the first line of the chorale. Whereas Part I begins with a trumpet announcing ("") God's glory, Part II starts on an intimate chamber music scale with oboe d'amore and viola da gamba, concentrating on "brotherly devotion" (). A sinfonia in E minor for these two instruments is reminiscent both of Bach's compositions for the court in Köthen and of a French overture, marked "adagio", then "vivace". Bach used the music of this movement later in his organ trio, BWV 528.
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The second movement leads to the dissonant beginning of the third, which jolts the whole quartet into a series of fast notes and long, dissonant chords. The fourth movement and the fifth form a diptych in which fast melodies and repetitive motions are present. In the fourth, the first violin plays fast notes while the rest of the group plays menacing chords; in the fifth, the ostinato in the second violin simplifies the motion presented in the previous movement. From now on, the general mood of the quartet changes and turns more elegiac and tragic.
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The album includes one song by Pete St. John: "The Ferryman". Two songs by Ewan MacColl, "Freeborn Man of the Traveling People" and "The Shoals of Herring", are given modern arrangements, featuring piano and synthesizer as well as more typical instruments such as guitar and fiddle. Dominic Behan's "The Auld Triangle" appears as a lament, complemented by an ostinato on the violin and a men's chorus. The traditional waltz "The Galtee Mountain Boy" is reworked as a folk ballad, and the traditional ballad "The Parting Glass" is given a dark setting, with polyrhythm.
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It lasted a minimum of around 12 minutes but the jam section was often extended and the song could last up to around 25 minutes.Unofficial audience recordings, 1970. Wright moved from the vibraphone back to the Hammond organ, Gilmour played a distinct lead part (making the arrangement less soft and more like a rock song), and as well as a reprise added a new section of music in the middle of the song. After the second verse Roger Waters opened up the jam section with a simple bass ostinato playing the blues scale.
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All that > was of primary importance in the concerto is now secondary to the chorus and > its message. This momentous adagio, seemingly complete in its version for > strings and harpsichord, has taken on a whole new dimension of musical > meaning. Hofmann summarizes: "Filled with lamenting in the spirit of the Passion, the movement gains its intensity from the dense and dissonant harmonic expressiveness, and incorporates ostinato phrases whose regular appearances seem to illustrate inevitability." The third movement is an alto aria with violin obbligato, which transcends "" (towards Heaven).
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Marcus Gray et. al. v. Katy Perry et. al. was a copyright infringement lawsuit against Katy Perry, Jordan Houston ("Juicy J"), Lukasz Gottwald ("Dr. Luke"), Karl Martin Sandberg ("Max Martin"), Henry Russell Walter ("Cirkut"), Capitol Records and others, in which the plaintiffs Marcus Gray ("Flame"), Emanuel Lambert ("Da' T.R.U.T.H.") and Chike Ojukwu alleged that Perry's song "Dark Horse" infringed their exclusive rights in their song "Joyful Noise" pursuant to 17 U.S.C § 106.. The focus of the similarity was a short descending pattern known in music as an "ostinato".
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Self-taught as a guitarist, Llach only strums simple chords on guitar. As a pianist, he shows a good knowledge of the European song tradition from Schubert to Hahn with touches of Satie ("Nounou") and his local imitators like Mompou and Manuel Blancafort ("A la taverna del mar"). Llach has used salsa piano patterns ("Terra") and jazzy whole-step block modulations ("El jorn dels miserables") and progressions ("Cançó d'amor a la llibertat"). Some early songs depicted some inspiration from Baroque dances ("Laura", "Jo sé", "Vinyes verdes vora el mar") and ostinato chord patterns ("Non", "Somniem").
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In the Greater Antilles of Haiti, the boula is in the same family as the Manman, Segon, and is the smallest of the three (7-8 inches in diameter and 18 – 24 inches tall) and is responsible for playing an ostinato pattern which really propels the rhythm forward. This drum is played with two sticks, and the base rests flat on the floor. The tone created is high, but somewhat muted. While this drum's parts seem simple, it requires true skill and stamina to play them accurately, especially at fast tempos.
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This bass pattern is what brings Nathan Broder to call this movement a boogie-woogie.”Broder, p. 51 The New Grove Dictionary explains that a Boogie-woogie is > a percussive style of piano Blues favoured for its volume and momentum… is > characterized by the use of blues chord progressions combined with a > forceful, repetitive left-hand bass figure… [and] independence of the right- > hand improvisations from the steady, rolling rhythm maintained by the left > hand.Oliver, "Boogie-woogie" This left hand, bass Ostinato repeats itself, almost exactly, twenty-two times within the A1 section alone.
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Music critic Richie Unterberger described it as an "instrumental freak-out jam" and "a tour de force of psychedelic guitar". Redding anchors the section with a three-note bass ostinato while Mitchell provides rhythmic improvisation. Shadwick describes Hendrix's solo: Murray notes that he performs largely independent of rhythm, tonality, or notes and enters into pure sound, which he describes as: To wind down, Hendrix returns to the guitar melody line, although with more distortion and vibrato. The instrumental concludes with "what was possibly the Experience's version of Armageddon" and a fade.
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Two ostinato works survive, a passacaglia and a chaconne, both built on a descending bass pattern; the passacaglia is perhaps Kerll's most well-known work. The two best known keyboard pieces by Kerll are both programmatic, descriptive pieces. Battaglia is a descriptive piece in C major, over 200 bars long and featuring numerous repeats of fanfare-like themes, it is also attributed to Juan Bautista Cabanilles. Capriccio sopra il Cucu is based on an imitation of the cuckoo's call, which is heard more than 200 times in the piece.
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Both collections were probably created during Buxtehude's lifetime and with his permission. Copies made by various composers are the only extant sources for the organ works: chorale settings are mostly transmitted in copies by Johann Gottfried Walther, while Gottfried Lindemann's and others' copies concentrate on free works. Johann Christoph Bach's manuscript is particularly important, as it includes the three known ostinato works and the famous Prelude and Chaconne in C major, BuxWV 137. Although Buxtehude himself most probably wrote in organ tablature, the majority of the copies are in standard staff notation.
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600px Silbermann Organ, Sophienkirche, Dresden Variatio III is a longer composition lasting 27 bars. With the lower tenor and bass voices of the canons functioning as an accompaniment, the tenor entry is again delayed by two crotchets. The melody in the alto is marked cantabile in both the printed and autograph versions, with the soprano cantus firmus starting in even minims on the upbeat of bar 4. The canons themselves take the form of an ostinato ritornello derived form the first line of the cantus firmus with interludes when the cantus firmus recurs.
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Alexandru Ivasiuc and Paul Goma had both been imprisoned for their participation in the Bucharest student movement of 1956, and each wrote a novel about a man's prison experiences and efforts to readjust after his release. Goma's Ostinato describes prison life, Securitate methods and the excesses of collectivisation. The censor asked for changes; eventually Goma published the book uncut in West Germany in the fall of 1971. Ivasiuc, in his Păsările ("The Birds"), complied with the censor's demands by justifying the protagonist's arrest and portraying the secret police in a positive light.
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The piece then leads into a heroic, powerful warrior march, whose valiant and triumphant chords are backed by powerful cascades of ostinato octaves in the bass. This theme builds in intensity until it reaches a fortissimo peak, at which point it breaks suddenly into its conclusion. It is in this conclusion that Liszt reintroduces each theme from the piece, beginning with the funeral march theme, this time more powerful and emphatic. He then briefly reiterates parts of the A-major theme before bringing back the left-hand octave-driven warrior march.
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The music in one movement, which takes about 9 minutes to perform, is based on an ostinato of the organ in the beginning and in the reprise after a contrasting middle section. Beginning pianissimo, the voices build chords from bass to soprano. Barry Holden describes: "In the opening pages it adheres steadfastly to a chord of C major in the choral parts, and builds its musical interest without traditional use of harmonic progression, but by use of short motifs which are constantly reworked". Gradually more intense, the voices reach a climax on "Holy, Holy, Holy".
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"One of These Days" was developed around an ostinato bassline created by Roger Waters, by feeding the output through a Binson Echorec. The bassline was performed by Waters and Gilmour using two bass guitars, one on old strings. Drummer Nick Mason's abstruse "One of these days I'm going to cut you into little pieces" vocal line was recorded at double speed using a falsetto voice, and replayed at normal speed. Meddle was recorded between the band's various concert commitments, and therefore its production was spread over a considerable period of time.
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PEW for "Psycho Ex-Wife") when referring to other individuals. According to Morelli, he found it a healthy place to "vent" his feelings about his failed marriage, divorce, and subsequent custody battle over their two children. The couple had been divorced since 2004, with shared custody of their sons. Morelli estimated that he had spent $80,000 on legal expenses subsequent to the divorce, contesting what he described as his ex- wife's accusations of child abuse and violations of the divorce agreement. The first post was made by Misty Weaver-Ostinato ("DW") on December 21, 2007.
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Kuti, who plays electric piano, and drummer Tony Allen start the introduction out of tempo and exhibit abstract musical techniques, including dramatic free jazz interplay between their instruments.; Although he was known for his critical background in classical study, Kuti allowed Allen to improvise in the 's rhythm section and viewed him as a drummer with the mind of a composer, or "one who composes on the spot". The introduction's keyboard fantasia gradually opens the band's languid, expansive interplay. The song's groove is established with the introduction of a bass guitar ostinato at 4:50.
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The time signature is 7/8, and one player has an ostinato eighth-note rhythm controlling all tempo and major dynamic changes. This piece uses rhythms, dynamics, and accents to build structure, and shows an exposition, rise, climax, and resolution using pyramids of voices. The rhythmic structure of IV is complex because each time a rhythm repeats, another rhythm crosses it, and continues to add crossed rhythms until the midway point of the section, where the cross rhythms uncross themselves and starts again. This pattern happens a total of six times.
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Preludio campero illustrates the attitude of the gaucho as he improvises chords on his guitar until a small melody appears, without any hurry, with the tranquillity and liberty that the immensity of the pampas imparts. A pedal in De mi Tierra rocks in a continuous movement. She is not afraid of the high positions on the guitar, so she plays with melodies in the higher notes, contrasting with that ostinato bass. In 1952, she travelled through Europe for the first time, and Bèrben in Italy published her Aire de Vidalita.
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The introduction to the piece, featuring undulating pitches that rise and fall, was the first part of the album recorded. A rhythm in the middle of the track emerges alongside numerous high-pitched melodies atop underlying minimal noise, while the coda features low and slow bass tones. By contrast, "Part II" opens with high- pitched "ding-y" sounds that Subotnick referred to as the sound of "silver apples," and develops a pulse before climaxing with frenzied "proto-club rhythms," with sequences pasted over a steady ostinato. Beeps and bleeps are played atop the sequenced phrases.
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In music, precompositional decisions are those decisions which a composer decides upon before or while beginning to create a composition. These limits may be given to the composer, such as the length or style needed, or entirely decided by the composer. Precompositional decisions may also include which key, scale, musical form, style, genre, or idiom in which to write, to use techniques such as the twelve tone technique, serialism, or not to (consciously) use a system at all. Other examples may include isorhythm, ostinato, passacaglia, chaconne, rhythms, or chord progression.
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The ad opens on a young man dribbling in place. The music starts with a simple ostinato C–G–B–C line played by a muted synth bass. At 0:05, a young man wags his tongue while dribbling. This is a signature move of Jordan's. At 0:09, a player drives to the basket with his tongue hanging out. He recreates a moment from the 1991 NBA Finals, game 2: Jordan scored a layup after switching hands in midair to avoid Sam Perkins of the Los Angeles Lakers.
