1. The Baroque Period

2. Learning Objectives By the end of this presentation you should be able to:
Place the Baroque period in a historical context.
Describe the different musical vocal forms from the Baroque period and their features.
Identify various Baroque vocal concepts through listening examples.

3. Baroque music takes its name from a very florid and decorated style of architecture and art of the 17th century.
In music the term is used to describe the period from around 1600 to 1750.

4. Musicians came to use the word “Baroque” to describe the period of musical history from the birth of opera and oratorio to the death of J.S. Bach.
The Baroque period saw the invention of several new forms including opera, oratorio, fugue, the suite, sonata and concerto.

5. During the Baroque period the system of modes began to disappear
During the Baroque period the system of modes began to disappear. Composers were regularly flattening or sharpening notes and from this the major and minor scales that we are accustomed to developed.

6. Baroque Composers Vivaldi, Bach and Handel

7. Baroque Instruments The violin family replaced the viols.
The string family dominated this period
The harpsichord was also a prominent instrument.
The orchestra began to take shape with a large string section but other sections not yet standardised.

8. Violin Family vs. Viol Family

9. The Harpsichord

11. Ornaments
An ornament decorates a melody by adding extra notes. Ornaments are often short and add melodic and rhythmic interest.

12. Ornaments
Trill: Rapid and repeated movement between two adjacent notes.

13. Ornaments
Mordent: An ornament that sounds the main note, the note above and then the note again.

14. Ornaments
Acciaccatura: An ornament which sounds like a crushed note played very quickly on the beat or just before it. (A grace note)

15. Ornaments
Appoggiatura: An ornament which sounds like a leaning note. It takes half the value of the main note that follows it. An appoggiatura is usually dissonant which resolves onto a weaker beat.

16. Ornaments
Turn: An ornament starts on the notes above the written note, then goes to the written note itself, then to the notes below and finally back to the written note.

17. Exam Style Question
Name the type of ornament played by the flutes in this excerpt.
Trill Turn
Mordent Appoggiatura
Acciaccatura X

18. Exam Style Question
Name the ornament heard in the right hand melody.
Trill Turn
Mordent Appoggiatura
Acciaccatura X

19. Forms and Instrumental Music

20. Learning Objectives this section of the presentation will:
To introduce the various forms of instrumental music during the baroque period.
Enable you to identify various forms of instrumental music.
Revise Int.1 and 2 form concepts.

21. Binary Form
The music is made up of two different sections labelled A and B. Each section may be repeated. This was one of the earliest forms and is present in all kinds of folk dance music.
Listen to the following example and try to identify where the A and B sections are.

22. Ternary Form A B A
A B A a form where the first section is always repeated at the end. A da capo aria is in this form.

23. Rondo Form
A B A C A. A form where the first section (A) comes back between contrasting sections.

24. This example is a solo recorder accompanied by a continuo.
Basso Continuo
Sometimes referred to as continuo. In the Baroque period, the continuo part consisted of a bass line (basso continuo) played by cello or bassoon. In addition the harpsichord, organ or lute player was expected to fill in harmonies built on that bass line.
This example is a solo recorder accompanied by a continuo.

25. The Concerto
The concerto, as a style, first appeared in the latter part of the Baroque period. 
There were two styles 
concerto grosso 
solo concertos.         

26. Solo Concerto
Concerto: Work for solo instrument and orchestra,e.g. a flute concerto is written for flute and orchestra it is normally in three movements.This audio example is by one of Bach’s sons. (It is from the classical period)
Mvt 1 Allegro di molto
Mvt.2 Andante
Mvt.3 Allegro

27. Antiphonal: one group answers the other
Concerto Grosso This form is said to have its roots in many of the antiphonal works of composers such as Gabrielli earlier in the Renaissance period.
Concerto Grosso: a type of concerto in which a group of soloists (concertino) is combined and contrasted with a larger group (ripieno).
This example is by J.S. Bach: Brandenburg Concerto

28. Ritornello
Little return. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo.

29. Revision
Tierce de Picardi: The final chord of a piece of music in the minor key is changed to major.
Anacrusis: A melody which starts before the first beat of the bar. An upbeat
Imitation: Where the melody is immediately copied higher or lower in another part.

30. Listen to the following excerpt and identify three concepts present:
Solo concerto
Concerto grosso
Continuo
Ternary
Ritornello
Binary
Suite
Concertino X X X

31. Listen to the following excerpt and identify three concepts present:
Solo concerto
Concerto grosso
Continuo
Ternary
Ritornello
Binary
Suite
Concertino X X X

32. Concepts Binary (N5) Ternary (N5) Concerto (N5) Imitation (N4)
Anacrusis (N5)
Rondo (N5)
Tierce di Picardi (H)
Antiphonal (AH)
Ritornello (H)
Concerto grosso (H)
Ripieno (H)
Concertino (H)
Basso continuo (H)

33. Fugue and related concepts
Baroque Music
Fugue
and related concepts

34. This piece is one of the most famous of all Canons by Pachelbel
Strict imitation and sometimes called a round. After one part starts to play or sing a melody, another part enters shortly afterwards with exactly the same melody.

35. Fugue
A contrapuntal (polyphonic) piece based on a theme (subject) announced in one voice part alone, then imitated by other voices in close succession.
In other words: a fugue starts with a melody, other parts come in one at a time with this melody, and they interweave amongst each other.

36. Fugue cont.
You will find a fugue in all kinds of music from masses to organ music here are a few examples.
A fugue on an organ:
A fugue played by a string orchestra:
A fugue sung by a choir ( In this example try to identify the order the SATB parts come in):

37. Fugue Concepts Subject: The main melodic theme.
Countersubject: Once the subject has played out the next voice comes in with the subject again, the original voice then goes on to play a second melody, this is the counter subject.

