Heidi Kobor and Marie Ladwig
Overview of Baroque
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Harmony
Melody
Texture
Dynamics
Form
Opera
Harmony
• Quick harmonic pace
• Regular pulse, continuous energetic harmonic
motion (basso continuo)
• Rich harmonies
• Bold chromatic harmony
• Rich dissonances
• Great use of the minor keys
Harmony - Purcell
• Regular pulse, continuous energetic harmonic motion (basso
continuo) – ground bass (see below)
• Rich harmonies: e.g. page 179, rehearsal mark 39
• Chromaticism: see below
• Dissonance: see page 177, bar 7
• Minor keys: C-minor, D minor, E minor, F minor, G minor vs. 3
major keys
• Based on Dominant, Tonic, Subdominant: Page 176-177, bar
7-10
Melody
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Continuous melodic line
Obvious cadences
Building on motivic and sequential repetition
Compact pattern repeated in a selfperpetuating manner
• No regular periodic structures
• Melodic extensions
• Irregular or dovetailed cadence points
Melody – Purcell
• Continuous melodic line: “When I am laid…”
• Obvious cadences: page 177, bar 11
• Building on motivic and sequential repetition:
– “Remember me”
– Page 156
• No regular periodic structures: Dido’s lament
• Irregular or dovetailed cadence points
– Page 176, bar 6
– Page 177, bar 17
Texture
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Complex and subtle
Counterpoint
Homophonic
Harpsichord
Strings
Woodwind
Texture - Purcell
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Complex and subtle: Ah Belinda
Ritornello: Act II, Scene II page 138
Counterpoint: Page 102
Homophonic: Page 97
Polyphonic: Page 102
Instruments:
– Harpsichord
– Strings
– Voices
Dynamics
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Limited use of dynamic contrast
Sudden contrast from f to p
Terraced dynamics
Excessive Ornamentation
No tempo changes
Dynamics – Purcell
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Limited use of dynamic contrast: Overture
Sudden contrast from f to p: Pag 91, bar 40
Terraced dynamics: Page 84, bar 13-16
Excessive Ornamentation, Page 96, bar 17
No tempo changes
Form - Opera
• Recitative
– Recitativo secco and accompagnato
• Aria
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Solo vocal operatic fom
Accompanied by continuo and instruments
Clear form (da capo)
Reflective moment
• Only proper and substantial opera from the Baroque era is Dido and
Aeneas, 1689
• Lully
– No flexibility in tempo and rhythm
– High level detail
– Overture
Form: Opera - Purcell
• Recitative
– Recitativo secco – Page
– Recitativo accompagnato – Page 176
• Aria
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Dido’s lament
Ah Belinda!
Accompanied by continuo and strings
Clear form, yet not always da capo
• Da capo: “Fear no danger to ensue”
• Not da capo, but AB: “Ah Belinda”; “Dido’s lament”
– Reflective
– Expressive
• French Overture
• No flexibility in tempo and rhythm
Form - Dance
• Dances flourish
• Allemande, Courante, Sarabande, Gigue
(English), Minuet, Gavotte, Bourree, Polonaise
• Own tempo, meter and rhythmic
characteristics
• Lully, Minuet
Form: Dance - Purcell
• At the end of every act except the second act,
there is a dance
• Similar to French opera, which had ballet
music
• Purcell’s gavotte (Banish Sorrow) not exactly
the same as French in its phrasing
• “Fear no Danger” – similar to Lully