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The lyrics detail a woman being constantly reminded of a past lover, shown in the lines, "Is it because I'm missing you that I'm having déjà vu?" As the song opens, Beyoncé introduces the bass, hi-hat and Roland TR-808 by name. The sounds of the instruments blend as they are being mentioned one after the other; the horns are only audible in the pre-chorus and hook sections, and a short section in the second rap. The bass guitar, which is the first instrument to enter, slides into the main two-bar ostinato.
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Here, Xenakis explores the relationship of the sonority between a somewhat ordered percussion with the clusters played by the harpsichord. The second section, marked Crystalline, mixes the harpsichord and the vibraphone, and the relationship between these two instruments seems to fuse more effectively. After that, the vibraphone changes to the wood blocks and, later on, the harpsichord starts a lengthy solo. Then, the percussion joins with the sound of the flower pots, which blends with the "needle-like" sound of the harpsichord, which uses an ostinato of seven chords.
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Mongo Santamaria (1969) Cuban percussionist Mongo Santamaria first recorded his composition "Afro Blue" in 1959."Afro Blue", Afro Roots (Mongo Santamaria) Prestige CD 24018-2 (1959). "Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm, or hemiola.. The piece begins with the bass repeatedly playing 6 cross-beats per each measure of , or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). The following example shows the original ostinato "Afro Blue" bass line.
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Several months later, Goma attempted to publish a novel, Ostinato (based on his experiences with the secret police), but it was not allowed by the censors after one of them claimed to recognize one character as Elena Ceaușescu. Nevertheless, he published the novel in translation in West Germany in 1971, as a result of which, Paul Goma was excluded from the Communist Party. During the summer of 1972, he was allowed to visit France, where he wrote Gherla, a novel based on his experiences in the Gherla Prison. This book was also denied publication in Romania but was published in France in 1976.
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The first interlude presents a series of chord progressions that lead into a recount of the traditional polonaise melody, with the polonaise rhythm employed in the left-hand accompaniment. The main theme then repeats once more. The second, main interlude (or trio section) opens with six loud arpeggio chords before switching to a very soft bass ostinato of descending octaves first in the key of E major and then in E major (written as D major). A march-like melody follows the descending octaves and this occurs twice, and then a long lyrical interlude firstly with harmonic chord progressions and frequent modulations.
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"Essentially, Schoenberg and Hauer systematized and defined for their own dodecaphonic purposes a pervasive technical feature of 'modern' musical practice, the ostinato". Additionally, John Covach argues that the strict distinction between the two, emphasized by authors including Perle, is overemphasized: > The distinction often made between Hauer and the Schoenberg school—that the > former's music is based on unordered hexachords while the latter's is based > on an ordered series—is false: while he did write pieces that could be > thought of as "trope pieces", much of Hauer's twelve-tone music employs an > ordered series.John Covach quoted in Whittall 2008, 24.
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From this point, the band's equipment increasingly reduced manual playing, replacing it with interactive control of sequencing equipment. Hütter retained the most manual performance, still playing musical lines by hand on a controller keyboard and singing live vocals and having a repeating ostinato. Schneider's live vocoding had been replaced by software-controlled speech-synthesis techniques. In November, the group made a surprising appearance at the MTV European Music Awards in Edinburgh, Scotland, performing "Aerodynamik". The same year a promotional box set entitled 12345678 (subtitled The Catalogue) was issued, with plans for a proper commercial release to follow.
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The babendil The babendil traditionally could be played by either genders. In wooden kulintang ensembles, the kagul is usually substituted for the babendil part. Among the Tausug, the Samal and the Yakan, their babendil-type instrument generally has gone into disuse (Instead, tempo is kept in check using the highest gong on the kulintangan . Solembat is term used by the Samal for the ostinato beat while the Yakan call that same beat, nulanting.) while among the Tagbanwa, the babandil is used not only to keep the rhythm of pieces but also as a song accompaniment as well.
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According to the critic Anthony Burton, the effect of the movement is broad and powerful: the breadth coming from "slow-moving harmonies over Sibelius-like long-held bass notes and timpani rolls" and the power from "urgently repeated ostinato figures, blazing dissonances, and sonorous scoring". The tension of the first section of the movement relaxes slightly for the second subject, which is a little slower, building to a climax of fiercely repeated notes. The central development section reprises the opening idea very quietly, slowly increasing the intensity. The movement ends with the return of the first theme, this time with more orthodox harmonisation.
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Instead of the tonic sonority, the vi chord appears which immediately moves the harmonic rhythm forward half a measure. In measure 8, the dominant chord occurs for the entire measure, making up for the lost half measure in 7. The last measure of the theme, measure 8 is typically harmonized as I6/4 to V. This repetitive harmonic progression dominates the entire movement, implying a harmonic ostinato beneath the melody. As seen in the first and the second movements, the third movement utilizes a basic harmonic progression to lay the framework for a seemingly improvisatory melody and variations later on in the piece.
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Jazz Composition : Theory and Practice. . Introductions may consist of an ostinato that is used in the following music, an important chord or progression that establishes the tonality and groove for the following music, or they may be important but disguised or out-of-context motivic or thematic material. As such, the introduction may be the first statement of primary or other important material, may be related to but different from the primary or other important material, or may bear little relation to any other material. A common introduction to a rubato ballad is a dominant seventh chord with fermata,Weir, Michele (2005).
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Their remixes have a distinctive and easily recognized style; they fade in and out looped vocals, overlay simple chord patterns on a fuzzy-sounding synthesizer, and almost always cut the bass and drums about halfway through the song to bring an ostinato to the foreground before returning to the main theme. Similar elements can be found to a lesser degree in their original music as well. In 2005, the Airscape project took a firm break when Sven Maes left the project, but in 2009 Johan Gielen resurrected Airscape as a solo project and injected it with a new release, "My Love" featuring Jes.
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This song is in a moderately fast 3/4 time, in the key of B-flat major. The arrangement is based on rhythm chords played on acoustic piano, accompanied by bass guitar, drums, and violin. The harmonic progression consists of an ostinato using the following chords throughout: I–VII♭–IV–I B♭–A♭–E♭–B♭ The lyrics are all verses; there is no chorus. The melody is in the style of a modal folk song, emphasizing the tonic and dominant notes in the scale, with leaps of a fifth in between them.
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It was part of the "mod" subculture. It evolved from the blue beat style and was danced under the loud and hypnotic music of rhythm and blues typified by Chuck Berry. Frances Rust cites a description by a contemporary who mentioned "feeling like being very drunk" under in influence of the ostinato beat of the electric guitar, as an anecdotal support for research of the influence of music on central nervous system. The central theme from The Avengers was based on The Shake LP (1965) by Laurie Johnson, which capitalized on the dance craze of the time.
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The four-note melody over a minor third of the chant was used by Ukrainian composer Mykola Leontovych as an ostinato theme in a number of arrangements he made. The arrangement for mixed voice choir a cappella was popularized by the Ukrainian Republic Capella directed by Oleksander Koshetz when it toured the West after 1920. The first of the English language lyrics to "Carol of the Bells" (a song based on the same melodic ideas) were written in 1936 by Peter Wilhousky of NBC Radio. The song reminded Wilhousky of beautiful ringing bells and he captured that imagery in his lyrics.
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Exemplary among Gombert's formally perfect pieces that employ cross-relations are his six-voice motet on the death of Josquin, Musae Jovis, with its clashing semitones, and occasional root- position triads a tritone apart., and his six-voice chanson Tous les Regretz. Out of the ten masses that Gombert composed, nine survive complete. The chronology of the masses is not known, but an approximate order can be deduced from stylistic characteristics. Two musical characteristics, sequence and ostinato, that were rare in Gombert’s later works, are present in his earlier masses Quam pulchra es and Tempore paschali.
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The motet was Gombert's preferred form, and his compositions in this genre not only were the most influential part of his output, but they show the greatest diversity of compositional technique. His motets, alongside those of Adrian Willaert and Jacobus Clemens non Papa, stand out from the rest of the Flemish motet composers. Familiar characteristics of motets of the preceding generation, such as ostinato, canon, cantus firmus, and double texts, are unusual in Gombert's style, excepting where he used aspects of the previous generation's style as an homage, such as in his motet on the death of Josquin, Musae Jovis.
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Evans started to play an introduction using an ostinato figure. However, according to Keepnews, who was present, the pianist spontaneously started to improvise over that harmonic frame, creating the recording that would be named "Peace Piece". According to Evans: "What happened was that I started to play the introduction, and it started to get so much of its own feeling and identity that I just figured, well, I'll keep going." However, Gretchen Magee claims that the piece had been penned as an exercise during his college years, while Peri Cousins says that he would often play the piece at home.
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Chabrier Mélodiste. In: Emmanuel Chabrier. Ostinato rigore – revue internationale d'études musicales. No.3, 1994, Jean-Michel Place/Centre national du livre, Paris, p. 59. Ivresses! Grande Valse – « Viens! je veux les caresses » ("Come, I want your caresses") (1869) – words by Léon Labarre. The song is about uncontrollable physical love with wild and impassioned pleas for wine and kisses; Delage describes the words of this song as "improbable" (« invraisemblables ») but Chabrier manages through two gay and rhythmic waltzes to evoke the world of the café-concert. The music reappears subsequently in his Suite de valses of 1872.
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From here, the music alternates with contrasting sections of grandiosity and delicacy. The climax is reached at the Grandioso, in which the orchestra resounds the piano's original melody, accompanied by a large triplet figure in the soloist. There is a cadenza of quick triplet ostinatos which leads to the final section: speeding octaves and chords, culminating in a large run of the triplet ostinato up the keyboard along an F Major 6 chord, bringing the movement to a close. The second movement is reminiscent of the blues - beginning with an elegant melody in a solo trumpet accompanied by a trio of clarinets.
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The second track of the single runs at 12 minutes and 29 seconds. Most of the song's lyrics are derived from a short story about Waters' hitchhiking excursion in Lebanon when he was a teenager. These passages, intoned in monologue over a descending synthesizer ostinato, are interspersed with more recently penned refrains outlining Waters' reaction to United States and United Kingdom involvement in the Iraq War. Waters performed the song at every show on his The Dark Side of the Moon Live tour, replacing the spoken-word recitation with a visual backdrop of the story as a graphic novel.
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The tres developed in the second half of the 19th century in the eastern region of Guantánamo, where it was used to play changüí, a precursor of son cubano. Its exact origins are not known, but it is assumed to have developed from the 19th century Spanish guitar, which it resembles in shape, as well as the laúd and bandola, two instruments used in punto cubano since at least the 18th century. Tres playing revolves around the guajeo, an ostinato pattern found in many Afro-Cuban music styles. Tres players are commonly known as treseros (in Cuba) or tresistas (in Puerto Rico).
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Two-part drone songs are dominating in Gudauta district, the core region of ethnic Abkhazians. Millennia of cultural, social and economic interactions between Abkhazians and Georgians on this territory resulted in reciprocal influences, and in particular, creation of a new, so-called “Georgian style” of three-part singing in Abkhazia, unknown among Adyghes. This style is based on two leading melodic lines (performed by soloists - akhkizkhuo) singing together with the drone or ostinato base (argizra). Indigenous Abkhazian style of three-part polyphony uses double drones (in fourths, fifths, or octaves) and one leading melodic line at one time.
