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CHAPTER 3: CONCERTO GROSSO AND RITORNELLO FORM Basic principles of Baroque music: Basic principles of Baroque music: Contrasts of loud and soft Contrasts of loud and soft Contrasts of large and small groups Contrasts of large and small groups Leads to: concerto grosso – important musical form of Baroque era; small group of soloists pitted against a larger group of players called the tutti (all). Leads to: concerto grosso – important musical form of Baroque era; small group of soloists pitted against a larger group of players called the tutti (all).

2-4 soloists 2-4 soloists Often difficult, fanciful melodic lines Often difficult, fanciful melodic lines Highest paid musicians in the orchestra Highest paid musicians in the orchestra 8-20 or more tutti, usually strings and harpsichord basso continuo 8-20 or more tutti, usually strings and harpsichord basso continuo

Usually 3 movements Usually 3 movements 1. Fast – vigorous, determined 1. Fast – vigorous, determined 2. Slow – quieter, lyrical 2. Slow – quieter, lyrical 3. Fast – lively, carefree, sometimes dancelike 3. Fast – lively, carefree, sometimes dancelike Movements contrast in tempo and character Movements contrast in tempo and character

First and last movements usually in ritornello form – alternation between tutti and solo sections First and last movements usually in ritornello form – alternation between tutti and solo sections Tutti opens with main theme, called the ritornello. Tutti opens with main theme, called the ritornello. Theme always played by tutti, but just in fragments and various keys until it comes back at the end Theme always played by tutti, but just in fragments and various keys until it comes back at the end Solos offer fresh melodic ideas, softer dynamics, rapid scales and broken chords Solos offer fresh melodic ideas, softer dynamics, rapid scales and broken chords May also expand short melodic ideas from the tutti May also expand short melodic ideas from the tutti

TUTTI SOLO Ritornello, home key Ritornello fragment, new key Fresh idea

LISTENING TO CONCERTO GROSSO Brandenburg Concerto No. 5 in D Major (about 1721), Johann Sebastian Bach Books pg. 134 Mrs. Ritter will tell you what to write down

CHAPTER 4: THE FUGUE Cornerstone of Baroque music Cornerstone of Baroque music Fugue – polyphonic composition based on one main theme, called subject Fugue – polyphonic composition based on one main theme, called subject Different melodic lines (voices) imitate the main subject. Different melodic lines (voices) imitate the main subject. Top voice always called the soprano, bottom always called the bass Top voice always called the soprano, bottom always called the bass

Fugues are flexible Fugues are flexible Only constant feature is how they begin – subject almost always presented in a single, unaccompanied voice Only constant feature is how they begin – subject almost always presented in a single, unaccompanied voice Sopranosubject…………………………………….. Alto subject…………………………… Tenor subject…………………. Basssubject (Subject may be announced by any voice)

Seems similar to a round, but differs in two main ways Seems similar to a round, but differs in two main ways 1. In a round, each voice does an exact imitation and nothing else. In a fugue, after a voice has presented the subject, it’s free to go its own way with different material 1. In a round, each voice does an exact imitation and nothing else. In a fugue, after a voice has presented the subject, it’s free to go its own way with different material 2. In a round, each voice presents the melody on the same pitches. In a fugue, the subject is presented in two different scales/keys. 2. In a round, each voice presents the melody on the same pitches. In a fugue, the subject is presented in two different 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 accompanied in another voice by different melodic idea, called countersubject The subject in one voice is often accompanied in another voice by different melodic idea, called countersubject Answer Subject Countersubject

Between presentations of the subject, transitional sections are called episodes Between presentations of the subject, transitional sections are called episodes Offer either new material or fragments of the subject or countersubjects Offer either new material or fragments of the subject or countersubjects Episodes do not present entire subjects Episodes do not present entire subjects Lend variety to fugues Lend variety to fugues Make the reappearance of the subject more fresh Make the reappearance of the subject more fresh

Answer Subject Countersubject Episode

Several musical procedures common Several musical procedures common Stretto – subject is imitated before it’s completed (overlapping) Stretto – subject is imitated before it’s completed (overlapping) Pedal Point – single tone is held while other voices move against it Pedal Point – single tone is held while other voices move against it

Fugue melody can vary four ways Fugue melody can vary four ways 1. Inversion – melody turned upside down 1. Inversion – melody turned upside down 2. Retrograde 2. Retrograde MelodyInversion MelodyRetrograde

3. Augmentation – time values are lengthened 3. Augmentation – time values are lengthened 4. Diminution – time values are shortened 4. Diminution – time values are shortened MelodyAugmentation Melody Diminution

Fugues convey a single mood Fugues convey a single mood An independent fugue can be introduced by a short piece, called a prelude An independent fugue can be introduced by a short piece, called a prelude Peak of the composition of the fugue: Bach and Handel (mostly Bach) Peak of the composition of the fugue: Bach and Handel (mostly Bach)

LISTENING TO FUGUE Organ Fugue in G Minor (Little Fugue; about 1709), Johann Sebastian Bach Organ Fugue in G Minor (Little Fugue; about 1709), Johann Sebastian Bach Books pg. 139 Books pg. 139 Mrs. Ritter will tell you what to write down Mrs. Ritter will tell you what to write down

Vocabulary Concerto Grosso Concerto Grosso Tutti Tutti Ritornello Form Ritornello Form Ritornello Ritornello Fugue Fugue Subject Subject Answer Answer Countersubject Countersubject Episode Episode Stretto Stretto Pedal Point Pedal Point Inversion Inversion Retrograde Retrograde Augmentation Augmentation Diminution Diminution Prelude Prelude