Groove Approach #4 (Focus: Ostinato & Riff-Oriented Approach)

The ostinato (literal translation is “obstinate” or “persistent”) approach to composing a bass part involves playing a repetitive bass figure or pattern of notes that remains more or less constant, while the chords change over that figure. In many cases, much of the arrangement is based around that recurring bass figure. Arguably one of the most recognizable bass ostinatos was the staccato eighth note line (repeating 1-bar figure) providing the foundation for Michael Jackson’s Billie Jean.

Here’s another example of an ostinato-style bass line.

Audio Example 1

It’s a fun and interesting approach to incorporate occasionally. I find it particularly effective to use on one section of a tune, to provide some contrast from more “normal” bass grooves being played on other sections.

One of the aspects I most enjoy about ostinatos is how the harmony of the line takes on different “moods” with each chord change. It’s almost like viewing a piece of artwork under lighting that is changing colors intermittently.

When composing an ostinato over a particular chord progression, it’s obviously helpful to use tones that are common to all (or most) of the chords. However, if harmony dictates that one note of the ostinato be altered over one of the chords, that’s usually not a problem. As long as the rhythmic figure and general contour of the line are maintained, the ostinato effect should remain intact.

Here’s another example. This 2-bar ostinato is based on a G chord (notice the meat & potatoes groove intervals, by the way, with an occasional 4th thrown in as an approach tone to the 5th!). A keyboard or guitar could play ll: G2 / C2 / FM9 / C2 :ll over the top, and all the notes in the ostinato would work perfectly.

Audio Example 2

 

Many ostinatos are essentially repeating riffs. The riff-oriented approach is commonly heard in rock settings. Here’s a quick example of such an approach over our earlier drum groove.

Audio Example 3

 

The riff-oriented approach can be effective for injecting some energy and drive into a tune. However, as a general rule, I try to be mindful to avoid its excessive use; it can take up a disproportionate amount of the soundfield, can lack subtlety, and has the potential to lend a “busier” feel. As with all musical choices, let the context dictate the appropriateness.

Here’s a more subtle example from a bass line I played on a tune entitled “Yourself and You Alone” from keyboardist/vocalist Rob Rinderer’s Feel Like An Alien CD. It’s a 2-bar phrase with lots of air in the 2nd bar to keep things sparse and let the arrangement breathe a bit.

Audio Example 4

 

EXERCISE 1

Over our familiar drum groove...

Audio Exercise 1

 

...compose a bass ostinato over a static A-7 chord. Make sure that the line is a repeating figure. In this first exercise, make it a 1-bar phrase (i.e. the repeating phrase is a 1-measure “loop”).

EXERCISE 2

Repeat Exercise 1, but this time, make it a 2-bar phrase. The difference between the first and second bars of the phrase can be as subtle as you’d like (e.g., playing one of the notes staccato in the first bar and letting it ring for its full rhythmic value in the second bar, etc.).