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GCSE Music – Free Sample
Resource Pack
BAROQUE ON
This FREE SAMPLE STUDY SESSION is taken from the GCSE Music Resources section
of Musical Contexts. More study sessions for GCSE are available to subscribers at
www.musicalcontexts.co.uk
This study session introduces pupils to music from the Baroque period, exploring the dates
of the Baroque period and some Baroque composers. Pupils explore the main features of
Baroque music and the different types of instruments used distinguishing between
Baroque music and other genres. This study session can be used with the following Areas
of Study/Strands of the following exam boards:
Edexcel GCSE Music - Area of Study 1 - Western Classical Music 1600-1899 - Set Work 1 “And
the Glory of the Lord” from ‘Messiah’ - Handel
OCR GCSE Music - Area of Study 2 - Shared Music - Sub-Area 3 - Ensembles - Baroque
Chamber Music
AQA GCSE Music - Strand 1 - The Western Classical Tradition - Sub-Strand 1 - Baroque
Orchestral Music
The study session can be delivered through a traditional classroom lesson format, or
alternatively through a SUPPORTED SELF STUDY format giving pupils the responsibility
for their own learning or used as a valuable revision tool.
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L E S S O N
LEARNING OBJECTIVES
LEARNING OUTCOMES
(Pupils should know/understand/be able to do/be aware
of by the end of the lesson)

to know the dates of the Baroque period and name
popular Baroque composers
• to understand the main features of Baroque music and
instruments used
• to distinguish between Baroque music and other types
of music
(The evidence to show that pupils have achieved the
learning objectives)
P L A N
Grade E (working towards) All Pupils :
Describe and identify simple features used in Baroque music e.g.
the sound of the Harpsichord, the difference between major and
minor tonality
Aurally discriminate between characteristically Baroque music and
music from other genres
Grade C (working at) Most Pupils :
Know the dates of the Baroque period and can name a Baroque
composer
Describe and identify more complex features used in Baroque
music e.g. role of the continuo and terraced dynamics
Aurally discriminate between a range of vocal and instrumental
Baroque music and music from other genres
Grade A (working beyond/GAT) Some Pupils :
Can name other Baroque composers such as J. S. Bach and
Vivaldi
Describe and identify complex features used in Baroque music
e.g. melodic decoration and imitation
Correctly aurally discriminate between Baroque and other music
Core Main Activities
Starter Activity
LESSON STRUCTURE
What can you see? What can you hear? – Study Session 1 Study Guide & Audio 1
Using the collage of images on page 1 of the Study Session 1 Study Guide and by playing Audio
1 simultaneously, ask pupils to record their ideas on what they can both see and hear.
With reference to the images, pupils might like to think visually about musical instruments, different
locations and where music being performed and by whom, and think about if there is a common
theme running through all the images?
With reference to the audio track, pupils might like to think aurally about instruments and words
which could be used to describe the melody, texture, dynamics and rhythm of the extract.
Discuss answers with the class and share responses: instruments include viols, wooden flute,
recorder, harpsichord, violin (held by Vivaldi), singers, trumpeters, organ; groups of musicians in a
salon, a baroque orchestra with singers, small groups of musicians with small audiences (chamber
music), opera, St. Peter’s (influence of the church on sacred music); ornate and “fancy” decoration;
Audio 1was an example of a Baroque Concerto – instruments included violins, violas and cellos,
flute, obot, trumpet and harpsichord; the piece was in a major tonality with lively rhythms, lots of
“question and answer” phrases, imitation and terraced dynamics – contrasts of loud and soft.
(15 mins)
Demonstrating Key Features of Baroque Music - Study Session 1 Study Guide & Audio 2 &
Audio 3 & Audio 4 & Audio 5 & Audio 6 & Audio 7 & Audio 8 & Audio 9 & Audio 10 & Audio
11
INSTRUMENTATION - Allow pupils to read Extract 1 – “The Baroque Orchestra” on page 2 of the
Study Session 1 Study Guide and answer the following four accompanying questions. Discuss
answers with the class using Audio 2 to clarify the sound of the Harpsichord and Audio 3 to
demonstrate the role of the continuo.
MELODIC DECORATION - Introduce the concept of ornamentation and decorated melodies as
another feature of Baroque music using Audio 4 and Audio 5 and as a vocal example, Audio 6.
