BAROQUE
Orchestral Instruments
(Basso) Continuo
A accompaniment style with an improvised, chordal part on harpsichord
or organ, supported by a low-sounding string instrument
Fugue
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Fugue means ‘Flight’
It is contrapuntal –
same as polyphonic but
is based on IMITATION
It is written in 3 or 4
parts called ‘voices’
(these can be vocal or
instrumental) and
referred to as SATB
The Subject
In this Fugue there are only 3 parts or
‘voices’. Here you can see the theme or
‘SUBJECT’. It is always heard first in one
voice only
The Answer
After the subject, the same tune appears in
another voice or part in the DOMINANT (a
5th higher)
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1. If the intervals are exactly the same as the
subject it is called a Real Answer
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2. If the intervals are NOT exactly the same as
the subject, it is called a Tonal Answer.
Look at the Answer below, is it real or tonal?
An Episode
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An Episode is a modulating link between entries of
the subject, and often contains similar material.
A Stretto
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Where the subject enters closely after the previous
part, adding to the tension. This normally happens
near the end of a fugue.
Canon
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Another IMITATIVE structure developed in
this period, is the Canon, which in its simplest
form, is a round.
Perhaps one of the most famous examples of
this style is the Canon by Pachelbel. This is
really also an example of
a chaconne, variations over a repeated
progression of chords. Listen to the chord
progression and how the parts enter and are
immediately copied by the next part to enter.
Chorale Prelude & Toccata
These two works are for the virtuosic organist.
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A chorale prelude is
based on a chorale
melody and played on the
organ. The melody can
be either in fugue style or
variations on that theme.
A Toccata is a fast,
ornamental and
technically demanding
work for organ or
keyboard instrument. It is
often paired with a fugue.
Concerto Grosso
Taking the Renaissance
The Concertino –
idea of ANTIPHONY, this
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style has two OPPOSING
groups of instrumentalists.
Essentially, the Concerto
Grosso is a Concerto for a
group of soloists with
orchestral Tutti sections
First movements were
frequently in ritornello
form, a form in which the
whole orchestra, the
ripieno, alternated with
sections played by soloists,
the concertino.
the small group of soloists
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Ripieno
The
– the
large group of instruments
(mainly strings) and
includes the soloists
There would often be Basso
Continuo accompaniment
Solo Concerto & Ritornello
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solo concerto - Vivaldi wrote
many solo concertos which grew
out of the Concerto Grosso,
creating more contrast by putting
a single instrument against a
whole orchestra.
The 4 Seasons is an example of
an early Violin Concerto
These were generally in three
movements, fast, slow and fast.
Movements were often in
Ritornello form – a
recurring theme played by
everyone. Listen to the 4
seasons ‘Autumn’
The Dance Suite
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In the Baroque period the suite was a group
of different styles of dances performed one
after another and continuing a tradition from
the Renaissance period when two dances,
the pavan and galliard, were usually
performed together.
Look at the ‘Baroque ensemble’ page in
‘Chamber music’ on LT Scotland website and
research the different types of groups and
dances that existed.
Vocal Music
Opera and Oratorio
Handel
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Works were developed from the
Renaissance period and
composers created complicated
settings of the Mass, particularly
with orchestral accompaniment
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Both Operas and Oratorios,
Cantatas and Passions are
made up of Recitatives, arias
and choruses.
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Handel composed the greatest
oratorios of the Baroque period,
with the words in English.
The main difference between an
opera and an oratorio is that the
oratorio has a sacred story.
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The Chorus
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A Chorus singing Handel’s Messiah
The Chorus is made up
of SATB
The most famous of
Handel’s Oratorio
Choruses is the
‘Messiah’.
He used the Chorus to
vividly describe more
dramatic events in the
story
Recitative – moves the story forward
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Recitative grew from a
monodic style. The vocal
line (1/2 singing, ½ reciting)
was supported by Basso
Continuo.
Recitative Secco was a solo
voice with Basso continuo
only. There was no strict
time signature, it just
followed the rhythm of the
words.
Bare texture
Recitative
Accomagnato
Also known as
Stromentato, is when
the singer is
accompanied
by ORCHESTRA, giving
A more dramatic and
Fuller sound
 Mainly homophonic
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Arias – reflective & thoughtful moments
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For solo voice, Baroque
arias were expressive
songs where the character’s
emotions were explored.
There were many
ornaments in the orchestra
and in the voice.
A DA CAPO Aria is quite
simply an aria which has
only 2 sections, with the 1st
section repeated, in Ternary
form (ABA)
Passion & Chorale
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A Passion is an Oratorio
which tells the story of
Christ’s Crucifixion.
Bach composed 3 settings
of the passion according to
the different gospel stories.
They have German text and
contain CHORALES
(German Hymn tunes)
Chorales are homophonic in
texture and are sung by the
Chorus at the most solemn
moments in the story.
MAIN POINTS
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It is important to remember that the forms and styles
created in the Baroque period were carried on and
developed by composers in the Classical, Romantic
periods as well as up to present day.
Main characteristics of this Period:
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Complicated, ornamental music
Structured styles – Fugue & Canon, Concerto Grosso, Solo
concerto, Chorale
Oratorio – Large scale religious works were still very
popular (Handel’s Messiah, Bach’s Passions)
Basso continuo – accompanying nearly all works
Test on Concepts below
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Basso Continuo
Solo concerto
Ritornello
Concerto Grosso
Concertino
Ripieno
Fugue
Chorale Prelude
Toccatta
Chaconne
Da Capo Aria
Recitative Secco/Stromentato
Passion
Chorale
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Exposition
Subject
Tonal/Real Answer
Counter Subject
Episode
Stretto
Coda
Tutti
Ornaments – trill, mordant,
acciaccatura, appoggiatura,
turn
Melismatic/Syllabic singing