BAROQUE

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BAROQUE
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Orchestral Instruments
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(Basso) Continuo
A accompaniment style with an improvised, chordal
part on harpsichord or organ, supported by a
low-sounding string instrument
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Fugue

• Fugue means Flight
• It is contrapuntal same as polyphonic but is
  based on IMITATION
• It is written in 3 or 4 parts called voices
  (these can be vocal or instrumental) and referred
  to as SATB

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The SubjectIn this Fugue there are only 3 parts
or voices. Here you can see the theme or
SUBJECT. It is always heard first in one voice
only
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The AnswerAfter the subject, the same tune
appears in another voice or part in the DOMINANT
(a 5th higher)

• 1. If the intervals are exactly the same as the
  subject it is called a Real Answer
• 2. If the intervals are NOT exactly the same as
  the subject, it is called a Tonal Answer.

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Look at the Answer below, is it real or tonal?
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An Episode

• An Episode is a modulating link between entries
  of the subject, and often contains similar
  material.

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A Stretto

• Where the subject enters closely after the
  previous part, adding to the tension. This
  normally happens near the end of a fugue.

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Canon

• Another IMITATIVE structure developed in this
  period, is the Canon, which in its simplest form,
  is a round.
• Perhaps one of the most famous examples of this
  style is the Canon by Pachelbel. This is really
  also an example of a chaconne, variations over a
  repeated progression of chords. Listen to the
  chord progression and how the parts enter and are
  immediately copied by the next part to enter.

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Chorale Prelude ToccataThese two works are for
the virtuosic organist.

• A chorale prelude is based on a chorale melody
  and played on the organ. The melody can be either
  in fugue style or variations on that theme.
• A Toccata is a fast, ornamental and technically
  demanding work for organ or keyboard instrument.
  It is often paired with a fugue.

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Concerto Grosso

• The Concertino the small group of soloists
• The Ripieno the large group of instruments
  (mainly strings) and includes the soloists
• There would often be Basso Continuo accompaniment

• Taking the Renaissance idea of ANTIPHONY, this
  style has two OPPOSING groups of
  instrumentalists.
• Essentially, the Concerto Grosso is a Concerto
  for a group of soloists with orchestral Tutti
  sections
• First movements were frequently in ritornello
  form, a form in which the whole orchestra, the
  ripieno, alternated with sections played by
  soloists, the concertino.

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Solo Concerto Ritornello

• solo concerto - Vivaldi wrote many solo concertos
  which grew out of the Concerto Grosso, creating
  more contrast by putting a single instrument
  against a whole orchestra.
• The 4 Seasons is an example of an early Violin
  Concerto
• These were generally in three movements, fast,
  slow and fast. 
• Movements were often in Ritornello form a
  recurring theme played by everyone. Listen to the
  4 seasons Autumn

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The Dance Suite

• In the Baroque period the suite was a group of
  different styles of dances performed one after
  another and continuing a tradition from the
  Renaissance period when two dances, the pavan and
  galliard, were usually performed together.
• Look at the Baroque ensemble page in Chamber
  music on LT Scotland website and research the
  different types of groups and dances that
  existed.

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Vocal Music Opera and Oratorio

• Works were developed from the Renaissance period
  and composers created complicated settings of the
  Mass, particularly with orchestral accompaniment
• Both Operas and Oratorios, Cantatas and Passions
  are made up of Recitatives, arias and choruses.
• Handel composed the greatest oratorios of the
  Baroque period, with the words in English.
• The main difference between an opera and an
  oratorio is that the oratorio has a sacred story.

Handel
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The Chorus

• The Chorus is made up of SATB
• The most famous of Handels Oratorio Choruses is
  the Messiah.
• He used the Chorus to vividly describe more
  dramatic events in the story

A Chorus singing Handels Messiah
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Recitative moves the story forward

• Recitative grew from a monodic style. The vocal
  line (1/2 singing, ½ reciting) was supported by
  Basso Continuo.
• Recitative Secco was a solo voice with Basso
  continuo only. There was no strict time
  signature, it just followed the rhythm of the
  words.
• Bare texture

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Recitative Accomagnato

• Also known as
• Stromentato, is when
• the singer is
• accompanied
• by ORCHESTRA, giving
• A more dramatic and
• Fuller sound
• Mainly homophonic

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Arias reflective thoughtful moments

• For solo voice, Baroque arias were expressive
  songs where the characters emotions were
  explored.
• There were many ornaments in the orchestra and in
  the voice.
• A DA CAPO Aria is quite simply an aria which has
  only 2 sections, with the 1st section repeated,
  in Ternary form (ABA)

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Passion Chorale

• A Passion is an Oratorio which tells the story of
  Christs Crucifixion.
• Bach composed 3 settings of the passion according
  to the different gospel stories.
• They have German text and contain CHORALES
  (German Hymn tunes)
• Chorales are homophonic in texture and are sung
  by the Chorus at the most solemn moments in the
  story.

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MAIN POINTS

• It is important to remember that the forms and
  styles created in the Baroque period were carried
  on and developed by composers in the Classical,
  Romantic periods as well as up to present day.
• Main characteristics of this Period
• Complicated, ornamental music
• Structured styles Fugue Canon, Concerto
  Grosso, Solo concerto, Chorale
• Oratorio Large scale religious works were still
  very popular (Handels Messiah, Bachs Passions)
• Basso continuo accompanying nearly all works

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Test on Concepts below

• Basso Continuo
• Solo concerto
• Ritornello
• Concerto Grosso
• Concertino
• Ripieno
• Fugue
• Chorale Prelude
• Toccatta
• Chaconne
• Da Capo Aria
• Recitative Secco/Stromentato
• Passion
• Chorale

• Exposition
• Subject
• Tonal/Real Answer
• Counter Subject
• Episode
• Stretto
• Coda
• Tutti
• Ornaments trill, mordant, acciaccatura,
  appoggiatura, turn
• Melismatic/Syllabic singing