Some teachers may want to go into closer details about the theory of different ornaments at this
point and discuss trills, mordents, turns etc.
MAJOR & MINOR TONALITY – Explain how major and minor tonalities replaced older medieval
and renaissance “church modes” and became the established key systems of tonality that we still
use today. Ask pupils to aurally discriminate the difference between major and minor using Audio
7 as an example of minor tonality and Audio 8 as an example of major tonality.
TERRACED DYNAMICS – Explain the use of terraced dynamics as another key feature of Baroque
music using Audio 9 and Audio 10 as examples.
IMITATION – Using Audio 11 demonstrate the use of imitation made up of question and answering
phrases, a form of “musical echoing”.
(20 mins)
Continued…..
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Plenary
Core Main
Activities
Baroque or Not? Listening Quiz - Study Session 1 Study Guide & Audio 12
Using page 3 of the Study Session 1 Study Guide, play pupils Audio 12 and ask them to identify
whether they think the music they are listening to comes from the Baroque period or not and to
make a brief note to justify their decision. Discuss responses referring to key features of Baroque
music described above or by playing the audio examples again.
(15 mins)
Summary of Learning - Study Session 1 Study Guide
Using page 4 of the Study Session 1 Study Guide, clarify the key features of the Baroque period
under the headings Dates, Composers, Features and Instruments and make notes in appropriate
boxes.
Complete “Plenary Self-Assessment” task at bottom of page 4.
(10 mins)
ASSESSMENT FOR LEARNING
RESOURCES
Assessment of this lesson is by outcome. Pupils’ knowledge and
Musical Contexts Resources –
understanding of the lesson can be assessed by their ability to
identify different types of vocal and instrumental music from the
Baroque period in terms of key features learned about during the
lesson. “Baroque or Not?” listening quiz can be formally assessed
to measure pupils’ understanding of the lesson.
CROSS-CURRICULAR LINKS
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Art – Art and architecture of the Baroque Period
Geography – Italy as an important country for artistic
activity in the Baroque period
History – related social and cultural events 1600-1750
RE – sacred vs. secular/influence of the church on
music of the Baroque period
Maths – Figured Bass notation
D&T – construction and methods of sound production
on Baroque musical instruments
Textiles – Fashion and mode of dress in the Baroque
period/use of wigs/lace
KEYWORDS
Baroque, J. S. Bach, Handel, Vivaldi, Orchestra,
Harpsichord, Cello, Organ, Continuo, Viols, Basso
Continuo, Figured Bass,Ornamentation, Decorated
Melody, Trill, Turn, Mordent, Major, Minor, Tonality,
Imitation, Terraced Dynamics
SS1W1 – Study Session 1 Study Guide
SS1A1 – Starter Activity – Brandenburg Concert – J. S. Bach
SS1A2 – Harpsichord Example
SS1A3 – Continuo Example
SS1A4 – Decorated Melody
SS1A5 – Ornamented Melody
SS1A6 – Vocal Melodic Decoration
SS1A7 – Minor Tonality Example
SS1A8 – Major Tonality Example
SS1A9 – Terraced Dynamics Example 1
SS1A10 – Terraced Dynamics Example 2
SS1A11 – Imitation Examples
SS1A12 – Baroque or not? Listening Quiz
Audio CDs/DVDs
Instruments Other EAL/SEN/GAT
(GAT) – Higher ability pupils can be given the task of ornamenting a
simple melody including the use of trills, mordents, turns and imitation
and performing this in a “Baroque-style” performance
(SEN) – Lower ability pupils can be asked to find and demonstrate
traditional Baroque-sounding voices and timbres from a keyboard e.g.
Harpsichord
(EAL) – This study session contains considerable subject-specific
musical vocabulary and EAL pupils may need more help.
HOMEWORK IDEAS
Pupils could be asked to

Write a dictionary definition for the word “Baroque” in
the musical sense

Research more about other Baroque composers

Identify instrumentation and Baroque features and
influences in their set work “And the Glory of the Lord”

Compare and contrast the Harpsichord with the Piano
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BAROQUE ON!
STARTER ACTIVITY - WHAT CAN YOU SEE? WHAT CAN YOU HEAR?
