1. BAROQUE

2. Orchestral Instruments

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

4. 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

5. The Subject In 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

7. The Answer After the subject, the same tune appears in another voice or part in the DOMINANT (a 5 th 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.

8. Look at the Answer below, is it real or tonal?

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

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

11. 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.

12. Chorale Prelude & Toccata These 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.

13. Concerto Grosso 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. 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

14. 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’

15. 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.

16. Vocal Music Opera and Oratorio orchestral accompaniment 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. English Handel composed the greatest oratorios of the Baroque period, with the words in English. oratorio has a sacred story The main difference between an opera and an oratorio is that the oratorio has a sacred story. Handel

18. The Chorus The Chorus is made up of SATB The most famous of Handel’s Oratorio Choruses is the ‘Messiah’. He used the Chorus to vividly describe more dramatic events in the story A Chorus singing Handel’s Messiah

19. 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

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

21. Arias – reflective & thoughtful moments For solo voice, Baroque arias were expressive songs where the character’s 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 1 st section repeated, in Ternary form (ABA)

22. Passion & Chorale A Passion is an Oratorio which tells the story of Christ’s 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.

23. 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 (Handel’s Messiah, Bach’s Passions)  Basso continuo – accompanying nearly all works

24. 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