Compare these two examples of Baroque and Classical music:
Compare: harmony; melody; instrumentation; texture; form; tonality; phrase structure; dynamics; articulation; ornamentation; mood in general (expression); use of contrast and variety
Do this basic drag and drop exercise comparing the two periods.
http://www.wwnorton.com/college/music/enjoyment-of-music11/complete/ch/prelude03/era-transitions.aspx
Read your textbook pp192-196.
1. Summarise the important political and social changes that occurred in Europe during the Classical Period.(pp192-194)
2. Who are the four famous composers of the Viennese School?
3. Summarise the elements of classical music style (p195).
4. Who employed classical composers and where were their works performed?
5. How did women's role in musical life change in this period?
NB I must apologise for my inadvertent choice of performers in the Mozart video above - I don't usually listen to this orchestra for these non-musical reasons!
6. How are Classical ideas reflected in late 18th Century music?
Read pp197-204
7. What were the usual characteristics of each movement of a four-movement symphony, string quartet, sonata or (three movement) concerto?
8. What are the 3 main sections of a sonata-form movement?
9. How could you compare sonata form to the structure of a novel or play?
1. Outline the standard structure and features of the Baroque Concerto and the Concerto Grosso. Ripieno - full orchestra; Concertino - group of soloists (concerto grosso); soloist or two soloists (concerto) Structure: Ritornello in full by ripieno, tonic key - solo (or concertino) episodes alternating with partial ritornello statements in other keys - longer episode/cadenza - ritornello reappears in full, in tonic key
2. Listen to the "Naxos Classics Explained" discussion of this piece and note the motifs used. Make a list of the devices Bach uses to develop his motifs. Fragmentation into motifs; melodic alteration; augmentation; inversion; extension; stretto; imitation; sequence; contrapuntal treatment; fragments used as accompaniment figures; decoration; rhythmic alteration; inverted pedal notes
3. As a class, do a concept analysis (excluding structure - you've already done that) of the first two minutes, for homework. Choose from: Pitch; Duration; Texture; Tone Colour; Dynamics and Expressive Techniques.
Here are some starter aspects to discuss:
Pitch, by Indiana: Tonality - key, and modulations? D major - modulations to A (dominant) and Bm (relative minor) - later to F# minor (mediant) - long dominant prolongation in cadenza, return to tonic Harmony - chords used? Diatonic triads in root position and 1st inversion, and sevenths - emphasis on I and V in ritornello; some suspensions in episodes; applied dominant chords leading to modulations Harmonic rhythm? varied: slow at first, then speeding up in ritornello; usually two chords per bar
patterns (circle of fifths, cadences etc)? Circle of fifths used to modulate to V, bars 14-18 (A-D-G#dim-C#m-F#m-Bm - E7 - A) - perfect cadences used at end of ritornello, and at modulations Melody: ritornello is an unpredictable mixture of rising and falling scales, arpeggios and complex, irregular semiquaver patterns, over a wide range. sequence? used extensively in episodes, (such as over the circle of fifths section mentioned above) as well as in sections of the ritornello (eg sighing motif bar3-4) decoration? trills added by performers at cadences, written in decoration common as well, like the rising triplet pattern other devices? Motivic development? many devices used in episodes, eg augmentation and inversion, decoration (bars 11-12), extension and inverted pedal (harpsichord left hand bars 14-15) Range of melody? broad in ritornello; narrower ranges used in solo episodes at first, although solo harpsichord explores very wide range Overall pitch range (between lowest and highest instruments)? about 4 octaves
Duration: metre? 2/2 (simple duple) - strong pulse throughout
tempo? Allegro (fast) as usual for 1st movement - tempo does not change as is usual for Baroque music
rhythmic ideas and motifs? The whole piece is constructed from rhythmic motifs extracted from the opening ritornello - eg bar 7, bar 9; the three note upbeat motif, the semiquaver scale motif, etc - these are recombined and used in complex polyphony after the opening homophonic ritornello
