Get books again today…Get books again today…

CHAPTER 3: CONCERTO GROSSO CHAPTER 3: CONCERTO GROSSO AND RITORNELLO FORMAND RITORNELLO FORM

Basic principles of Baroque music:Basic principles of Baroque music:Contrasts of loud and softContrasts of loud and softContrasts of large and small groupsContrasts of large and small groups

Leads to: Leads to: concerto grossoconcerto grosso – – important musical form of Baroque important musical form of Baroque era; small group of soloists pitted era; small group of soloists pitted against a larger group of players against a larger group of players called the called the tuttitutti (all). (all).

2-4 soloists2-4 soloistsOften difficult, fanciful melodic linesOften difficult, fanciful melodic linesHighest paid musicians in the orchestraHighest paid musicians in the orchestra

8-20 or more tutti, usually strings 8-20 or more tutti, usually strings and harpsichord basso continuoand harpsichord basso continuo

Usually 3 movementsUsually 3 movements1. Fast – vigorous, determined1. Fast – vigorous, determined2. Slow – quieter, lyrical2. Slow – quieter, lyrical3. Fast – lively, carefree, sometimes 3. Fast – lively, carefree, sometimes

dancelikedancelikeMovements contrast in tempo and Movements contrast in tempo and

charactercharacter

First and last movements usually in First and last movements usually in ritornello formritornello form – alternation – alternation between tutti and solo sectionsbetween tutti and solo sectionsTutti opens with main theme, called the Tutti opens with main theme, called the

ritornelloritornello..Theme always played by tutti, but just in Theme always played by tutti, but just in

fragments and various keys until it comes fragments and various keys until it comes back at the endback at the end

Solos offer fresh melodic ideas, softer Solos offer fresh melodic ideas, softer dynamics, rapid scales and broken chordsdynamics, rapid scales and broken chordsMay also expand short melodic ideas from the May also expand short melodic ideas from the

tuttitutti

TUTTI

TUTTI TUTTI

TUTTI

SOLO

SOLO

SOLORitornello, home key

Ritornello, home

key

Ritornello fragment, new key

Ritornello fragment, new key

Fresh idea

Fresh idea

Fresh idea

LISTENING TO CONCERTO LISTENING TO CONCERTO GROSSOGROSSO

Brandenburg Brandenburg Concerto No. 5 in D Major Concerto No. 5 in D Major (about 1721), Johann Sebastian Bach(about 1721), Johann Sebastian Bach

Books pg. 134Books pg. 134

Mrs. Ritter will tell you what to write Mrs. Ritter will tell you what to write downdown

CHAPTER 4: THE FUGUECHAPTER 4: THE FUGUE

Cornerstone of Baroque musicCornerstone of Baroque musicFugueFugue – polyphonic composition – polyphonic composition

based on one main theme, called based on one main theme, called subjectsubject

Different melodic lines (Different melodic lines (voicesvoices) ) imitate the main subject.imitate the main subject.Top Top voicevoice always called the soprano, always called the soprano,

bottom always called the bassbottom always called the bass

Fugues are flexibleFugues are flexibleOnly constant feature is how they begin – Only constant feature is how they begin –

subject almost always presented in a single, subject almost always presented in a single, unaccompanied voiceunaccompanied voice

SopranoSopranosubjectsubject……………………………………..……………………………………..

AltoAlto subjectsubject…………………………………………………………

TenorTenor subjectsubject………………….………………….BassBass subjectsubject....................

(Subject may be announced by any voice)(Subject may be announced by any voice)

Seems similar to a round, but differs in Seems similar to a round, but differs in two main waystwo main ways1. In a round, each voice does an exact 1. In a round, each voice does an exact

imitation and nothing else. In a fugue, imitation and nothing else. In a fugue, after after a voice has presented the subject, it’s free a voice has presented the subject, it’s free to go its own way with different materialto go its own way with different material

2. In a round, each voice presents the 2. In a round, each voice presents the melody on the same pitches. melody on the same pitches. In a fugue, In a fugue, the subject is presented in two different the subject is presented in two different scales/keys.scales/keys.

Subject presented on tonic scale

Subject presented on dominant scale, 5 steps higher

This is called the answer

Answer

Subject

The subject in one voice is often The subject in one voice is often accompanied in another voice by accompanied in another voice by different melodic idea, called different melodic idea, called countersubjectcountersubject

Answer

Subject

Subject

Countersubject

Between presentations of the Between presentations of the subject, transitional sections are subject, transitional sections are called called episodesepisodesOffer either new material or fragments Offer either new material or fragments

of the subject or countersubjectsof the subject or countersubjectsEpisodes do not present entire subjectsEpisodes do not present entire subjectsLend variety to fuguesLend variety to fuguesMake the reappearance of the subject Make the reappearance of the subject

more freshmore fresh

Answer

Answer

Subject

Subject

Subject

Countersubject

Episode

Several musical procedures commonSeveral musical procedures commonStrettoStretto – subject is imitated before it’s – subject is imitated before it’s

completed (overlapping)completed (overlapping)Pedal PointPedal Point – single tone is held while – single tone is held while

other voices move against itother voices move against it

Fugue melody can vary Fugue melody can vary four waysfour ways1. 1. InversionInversion – melody turned upside – melody turned upside

downdown

2. 2. RetrogradeRetrograde

Melody Inversion

Melody Retrograde

3. 3. AugmentationAugmentation – time values are – time values are lengthenedlengthened

4. 4. DiminutionDiminution – time values are – time values are shortenedshortened

Melody Augmentation

Melody Diminution

Fugues convey a single moodFugues convey a single moodAn independent fugue can be An independent fugue can be

introduced by a short piece, called a introduced by a short piece, called a preludeprelude

Peak of the composition of the fugue: Peak of the composition of the fugue: Bach Bach and and HandelHandel (mostly Bach) (mostly Bach)

LISTENING TO FUGUELISTENING TO FUGUE

Organ Fugue in G Minor (Organ Fugue in G Minor (Little FugueLittle Fugue; ; about 1709), Johann Sebastian Bachabout 1709), Johann Sebastian Bach

Books pg. 139Books pg. 139Mrs. Ritter will tell you what to write Mrs. Ritter will tell you what to write

downdown

VocabularyVocabulary

Concerto GrossoConcerto Grosso TuttiTutti Ritornello FormRitornello Form RitornelloRitornello FugueFugue SubjectSubject AnswerAnswer CountersubjectCountersubject

EpisodeEpisode StrettoStretto Pedal PointPedal Point InversionInversion RetrogradeRetrograde AugmentationAugmentation DiminutionDiminution PreludePrelude