This article deals with the role of the ostinato variations in the ensembles of N. Gudiashvili, A. .Shaverzashvili, S. .Tsintsadze, S. .Nasidze and O. .Gordeli. Basso-ostinato (rarely soprano-ostinato) variations as well as their hybrid correlations with the fugue forms (fugue-ostinato) are discussed in it. The author studies the construction of the theme and the methods of its polyphonic variation, counterpoints (retained and renewed).Content, compositional and dramaturgical role of the ostinato foms, their place and function in the variation cycle and the role and meaning of "The Great Polyphonic Form" are analysed.