IDEAS BOX
What can I see?
What can I hear?
IDEAS BOX
Learning Objectives
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to know the dates of the Baroque period and name popular Baroque composers
to understand the main features of Baroque music and instruments used
 to distinguish between Baroque music and other types of music
EXTRACT 1
THE BAROQUE
ORCHESTRA
The Baroque period saw the orchestra beginning to take shape.
It consisted of mainly strings with violins, violas and cellos
replacing the older viols. Recorders were replaced with flutes and there were oboes and trumpets
added for different pieces. The harpsichord accompanied the orchestra, filling in the harmonies.
The harpsichord player directed the orchestra. A bassoon or cello would play the basic bass line
along with the harpsichord and this formed the basso continuo or continuo. An organ was used
for the continuo instead of the harpsichord, especially if the piece was being performed in a
church. The continuo player played from a special type of notation called figured bass. This is
shown below and consisted of numbers written below the bass line – a type of musical shorthand!
The continuo player would know what these numbers meant and would be able to play complete
chords from this figured bass to fill out the harmonies of the orchestra. Sometimes Baroque
instruments were temperamental and could go out of tune or strings could snap in a performance
so the role continuo part in Baroque orchestral music was important to hold the group together.
QUESTIONS
1. Why is the harpsichord placed at the front?
2. What do they call the role of the harpsichord or organ
in Baroque orchestral music?
3. The majority of instruments in the Baroque orchestra
were from which “section”/”family”?
4. From the picture on the left, which is the only
percussion instrument used in the Baroque orchestra?
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BAROQUE
OR NOT
Listen carefully to the following extracts of music and decide whether you think the music is taken
from the Baroque period or not. Jot down a brief reason why in the “notes” column to justify your
decision.
Baroque?
YES/NO
Notes
Extract 1
Extract 2
Extract 3
Extract 4
Extract 5
Extract 6
Extract 7
Extract 8
Extract 9
Extract 10
(left) A Baroque Organ
– note the rich and
ornate decoration
(right) A “consort” of
Viols (near) and double
bass, cello, viola and
violin (far)
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DATES
COMPOSERS
BAROQUE
FEATURES
INSTRUMENTS
PLENARY – SELF ASSESSMENT
KEY WORDS – continuo, figured bass,
imitation, polyphonic, ornamented and
decorated melody, trills, terraced dynamics,
major, minor, harpsichord,
I know the dates of the Baroque period
I can name some Baroque composers
I can explain the main features used by
composers and performers in Baroque music
I know and can identify different musical
instruments used in Baroque music
I can distinguish between Baroque music and
other types of music when listening
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MUSICAL CONTEXTS
TRIED AND TESTED MUSIC RESOURCES - WRITTEN BY A TEACHER FOR TEACHERS
Audio Transcript
Musical Contexts
Study Session – “Baroque On”
In this study session, we’ll be learning about a period in musical history called the
“Baroque period”. We’ll be introducing your first set work, “And the Glory of the Lord”,
which was written by one of the Baroque’s most famous composers, Handel. We’ll also be
learning about musical features and devices that will help you recognise Baroque music
and the instruments that were used by Baroque composers and performers.
As a starter activity, we’re going to “bombard your senses” with images and sounds from
the Baroque period! Our starter activity in this study session is called “What can you see?
What can you hear?” On the first page of the study guide you’ll see a collage of images
which refer in some way to the Baroque period. In a moment, you’ll be asked to look at
these and jot down some notes in the ideas box from what you can see in these images.
You might like to think about the following questions
 Can you recognise any musical instruments?
 What different places are shown and where is music being performed and by who?
 Is there a common theme running through all the images?
While you’re making notes on what you can see you’ll also be listening to a piece of music
from the Baroque period and asked to jot dome some ideas on what you can hear. You
might be able to recognise the sound of some instruments, think of words that could
describe the melody, texture, dynamics and rhythm or any other ideas that you may have.
It’s up to you whether you start with the pictures or by listening – or a combination of both.
You’ve got about 5 minutes to work on this task.
