Get books again today…

1. Get books again today…

2. CHAPTER 3: CONCERTO GROSSO AND RITORNELLO FORM • Basic principles of Baroque music: • Contrasts of loud and soft • 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).

3. 2-4 soloists • Often difficult, fanciful melodic lines • Highest paid musicians in the orchestra • 8-20 or more tutti, usually strings and harpsichord basso continuo

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

5. First and last movements usually in ritornello form – alternation between tutti and solo sections • 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 • Solos offer fresh melodic ideas, softer dynamics, rapid scales and broken chords • May also expand short melodic ideas from the tutti

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

7. 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

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

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

10. 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 • 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.

11. Subject presented on tonic scale Subject Answer Subject presented on dominant scale, 5 steps higher This is called the answer

12. The subject in one voice is often accompanied in another voice by different melodic idea, called countersubject Subject Countersubject Answer Subject

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

14. Subject Countersubject Answer Subject Episode Subject Answer

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

16. Melody Inversion Melody Retrograde • Fugue melody can vary four ways • 1. Inversion – melody turned upside down • 2. Retrograde

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

18. Fugues convey a single mood • 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)

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

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