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The Baroque Period (Forms (Rondo Form - ABACA (Rondo is a form where one…
The Baroque Period
The Continuo
As the Baroque style developed, the requirements of composers for more complex harmonies led to the development of a notational 'shorthand', where composers would add figures below the continuo bassline to indicate the harmonies that were required.
Figured bass
The principle of figured bass is that the figure given refer to the notes to be played in addition to the bass note
A bass note C with a 5 and 3 written below it indicates that the composer requires the notes C,G (a 5th above C) and E (a 3rd above C) to be played.
Forms
Binary Form - AB
Binary form is the simplest of the Baroque forms. It was used primarily for the various dances in a suite. A binary form movement has two sections, usually separated by a repeated double bar. The two sections usually share melodic material. The main contrast between the sections is tonal.
Ternary Form - ABA
Ternary form has three sections. It was commonly used by Baroque composers for arias in operas and oratorios. Section A is in the tonic key, with Section B modulating, and ending on chord V of the tonic key in preparation to return to Section A. Sometimes known as 'de-capo'
Rondo Form - ABACA
Rondo is a form where one section keeps returning. The middle section contrasts with the A idea through tonality, instrumentation, melody or a combination of features. The A sections are known as the rondo theme, whilst the middle sections (B,C) are known as episodes.
Ritornello is much the same as rondo, in that one main theme keeps recurring. The sections in ritornello movements tend to be shorter and more abundant than in rondo form. Ritornello form is commonly found in the movements of concerti grossi and solo concerti.
Variation Form
In performance, solo singers and instrumentalists were quite used to and expected to vary a repeated line or section by adding ornaments or scalic passages, embellishing the line written in the score.
Two Types of Recitative
Later Baroque composers developed operatic innovations in a number of ways. Firstly, they introduced two types of recitative - the recitativo secco ('dry' recitative) and the recitativo accompagnato ('accompanied' recitative).
The secco recitative was accompanied only by the continuo instruments - keyboard and bass, and the sparseness of texture meant that long sections of dialogue or dramatic action could proceed quickly and, the singer could take more liberties with matters of rhythmic delivery.
The accompagnato recitative required tighter rhythmic control from the singer, because of the forces involved, but also provided the composer with more dramatic opportunities.
The Aria
The aria was similar to the recitative accompagnato in that it was scored for solo singer, continuo and orchestral instruments.
The aria was in a regular metre with exact rhythmic requirement. The aria has a clear form. which was later to become known as da capo form.
Sometimes, the da capo aria accompaniment had a solo instrumental line that acted as a foil to the voice. This is known as the obbligato.
An aria is often a reflective moment in an opera, where a single character is alone to share his/her thoughts and feelings with the audience. It is like a soliloquy in a play.
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The Chorale and Cantata
In the German Lutheran Church, a central element of any church service was the chorale - a simple hymn which could be sung by the whole congregation.
As an employee of the Lutheran Chuch in Arnstadt, Mulhausen and, most notably, Leipzig, J.S Bach was often called upon to write harmonisations of these chorale tunes for the choir to sing in four parts with the congregation.
Bach extended his harmonisations and use of chorale melodies in the Chorale Preludes and Cantatas that he composed. A chorale tune - one which would be sung by the congregation during the service itself - would be the basis through which virtuoso, florid counter-melodies would weave, disguising the original chorale tune as some kind of 'hidden melody'.
Bach developed the cantata - a smaller scale version of the oratorio - around the chorale. A cantata would contain recitatives, arias, and choruses. However, Bach also included within the cantata one or more chorale melodies - which could be sung by the congregation - and the chorales provide motifs for other movements.