SS1A1 – Extract from “I.Allegro” from “Brandenburg Concerto No.2 in F major” BWV 1047
– J. S. Bach
Let’s start by looking at the images. You may have recognised some of the musical
instruments. The top left image shows a group of men playing a viol (an older type of
instrument that preceded the violin and cello), a wooden flute in the centre and a recorder
held by the man on the right. There’s a harpsichord in the next image (don’t get confused
with a piano – the piano wasn’t invented yet!) and the Baroque composer Vivaldi holds a
violin in his hand to the right. On the second line of images, there is a collection of
Baroque musicians rehearsing. You may have noticed string instruments being played
along the left – viols again here, singers at the back, trumpeters at the right and the whole
ensemble is being led by the harpsichord player in the centre – an important feature of
Baroque music we’ll come to later.
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Finally, there’s an organ in the centre right image and you may have spotted the
performers in the bottom right who are playing violins on the balcony, although this is quite
hard to see.
In the images, Music is being performed in a variety of places. A small group of musicians
meet in a salon at the top left, in the centre, a baroque orchestra complete with singers
rehearse in a richly-decorated private hall. Music designed to be performed by a small
group of musicians, to a small audience, in the privacy of a rich-person’s home (such as
the German hunting lodge pictured in the centre at the bottom) was popular in the Baroque
period and was called “Chamber Music”. At the bottom, we have what looks like a
modern-day musical but is, in fact, an opera being performed on stage, and at the bottom
right, a public concert. You may have noticed St.Peter’s at Rome just above this public
concert image – an important reminder that the church was a major influence over music
in the Baroque period.
You may have noticed the rather “fancy” or ornately decorated clock, the rich decoration
just under the organ pipes, the lavish German hunting lodge and its interior staircase
complete with sculpture, or the large, grand, balconied concert hall at the bottom right.
Even the men in the images are dressed in lavish wigs and wear coats with lace. In art,
architecture, fashion and music “fancy decoration” and “ornamentation” became
immensely popular and this “richly ornate” definition sums up the word “Baroque”. You
might have thought these images look “old fashioned”? Well you’d be right as the dates of
the Baroque period span from 1600 to 1750, important dates for this Area of Study so
make a note of them now and make sure you remember the definition of “Baroque”.
The piece you were listening to, a movement from one of the “Brandenburg Concertos”,
was written by a famous Baroque composer J. S. Bach. You may have heard string
instruments playing – there were violins, violas and cellos - along with a flute, oboe,
trumpet and harpsichord. The piece was in a major key with lively rhythms, lots of
“question and answer” phrases called “imitation”, some of the instruments played “solos”
and dynamics were either “loud” or “soft”. You may also have noticed that the piece was
very similar throughout, there wasn’t much contrast and this is typical of Baroque music.
OK, so that’s a basic introduction to Baroque music. Now, let’s clarify our learning
objectives for this study session. They’re on page 2 of the study guide. So, by the end of
this study session you’ll know the dates of the Baroque period and be able to name some
popular Baroque composers, you’ll recognise the main features and instruments used in
Baroque music and you’ll be able to distinguish between Baroque music and other types of
music.
Let’s now take a closer look at musical instruments used in the Baroque period. We’ve
touched on instruments in our starter activity but now you’re going to be asked to read a
short extract in the study guide. Read the extract “The Baroque Orchestra” on page 2 of
the study guide and answer the questions which follow. You should return to this audio
track when you have completed this activity. Switch off now.
OK, the questions probably seemed fairly straight forward. The harpsichord was placed at
the front of the Baroque orchestra as the harpsichord player doubled up as the conductor W W W . M U S I C A L C O N T E X T S . C O . U K
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a kind of “multi-tasking” role (see page 1 of the study guide). The name given to the role of
the harpsichord or organ in Baroque orchestral music is the “continuo” or “basso
continuo” which literally means “a continuous bass part”. The continuo part was normally
played or “doubled” by the cello or bassoon along with the harpsichord player who read
from a type of music called “figured bass” – an example is shown in the study guide. The
Harpsichord is one of the key features in recognising Baroque music and it is important
that you can identify its “tinkling” and “plucking” sound characteristic of Baroque music –
it’s one of the key features that will enable you to distinguish between Baroque music and
music from other periods. Let’s take this opportunity to hear the Harpsichord in action in a
solo piece by Handel.
