Harmonious ostinato

In music, a harmonic ostinato denotes a progression (i.e. a sequence of chords ) that is relatively short (about two to eight chords, often four) and is continuously repeated cyclically during a piece of music. The harmonic ostinato is a special case of the general ostinato term.

One example is the famous chord progression from the Canon in D by Johann Pachelbel , which is repeated 28 times unchanged in this piece:

|: D major - A major - B minor - F sharp minor - G major - D major - G major - A major: |

The melody unfolds above the ostinato as a harmonic and temporal base . Once established, the chord sequence runs like a red thread through the piece of music. The ear is oriented towards the melody and does not mind the fact that the chord progression is constantly repeated (which in itself could also be perceived as "boring"), but rather enjoys the resulting "roundness" and solidarity.

In the simplest case, the first chord in the sequence is the tonic and the last is the dominant . As this strives for the tonic again, the chord sequence “rolls” on and on, as if driven by an inner urge. There are such cyclical chord progressions in many genres, for example in jazz , blues , but also in folk song , folk music or pop music . Often times, the chord progression runs through both the verse and the chorus . A harmonic ostinato can also be arranged during a jam session to provide a framework for improvising together.

Notation according to the level theory

A harmonic ostinato, for example the frequently used chord progression tonic - tonic parallel - subdominant - dominant seventh chord can be notated as follows according to the degree theory : I-VI-IV-V.

Another very popular harmonic ostinato is the so-called "1625" (pronounced: sixteen twenty-five), i. H. Levels I-VI-II-V, which corresponds to the sequence tonic - tonic parallel - subdominant parallel - dominant . Especially in jazz, the scale's own four notes (I ^maj7 , VIm ⁷ , IIm ⁷ , V ⁷ ) are used.

For another example see II-VI .

Song samples

Examples of popular songs based on a harmonic ostinato:

Guantanamera (various artists): |: G, Em, Am, D⁷ : |
Hang On Sloopy ( Bert Russell / Wes Farrell ): |: D, G, A, G: |
Hit the Road Jack ( Ray Charles ): |: B ♭ m, A ♭, Gb, F: | (see also "Andalusian" or "Spanish cadence" )
I Will Survive ( Gloria Gaynor ): |: Am, Dm, G, C^maj7 , F^maj7 , Bm^7b5 , E^sus4 , E: |
La Bamba ( Ritchie Valens ): |: D, G, A⁷ : |
Lauda to Si (composer unknown): |: G, Em, C, D ⁷ : |
The 59th Street Bridge Song ( Simon and Garfunkel ): |: C, G, Am ⁷ , G: |
The Great Song of Indifference ( Bob Geldof ): |: A, D, A, E: |
Ti Amo ( Umberto Tozzi ): |: G, Em, Am, D ⁷ : |
What's Up ( 4 Non Blondes ): |: A, Hm, D, A: |
With or Without You ( U2 ): |: D, A, Hm, G: |
Zombie ( The Cranberries ): |: Em, C, G ⁶ , D: |
Down Under ( Men at Work ): |: Hm, A, Hm, G, A: |
Reality ( Lost Frequencies feat. Janieck Devy ): |: E, G♯m, C♯m, A: |

There is also a harmonic (and melodic) ostinato in all canons .

Similar terms in jazz

A related term (but not to be equated) in jazz is the vamp , which describes an accompanying figure that usually consists of a short melodic or harmonic sequence. Harmonic ostinati also occur in the so-called turnaround . See also jazz standards .