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It was recorded in 1949 by the Amadeus Quartet.Snowman, Daniel, Amadeus Quartet: The Men and the Music, London, 1981 The music was used for a ballet titled Night Spell, performed by the José Limón company in the United States in 1951 and at Sadler's Wells Ballet in 1957. She often used ostinato-like repetition and alternation in her works, often of a percussive character. These characteristics are apparent in the Viola Sonata (premiered in March 1946 by Winifred Copperwheat and Antony Hopkins) and the Barbaric Dance Suite for piano (1949; premiered in November 1950 by Margaret Kitchin).
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The hymn appears in many hymnals, including the Army and Navy Hymnal, which was used by American forces during World War II, and the New English Hymnal. The tune is also sometimes used for the text "Lord God of Hosts, within whose hand", written by Laurence Housman for the 1906 English Hymnal. The hymn is at the climax of Benjamin Britten's staged cantata for church performance, Noye's Fludde (1958). At the height of the storm, accompanied by the same ostinato in the bass that has built up to this point, the cast sings the first verse in unison (Noye an octave lower).
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The Caligula Effect is set in a virtual reality program known as "Mobius", created so people can escape pain in their lives and live in an idyllic high school setting, forced to live out their 3 years indefinitely. The main protagonist is one of a group who realize that they are in a virtual world, and form the "Go-Home Club", a group dedicated to escaping from Mobius and its god-like overseer program, a vocal program called "μ". They oppose the "Ostinato Musicians", a group who supports μ and sees the Go-Home Club as traitors.
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These techniques include duet and ensemble improvisation forms that include drones, ostinato patterns, and call and response forms. Facilitation forms include traveling ensembles, showcasing, segmenting, and general conducted improvisations -- techniques that are shared with other community music structures such as drum circles. While some flute circles focus on aspects of indigenous cultures and indigenous peoples of the Americas, they do not typically relate to a single culture or tribe. Flute circles can also organize events for participants to play at events, festivals, school presentations, or in service settings such as senior centers, elder facilities, and group homes.
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In the "Self Interview" on the DVD of the concert film Stop Making Sense, Byrne states that it is a love song, a topic he tends to avoid because it is "kinda big." He also said of the song:Talking Heads The Band & Their Music, page 113, David Gans According to the Stop Making Sense commentary track, the title "Naive Melody" refers to the music. On the recording, the guitar and bass each repeat an ostinato for the entire song. According to David Byrne, many professional musicians would not play a song written in that fashion, and that is what makes the melody naive.
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Formally Pygmy music consists of at most only four parts, and can be described as an, "ostinato with variations," or similar to a passacaglia, in that it is cyclical. In fact it is based on repetition of periods of equal length, which each singer divides using different rhythmic figures specific to different repertoires and songs. This interesting case of ethnomusicology and ethnomathematics creates a detailed surface and endless variations of not only the same period repeated, but the same piece of music. As in some Balinese gamelan these patterns are based on a super-pattern which is never heard.
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The music for The Sharkfighters was composed by Jerome Moross in what was his last adventure film before becoming notable for scoring Westerns, described as "lively and unique." While it is not known if he traveled to Cuba with the company, the distinctly ethnic themes of the music appear to be inspired by the filming on location, using syncopation and percussion instruments highly suggestive of his orchestral composition Biguine.Whitmer (2012), p. 45 Thematically the score is characterized by an ostinato that stresses the second half of the second beat but nothing at all on the third beat.
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In electroacoustic pop, rock, and other kinds of music, a loop is a repeating section of sound material. Short sections of material can be repeated to create ostinato patterns. Longer sections can also be repeated: for example, a player might loop what he plays on an entire verse of a song in order to then play along with it, accompanying himself. Loops can be created using a wide range of music technologies including turntables, digital samplers, looper pedals, synthesizers, sequencers, drum machines, tape machines, and delay units, and they can be programmed using computer music software.
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Jazz piano (the technique) and the instrument itself offer soloists an exhaustive number of choices. One may play the bass register in an ostinato pattern, popular in boogie-woogie style, where the left hand repeats a phrase numerous times throughout a song, as performed by Rob Agerbeek in "Boogie Woogie Stomp." The left hand can also be played as a melodic counterline that emulates the walking of an upright bass. In stride piano, (similar to the earlier ragtime) the left hand rapidly plays alternate positions between notes in the bass register and chords in the tenor register, while the right hand plays melody and improvises, as performed in George Gershwin's "Liza".
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The jazz-style sections are reminiscent in some ways of Keith Emerson's late-1960s jazz-style adaptation of "How Can We Hang On to a Dream?" (composed by American folk musician Tim Hardin) for his band The Nice. The ostinato in the left hand may have been based on a similar one from Musica ricercata, movement VII by György Ligeti. In the earliest live versions of the piece, as seen in the Pictures at an Exhibition concert film from the Lyceum in December 1970, Lake would sing a few verses of the folk standard "Old Blue" toward the end of his acoustic guitar interlude.
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The ostinato bass is not necessarily repeated unaltered throughout the piece and is sometimes subjected to minor alterations and ornamentation. The D major, D minor and F minor chaconnes are among Pachelbel's most well- known organ pieces, and the latter is often cited as his best organ work. A page from the original printed edition of Hexachordum Apollinis, showing the fourth variation of the first aria In 1699 Pachelbel published Hexachordum Apollinis (the title is a reference to Apollo's lyre), a collection of six variations set in different keys. It is dedicated to composers Ferdinand Tobias Richter (a friend from the Vienna years) and Dieterich Buxtehude.
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This is in modified sonata form and lasts for around half an hour; there are the usual two contrasting subjects, but no development section, this being replaced by the 'invasion' theme. It begins with a rousing, majestic theme played by all the strings and later echoed by the woodwinds. The theme rises in pitch through the first moments of the piece, with octave-long runs in the strings. This is followed by a slower, more tranquil section driven by flutes and lower strings, which peters out only to be replaced — slyly — by the "invasion" march: a 22-bar, snare-drum-led, bolero-like ostinato that will pervade much of the movement.
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The Court granted the defendants’ motion for judgment as a matter of law and vacated the jury’s verdicts as to liability and damages since Gray et. al, failed to satisfy the extrinsic test for substantial similarity. The court held that a new trial would have been allowed, as the jury disregarded the weight of the evidence, highlighting that it was Katy Perry’s star power and Capitol’s marketing efforts, and not the similarity to plaintiffs’ ostinato, that made Dark Horse a commercial success. However, since the defendants were entitled to judgment as a matter of law, defendants’ motion for a new trial was denied as moot.
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The Symphony for Organ and Orchestra established Copland as a serious modern composer. Musicologist Gayle Murchison posits that his use of the octatonic and whole-tone scales, polyrhythmic ostinato figures, and dissonant counterpoint proves his mastery of the modernist harmonic, rhythmic, and melodic techniques of the 1920s. The work shows much influence of Copland's hero Igor Stravinsky such as its nervous, driving rhythms and some of its harmonic language, but it also draws significantly and consciously from jazz - Copland's birthright - as in its playful interpretation of triple meter in the scherzo movement. For a decade Copland would continue to draw from jazz in his quest to evoke an essentially "American" sound.
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This was followed by a split LP/CD with Washington, D.C. band Wooly Mammoth released to coincide with their appearance at the Emissions from the Monolith festival.The Hidden Hand at Rock Detector Their second full-length, Mother Teacher Destroyer, was released on Southern Lord Records in 2004. After the release of the LP, original drummer Dave Hennessy left the band to focus more time on his band, Ostinato, and was replaced by Evan Tanner. In 2006 drummer Evan Tanner left the band after recording their latest effort, The Resurrection of Whiskey Foote and was replaced by Matt Moulis, who has played in DC area bands Medic and Bison.
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Both are built on themes from the third group and accompanied by string and woodwind tremolos and trills. At the second climax, Scriabin introduces low bells and organ, and maintains a trumpet and percussion ostinato throughout. Scriabin wrote a poem over three hundred lines long to accompany the music, though not to be recited with it. The poem tracks the ascent of a spirit into consciousness, catalyzed by the recurring appearance of "trembling presentiments of dark rhythms" that later transform into "bright presentiments of shining rhythms" as the spirit realizes the excitement of the struggle against them, contrasted with the "boredom, melancholy, and emptiness" felt after victory over them.
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Although Williams conducted "Duel of the Fates" to appear as a concert suite in the end credits (rather than the film), Williams did record similar cues using the ostinato motif, and in one instance, a 'cut down' version, labelled the "Great Duel". John Williams stated the chorus was introduced to give a religious, temple-like feel to the epic lightsaber duel.Movie Music DVD Special Featurette, [2001] Williams compared the setting of the battle to a pagan altar, and that the duel itself "seems like a dance or a ballet, a religious ceremony of some kind, probably ending in the death of one of the combatants".Karlin, F. & Wright, R. (2004).
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His work is strongly influenced by traditional Scottish folk music; in particular, he has utilised the heterophonic style of Gaelic psalm-singing, and the piobaireachd form; he varies melodies through ornamentation, as in traditional pibroch, and in their contour; he modifies instruments' tone- colours through alternative fingerings. He has a strong regard for the music of Leoš Janáček. He has also addressed the reconciliation of classical and traditional music with jazz, using improvisational techniques and sometimes combining the two idioms. He has been influenced by ancient Greek poetry, and Indian and Arab traditions in his use of ostinato and other techniques of varied repetition.
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As is the case with most mass settings in the middle Renaissance, it consists of the following parts: #Kyrie #Gloria #Credo #Sanctus and Benedictus #Agnus Dei I, II and III It is mainly in Phrygian mode, although with numerous shifts to Aeolian and Dorian. The La-sol-fa-re-mi figure saturates the texture, appearing more than 200 times within the course of the mass. Most of the time it is in the tenor, suggesting that it may have been originally drafted as a cantus-firmus mass early in Josquin's career, and later reworked as a paraphrase mass with the ostinato appearing in all voices in different permutations.Blackburn, p.
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"Composition And Experimentation In British Rock 1967–1976", Philomusica on-line. "By the late 1970s and early 1980s, pedal-point grooves such as this had become a well-worn cliché of progressive rock as they had of funk (James Brown’s "Sex Machine"), and were already making frequent appearances in more commercial styles such as stadium rock (Van Halen’s 'Jump') and synth-pop (Frankie Goes to Hollywood’s 'Relax')." Film composers use pedal points to add tension to thrillers and horror films. In the Hitchcock thriller film North by Northwest, Bernard Herrmann "uses the pedal point and ostinato as techniques to achieve tension", resulting in a dissonant, dramatic effect.
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" James Southall of Movie Wave gave it three-and-a-half out of five stars, commenting that "The guitars, ostinato- based action and even the HORN OF DOOM which make up the opening track may be nothing fresh, but the composer pulls the familiar elements together better than any of his Remote Control peers (including the big boss) have done in a few years." Robert T. Trate of Mania.com gave the soundtrack a grade of A, calling it "a complete kick-ass thrill ride that has the muscle to back it up. Yet, with all the giant monsters and robots, it never loses sight of the heart behind its characters.
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The best of the bunch is the title track, which spins a seductive ostinato into a vast and mysterious koan." Will Layman of PopMatters said, "Beyond the Sound Barrier does more than reinforce the marvel of Wayne Shorter’s return to brilliant, challenging acoustic jazz. This collection of concert recordings makes the argument that Wayne’s long hiatus served an important artistic purpose, and one that the first two comeback discs did not fully acknowledge. On Sound Barrier, Wayne’s quartet (including Danilo Perez on piano, John Patitucci on bass, and Brian Blade on drums) plays in a fully interactive style that eschews individual “solos” almost completely.