SS1A2 – Extract from “Sonata” from ‘Suite in B flat major’ HWV 434 - Handel
Returning to our questions, the majority of instruments in the Baroque orchestra were from
the string section and the only percussion instrument used in the Baroque orchestra was
the timpani or kettle drums.
We’re going to listen to another example of instrumental music from the Baroque period.
As you listen, try to identify which instruments are playing and listen out for the cello and
harpsichord performing the “continuo” part in the bassline.
SS1A3 – Extract from “Gavotte” from ‘Orchestral Suite No.1 in C Major” – J. S. Bach
In that extract, there were oboes, a bassoon, violins, viola, cello and the “tinkling” continuo
part of the Harpsichord which was taken from one of J. S. Bach’s Orchestral Suite’s.
It’s time to recap on what we’ve learned so far in our study of the Baroque period by
making some notes on page 4 of the study guide which will help you to revise the Baroque
period at a later date and keep track of your learning. As you listen to our next musical
extract, make some notes in the “Instruments” box from your learning about the Baroque
Orchestra. You may also like to mention the “continuo” feature of Baroque music in the
“Features” box and the “figured bass” appearance of the music from which the continuo
player performed. You might like to add the dates of the Baroque period to the “Dates”
box – see if you can remember them?
We’ve heard some examples of Baroque music by the composer J. S. Bach (you may like
to add Bach to the “Composers” box on page 4 of the study guide) so now to another
famous Baroque composer and the composer of your first set work, Handel (you could add
him to the “Composers” box now too!). Here’s an extract from his famous suite, “Water
Music” – listen out for the Harpsichord continuo part and the rather “ornate” and “elegant”
mood of the music – typically Baroque.
SS1A4 – Extract from “Menuet” from ‘Water Music’ - Handel
You may have noticed how “decorated” or indeed “fiddly” the melody lines are in the
extracts we’ve been listening to – it’s another key feature of Baroque music. They’re full of
trills, mordents, turns and extra notes, often added by the performers themselves during
performances as opposed to being written on the music by the composer. Our next
extract is full of rich, elaborate melodic decoration by the flute player. Listen out for the
trills, turns, mordents and extra notes giving the melody line a very “busy feel”. You may
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like to add “melodic decoration” to the “features” box on page 4 of your study guide as you
listen.
SS1A5 – “Badinerie” from French Suite No.2 – J. S. Bach
It’s not only instrumental melody lines that were richly decorated in the Baroque period, but
also vocal lines as our next example from Handel’s “Messiah” shows.
SS1A6 – Extract from “But who may abide the day of his coming?” from ‘Messiah’ - Handel
Both of our last extracts were in the minor key or had “minor tonality”. Some people
recognise this by saying that minor music has a “sad” feel compared to major tonality’s
more “happier” feel. However you choose to remember it, it’s important at GCSE level to
be able to distinguish between major and minor tonalities. During the Baroque period, they
replaced the old medieval and renaissance system of church “modes” and became the
accepted key systems that we still use today. So, the establishment of major and minor
tonalities was another key feature of Baroque music. Let’s hear a couple of extracts of
vocal music from the Baroque period – see if you can work out which one is major and
which one is minor?
SS1A7 – Extract from “And with his stripes we are healed” from ‘Messiah’ - Handel
SS1A8 – Extract from “Hallelujah” Chorus from ‘Messiah’ – Handel
The first extract was in the minor key whilst the second was in the major key – both pieces
of music from Handel’s “Messiah”. You may also have noticed that the music of the first
extract and towards the end of the second, the famous “Hallelujah” Chorus, seemed very
“busy” with lots of different vocal lines twisting and interweaving with each other. You’ll be
learning more about musical textures in study session 5 but this “Polyphonic” texture is
another important feature of Baroque music and was popular with composers of vocal and
instrumental music in the Baroque period. You also probably noticed that the “mood” of
the first extract was generally quite sad and the dynamics soft and reflective whilst the
mood of the second extract was joyful and uplifting with loud dynamics. In Baroque music
there wasn’t much musical contrast. Once a piece had started, it kept the same mood
throughout and dynamics were generally either “loud” or “soft” – no “gradually getting
louder or softer” until later on in musical history! Baroque composers instead wrote a
series of shorter pieces of music called “movements” – each with its own mood and
dynamics. The musical name for this is TERRACED DYNAMICS – either “loud” or “soft” –
nothing in between! Our next two extracts show terraced dynamics in action in two pieces
from Handel’s “Music for the Royal Fireworks” Suite – a collection of contrasting shorter
“movements” designed to be performed one after each other during an outdoor fireworks
display. You might like to make notes on what you’ve just learned on page 4 of the study
guide as you listen.