regular or irregular rhythms? Regular, predictable rhythms in ritornello, but combined with irregular phraselengths; more unpredictable combinations of rhythmic patterns in episodes, but continuing to emphasise strong pulse and accents on beats 1 and 2 of each 2/2 bar;- some syncopation used (suspensions) and dotted note ideas at cadences; augmentation, decoration, fragmentation of themes and motifs, cross rhythms
use of homorhythm/rhythmic unison? ritornello has rhythmic unison at some points with semiquavers to connect phrases (eg bar 5), and a clear homophonic texture, but episodes have varied, faster rhythms in upper parts combined with steady quavers in bass (walking bass). At one point there is a cross rhythm on a small scale with triplets against quavers (bar 14). (EMMA)
Texture (ANNABELLE): Polyphony/homophony? Homophonic in ritornello, polyphonic in episodes
How layers are combined in counterpoint? Contrasts in density of the texture? Relationships between layers (eg imitation, antiphony, homorhythm, etc)? Changing roles of instruments? Ritornello, bar 1-8: 3 layers - melody - ripieno violins + solo violin; harmony line (in rhythmic unison with bass) - viola; bass line - double bass, cello and basso continuo (adds chords to bass line according to figured bass) Melody and bass often in contrary motion to each other Bar 9 -first solo for concertino group (flute, violin, harpsichord) on their own; bar 10 - interrupted by ripieno (full orchestra) with ritornello fragment Bar 14 - thin texture as before - solo episode with only concertino group - imitation between violin and flute; harpsichord independent Bar 19 - Contrast with only ripieno playing semiquaver arpeggio motif Bar 21 - Concertino episode again - suspensions between flute and violin Bar 32 - ornamented sequence and suspensions between flute and violin - ornate semiquaver figures in harpsichord RH with LH bassline - brief interruptions by ripieno throughout this section with fragments of the ritornello before a longer ripieno statement of ritornello in new key of B minor
Tone Colour:Instrumentation: concertino group (soloists): violin, (transverse) flute, harpsichord ripieno (orchestra): violins, violas, cello, double bass, continuo harpsichord (doubles as continuo during ritornellos, as well as soloist in episodes)
In some recordings authentic Baroque instruments are used: gut strings, shorter bows, wooden flutes, harpsichord; these are played without vibrato, and have different sounds: the gut strings are softer, and warmer sounding, and the wooden flute has a light, airy sound different to a modern flute.
The softer dynamic of the flute means that it often plays in a higher register to be heard when it is playing with the full orchestra, but mainly plays in solo episodes with a thinner texture.
The harpsichord's lack of dynamic control means that it often adds extra arpeggiation and thicker chords to be heard during forte ritornello sections, and its lack of sustained sound means that it often plays semiquaver patterns and trills to sustain the sound. The virtuosity of the solo harpsichord writing is unique for the time, and explores the full range of the harpsichord (smaller than a modern piano). Its solo sections are still mainly when the ripieno isn't playing, because the harpsichord is a fairly soft instrument. The harpsichord has a ringing, thin, metallic sound owing to its playing technique (the strings are plucked, instead of hit with hammers). Two manuals (keyboards) are used.
No special instrumental techniques are required - no double stops, pizzicato or other special techniques.
Contrasts of tone colour occur throughout as the heavier sound of the ripieno orchestra interjects with solo sections with the lighter, brighter tone colours of flute, harpsichord and solo violin. (JORDAN)
Dynamics and Expressive Techniques: are dynamics indicated? yes, piano ,pianissimo and forte indicated in ripieno at some places (eg bar 10, 19, 21). Pianissimo used when soloists need to be heard above orchestra. Sudden contrasts in dynamics (terrace dynamics) are used, not crescendos.
Listen to the recording: where are dynamics used? Ripieno (tutti) sections tend to be loud (eg bar 1). Dynamics also used within phrases (eg swells on suspensions).
What sorts of ornaments are added and where? Trills usually added at cadence points in melody (eg bar 8) - sometimes written in (tr), sometimes added by performer. Other decorations (eg triplet figure in bar 10) are written in by composer here.