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As the score shifts to the theme ostinato, a leitmotif that comes to represent digital interference, guests have their picture taken which, unknown to the riders, will be used later in the ride and in the post-show. As the vehicle arrives at the first story of the structure, it begins a slow curve. A large film screen is stretched along the inside of the sphere, depicting early humans fighting for survival against a woolly mammoth without a form of communication and language. As the screen dims behind them, guests enter a cavern populated by audio animatronic early humans, who represent the development of early language through cave paintings.
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Alternatively, the quartet is regarded as falling into just three large sections, each of which consists of a succession of three contrasting subsections. The opening section (Allegro–Vivo allegro) returns in slightly modified form at the end, thereby forming an overall ABC-DEF-ABC pattern. The central section is marked at its onset (D) by a slow tempo (Lento) employing ostinato patterns, but this gives way to increasingly faster material in the second and third subsections (E and F, Allegro tempo I and Giocoso, respectively). The recurrence of the opening section is almost literal in its A and B subsections, with the C section in an accelerated tempo, Presto y frenético .
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Carr accompanied himself on the piano with Scrapper Blackwell on guitar, a format that continued well into the 1950s with artists such as Charles Brown and even Nat "King" Cole. A typical boogie-woogie bass line Boogie-woogie was another important style of 1930s and early 1940s urban blues. While the style is often associated with solo piano, boogie-woogie was also used to accompany singers and, as a solo part, in bands and small combos. Boogie-Woogie style was characterized by a regular bass figure, an ostinato or riff and shifts of level in the left hand, elaborating each chord and trills and decorations in the right hand.
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For the first of the afternoon concert's two sets, the band performed the compositions "Tatu", "Agharta Prelude", and "Maiysha" (from Get Up with It), making up Aghartas first disc of music. The second-set performances of "Right Off" (from Davis' 1971 Jack Johnson album), "Ife" (from Big Fun), and "Wili (= For Dave)" spanned the second disc; between the "Right Off" and "Ife" segments, the band improvised a passage based on "So What" (from the 1959 album Kind of Blue) for 41 seconds after Henderson started to play its ostinato.; ; . The pieces were performed in medleys, which were given generic track titles on Agharta, such as "Prelude" and "Interlude".
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At this point, the band plays a rapid descending whole tone scale starting in the highest voices and ending in the lowest. # The fourth variation, marked Sostenuto, is much slower and is in 3/2 time with a rhythmic ostinato played by the timpani on a G♭2 (bottom line of the bass clef) using "hard sticks on muted head" to create a hint of ethnic drum sound. The theme is played by the woodwinds, and then the brass join in with a series of chords. # The fifth and final variation, marked Con Islancio ("with impetuousness"), is faster and begins with a long solo in the percussion section.
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The final movement of the mass begins with an introduction that is similar to that to the "Crucifixus". The piano then begins another ostinato pattern as the base for expressive melodies by the contralto soloist, repeating many times "Agnus Dei, qui tollis peccata mundi, miserere nobis" (Lamb of God, you take away the sins of the world, have mercy). After an extended cadence the choir sings a capella, twice and very simply: "Dona nobis pacem" (Give us peace). This process is repeated in different harmony, and once more in a major mode, leading to an intense request for peace of the soloist and the choir together.
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In an interview with B.B. King, Hooker confirmed that he used an open G guitar tuning technique for his guitar, although he usually used a capo, raising the pitch to B (1948), A (1959), or A (1970). He also employed hammer-on and pull- off techniques, which are described as "a slurred ascending bass line played on the fifth string [tonic]" by music writer Lenny Carlson. Although it is titled a "boogie", it does not resemble the earlier boogie-woogie style. Boogie-woogie is based on a left-hand piano ostinato or walking-bass line and, as performed on guitar, forms the popular 1940s instrumental "Guitar Boogie".
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Chester focused on teaching skills like creativity, improvisation, four-limb independence and ambidexterity, cross-dominance, playing solid time, alignment of limbs, and making an independent contribution to the song while playing to match the song rather than playing to show off. For example, his instructional techniques included learning to overcome their natural handedness (or laterality) by playing both right-handed and left-handed. This offered the studio pro greater flexibility, smoother groove transition, and a more complex, unbroken riff or fill. This ambidexterity also permitted the drummer to switch the ostinato from right-to-left or vice versa, thereby letting the free hand (or foot) develop a richer drum melody.
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At only ten minutes, Stucky's Rhapsodies left me wanting more." Anthony Tommasini of The New York Times also lauded the work, remarking: Jeffrey Gantz of The Boston Globe was more critical, describing the piece as "a series of ecstatic outbursts in which one instrument essays an idea and others take it up." Gantz added that it "worked out better in theory than in practice, though I liked the section in which the viola crooned over the orchestra’s 12-note ostinato." Likewise, Lawrence A. Johnson of the Chicago Classical Review called it "not one of Stucky’s more essential pieces" and noted that "Stucky’s debt to Witold Lutosławski [was] at times glaringly evident.
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As in samba, the surdo plays an ostinato figure on the downbeat of beat one, the "ah" of beat one, the downbeat of beat two and the "ah" of beat two. The clave pattern sounds very similar to the two-three or three-two son clave of Cuban styles such as mambo but is dissimilar in that the "two" side of the clave is pushed by an eighth note. Also important in the percussion section for bossa nova is the cabasa, which plays a steady sixteenth-note pattern. These parts are easily adaptable to the drum set, which makes bossa nova a rather popular Brazilian style for drummers.
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In 2019, Decker testified as an expert witness in a lawsuit against Katy Perry, stating that Christian rapper Flame produced a "unique" eight-note "ostinato" - a repeating sequence of musical figures within a song - which Flame's legal team claims Perry plagiarized. Decker further testified that the ostinatos used in Perry's 2013 song "Dark Horse" and Flame's 2008 song "Joyful Noise" share “five or six points of similarity.” A blog post by copyright law expert Stephen Carlisle supported the verdict. A jury verdict that found the Katy Perry song did infringe the copyright of Flames's song was overturned on appeal on the 16th March 2020.
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The song contains some of the most elaborate orchestral arrangements on Late Registration. The composition begins with a vocal sample of "It's Too Late" by Otis Redding and a two-chord piano ostinato, followed by a simplistic funk beat. The string section is composed of ten violins, four violas and four cellos which alternate between rhythmically punctuating the verses with staccato bursts, and accentuating the chorus with a more fully formed melody. After the third verse, the song enters an instrumental passage before returning with a fourth and final verse from West, where the rise of the vocals is reflected by the increased complexity in the string arrangement.
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The large circular key, otherwise known as the "pancake key", is held down for all the lowest notes from E2 down to B1. It is also used, like the whisper key, in additional fingerings for muting the sound. For example, in Ravel's "Boléro", the bassoon is asked to play the ostinato on G4. This is easy to perform with the normal fingering for G4, but Ravel directs that the player should also depress the E2 key (pancake key) to mute the sound (this being written with Buffet system in mind; the G fingering on which involves the Bb key – sometimes called "French" G on Heckel).
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Logroño Town Hall The work consists of three episodes titled Desolation, Action and Hommage to the heroes,Performance program by the Castile and León Symphony, in the 2011 Spanish Music Festival's website respectively a gloomy introduction, a frantic ostinato march and a glorifying hymn including quotations from The Internationale and Whirlwinds of Danger.Review of the work's first recording in Diverdi.com The work was unperformable in Francoist Spain for political reasons, and it was only after General Franco died and the Spanish transition to democracy was carried out that it was premiered on 26 February 1983 by the RTVE Symphony under Enrique García Asensio's baton.The RTVE Symphony Orchestra premieres Evaristo Fernández Blanco's Dramatic Overture.
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"Worlds > Approaching" is a great tune, anchored by a bass ostinato and timpani and > featuring several fantastic solos... Off and on throughout the tune, Bugs > Hunter applies near-lethal doses of reverb, giving the piece a very odd but > interesting sound. "Strange Strings" is one of those songs that is likely to > inspire some sort of "you call that music?" comment from your grandmother, > or even from open-minded friends. It sounds like they raided the local > pawnshop for anything with strings on it, then passed them out to the > bandmembers. It's difficult to tell if some of these instruments have been > prepared in some way, or if they're simply being played by untutored hands.
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The second act begins as the chorus comment on the drama after the manner of the chorus in Greek tragedy, in "Envy, eldest born of hell" which according to musicologist Paul Henry Lang is "as mighty a piece as Handel ever composed". Dotted rhythms over a relentlessly repeated ostinato bass depict the obsessive jealousy of the King as the chorus warn him "Hide thee in the black night". Two purely instrumental passages ("symphonies") feature in Act Two. The first, depicting the celebrations for the wedding of David and Michal, is in three parts, a slow and solemn introduction with trombones prominent, the second section a brisk organ concerto, concluding with a slower movement in the form of a gavotte.
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For instance, the Hanunoo of Mindoro have a small agung ensemble consisting of only two light gongs played by two musicians on the floor in a simple duple rhythm while the Manobo have an ensemble (called an ahong) consisting of 10 small agungs hung vertically on a triangular frame. It includes three musicians: one standing up, playing the melody, and the rest sitting. The ahong is divided by purpose, with the higher-pitched gongs (kaantuhan) carrying the melody, three to four lower-pitched gongs (gandingan) playing melodic ostinato figures, and the lowest-pitched gong (bandil) setting the tempo. An antique bronze karatung set The Tiruray call their agung ensemble a kelo-agung, kalatong, or karatung.
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An obvious characteristic of the music is the downward scale of four notes in the bass (B, A, G, F), which is a repeated accompaniment (ostinato) through the whole of the introduction before the first words are recited. The work is written in a triple metre. The opening tune is confident and waltz-like, and the accents of the scale motif, like a repeated peal of church bells, never coincide with the natural waltz rhythm: it is the three- pulse of the waltz against the four of the bell motif. When the bell motif is not in the bass it is found elsewhere, high up, having changed places with a brilliant passage of triplets now in the bass.
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The characteristic repeated motif of descending seconds (b flat-a-g-f-e, f-e-d-c-b) followed by a modified ascending inversion (c-d-e-e-e), and with a dotted rhythmic figure at the third and fourth notes is clearly reminiscent of the characteristic ostinato phrase of the fourth movement of Hector Berlioz's Symphonie Fantastique, which is entitled "The procession to the stake" ("Marche au supplice") (see sections 50-52, bars 17ff). Schumann had written a critique of Berlioz's symphony in "Neue Zeitschrift für Musik " four years earlier, in 1835 , which was by far the longest of his articles.See: Robert Schumann: On Music and Musicians. University of California Press, 1946, p.
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She also highlights Gray's homage to—and divergence from—musical norms, commenting that his score "sends up the spy and action/adventure conventions of the '60s very stylishly and subtly". David Huckvale identifies Wagnerian homage in both the theme music and the series' premise. Noting that the theme's opening string ostinato is similar in effect to a recurring motif in Ride of the Valkyries, he also likens the Thunderbird machines to Valkyries themselves: "Their function is more benevolent than those warrior maidens, but they do hover over danger, death and destruction." Kevin J. Donnelly of the University of Southampton acknowledges the series' "big-sounding orchestral score", which he compares to that of a live-action film.
