Terms and Definitions – Feb.8
Genres of instrumental music:
concerto – a larger composition in which one or more soloists play with and against a larger
orchestra
-this form highlights contrast between a soloist or small group of instruments called solo and a
larger group of instruments called ripieno
concerto grosso – a type of concerto that pits a small group of soloists (such as two violins with
basso continuo) against a full orchestra (usually consisting of violins, violas, cellos, and basso
continuo); the solo group in a concerto grosso may also be referred to as the concertino, while
the larger ensemble is called the ripieno
solo concerto – a type of concerto where a single soloist (plus basso continuo) is contrasted with
the whole orchestra
ritornello form – the characteristic form of the first and often the last movement of a lateBaroque concerto, based on an alternation of tutti (ritornello played by the full ensemble) and
solo sections
-between the returning ritornello passages are passages of contrasting musical material, called
episodes, played by the soloist (in a solo concerto) or group of soloists (in a concerto grosso)
RITORNELLO FORM
Section
Group
Theme
Key
Ritornello 1
Solo 1
Rit. 2
Solo 2
Rit. 3
Solo 3
Tutti
1, 2, 3
I
i
Concertino
free
mod.
Tutti
2*
V
III
Concertino
free
mod.
Tutti
1*
vi
V
Concertino
free
mod.
Final
Rit.
Tutti
1, 2, 3
I
i
* Any ritornello theme may be used
Antonio Vivaldi (1678-1741)
Violin concerto, Op.8, No.1 – First movement
(“The Spring”; early 1700s)
Rit. 1
Solo 1
Rit. 2
Solo 2
Rit. 3
Solo 3
Rit. 4
Solo 4
Final Rit. 5 & 6
T
1, 2
S
free
T
2
T
free
T
2
T-S
free
T
2
S
free
T- S (Solo5) -T
1
2
Section
Group
Theme
Late Baroque Music: read pp.135-140 – you will be responsible for this material
sequence – a repetition of a phrase of melody at different pitch levels, the succession of pitch
levels rising or falling by the same or similar intervals
Johann Sebastian Bach (1685-1750)
Weimar (1708-1717): court organist and chamber musician
Cöthen (1717-1723): Director of Music for Prince Leopold of Anhalt
Leipzig (1723-1750): Cantor of St. Thomas Church and Director of Music for the City
Organ Fugue in G minor (ca.1710)
counterpoint – the combination of two or more melodic lines; the linear consideration of melodic
lines sounding together; the technical principles governing such consideration
fugue – the most fully developed procedure of imitative counterpoint, in which a theme is stated
successively in all voices of the polyphonic texture, tonally established, continuously expanded,
opposed and reestablished; also a work employing this procedure
exposition – consists of an entry of the subject or answer, in each voice in turn, until the specified
number of voices is achieved
subject – a short melody or theme with well-defined characteristics, establishing the tonic key
and ending with a melodic cadence; the initial statement is unaccompanied
answer – the subject transposed up a 5th or down a 4th into the dominant key area
countersubject – the counterpoint that accompanies the first entry of the answer and is used
regularly with the subject or answer throughout the fugue
episode – a modulating passage usually built out of a motive or motives from the subject or
countersubject, and frequently written in sequence; it does not contain an entry of the subject
tierce de Picardie - the raised third degree of the tonic chord, when it is used for the ending of a
movement or composition in a minor mode in order to give the ending a greater sense of finality
Awake, a Voice is Calling (1731)
cantata – a composite vocal genre consisting of a succession of recitatives, arioso and set-pieces
(such as arias, duets and choruses) and that may be either secular or sacred in subject matter and
function
chorale – the congregational song or hymn of the German Protestant Church
Bar form – aab – a melodic phrase, a, is sung twice for the stanza’s first two units of text (called
Stollen) and the remainder, b (called Abgesang), generally longer and sung only once, contains
new melodic material