SS1A9 – “Menuet II” from ‘Music for the Royal Fireworks’ – Handel
SS1A10 – “Menuet I” from ‘Music for the Royal Fireworks’ – Handel
We are going to look at our final feature of Baroque music called IMITATION. This is
basically a form of echoing or “Question and Answering” between different instruments
and different melodic lines. One instrument or part performs a short section….
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SS1A10a – Extract from “Alla Hornpipe” from “Water Music” – Handel
…… which is then echoed or “imitated” by another part…….
SS1A10b – Extract from “Alla Hornpipe” from “Water Music” – Handel
……producing a form of “musical dialogue”…..
SS1A10c - Extract from “Alla Hornpipe” from “Water Music” – Handel
Let’s listen to these extracts in their original piece, from the “Hornpipe” movement of
Handel’s “Water Music”. As you listen, try and identify this “imitation” in the music and you
may like to add imitation to the “features” box on page 4 of the study guide.
SS1A10d - Extract from “Alla Hornpipe” from “Water Music” – Handel
OK, now it’s time to see if you can recognise Baroque music from other types of music.
We’re going to listen to ten different extracts of music, some of which will be taken from
the Baroque period, and some which will not. Your job is to indicate one page 3 of the
study guide whether you think the extract comes from the Baroque period or not and a
brief note as to why you think the extract sounds particularly “Baroque” – or otherwise!
You may like to think about instruments or the different features of Baroque music you
have learned about in this study session to justify your selection.
Extract 1
Extract 2
Extract 3
Extract 4
Extract 5
Extract 6
Extract 7
Extract 8
Extract 9
Extract 10
SS1A11 – Extract from “Spring” from ‘The Four Seasons’ - Vivaldi
SS1A12 – Extract from “Fanfare for All” – Babbitt
SS1A13 – Extract from “Aquarium” from ‘Carnival of the Animals’ – SaintSaens
SS1A14 – Extract from “Allegro” from ‘Brandenburg Concerto No.3 in G
major BWV 1048
SS1A15 – Extract from “Air” from ‘Water Music’ - Handel
SS1A16 – Variation from “America” – Charles Ives
SS1A17 – Extract from “He Was Despised” from ‘Messiah’ - Handel
SS1A18 – Extract from 1st Movement of Symphony No.5 - Mahler
SS1A19 – Extract from “Un Bel Di” from ‘Madame Butterfly’ - Puccini
SS1A20 – Extract from “But Thanks be to God” from ‘Messiah’ - Handel
Extract 1 was an example of Baroque music. It was a piece written by the Italian Baroque
composer Vivaldi. The instruments used in this extract were all from the string family – a
main feature of Baroque music along with the “tinkling” continuo of the Harpsichord
together with the cello keeping the bass line of the music together. The light and joyful
mood was the same throughout – and although there were contrasting dynamics, these
were either loud or soft – remember “terraced dynamics”. Listen again to ensure you
managed to hear all of these features or you may like to add Vivaldi to the “composers”
box on page 4 of the study guide as you listen.
SS1A11 – Extract from “Spring” from ‘The Four Seasons’ – Vivaldi
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G C S E M U S I C F R E E S A M P L E M A T E R I A L
S T U D Y S E S S I O N – B A R O Q U E O N !
L E S S O N
P L A N
Extract 2 was most certainly not Baroque and was actually a Fanfare written in the 20th
century for brass instruments and percussion. The mood of the music is far too heavy to
be Baroque, the harmonies with their discords and clashes are just too experimental.
Instruments like the snare drum just weren’t around during the Baroque period. Listen
again.
SS1A12 – Extract from “Fanfare for All” – Babbitt
Extract 3 was certainly not Baroque either. The sound of the piano should be an instant
clue for you to place the music in a much later period. The piano wasn’t invented until the
Classical period which came after the Baroque period, however this extract is from the
Romantic period. Listen again to the sliding, chromatic melody played by the piano
towards the end of the extract.