38. Fugue Concepts
Answer: After the subject has played the same tune appears in another voice a 5th or 4th lower, this is the answer.There are two different types of answer tonal or real.
Exposition: first section of a Fugue where each voice has played or sung at least one entry of subject or answer.

40. Real Answer: If the intervals of the answer are exactly the same as the subject then the answer is said to be real.
Tonal Answer: If the intervals of the answer are not exactly the same as the subject, the answer is said to be tonal.

41. Fugue Concepts
Inversion: When a musical shape is mirrored. In a fugue this could be a subject that is turned upside down.

42. Fugue Concepts Stretto: When each part enters quicker than before.
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43. Fugue Voice 1 Subject Counter-subject Free part Voice 2 Answer

45. So you want to write a fugue. You got the urge to write a fugue
So you want to write a fugue. You got the urge to write a fugue. You got the nerve to write a fugue. So go ahead, so go ahead and write a fugue. Go ahead and write a fugue that we can sing.
Pay no heed, Pay no mind. Pay no heed to what we tell you, Pay no mind to what we tell you. Cast away all that you were told And the theory that you read. As we said come and write one, Oh do come and write one, Write a fugue that we can sing.
Now the only way to write one Is to plunge right in and write one. Just forget the rules and write one, Just ignore the rules and try.
And the fun of it will get you. And the joy of it will fetch you. Its a pleasure that is bound to satisfy. When you decide that John Sebastian
must have been a very personable guy.
Never be clever for the sake of being clever, for the sake of showing off.
For a canon in inversion is a dangerous diversion, And a bit of augmentation is a serious temptation, While a stretto diminution is an obvious allusion.
For to try to write a fugue that we can sing.
And when you finish writing it I think you will find a great joy in it.
or so... Nothing ventured, nothing gained they say But still it is rather hard to start. Well let us try right now. Now we are going to write a fugue. We are going to write a good one. We are going to write a fugue ... right now.

46. Concepts Canon (N4) Fugue (AH) Subject (AH) Countersubject (AH)
Exposition (H)
Inversion (AH)
Stretto (AH)
Answer (AH)
Tonal answer
Real answer
Episode

47. Opera and Related Concepts During the Baroque period Opera developed.
Opera: A drama set to music with soloists, chorus, acting, and orchestral accompaniment. It is normally performed in a theatre. Opera consists of arias, recitatives and choruses. It uses sets and costumes.
Aria: a song sung usually by a soloist or a duet. Often in ABA form.
Recitative:A type of vocal writing where the music follows the rhythm of speech. It is used to move the story or plot on.
Chorus: music written for a group of singers.

48. Opera Company Advert

49. Oratorio
Usually a story from the bible set to music for soloists, chorus and orchestra. It may include recitatives, arias, duets and chorus. It is performed without acting or stage design.
What is the difference between an oratorio and an opera?
Can you tell the difference through a listening example?

50. Recitatives, Arias and Choruses Listen to the following examples and decide which one of the three you can hear.
1/ 2/
3/ 4/
5/ 6/

51. Chorale (Don’t get confused with chorus!)
Choral: German hymn tune. Written in four parts for soprano, alto, tenor and bass, some of these chorales were used by Bach in his oratorios and cantatas. Usually homophonic in texture.

52. Chorale or not Choral?
1/ 2/
3/ 4/

53. Baroque Mass
The mass in the baroque period had grown in size in many ways. It became a large work with solos, duets and choruses. The orchestra was also larger.

54. A Baroque Mass (What part of the Mass is this from ?)

55. Obbligato and Other Vocal Concepts:
Obbligato: A prominent solo instrument part in a piece of vocal music.
Don’t forget these concepts that are also connected with vocal music: syllabic, melisma, homophonic, unison, polyphonic, strophic and through-composed.

56. Da capo aria
An aria in Ternary form (ABA) used in opera and oratorio in the 17th and 18th centuries. The third section is not written out but the instruction Da capo (from the beginning) is given instead. The repeat of the A section was performed with the solo ornamented. The excerpt is an aria in ABA form.

57. Da capo aria
Listen to “Where’re You Walk” by Handel. This is an aria from the opera Semele. Notice where the D.C. and Fine signs are.

58. Ground Bass
A theme in the bass which is repeated many times while the upper parts are varied.

59. Coloratura
Term for high, florid vocal singing involving scales, runs and ornaments. Sometimes these passages were written down, but often were extemporised by the performer

60. Listen to the following excerpt and identify three concepts present:
Musical Chorale
Aria Ornaments
Obbligato Recitative X X X

61. Listen to the following excerpt and identify three concepts present:
Ground Bass Chorale
A capella Melisma
Harpsichord Recitative X X X

62. Listen to the following excerpt and identify three concepts present.
Obbligato
Ground bass
Melisma
Recitative
Chorus
Aria
Unison
Modal X X X

63. Listen to the following excerpt and identify three concepts present.
Obbligato
Ground bass
Polyphony
Recitative
Chorus
Imitation
Coloratura
Chorale X X X

64. Revision 1/ When was the Baroque period?
2/ Name one famous Baroque composer
3/ Which family of instruments dominated baroque music?
4/ Name the instrument playing.
5/ Name three forms of music that both an opera and an oratorio would contain.

65. Revision cont. 6/ In your own words describe a Passion.
7/ In your own words describe a Cantata.
8/ Which concept is a German hymn tune written in four parts usually homophonic.
9/ Which concept describes a melodic bass line which is repeated.
10/ Which concept describes high, florid vocal singing.