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Concerto Grosso & Ritornello Fugue

Concerto Grosso & Ritornello Fugue. Concerto Grosso. Consists of several movements that contrast in tempo and character Small group of soloists against large group (Tutti):2-4 soloists vs. 20 or more musicians (Strings and basso continuo)

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Concerto Grosso & Ritornello Fugue

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  1. Concerto Grosso & RitornelloFugue

  2. Concerto Grosso • Consists of several movements that contrast in tempo and character • Small group of soloists against large group (Tutti):2-4 soloists vs. 20 or more musicians (Strings and basso continuo) • 3 movements : fast, slow,fast; 1st movement vigorous, showing contrast between tutti and soloists • Slow movement quiet and lyrical; last movement lively, dance like • 1st and last movement are usually in ritornello form

  3. Ritornello Form • The refrian: repeated section of music played by the tutti,alternated by soloists playing new material • Played in different keys throughout movement;returns in fragments throughout movement. • At the end, entire ritornello in home key

  4. Solo section • New melodic ideas, softer dynamics • Lots of notes!!! • Expansion of short melodic ideas from tutti

  5. Fugue • Polyphonic composition based on one theme: subject • One of main forms of baroque music/composition • Written for a group of instruments or single keyboard instrument • Different melodic lines (voices) imitate the subject

  6. Fugue • Top line-soprano, bottom line-bass • Texture can be 3-5 voices;subject remains constant throughout;shifts to different keys or combined with different musical material • Form extremely flexible; only thing constant is how they begin: with subject • Subject imitated in other voices after introduction in soprano voice (usual technique)

  7. Fugue • Subject can be announced in ANY voice; order of imitation can be changed • Example: Row, Row Row your boat (exact imitation) • After presentation of subject, goes its own way with different melodic material

  8. Fugue • In opening of fugue, subject presented in two different scales: 1st time on tonic key or scale • 2nd voice presents subject, dominant scale, becomes answer • Alternation between subject and answer creates variety

  9. Fugue Many fugues, there is a countersubject: melodic idea that accompanies the subject constantly Countersubject always appears with subject;above or below After subject present, composer free to choose direction of music

  10. Fugue • Between subjects, transition music:episodes • Episode brought new musical material, or fragments of subject or counter subject. • Episodes don’t present subject in full;add variety and freshness

  11. Fugues • Other musical features • Stretto: subject imitated before its completed; one voice trying to catch the other • Pedal point: one tone in the bass (usually) is held while the other ovices produce a series of changing harmonies against it;AKA organ point

  12. Fugues • Subject varied in 4 main ways • Inversion: subject turned upside-down, intervals in subject reversed • Retorgrade:beginning with the last note of subject and preceding back to the first note • Augmentation:original time values are lengthened • Diminution: time values shortened

  13. Fugues • Sense of mood and continuous flow • Written as independent works or single movements within larger composition • Most independent fugues are introduced by shorter pieces:preludes

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