SS1A13 – Extract from “Aquarium” from ‘Carnival of the Animals’ – SaintSaens
It was “back to Bach” for Extract 4 and a very characteristic piece of Baroque music from
another of Bach’s “Brandenburg Concertos”. The Harpsichord and cello play the continuo
bass part while the string section performs the melody. The mood of the piece was light,
in a distinctly major key and kept the same dynamics throughout – all very “Baroque”
SS1A14 – Extract from “Allegro” from ‘Brandenburg Concerto No.3 in G
major BWV 1048
Extract 5 was also distinctively Baroque - another extract from Handel’s “Water Music”.
Listen for the highly decorated melody line with lots of trills, the “ever-present”
Harpsichord, the oboe performing the melody first followed by the strings and the use of
“terraced dynamics” – a loud – soft- loud- soft series of sections.
SS1A15 – Extract from “Air” from ‘Water Music’ – Handel
Extract 6 was written in the 20th century by the American composer Charles Ives. You
may have recognised the theme as our national anthem. However, the orchestra that
played this extract was too “full-sounding” to be Baroque – the snare drum, tambourine
and castanets in the percussion section and the way in which the music “fades” out at the
end are very typically un-Baroque!
SS1A16 – Variation from “America” – Charles Ives
Extract 7 was another piece from Handel’s “Messiah” and contained lots of features that
made it distinctly Baroque. The strings introduction contained lots of “imitation” – musical
question and answers or echoing - and a melody line richly decorated with trills. There
was even imitation between the voice and the strings towards the end of the extract. No
Harpsichord here, but we do have the organ, taking on the role of the continuo with the
cello, as this piece would have originally been performed in a church. Listen again and
see if you can identify the imitation, the ornamented melody and the organ and cello
continuo.
SS1A17 – Extract from “He Was Despised” from ‘Messiah’ - Handel
W W W . M U S I C A L C O N T E X T S . C O . U K
G C S E M U S I C F R E E S A M P L E M A T E R I A L
S T U D Y S E S S I O N – B A R O Q U E O N !
L E S S O N
P L A N
Extract 8 was written much later than the Baroque period by the Romantic composer
Mahler. The music is again too dramatic to be Baroque, the orchestral sound is too large
and the fading of dynamics would not be found in the Baroque period. Listen again.
SS1A18 – Extract from 1st Movement of Symphony No.5 - Mahler
Extract 9 is again written much later than the Baroque period and is taken from an opera.
This music is again too dramatic, too expressive with too large an orchestral sound to be
Baroque. The contrasting changes in dynamics and texture would be something that
would become popular in music far later than the Baroque period. Listen again to this
famous piece of music taken from the Romantic composer Puccini’s opera “Madame
Butterfly”
SS1A19 – Extract from “Un Bel Di” from ‘Madame Butterfly’ - Puccini
It’s back to the Baroque and back to Handel for our final extract which had the
characteristic Baroque-sounding instruments – mainly strings with oboe and organ
continuo. There was lots of imitation between the vocal parts. The music had a very clear
polyphonic texture with parts weaving and interweaving in and around each other. The
piece very much “sounded the same” with little contrast giving it a true Baroque feel.
SS1A20 – Extract from “But Thanks be to God” from ‘Messiah’ – Handel
That covers your introduction to the Baroque period and should allow you to approach
your set work “And the Glory of the Lord” with a greater understanding of the overall
context of the work and the Baroque period as a whole.
In the Edexcel GCSE Music Listening exam, you may get asked questions relating to your
set work “And the Glory of the Lord” as follows:
 This chorus was composed in the Baroque period of Western Classical Music.
State FOUR key features of Baroque music.
 Name three different instruments that accompany the singers in this piece
 What features of this piece are distinctly or characteristically Baroque
 This piece was written by the Baroque composer Handel, name two other Baroque
composers.
Feel free to listen again to any of the musical extracts as part of your learning or revision
so that you can identify the key musical ingredients in Baroque music and discriminate
clearly between music from the Baroque and other musical periods.
Fill in the plenary self assessment box at the bottom of page 4 of the study guide to see
how well you have done.
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