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The tetrachord, a fundamentally incomplete fragment, is the basis of two compositional forms constructed upon repetition of that fragment: the complaint and the litany. The descending tetrachord from tonic to dominant, typically in minor (e.g. A–G–F–E in A minor), had been used since the Renaissance to denote a lamentation. Well-known cases include the ostinato bass of Dido's aria When I am laid in earth in Henry Purcell's Dido and Aeneas, the Crucifixus in Johann Sebastian Bach's Mass in B minor, BWV 232, or the Qui tollis in Mozart's Mass in C minor, KV 427, etc.Ellen Rosand, "The Descending Tetrachord: An Emblem of Lament", The Musical Quarterly 65, no.
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The speed is andante and maintains this throughout the whole piece, however the dynamic changes several times between each section from piano all the way through to forte. The instrumentation includes three guitars, a double bass, a mandolin, a violin, a banjo, a fiddle, a dulcimer, two whistles, and two backing vocalists. The Vocal range of the song is E – A# above middle C. The vocal is very repetitive throughout the verses; this is done to feature the story of the song rather than distracting the audience with an ever-changing melody. The song begins with the sound of one of the acoustic guitars plucking the ostinato that played throughout the piece.
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Steam rollers have had an influence on popular music, for example, the group Buffalo Springfield named themselves after (the manufacturer of) a steam roller parked outside the house. The song Steamroller Blues was written and performed by James Taylor in 1970 and subsequently became a favourite of live concerts by Elvis Presley. Verdi's Il Trovatore Anvil Chorus is associated with steamrolling and power in some parts of the world. The name of American music group Mannheim Steamroller is the result of blending the word "steamroller" with "Mannheim roller", an 18th-century German musical technique characterized by a crescendo passage having a rising melodic line over an ostinato bass line, popularized by the Mannheim school of composition.
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Variation forms include ground bass, passacaglia, chaconne, and theme and variations. Ground bass, passacaglia and chaconne are typically based on brief ostinato motifs providing a repetitive harmonic basis and are also typically continuous evolving structures. Theme-and-variation forms are, however, based specifically on melodic variation, in which the fundamental musical idea, or theme, is repeated in altered form or accompanied in a different manner. Theme-and-variation structure generally begins with a theme (which is itself sometimes preceded by an introduction), typically between eight and thirty-two bars in length; each variation, particularly in music of the eighteenth century and earlier, will be of the same length and structure as the theme.
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Rouse writes music that is idiomatically and stylistically indebted to popular music, yet he uses complex rhythmic techniques derived from world music, the avant-garde and minimalism, including a technique he calls "counterpoetry" in which separate lines of a song sung by separate characters or groups are set to phrases of differing lengths (such as 9 and 10 beats) and often played over a background time signature of 4/4. Metric sleight of hand, simple in concept but often complex in perception, is common. One of the basic rhythms of Rouse's opera Failing Kansas is a five- beat isorhythm (rhythmic ostinato) against which either the harmony or drum pattern often reinforces the four- or eight-beat meter.
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According to Bartók, the Suite is part of a new trend in piano technique that he saw as a break from his earlier Post-romantic writing. In 1945, he claimed to have used only the most restricted means of piano technique in this work, "accentuating in some of its movements the percussive character of the piano." Though Bartók does not quote from folk melodies in this composition, he makes extensive use of other folk-like elements, such as a Romanian Ardeleana rhythm in the first movement. In addition, the third movement of this Suite shows Arabic influence, the earliest Bartók work of its kind, and a North African influence in its ostinato and scalar patterns.
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Professionally and emotionally moved he was a fervent admirer of the works of Mozart. ‘For Mozart I gladly play to the angels in heaven,’ he said more than once. On the other hand, he was outspoken in his disapproval of the works of Anton Bruckner: ‘Ten measly notes in those damned almost never-ending symphonies,’ he exclaimed once in despair, his remedy being to fall asleep on stage during some of these concerts between those scarce notes. When a particular ostinato in the music was played or when the timpani were played in a certain sequence he had trained himself to wake up to perform his part meticulously, after which he again dozed off.
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The presence of E major gives a hint of B Dorian. The chords are played as follows: :Bm–F–A–E–G–D–Em–F :or :i–V–VII–IV–VI–III–iv–V The eight-measure sequence is repeated in the intro, for each verse and in the outro, providing the harmonic framework for the entire extended dual guitar solo at the end of the song. One explanation of the progression is that it is a common flamenco chord progression called the "Spanish progression" (i–VII–VI–V in a phrygian context) that is interspersed with consecutive fifths. With its descending ostinato pattern, it could be considered a fandango, a forerunner of the Baroque chaconne form.
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The songs on xx are composed around a framework of basslines and beats, while incorporating simple guitar riffs for melody, rhythm and texture; their melodic notes are separated by rests. Croft said the band's style of instrumentation became defined by the limited equipment they originally used: "My guitar sound pretty much came from discovering there was reverb on my little practice amp and really loving the mood it created." The loudest song, "Intro", is a largely instrumental recording with double-tracked beats, distorted keyboard, non-lexical vocables and a guitar riff. Songs such as "Crystalised" and "VCR" begin with a melodic ostinato and some understated sounds, including a xylophone on the latter, before leading to quietly sung verses.
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The concerto is structured in three movements, after the model of solo concertos of the classical period: # Adagio – Allegro moderato # Andante tranquillo # Allegro con brio The first movement has a slow introduction, with the soloist entering freely like in a cadenza over long chords of the winds. A dotted motif is first played by cellos and basses, connects introduction and the Allegro in sonata form, is part of the main theme and dominates as an ostinato part of the development. The second movement is in song form. A motif of a downward tritone appears in a theme played first by the oboe, also in the first entrance of the cello which resembles improvisation, and in the cello's following cantilena.
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From at least the 16th century it was held that march music may induce soldiers marching in unison into trance states where according to apologists, they bond together as a unit engendered by the rigors of training, the ties of comradeship and the chain of command. This had the effect of making the soldiers become automated, an effect which was widely evident in the 16th, 17th and 18th century due to the increasing prevalence of firearms employed in warcraft. Military instruments, especially the snare drum and other drums were used to entone a monotonous ostinato at the pace of march and heartbeat. High- pitched fifes, flutes and bagpipes were used for their "piercing" effect to play the melody.
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Concerto for seven wind instruments, timpani, percussion, and string orchestra (published as Concerto pour sept instruments à vent, timbales, batterie et orchestre à cordes) is a composition by the Swiss composer Frank Martin. Composed in 1949 for the Bern Musikgesellschaft, the first movement, Allegro, opens with the string players only, with the percussion only gradually coming to the forefront. The haunting second movement Adagietto is marked "mysterious and elegant", and is hallmarked by an ostinato figure on the strings, initially pizzicato before being taken up by the ensemble. Martin himself characterised the slow movement as being: > based entirely on a steady two-time beat, which serves as an accompaniment > to the melodic elements: sometimes serene, sometimes dark and violent.
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The Hwana, for example, believe that all songs are taught by the peoples' ancestors, while the Tiv give credit to named composers for almost all songs, and the Efik name individual composers only for secular songs. In many parts of Nigeria, musicians are allowed to say things in their lyrics that would otherwise be perceived as offensive. The most common format for music in Nigeria is the call-and- response choir, in which a lead singer and a chorus interchange verses, sometimes accompanied by instruments that either shadow the lead text or repeat and ostinato vocal phrase. The southern area features complex rhythms and solo players using melody instruments, while the north more typically features polyphonic wind ensembles.
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Merula was a key figure in the early development of several forms which were to mature later in the Baroque era, such as the cantata, the aria, the sonatas da chiesa and da camera, variations on a ground bass, and the sinfonia. In sacred music Merula followed the lead of Monteverdi, and often used the techniques of the elder composer; however he also did some new things, such as writing motets for solo voice accompanied by strings. His publications of 1639, 1640, and 1652 include masses which are written using ostinato basses, including the Ruggiero and the Romanesca. Some of his music is reminiscent of the concertato style of Giovanni Gabrieli, and a modern sense of tonality prevails throughout.
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The material between the opening and closing the ritornellos is freely developed, but nevertheless has some elements of sonata form, most significantly a division into two parts with the second part starting in the relative major key (bars 3–13 and bars 14–36). 900px In the opening ritornello, the motifs in the first violin part involve a dramatic downward drop in register onto chromatic notes which break the harmony. The lilting rhythms of the first violin and the slower rhythms of the middle strings continue throughout the movement as a form of quasi-ostinato, repeating every two bars. As with the other concertos, the harpsichord plays as a continuo instrument during the orchestral ritornellos.
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While repetition is used in the musics of all cultures, the first musicians to use loops, as early as 1944, were electroacoustic music pioneers such as Pierre Schaeffer, Halim El-Dabh , Pierre Henry, Edgard Varèse and Karlheinz Stockhausen . In turn, El-Dabh's music influenced Frank Zappa's use of tape loops in the mid-1960s . Terry Riley is a seminal composer and performer of loop- and ostinato-based music who began using tape loops in 1960. For his 1963 piece Music for The Gift he devised a hardware looper that he named the Time Lag Accumulator, consisting of two tape recorders linked together, which he used to loop and manipulate trumpet player Chet Baker and his band.
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The technique of "concitato genere"—rapid semiquavers sung on one note—is used to represent rage. Secret truths may be hinted at as, for example, when Seneca's friends plead with him to reconsider his suicide in a chromatic madrigal chorus which Monteverdi scholar Denis Arnold finds reminiscent of Monteverdi's Mantuan days, carrying a tragic power rarely seen in 17th century opera. This is followed, however, by a cheerful diatonic section by the same singers which, says Rosand, suggests a lack of real sympathy with Seneca's predicament. The descending tetrachord ostinato on which the final duet of the opera is built has been anticipated in the scene in which Nerone and Lucano celebrate Seneca's death, hinting at an ambivalence in the relationship between emperor and poet.
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Silence played a major role in several of Cage's works composed before 4′33″. The Duet for Two Flutes (1934), composed when Cage was 22, opens with silence, and silence was an important structural element in some of the Sonatas and Interludes (1946–48), Music of Changes (1951) and Two Pastorales (1951). The Concerto for prepared piano and orchestra (1951) closes with an extended silence, and Waiting (1952), a piano piece composed just a few months before 4′33″, consists of long silences framing a single, short ostinato pattern. Furthermore, in his songs The Wonderful Widow of Eighteen Springs (1942) and A Flower (1950) Cage directs the pianist to play a closed instrument, which may be understood as a metaphor of silence.
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He changed the second movement to a choral movement by embedding vocal parts in the music, but this time without additional woodwinds. Brian Robins commented: > The opening chorus is superimposed onto the deeply moving slow movement of > the concerto, the anguish of the repeated (ostinato) bass line ideally > underlining a text concerned with the tribulation that must be endured > before the kingdom of heaven is attained. Musicologist Julian Mincham describes the process of changing a harpsichord concerto movement to a chorus with obbligato organ in detail: > The original thirteen-bar throbbing ritornello theme is retained but its > function has changed. The voices soar above it from the very first bar and > continue to enhance it throughout its six appearances in different tonal > environments.
