Please enable JavaScript.
Coggle requires JavaScript to display documents.
AREA STUDY ONE: BAROQUE (1600-1750) - Coggle Diagram
AREA STUDY ONE:
BAROQUE
(1600-1750)
Composers
Claudio Monteverdi
Henry Purcell
Antonio Vivaldi
Johann Sebastian Bach
George Frederick Handel
The Orchestra
Strings
Violins
Violas
Cellos
Double Basses
Woodwind
Flutes
Oboes
Oboe D'amore
Brass
3 Trumpets
Percussion
Kettle Drums
Timpani
Keyboard
Harpsichord
Solo Instruments
Organ Prelude
Violin Partita
Choral
Choirs
Ensemble
Harpsichord
Key Musical Textures
Generally Polyphonic
Harpsichord or cello basso continuo part
Clearly defined in major or minor
Long and flowing imitation and sequences (repetition of phrases by different parts)
Ornaments are used frequently
Terraced dynamics (Very loud to very quiet)
Features
Ground Bass
Usually played by the continuo (Cello, Double Bass, Harpsichord)
Recurring bass line over which the melody changes
Modulations
When a piece changes key
Expected Modulations
Dominant (V)
Sub-Dominant (IV)
Relative Minor (vi)
Usually returns to the tonic before ending
Cadences
At the end of a phrase of music
Types
Perfect: the movement from chords V-I. Sounds finished.
Imperfect: the movement from any chord-V. Sounds unfinished, occurs part way through a section, often I-V.
Plagal: the movement from chords IV-I. Sounds more finished but less final, often referred to as the
amen
cadence.
Interrupted: the movement from chords V-vi. It will sound bizarre and surprising, like an interruption to the ending.
Ornamentation
(REFER TO KEY WORDS)
Acciaccatura, or grace note.
Appoggiatura
Trill
SATB choral voices
Soprano: High females, treble clef.
Alto: Low females, treble clef.
Tenor: High males, tenor clef (looks like a treble clef but with an 8 underneath)
Bass: Low males, bass clef.
Coronation anthems
Melody
Introduction is orchestral and repetitive semi-quaver broken chords in violins.
Use of melisma, ‘rejoiced’ and ‘Amen’.
Mostly conjunct melody.
Trumpet melody at the end of choral passages.
Rhythm
Use of dotted rhythms to give a dance-like feel. (e.g trumpets during ‘rejoice’ section.
Tempo
Slow beginning (Andante)
Tempo increases (Allegro) at “And all the people rejoiced”.
Tempo decreases (Adagio) just before “God Save the King” but then increases to Allegro at the start of the section.
Slows to Adagio for the final “Alleluja”
Metre
Begins C (Common time, like 4/4)
Moves to 3/4 for “And all the people rejoiced”
Returns to C for the final section “God Save the King”
Oratorios
Religious work that tells a story
SAMSON, MESSIAH
Melisma was common