Obligato
The term Obligato (ital., From Latin obligatus "set binding") in the classical music means that the designated voice must not be omitted, in contrast to the score - performance indication ad libitum .
This instruction has its roots in baroque music , where, in contrast to a written obligato part, the accompanying continuo parts were usually not fully written out. In contrast to these ripieno parts, for example, a concert part was called violino obligato . Also a detailed elaborate accompaniment was in contrast to the outlined basso with obbligato be called ( obbligato accompaniment ).
On the other hand, from the 19th century onwards, each part was usually written out in full, so that this addition was rarely used. The requirement for an instrument with the addition of obligato still means that it must not be omitted, like the violin obligato in salon music .
In musical treatises of the 16th and 17th centuries, obligato could also refer to the basso ostinato .
jazz
In jazz , obligato can also mean improvising accompaniment to the main voice . The term is primarily used in New Orleans Jazz in reference to the improvisation of the clarinet that surrounds the cornet playing the melody . Obligato can also occur in other forms of jazz. For example, in the interplay of Billie Holiday and Lester Young or Gerry Mulligan and Paul Desmond .
literature
- Riemann music dictionary . Schott , Mainz 1967, Sachteil, pp. 645f.
- Michael von Troschke: Art. Ostinato, obligato . In: Concise dictionary of musical terminology . Edited by Hans Heinrich Eggebrecht and Albrecht Riethmüller , editor-in-chief Markus Bandur, Steiner, Stuttgart 1997 ( digitized version ).