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In music, an ostinato (Italian: [ostiˈnaːto]; derived from the Italian word for stubborn, compare English obstinate) is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African 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).
The characteristic musical form played on the bin-baja, a strummed harp of central India's Pardhan people, has been described as a "rhythmic ostinato on a tone cluster". [126] Among the Asante, in the region that is today encompassed by Ghana, tone clusters are used in traditional trumpet music. A distinctive "tongue-rattling technique gives a ...
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. [ 12 ] [ 13 ] The example below shows a tresillo-based tumbao from "Alza los pies Congo" by Septeto Habanero (1925).
Among the characteristics of the Sub-Saharan African approach to rhythm are syncopation and cross-beats which may be understood as sustained and systematic polyrhythms, an ostinato of two or more distinct rhythmic figures, patterns or phrases at once. The simultaneous use of contrasting rhythmic patterns within the same scheme of accents or ...
The guajeo shares rhythmic, melodic and harmonic similarities with the short ostinato figures played on marimbas, lamellophones, and string instruments in sub-Saharan Africa. The guajeo is a seamless blend of African and European musical sensibilities, and was first played as accompaniment on the tres in the Afro-Cuban son and related music.
The ethnomusicologist David Locke states: "Cross-rhythm pervades Ewe drumming."[2] In fact, the overall rhythmic structure is generated through cross-rhythm. [3]Cross-rhythm was first identified as the basis of sub-Saharan rhythm in the early writings of A.M. Jones, and was later explained in great detail in lectures by the Ewe master drummer and scholar C.K. Ladzekpo, and in the writings of ...
When the rhythm and music are 'in clave,' a great natural 'swing' is produced, regardless of the tempo. All musicians who write and/or interpret Cuban-based music must be 'clave conscious,' not just the percussionists. [19] Salsa is a potent expression of clave, and clave became a rhythmic symbol of the musical movement, as its popularity spread.