1. BAROQUE (1600-1750) (The Birth of Opera) -Two Giants of the era Handel & Bach -Most other composers forgotten until rediscovered in the 20 th century

2. The Baroque Period can be divided into 3 sub periods (of about 40-50 years each) early 1600-1650 mid 1650-1700 late 1700-1750

3. BAROQUE (1600-1750) Dramatic extreme contrast and passion ruled the day in literature and music Instruments are finally written for specifically and will soon be dominate

4. BAROQUE (1600-1750) Major and Minor scales and keys will be developed by the mid period Early baroque composers favored homophonic but late composers gloried polyphony New instrumental emphasis is taken to extremes.

5. Elements of BAROQUE 1. Unity of Mood pieces often express one mood throughout start sad / end sad start joyfully /end joyfully ect…

6. Elements of BAROQUE 1. Unity of Mood composers developed specific rhythms & melodic patterns to illustrate common moods giving a family resemblance among pieces (similar to Jazz and guitar riffs of today or blues or gospel singers) Vocal music though could sometimes have drastic changes in mood to fit the text

7. Elements of BAROQUE 2. RHYTHM Patterns of rhythm are continuously repeated throughout from beginning to end providing a drive

8. Elements of BAROQUE 3. MELODY feeling of continuity opening melody will repeat over and over varying in octaves but character remains constant always ever expanding and very ornamented and elaborate very difficult to sing or remember as a tune rapid notes longer dynamic expansion rather than balance and symmetry

9. Elements of BAROQUE 4. DYNAMICS only gradual changes mostly constant. main instruments were organ and harpsichord which had little dynamic range terraced dynamics (building of notes or instruments) used instead of just playing louder or softer

10. Elements of BAROQUE 5. TEXTURE mostly homophonic in early period but by mid to late period almost all polyphonic two or more melodic lines going at once but most important are the soprano and bass vocal pieces though would shift between textures to create moods with the text

11. Elements of BAROQUE 6. CHORDS and FIGURED BASS (BASSO CONTINUO) In past melody came first and was more important than any chords that happen to come out of it Chords become increasing dominant and some tunes the chords come first then melody

12. Elements of BAROQUE 6. CHORDS and FIGURED BASS (BASSO CONTINUO) Most important part of the chord the BASS note or BASSLINE (in which whole composition rest upon) Figured bass MOST CHARACTERISTIC FEATURE of BAROQUE MUSIC

13. Elements of BAROQUE 6. CHORDS and FIGURED BASS (BASSO CONTINUO) figured bass or basso continuo is added to music which chord symbols or numbers outline basic chord structure performer of the accompaniment part (usually at least two instruments organ/ harpsichord of low instr i.e cello/bassoon

14. Elements of BAROQUE 6. CHORDS and FIGURED BASS (BASSO CONTINUO) performer given freedom to improvise the part similar to jazz and rock lead sheets of today practical use was to save time and paper

15. Elements of BAROQUE 7. WORDS and MUSIC Word painting with specific words HEAVEN high notes HELL low notes Rising scales upward motion joy Descending chromatic suffering pain lost love or the Crucifixion Musical language like this was well standardized

16. Elements of BAROQUE 7. WORDS and MUSIC To showcase virtuosity of singer or instrumentalist …ornate and rapid notes on a single syllable. Word and phrases would be repeated to unfold music not lyric

17. The Baroque Orchestra The main make-up was standard The Violin family & The Basso Continuo section Basso Continuo section was (harpsichord plus cello, double bass or bassoon)

18. The Baroque Orchestra Woodwind Brass Percussion These would vary from piece to piece and orchestra to orchestra

19. The Baroque Orchestra Baroque instruments were very different from modern instruments The trumpet had no values was very difficult to play at high registers. It was associated in past with royals and good trumpeters were treated very well

20. The Baroque Orchestra BACH, HANDEL, VIVALDI (Important Baroque Composers & Orchestral Leaders) mixed and experimented with different combinations of instruments often reworking compositions between instruments (sometimes losing a little in translation) to fit orchestral make up

21. The Baroque Orchestra Most pieces written were concerned with sounds and not individual instrument quarks. Families of instruments would play the same parts as others families sometimes more successful than others. YOUTUBE – Baroque Orchestra

22. BAROQUE FORMS all previously discuss forms are present in Baroque music AB ABA’ thru composed etc….

23. BAROQUE FORMS Unity of Mood but pieces usually contain separate MOVEMENTS MOVEMENTS have their own themes have definite start and end a brief pause will come in between movements

24. MUSIC in BAROQUE SOCIETY Before 1800 most music written to order to meet demands of churches/ municipalities/ and opera houses demand was for newly written music and not old style Music main source of entertainment for aristocracy (size of $$ court related to size of orchestra, choir and opera singers)

25. MUSIC in BAROQUE SOCIETY Bach directed small 18 piece orchestra but large could be as much as 80 players and singers Orchestra usually limited to 30 instrumentalist Music director responsible for all aspects (concerts, church music, dinner music, operas plus managing other musicians, the instruments, and the music library.) good & bad to be director great pay prestige and played original music but still servant to the aristocracy some music directors would befriend royals and others not some royals good musicians

26. MUSIC in BAROQUE SOCIETY most public only heard music in church church had orchestra now plus choir cities compete for best public / church musicians earned less than court musicians made special $$ for weddings and funerals (made less when less death) Large Towns some times employed musicians for processions, concerts for dignitaries, universities.

27. MUSIC in BAROQUE SOCIETY Opera houses mainly in Italy employed musicians and composers to supply steady steam of new operas Often music handed down in the family but training was in the church and orphanages that would later become conservatories. Women still not permitted to hold high roles such as music director or choir master but a number of women composers did emerge.

28. MUSIC in BAROQUE SOCIETY To get a job often difficult exams, performances, and composition submissions would be required. Difficult non-music jobs would often go along with the musical position Plus Large $$ donations required Or even arranged marriages to get a highly regard position.

29. Concerto Grosso major form of orchestral music in late Baroque period SOLOist (small groups or solo) contrasted against Tutti (full orchestra) performed more frequently in private aristocratic palaces several movements that contrast in character and tempo ( 1. fast 2. slow 3. fast) (ABA’ form)

30. Concerto Grosso (form) ( 1. fast 2. slow 3. fast) (ABA’ form) 1. fast (vigorous determined clear contrast between tutti&solo) 2. slow (quieter,lyrically,intimate) 3. fast (carefree,dancelike) ritornello – refrained theme that repeats in fragments until the end section where it repeats entirely

31. Concerto Grosso (form) 1.a. Tutti, ritornello in home key b. Solo 2. a. Tutti, ritornello fragment b. Solo 3. a. Tutti, ritornello fragment b. Solo 4. Tuttie, ritornello in home key

32. Listening Journal : Brandenburg Concerto No. 5 (J.S. Bach) 1 st movement only Dedicated to Brandenburg = German Aristocrat who requested piece Bach didn’t work for him 1 st time harpsichord given a solo in a Concerto (new instrument) 1 st movement allegro (fast section) Concerto with ritornello form (duple meter) in key of D major