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Published byBonnie Paul Modified over 9 years ago
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Important form in the late Baroque period Concerto Grosso – a small group of soloists is set against a larger group of players Anywhere from 2-4 soloists Best and highest paid musicians of the orchestra Tutti – when all musicians play together Anywhere from 8-20 musicians Mainly stringed instruments Usually performed by private orchestra for the aristocrats
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Several movements Contrasting in tempo and character Usually 3 movements 1- fast Determined – showing differentiation between soloist and tutti sections 2- slow Quieter than the 1 st movement Often lyrical and intimate 3- fast Lively, carefree Can be dance like
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1 st and last movement of concerti grossi are often in ritornello form. Ritornello Form – based on alternation between tutti and solo sections Tutti section – ritornello (refrain) Returns in different keys throughout the movement Fragment Whole again at the end Number of returns varies from piece to piece Concerto grosso outline A. tutti, ritornello in home key B. Solo A. tutti, ritornello fragment B. Solo A. tutti, ritornello fragment B. Solo A. tutti, ritornello in home key
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Concerto Grosso Ritornello Form Set of 6 concertos Written for a German aristocrat Performed for Bach’s employer – prince of Cothen Each concerto is written for a different unusual combination of instruments Brandenburg Concerto No. 5 – written for a string orchestra and soloists – flute, violin and harpsichord
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First Movement: Allegro Opens with ritornello – continuous flow of rapid notes Ritornello has a definite ending Soloists present dropping dynamic level and changing the tone color Fragment of ritornello Alternation elongates throughout the movement Soloists parts are vibrant and fancy Tutti sections are straightforward Harpsichord is the only instrument to play during final solo section Prince had just bought one and Bach most likely wanted to showcase
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Fugue – a polyphonic composition based on a main theme Written for a group of instruments or voices or for a single instrument Can be written independently or introduced by another short piece – prelude Bach and Handle wrote hundreds Subject – main theme Voices – different melodic lines Imitate the subject Texture of the fugue ranges from 3 -5 voices Subject is constant Takes new meanings with shifting of keys or combined with different melodic/rhythmic ideas
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Fugue form is very flexible Only constant feature is how they begin Subject is presented in a single unaccompanied voice Subject is presented in two different scales First in the tonic - call Second in the dominant - answer Later is imitated by all the remaining voices May seem like a round, but does not continue indefinitely After the subject is presented the melody line may continue its own way in each voice The composer has freedom to choose when the subject will be presented in voice and key Between presentations are transitions - episodes Countersubject – the subject in one voice is constantly accompanied in another voice by a different melodic idea Constant companion Above or below the subject
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Musical procedures Stretto – subject is imitated before it is completed – one voice tries to catch another Pedal point – single tone is held while the other voices produce a series of changing harmonies Variations of Fugue Inversion – turned upside down Steps and leaps of intervals are reversed Retrograde – beginning with the last note of the subject and going backward to the first. Augmentation – original values are lengthened Diminution – shortened values
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Bach’s best known organ Piece 4 voices taking turns presenting the subject Top voice and then progressively through the lower voices Subject gains speed as it progresses Subject appears 5 times following initial presentation New material, countersubject, downward sequences, melodic patterns… Subject presented in major keys Final statement in minor Ends in a major chord – thought be more conclusive during the time period
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