Get books again today…. CHAPTER 3: CONCERTO GROSSO AND RITORNELLO FORM Basic principles of Baroque...
-
Upload
ashlie-franklin -
Category
Documents
-
view
219 -
download
0
Transcript of Get books again today…. CHAPTER 3: CONCERTO GROSSO AND RITORNELLO FORM Basic principles of Baroque...
Get books again today…Get books again today…
CHAPTER 3: CONCERTO GROSSO CHAPTER 3: CONCERTO GROSSO AND RITORNELLO FORMAND RITORNELLO FORM
Basic principles of Baroque music:Basic principles of Baroque music:Contrasts of loud and softContrasts of loud and softContrasts of large and small groupsContrasts of large and small groups
Leads to: Leads to: concerto grossoconcerto grosso – – important musical form of Baroque important musical form of Baroque era; small group of soloists pitted era; small group of soloists pitted against a larger group of players against a larger group of players called the called the tuttitutti (all). (all).
2-4 soloists2-4 soloistsOften difficult, fanciful melodic linesOften difficult, fanciful melodic linesHighest paid musicians in the orchestraHighest paid musicians in the orchestra
8-20 or more tutti, usually strings 8-20 or more tutti, usually strings and harpsichord basso continuoand harpsichord basso continuo
Usually 3 movementsUsually 3 movements1. Fast – vigorous, determined1. Fast – vigorous, determined2. Slow – quieter, lyrical2. Slow – quieter, lyrical3. Fast – lively, carefree, sometimes 3. Fast – lively, carefree, sometimes
dancelikedancelikeMovements contrast in tempo and Movements contrast in tempo and
charactercharacter
First and last movements usually in First and last movements usually in ritornello formritornello form – alternation – alternation between tutti and solo sectionsbetween tutti and solo sectionsTutti opens with main theme, called the Tutti opens with main theme, called the
ritornelloritornello..Theme always played by tutti, but just in Theme always played by tutti, but just in
fragments and various keys until it comes fragments and various keys until it comes back at the endback at the end
Solos offer fresh melodic ideas, softer Solos offer fresh melodic ideas, softer dynamics, rapid scales and broken chordsdynamics, rapid scales and broken chordsMay also expand short melodic ideas from the May also expand short melodic ideas from the
tuttitutti
TUTTI
TUTTI TUTTI
TUTTI
SOLO
SOLO
SOLORitornello, home key
Ritornello, home
key
Ritornello fragment, new key
Ritornello fragment, new key
Fresh idea
Fresh idea
Fresh idea
LISTENING TO CONCERTO LISTENING TO CONCERTO GROSSOGROSSO
Brandenburg Brandenburg Concerto No. 5 in D Major Concerto No. 5 in D Major (about 1721), Johann Sebastian Bach(about 1721), Johann Sebastian Bach
Books pg. 134Books pg. 134
Mrs. Ritter will tell you what to write Mrs. Ritter will tell you what to write downdown
CHAPTER 4: THE FUGUECHAPTER 4: THE FUGUE
Cornerstone of Baroque musicCornerstone of Baroque musicFugueFugue – polyphonic composition – polyphonic composition
based on one main theme, called based on one main theme, called subjectsubject
Different melodic lines (Different melodic lines (voicesvoices) ) imitate the main subject.imitate the main subject.Top Top voicevoice always called the soprano, always called the soprano,
bottom always called the bassbottom always called the bass
Fugues are flexibleFugues are flexibleOnly constant feature is how they begin – Only constant feature is how they begin –
subject almost always presented in a single, subject almost always presented in a single, unaccompanied voiceunaccompanied voice
SopranoSopranosubjectsubject……………………………………..……………………………………..
AltoAlto subjectsubject…………………………………………………………
TenorTenor subjectsubject………………….………………….BassBass subjectsubject....................
(Subject may be announced by any voice)(Subject may be announced by any voice)
Seems similar to a round, but differs in Seems similar to a round, but differs in two main waystwo main ways1. In a round, each voice does an exact 1. In a round, each voice does an exact
imitation and nothing else. In a fugue, imitation and nothing else. In a fugue, after after a voice has presented the subject, it’s free a voice has presented the subject, it’s free to go its own way with different materialto go its own way with different material
2. In a round, each voice presents the 2. In a round, each voice presents the melody on the same pitches. melody on the same pitches. In a fugue, In a fugue, the subject is presented in two different the subject is presented in two different scales/keys.scales/keys.
Subject presented on tonic scale
Subject presented on dominant scale, 5 steps higher
This is called the answer
Answer
Subject
The subject in one voice is often The subject in one voice is often accompanied in another voice by accompanied in another voice by different melodic idea, called different melodic idea, called countersubjectcountersubject
Answer
Subject
Subject
Countersubject
Between presentations of the Between presentations of the subject, transitional sections are subject, transitional sections are called called episodesepisodesOffer either new material or fragments Offer either new material or fragments
of the subject or countersubjectsof the subject or countersubjectsEpisodes do not present entire subjectsEpisodes do not present entire subjectsLend variety to fuguesLend variety to fuguesMake the reappearance of the subject Make the reappearance of the subject
more freshmore fresh
Answer
Answer
Subject
Subject
Subject
Countersubject
Episode
Several musical procedures commonSeveral musical procedures commonStrettoStretto – subject is imitated before it’s – subject is imitated before it’s
completed (overlapping)completed (overlapping)Pedal PointPedal Point – single tone is held while – single tone is held while
other voices move against itother voices move against it
Fugue melody can vary Fugue melody can vary four waysfour ways1. 1. InversionInversion – melody turned upside – melody turned upside
downdown
2. 2. RetrogradeRetrograde
Melody Inversion
Melody Retrograde
3. 3. AugmentationAugmentation – time values are – time values are lengthenedlengthened
4. 4. DiminutionDiminution – time values are – time values are shortenedshortened
Melody Augmentation
Melody Diminution
Fugues convey a single moodFugues convey a single moodAn independent fugue can be An independent fugue can be
introduced by a short piece, called a introduced by a short piece, called a preludeprelude
Peak of the composition of the fugue: Peak of the composition of the fugue: Bach Bach and and HandelHandel (mostly Bach) (mostly Bach)
LISTENING TO FUGUELISTENING TO FUGUE
Organ Fugue in G Minor (Organ Fugue in G Minor (Little FugueLittle Fugue; ; about 1709), Johann Sebastian Bachabout 1709), Johann Sebastian Bach
Books pg. 139Books pg. 139Mrs. Ritter will tell you what to write Mrs. Ritter will tell you what to write
downdown
VocabularyVocabulary
Concerto GrossoConcerto Grosso TuttiTutti Ritornello FormRitornello Form RitornelloRitornello FugueFugue SubjectSubject AnswerAnswer CountersubjectCountersubject
EpisodeEpisode StrettoStretto Pedal PointPedal Point InversionInversion RetrogradeRetrograde AugmentationAugmentation DiminutionDiminution PreludePrelude