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The sound of a kora resembles that of a harp, though when played in the traditional style, it bears a closer resemblance to flamenco and Delta blues guitar techniques of both hands to pluck the strings in polyrhythmic patterns (using the remaining fingers to secure the instrument by holding the hand posts on either side of the strings). Ostinato riffs ("Kumbengo") and improvised solo runs ("Birimintingo") are played at the same time by skilled players. Kora players have traditionally come from jali families (also from the Mandinka tribes) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants. Though played in Guinea, Guinea-Bissau, Mali, Senegal and Burkina Faso, the instrument was first discovered in the Gambia.
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A tu per tu con i compositori d'oggi, Postmedia books, 2013 Mambo, for solo piano, is Francesconi's most jazz-like piece, and it reveals clearly his search for an ever uneasy equilibrium between sonoric materials, gathered in their primitive state, and the evocative power of history, from which the composer cannot remove himself. In the piece there is an overlap of a rhythmic ostinato in a low register, a series of ascending-descending diatonic lines, and, finally, a sequence of pounding 4-note chords. In this continual 'friction of contraries' resides the aesthetic motor of Francesconi's music as well as the powerful charge of sonoric seduction that his works carry. Francesconi exploits as a precious resource the capacity for intense analysis developed in Western culture.
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Though his composition output was small, Le Caine is remembered as one of the great pioneer composers of musique concrète, his best known work being Dripsody (1955), a piece of musique concrète based on the sound of a single drop of water that over the course of the piece is permuted and contorted into a variety of sounds. Le Caine used a metal wastebasket filled with two inches of water, held an eyedropper ten inches above the wastebasket, and tape-recorded the water drops for thirty minutes. After reviewing the resulting recording, Le Caine selected one of the water drops and spliced it onto a short tape loop. This allowed the water drop to repeat like a traditional ostinato figure.
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Libera me The baritone soloist sings the first section alone. On a bass in an ostinato rhythm of two quarter notes, a rest and the upbeat to the next two quarters, he sings the text "" (Free me, Lord, from eternal death on that terrible day when the heavens will move and the earth, when you come to judge the world with fire.), embarking on a melody of wide range, with some sharp leaps. The text is continued by the choir in four parts in homophony: "" (I am trembling). In more motion, "" (day of wrath) is expressed by fortissimo chords, giving way to the prayer for rest in the same motion, but piano, with a crescendo on "", but suddenly softening on a last "".
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Both of these positions have been challenged. While it is conceded to be Villa-Lobos's most dissonant work, analysis shows this is a case of polytonality, rather than atonality, and while the use of short repeated motifs with variations and rhythmic transformations are the essence of primitivist rhythmic animation, these procedures are also the very definition of symphonic thematic development . The composer characterised the work as the "Dance Chôros", and construed the fragmented and contrapuntally intertwined opening themes as "sensually complex and atonal in order to deliberately give the feeling of nervousness of a crowd that is gathering to dance" . The work appears to be conceived as an exploration of the possibilities of concatenation of sound blocks assembled from ostinato figurations.
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Lauten's music was always a combination of two contradictory streams, one a cloudy, beatless stasis derived from minimalism, the other a neoclassical attachment to tonal melody and ostinato. These two were present from the beginning of her recording career, the first in her Concerto for Piano and Orchestral Memory (1984), the second in her Sonata Ordinaire (1986) for piano. Her 1987 opera The Death of Don Juan-- feminist tract and Zen meditation combined--was one of the major postminimalist works of the 1980s; it was revived in April 2005 at Franklin Pierce College (in New Hampshire), directed by Robert Lawson. Her neoclassical tendency blossomed into a full neo-baroque idiom in her Deus ex Machina Cycle for voices and Baroque ensemble (1999).
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All of these sources were blended into a unique sound that reflects the life of the Jibaro, the slaves, and the culture of Puerto Rico. In its call-and-response singing set to ostinato-based rhythms played on two or three squat drums (barriles), bomba resembles other neo-African genres in the Caribbean. Of clear African provenance is its format in which a single person emerges from an informal circle of singers to dance in front of the drummers, engaging the lead drummer in a sort of playful duel; after dancing for a while, that person is then replaced by another. While various such elements can be traced to origins in Africa or elsewhere, bomba must be regarded as a local Afro-Puerto Rican creation.
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Pachelbel's apparent affinity for variation form is evident from his organ works that explore the genre: chaconnes, chorale variations and several sets of arias with variations. The six chaconnes, together with Buxtehude's ostinato organ works, represent a shift from the older chaconne style: they completely abandon the dance idiom, introduce contrapuntal density, employ miscellaneous chorale improvisation techniques, and, most importantly, give the bass line much thematic significance for the development of the piece. Pachelbel's chaconnes are distinctly south German in style; the duple meter C major chaconne (possibly an early work) is reminiscent of Kerll's D minor passacaglia. The remaining five works are all in triple meter and display a wide variety of moods and techniques, concentrating on melodic content (as opposed to the emphasis on harmonic complexity and virtuosity in Buxtehude's chaconnes).
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The zortziko is a dance rhythm that originates in the Basque Country. It is also used as an accompaniment rhythm for vocal melodies, such as "Gernikako arbola", the unofficial anthem of the Basques, composed in 1853 by José María Iparraguirre . The zortziko has a distinctive 5/8 time signature, consisting of three subdivisions of 1, 2, and 2 beats. Some theories hold that it is in 5/4 time, "like the Rueda except that the 2nd and 4th beats are almost always dotted notes" , or that it actually is a double compound meter combining an irregular binary (5/16 divided 2 + 3) and an irregular ternary (8/16 divided 2 + 3 + 3), creating an ostinato pattern of "irregular bichrome" measures, which in Constantin Brăiloiu's terminology is called an aksak rhythm .
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Philip Spitta discussed Buxtehude's work in his 1873 Bach biography, and remarked that "for beauty and importance [Buxtehude's ostinato works] take the precedence of all the works of the kind of the time, and are in the first rank of Buxtehude's compositions. [Indeed], there is no piece of music of that time known to me which surpasses it, or even approaches it, in affecting, soul- piercing intensity of expression." Spitta's opinion was shared by Johannes Brahms (who mistakenly referred to the passacaglia as "Ciaccona"):Both Spitta's and Brahms' quotes are from Snyder 2007, 238. > ...when I become acquainted with such a beautiful piece as the Ciaccona in D > minor by Buxtehude, I can hardly resist sharing it with a publisher, simply > for the purpose of creating joy for others.
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One reviewer has commented: "To call Kullervo dark and brutal does not do full justice to the opera", citing the love of Kullervo's mother, friendship with Kimmo, even humour from the hunter. However, another, describing the premiere, wrote that "not every new opera packs so immediate a punch, or leaves one feeling - as with the works of Janáček - at once depressed at so bleak a view of the world [...] yet inspired and even elated by the dispassionate passion with which that view has been expressed". The music has "a strong tonal basis" and "colourful effects enhanced by some imaginative instrumentation". Another critic noted that there "is not a superfluous quaver in Kullervo" and admired the "sinuously coiled melodies [...] quirky ostinato figures, long-held pedal- points, sardonically percussive setting of arioso dialogue".
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Regarding the style of the mass, Jeremy Noble says it "combines cantus-firmus techniques and those of ostinato with vigour and inventiveness" while Planchart stresses the "abundance of melodic and rhythmic invention that seems to grow unchecked by any rational plan" and relates its style to the masses of Obtrecht. The same author identifies two macro-units in the mass, evidencing close compositional procedures, one being the group of sections Kyrie, Sanctus and Agnus, the other being the Gloria and Credo; when coming to the tonal classification of the mass, Planchart avoids to classify simply the mass as in dorian mode transposed by a fifth on A, bringing examples of its modal richness and complexity (a typical characteristic among late 15th-century polyphony), for instance borrowings from the Phrygian mode in the Credo.
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Somewhat unusual for French music of the era are two ostinato variations – a passacaglia (Christe of the Messe du Deuxième ton) and a chaconne (Christe of the Messe du Sixième ton). Both are much shorter than their German and Italian equivalents. Some 20 years later Johann Sebastian Bach used the bass from Raison's passacaglia for his famous Passacaglia and Fugue in C minor, BWV 582 (the bass from Trio en chaconne was also possibly used by Bach for the same piece). A sample of fugal themes from Raison's Premier livre d'orgue (click the image for details) Many of the pieces are notable for their consistent employment of imitative counterpoint: for example, the Fugue grave of the third mass is fully imitative, a strict four- voice fugue, and even the passacaglia begins with an imitative passage.
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Composer Mykola Leontovych The song is based on a traditional folk chant whose language was thought to have magical properties. The original traditional Ukrainian text used a device known as hemiola in the rhythm (alternating the accents within each measure from 3/4 to 6/8 and back again). The chant based on an ostinato four-note pattern within the range of a minor third is thought to be of prehistoric origins and was associated with the coming New Year which in Ukraine before the introduction of Christianity was originally celebrated in April. With the introduction of Christianity to Ukraine, the celebration of the New Year was moved from April to January and the holiday the chant describes became associated with the Feast of Epiphany also known in Ukrainian as Shchedry vechir.
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String Quartet No. 3 (1990), commissioned by Alexander Balanescu, is based on Romanian folk music, along with material from his choral work Out of the Ruins, via a process Nyman describes as "translation." It affected much of Nyman's composition throughout the 1990s—riffs, in particular, a seven-note scalar ostinato, from it appear in À la folie, Carrington (in which it was used as a temp track and ultimately was transformed into a theme for Lytton Strachey), Practical Magic (not used in the finished film), The End of the Affair, and The Claim. The translation is not as simple as it may sound, as Pwyll ap Siôn notes,p.173 the first violin has new melodic material higher than the highest notes of the soprano melody, which is largely for the second violin.
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Mompou is best known as a miniaturist, writing short, relatively improvisatory music, often described as "delicate" or "intimate". His principal influences were French impressionism, Erik Satie and Gabriel Fauré, resulting in a style in which musical development is minimized and expression is concentrated into very small forms. He was fond of ostinato figures, bell imitations (his mother's family owned the Dencausse bell foundry and his grandfather was a bell maker), and a kind of incantatory, meditative sound, the most complete expression of which can be found in his masterpiece Musica Callada (or the Voice of Silence) based on the mystical poetry of Saint John of the Cross. He was also influenced by the sounds and smells of the maritime quarter of Barcelona, the cry of seagulls, the sound of children playing and popular Catalan culture.
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The work begins with a brilliant flourish given by the full orchestra (which in Part One number approximately one hundred players). The first movement appears to feature two extremely contrasted ideas in the style of sonata form, one a vigorous leaping figure in D minor, the other a suave melody first stated on solo violin in the remote key of D-flat major, though the working out of the music involves a process of ongoing development within the exposition, and avoids the expected re-capitulation by reversing the order of musical events, with the return of the first idea effectively starting the coda. The second movement begins with a stately and solemn march, almost as for a funeral cortege, which builds to a grim and powerful conclusion. The third movement starts with an ostinato in the style of Brucknerp.
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However, the Concerto for Orchestra differs from Lutosławski's earlier folkloristic pieces not only in that it is more extended, but also that what is retained from folklore is only melodic themes. The composer moulds them into a different reality, lending them new harmony, adding atonal counterpoints, turning them into neo-baroque forms. The score calls for a large orchestra consisting of three flutes (two doubling piccolo), three oboes (one doubling cor anglais), three clarinets (one doubling bass clarinet), three bassoons (one doubling contrabassoon), four horns, four trumpets, four trombones, tuba, timpani, snare, tenor and bass drum, cymbals, tambourine, tam-tam, xylophone, bells, celesta, two harps, piano and strings. The three movements are: #Intrada: Allegro maestoso — a sort of extended two-subject overture beginning in 9/8 on an ostinato drum beat more threatening, if anything, than that which begins the Brahms First Symphony.
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Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with The Planets, which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov[ing] reassuringly above the steps of a descending bass", while Michael Kennedy points to the 12 Humbert Wolfe settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 1930–31, as works of true warmth. Many of the characteristics that Holst employed — unconventional time signatures, rising and falling scales, ostinato, bitonality and occasional polytonality — set him apart from other English composers.
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"Tracy" is a song on the Scottish post-rock band Mogwai's 1997 debut album, Mogwai Young Team. The song was written by the band's guitarists Stuart Braithwaite and John Cummings and bassist Dominic Aitchison prior to the 1997 Mogwai Young Team recording sessions. The song features glockenspiel, guitar, guitar and drums, bookended by a sample from a phone call between Stuart Braithwaite and Will Simon (an employee of the band's American record label, Jet Set) and between the band's drummer Martin Bulloch and Colin Hardie (the band's manager at the time), revolving around a fictional disagreement between Braithwaite and Aitchison. The song differs from the genre the band usually employed at the time, known as "serious guitar music"; instead of being predominantly guitar-based and featuring heavy dynamic contrast, it features a glockenspiel ostinato, remaining dynamically quiet throughout.
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Variational forms are those in which variation is an important formative element. Theme and Variations: a theme, which in itself can be of any shorter form (binary, ternary, etc.), forms the only "section" and is repeated indefinitely (as in strophic form) but is varied each time (A,B,A,F,Z,A), so as to make a sort of sectional chain form. An important variant of this, much used in 17th-century British music and in the Passacaglia and Chaconne, was that of the ground bass—a repeating bass theme or basso ostinato over and around which the rest of the structure unfolds, often, but not always, spinning polyphonic or contrapuntal threads, or improvising divisions and descants. This is said by Scholes (1977) to be the form par excellence of unaccompanied or accompanied solo instrumental music.
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The two movements were conceived as part of a complete work and that became the second and third movements of Ligeti's Viola Sonata. The sonata is a departure from Ligeti's Cello Sonata, composed 40 years earlier and represents an important turning point, with the Viola Sonata embracing more of a pattern reminiscent in the Baroque sonata, which has many movements, a Lamento, and concludes with a chaconne, which follows Frescobaldi's sonatas that brought the passacaglia and chaconne. The first and third movements are variations on an ostinato, and alternate between the moto perpetuo movements that are the second and the fourth. In the first, fourth and fifth movement, one finds elements of Eastern European traditional music, while the influence of free rhythms and jazz and Latin harmonies intervene more in the second, third and sixth movement.
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The music used by the app and during the Eiffel Tower 3D projections are from Sheppard's album, Strange News from Another Star. In 2015, Sheppard co-founded the HATCH Ostinato Project, whose mission is to empower students to realize that they can compose music by enabling them to experience original, fully realized sounds. The program matches composers and professionals with schools and music classes to allow for collaboration on music creation, resulting in professional music production. Sheppard has contributed his music to several films, such as Josie’s LaLa Land, an animated film about a fourteen year old's battle against leukemia, A Cow Can Change Everything, a short film about the story of families in Kenya, Uganda, and Rwanda and the support they received from the Gates Foundation, and A Dangerous Journey, an animated film about the exploitation, abuse and degradation of children in Africa.
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Bass vamp underpinning the A sections of "A Night in Tunisia" The complex ostinato bass line in the "A section" is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard "Alone Together", causing the V chord to lead back into the Sub V of the A section. Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections — in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
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The row also demonstrates some other characteristic features of the composer's 12-tone technique, including the use of constant rhythmic values, no octave transpositions within the series, and the row's use frequently as an accompanimental ostinato. Later in the movement however, Martin does demonstrate his own take on the technique, common in the music of Arnold Schoenberg, Anton Webern and others, of 'telescoping' his row forms, that is, the final note of one statement is also the first of the next at a different transposition, though unlike these composers, Martin only uses fragments of each row form. The piece was intended for the so-called "revival harpsichord", the large early-20th-century instruments built in the piano tradition by makers such as Robert Goble and Pleyel. It is one of the few pieces in the sinfonia concertante genre to be composed in the twentieth century.
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The Fantasia opens with a colossal fortissimo prelude for organ in the phrygian mode leading to a chord – causing one reviewer in The Observer to comment, in a spirit of an all too prevalent parochialism, that "when Holst begins his new Choral Fantasia on a six four of G and a C♯ below that, with an air of take it or leave it, one is inclined to leave it" – which introduces the soprano ("Man born of desire, cometh out of the night") over almost inaudible organ line. A chromatic fugato section bearing the otherworldly bleakness of Egdon Heath and Saturn follows before trumpets, trombones and timpani rise menacingly in introducing an important, typically Holstian, ostinato figure. The chorus enters, hymnlike, in with the words "Rejoice, ye dead where ere your spirits dwell" to diatonic brass accompaniment. This leads to a climax with a reprise of the opening organ prelude.
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With directions such as furiosamente ("furiously"), violente ("violent"), mordento ("biting"), and salvaggio ("wild"), Ginastera left no doubt as how to play the third dance, Danza del gaucho matrero ("Dance of the Outlaw Cowboy"), should be performed. Ginastera makes use of gratuitous dissonance in this piece, opening it with a 12-tone ostinato and frequently using minor seconds to harmonize otherwise simple melodies. The structure is an approximate rondo (ABACDACD), and the thematic material alternates between chromatic passages (sections A and B) and highly tonal, melodic passages (C and D). The jubilant sound of the C section is achieved by harmonising every single melody note with a major chord, even if they are totally foreign to the tonic key. The D section, by contrast, does not use a single accidental; here, jubilance is expressed through the use of brisk tempo, strong rhythm, fortissimo, and a simple, majestic chord progression.
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Although "Giant Steps" and "Countdown" are perhaps the most famous examples, both of these compositions use slight variants of the standard Coltrane changes (The first eight bars of "Giant Steps" uses a shortened version that does not return to the I chord, and in "Countdown" the progression begins on ii7 each time.) The standard substitution can be found in several Coltrane compositions and arrangements recorded around this time. These include: "26-2" (a reharmonization of Charlie Parker's "Confirmation"), "Satellite" (based on the standard "How High the Moon"), "Exotica" (loosely based on the harmonic form of "I Can't Get Started"), Coltrane's arrangement of "But Not for Me", and on the bridge of his arrangement of "Body and Soul". In "Fifth House" (based on "Hot House", i.e. "What Is This Thing Called Love") the standard substitution is implied over an ostinato bass pattern with no chordal instrument instructed to play the chord changes.
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Some idea of the rich variety of forms found in the Sonatinae may be gleaned from the following examples: Sonata IX is a passacaglia in which the main theme is presented as a canon at the fifth in the first and the last sections; and statements of the ostinato sometimes overlap with formal sections of the sonata. Sonata XII, the last in the cycle, consists entirely of imitative movements, unlike other sonatas, in which imitative movements are either absent or are surrounded by free sections, such as slow lyrical arias, toccata-like movements with rapid passagework over sustained bass notes, etc. Albertini's sonatas are very demanding technically, with frequent instances of difficult fast passages, leaps, sudden changes of register and, particularly in the last sonata, double stopping. Apart from the Sonatinae, two works are known by name from catalogues: Sonata hyllaris ex C à 10 (from a 1699 inventory) and a suite of 7 pieces à 4.
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Following Varèse's example, a number of other important works for percussion ensemble were composed in the 1930s and 40s: Henry Cowell's Ostinato Pianissimo (1934) combines Latin American, European, and Asian percussion instruments; John Cage's First Construction (in Metal) (1939) employs differently pitched thunder sheets, brake drums, gongs, and a water gong; Carlos Chávez's Toccata for percussion instruments (1942) requires six performers to play a large number of European and Latin-American drums and other unpitched percussion together with a few tuned instruments such as xylophone, tubular chimes, and glockenspiel; Lou Harrison, in works such as the Canticles nos. 1 and 3 (1940 and 1942), Song of Queztalcoatl (1941), Suite for Percussion (1942), and—in collaboration with John Cage—Double Music (1941) explored the use of "found" instruments, such as brake drums, flowerpots, and metal pipes. In all of these works, elements such as timbre, texture, and rhythm take precedence over the usual Western concepts of harmony and melody.Miller and Hanson 2001; Holland and Page 2001.
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Metacritic assigns All We Are Saying an aggregate score of 69 out of 100 based on 6 critical reviews, indicating "generally favorable reviews". In his review for AllMusic, Thom Jurek awarded the album three stars, stating that "almost none of these 16 tunes are radical reinterpretations of Lennon's songs; most stick close to the original melodies even at their most adventurous." Jurek also writes: > Opener "Across the Universe," with its twinning of Frisell's electric guitar > and Leisz's pedal steel as Scheinman's violin picks up the lyric melody and > extrapolates its harmonic aspects, is indicative of the recording's M.O., > offering a close examination of Lennon the composer. The interplay between > the three principals is remarkable, such as on the intro to "Nowhere Man," > where Scheinman's ostinato tenses up in advance of the changes, and Leisz > grounds her fluidly while Frisell pulls his lower strings to wind up, > allowing the track to begin then flow into more open areas without losing > sight of the melody.
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A further voice is added on half of the tracks, trumpet player Orbert Davis, tenor saxophonists Edward Petersen or Eddie Johnson, and on one track literally, with Cassandra Wilson on "Time of the Season". On this song and part of the so-called 'Suite' one can also hear a guitarist, who unfortunately is not mentioned in the album credits.Dave Onderdonk plays guitar on the former and the following album. Besides The Zombies 1967 hit The Messenger introduces "Nature Boy" to Ellings' repertoire, two further jazz standards, an interpretation of Jimmy Heath' "Gingerbread Boy", played even more aggressive and faster as Miles Davis (on Miles Smiles), and "Tanya" (here named "Tanya Jean" ) written by Donald Byrd, who recorded the tune only once in 1964 for Dexter Gordon's album One Flight Up. The song is informed by an ostinato of moody open chords played on piano (evocating the John Coltane Quartet) resolved occasionally by a rather conventional hard bop theme.
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He was born in Brooklyn, New York City, United States, in 1913. He became a talented piano player and composed music for the theater. During his early years, Moross met and became lifelong friends with Bernard Herrmann. In 1931, he met Aaron Copland and joined his Young Composers Group, whose members also included Herrmann. Copland supported his work and Herrmann provided him an introduction to the entertainment media, beginning with the composition of music cues for radio shows in 1935. In the 1940s he began to work in Hollywood, California, where he would compose the music scores for sixteen films from 1948 to 1969. In 1956 he composed the score for the World War II drama The Sharkfighters, possibly traveling to Cuba with the film company. The score is distinctive in its use of ethnic themes featuring syncopation and percussion instruments that stress the ostinato rhythm that soon became the signature style element of his scores for many westerns.
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Like other Caribbean creole genres such as the Cuban danzón, the danzas featured the insistent ostinato called "cinquillo" (roughly, ONE-two-THREE-FOUR-five-SIX- SEVEN-eight, repeated). The danza remained vital until the 1920s, but after that decade its appeal came to be limited to the Hispanophilic elite. The danzas of Morel Campos, Tavárez, José Quintón, and a few others are still performed and heard on various occasions, and a few more recent composers have penned their own idiosyncratic forms of danzas, but the genre is no longer a popular social dance idiom. During the first part of dancing danza, to the steady tempo of the music, the couples promenade around the room; during the second, with a lively rhythm, they dance in a closed ballroom position and the orchestra would begin by leading dancers in a "paseo," an elegant walk around the ballroom, giving gentlemen the opportunity to show off their lady's grace and beauty.
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Instances of the I-vi-IV-V progression date back to the 17th century, for example, the ostinato bass line of Dieterich Buxtehude's setting of Psalm 42, Quem admodum desiderat cervus, BuxWV 92: Buxtehude, Psalm 42 "Quem ad modum desiderat cervis"Buxtehude, Psalm 42 "Quem ad modum desiderat cervis" The opening of J. S. Bach's Cantata "Wachet Auf":J. S. Bach Cantata BWV140, orchestral introduction to the opening chorus517x517px The progression is found frequently in works by Mozart, such as his A minor Piano Sonata:Mozart, from Piano Sonata K310, first movementMozart, from first movement of Piano Sonata in A minor K310 The opening of his Piano Concerto 22, K482 extends the progression in a particularly subtle way, making use of suspensions:Mozart Piano Concerto K482, opening bars589x589px Eric Blom (1935, p. 227) hears this passage as "the height of cunning contrivance resulting in what is apparently quite simple and obvious, but what could have occurred to nobody else."Blom, E. (1935, p.
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Goma's literary debut came in 1966 with a short story published in the review Luceafǎrul with which he collaborated as well as with Gazeta literarǎ, Viaţa românească and Ateneu. In 1968 he published his first volume of stories, Camera de alături ("The Room Next Door"). After Ostinato and its West German publication in 1971 came Uşa ("Die Tür" or "The Door") in 1972, also in Germany. After his forced emigration in 1977 and until his books could again be published in Romania after the 1989 revolution, all his books appeared in France and in French. (His novel Gherla had in fact been published in 1976 first in French by Gallimard of Paris before he left Romania.) There followed such novels as Dans le cercle ("Within the Circle", 1977); Garde inverse ("Reverse Guard", 1979); Le Tremblement des Hommes ("The Trembling of People", 1979); Chassée-croisé ("Intersection", 1983); Les Chiens de la mort ("The Dogs of Death", 1981), which details his prison experiences in Piteşti in the 1950s; and Bonifacia (1986).
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In later live versions of "Take a Pebble", the Greg Lake song "Lucky Man" (and later, "Still...You Turn Me On" followed by "Lucky Man" - as recorded on Welcome Back My Friends to the Show That Never Ends... Ladies and Gentlemen) was added to the Greg Lake folk-style acoustic guitar section, followed by a solo Keith Emerson jazz and blues piano medley of tunes (that the band would join in on the very end of), followed by a "Take a Pebble" band improvisation moving between F-minor and Eb-Minor (often featuring Palmer on timpani), and then the conclusion of the piece. The Greg Lake folk-style acoustic guitar section and/or the format of inserting of other Greg Lake songs inside "Take a Pebble" was later completely dropped, and Emerson usually performs a shorter solo piano improvisation (not a medley of tunes) based on an F-minor ostinato, followed by the "Take a Pebble" band improvisation, and then the conclusion of the piece (as seen in the Emerson, Lake & Palmer - Live at Montreux 1997 DVD).
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The members of Gillespie's band were unaccustomed to guajeos, overly swinging and accenting them in an atypical fashion. Thomas Owens observes: "Once the theme ends and the improvisation begins... Gillespie and the full band continue the bebop mood, using swing eighths in spite of Pozo's continuing even eighths, until the final A section of the theme returns. Complete assimilation of Afro-Cuban rhythms and improvisations on a harmonic ostinato was still a few years away for the beboppers in 1947."Thomas Owens from his book Bebop: The Music and Its Players; cited by Roberts (1999). Latin Jazz. p. 77. "Manteca" was first performed by the big band at Carnegie Hall on September 29, 1947; it was very well received. The big band recorded the tune on December 22, 1947, and in early 1948 they toured Europe for a few months, without including the piece in their set list. Instead, they featured the two-part tune "Cubana-Be/Cubana- Bop", recorded eight days before "Manteca", as their nod to Afro-Cuban jazz.
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Finally, following a C-major passage played in rhythmic unison, there is a brief, quiet, open- string pause for breath marked "Andante con scratchy (as tuning up)," followed by a final fff eruption marked "Allegro con fistiswatto (as a K.O.)." According to McDonald, the final movement, The Call of the Mountains, is "music that epitomizes Ives's transcendental ideal of unity in diversity, four musical layers that are rhythmically and melodically independent but together forge a continuous tonality that evokes timelessness and eternity." He suggests that "the apotheosis of 'The Call of the Mountains' is Ives’s own music of the future." In keeping with the program ("walking up the mountain side to view the firmament"), the instruments slowly unite in their efforts to achieve their goal, culminating in a "transcendental" ostinato passage during which the cello plays a slow, majestic descending whole tone scale beginning and ending on D, strongly reminiscent of the ending of the last movement of Ives' Symphony No. 4, completed several years after the composition of the quartet.
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Ezra Fitz (Ian Harding) has become withdrawn since the publication of his first novel, Ostinato; after a trip to build houses in South America with his girlfriend, Nicole, he goes awry when the group they are working with is targeted by revolutionists and fifteen people, including Nicole, are either missing or dead. Emily Fields (Shay Mitchell) is working as a barista in San Diego; after her father was killed in the military, she had dropped out of college and has been lying to her friends and family that she is still at Pepperdine University and is working at the Salk Institute. Alison DiLaurentis (Sasha Pieterse) is a high school teacher in Rosewood and is petitioning to have her sister Charlotte DiLaurentis (Vanessa Ray) — the former antagonist that had tormented the girls as "A" for years — released from the hospital she has been living in for the past years. The court has requested that the victims of Charlotte testify in front of a judge that they are no longer afraid of Charlotte, forcing the girls to return to Rosewood.
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233px In music, division (also called diminution or coloration) refers to a type of ornamentation or variation common in 16th- and 17th-century music in which each note of a melodic line is "divided" into several shorter, faster- moving notes, often by a rhythmic repetition of a simple musical device such as the trill, turn or cambiata on each note in turn, or by the introduction of nonchord tones or arpeggio figures. The word was used in this sense to describe improvised coloratura ornamentation as used by opera singers of the day, but it made a ready way of devising variations upon a theme, and was particularly cultivated in the form of the "division on a ground" – the building of successively higher and faster parts onto a repeating bass-line. Examples of "divisions on a ground" were written by, among others, John Jenkins and Christopher Simpson. Simpson gives a lengthy explanation of the art of free improvisation over an ostinato bass-line in his book The Division Viol (1665).
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This set features a total of seven songs written in German and has a total duration of 18 minutes. The song list is as follows: This composition is scored for a large orchestra made up of one piccolo, two flutes, three oboes, one cor anglais, one clarinet in E-flat, two clarinets in B-flat, one bass clarinet in B-flat, two bassoons, one contrabassoon, two horns in F, three trumpets in C, three trombones, one bass tuba, timpani, a percussion section for two percussionists, a mandolin and a string section. Like other works from the same period such as his String Quartet No. 3 and his opera Der Kreidekreis, Zemlinsky relies on tight motivic cells, static ostinato patterns and the Neue Sachlichkeit restraint. The austere, Berg-like pared-down style is far from the jazzy, rhythmic "swing" he used in some other compositions from his period, developed after having conducted Ernst Krenek's Jonny spielt auf and Kurt Weill's Aufstieg und Fall der Stadt Mahagonny, two operas that incorporate elements of jazz into their musical idiom.
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Lennon's vocal is double-tracked on the first three verses of the song: the effect of the Leslie cabinet can be heard after the (backwards) guitar solo. The track includes the highly compressed drums that the Beatles favoured at the time, with reverse cymbals, reverse guitar, processed vocals, looped tape effects, and sitar and tambura drone. In the description of musicologist Russell Reising, the "meditative state" of a psychedelic experience is conveyed through the musical drone, enhancing the lyrical imagery, while the "buzz" of a drug-induced "high" is sonically reproduced in Harrison's tambura rhythm and Starr's heavily treated drum sound. Despite the implied chord changes in the verses and repeatedly at the end of the song, McCartney's bass maintains a constant ostinato in C. Reising writes of the drum part: > Starr's accompaniment throughout the piece consists of a kind of stumbling > march, providing a bit of temporal disruption ... [The] first accent of each > bar falls on the measure's first beat and the second stress occurs in the > second half of the measure's third quarter, double sixteenth notes in > stuttering pre-emption of the normal rhythmic emphasis on the second > backbeat – hardly a classic rock and roll gesture.
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Stage works: Operas: "Hoary Legend" (1978); "Francis Skaryna" (1988); concert opera "Apalon-zakanadautsa" based on Vardotsky’s opera (1991). Symphonic works: Symphony №1 (1962), Oktofoniya (1967), Symphony №2 (1982), №3 with solo piano (1985), №4 with solo violin (1986), №5 for chamber orchestra (1987), №6 (1989), №7 (1990), №8 based on poems by Joseph Brodsky (1992); №9 with solo electric guitar (1994); №10 "Ten revelations" with solo viola (1996); №11 (2003); №12 (2005); №13 (2007); №14 (2010); №15 (2014). Orchestral works: Festive Overture (1963), music for stringed instruments, 2 pipes, accordion and orchestra (1965), poem "Belarus" (1968), Symphonic Picture (1974); Aria for chamber orchestra (1978), "Symon Musician" for violin, violin ensemble and chamber orchestra (1982). Instrumental concerts: For piano and orchestra №1 (1960), №2 (1975), Concertino for violin (1972), for cello (1973); for cymbals and folk orchestra №1 (1961), №2 (1974), №3 (1983), Concerto for piano №2 (1996). For dance orchestra: "Basso-ostinato" based on the Belarusian folk song "Chamu zh mnie nia piec’?" Instrumental chamber music: For piano: Sonata №1 (1956), №2 (1959), Waltz (1964), Suite "Game of Light" (1964), three preludes and fugues (1982).
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For flute and piano: variations on the basso ostinato (1963), Sonata (1965). For horn and piano: Scherzo, impromptu (1980). For violin and piano: “Elegy and Toccata in memory of Dmitri Shostakovich" (1975), "Chant", “Dance” (1977). Variations for wind instruments and percussion (1971), Elegy and Rondo for viola and piano (1973), three pieces for cymbals and piano (1973), Rondo for cello and piano (1979), two pieces for solo cymbals (1981), String quartet (1983), "To the Question of Understanding" for flute and bassoon (1989). Vocal music: Vocal cycles: "Girls’ lyrical” based on lyrics by A. Astreyko (1959), "Spanish triptych" on the poems by Federico García Lorca (1971), vocal cycle on the poems by Fyodor Tyutchev (1976), "Five lyrical intermezzos" on the poems by G. Heyne (1978), Triptych for voice, violin and piano on the poems by E. Pashkevich, "Three monologues" on the poems by Y. Polonski (1978), the vocal cycle on lyrics by A. Voznesensky (1979), the vocal cycle on the poems by Marina Tsvetaeva (1980), the vocal cycle on the poems by Anna Akhmatova (1980), the vocal cycle on the poems by Boris Pasternak (1983). Pop Songs: More than thirty.
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