The Baroque 1/4 (1600 1750) Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992) NB To understand the slides herein, you must play though all the sound examples to hear the principles in action. The sound of the music will make sense of the rules. Introduction General points about the Baroque: The Baroque is more of a collection of different styles, whose emphasis was on involving the onlooker in the sense of passion ( affect ) the art sought to convey. After 1600, the theory of affections categorised the emotions to be expressed in music into recognised states of mind (e.g., anger, hate, jealousy, joy or despair) In most compositions of this time, an affectation governed a whole movement. The birth of many vocal and instrumental forms (e.g., opera, oratorio, cantata, concerto and suite). This stemmed from the development of instruments, especially the violin, and the consequent expansion of available instrumentalists The early Baroque reverted to a simple style, melody-dominated, and supported by a bass-line in reaction to the complex polyphony of the late Renaissance (compare to Classical)
Some composers Claudio Monteverdi (1567-1643) Arcangelo Corelli (1653-1713) Henry Purcell (1659 1659) Alessandro Scarlatti (1660 1725)
George Frederick Handel (1685 1759) Johann Sebastian Bach (1685 1750)
Session 1: Basic Harmonic and Melodic Features of Baroque music (Compare with session 1 of Renaissance) Musical Features explored in this session: Baroque Musical Language: Music based on Triads 1. The continuo and figured bass 2. Interpretation of figured bass 3. The chord of the dominant 7 th 4. Some features of Baroque melody (e.g., sequence as an extension of imitation, taking on a harmonic role) Functional Harmony 1. Chord progressions 1. Strong progressions (e.g., the progression of fifths, scale movement in the bass, the ground bass 2. Neutral progressions (e.g., progressions of first inversions) 2. Harmony at the cadence: further characteristics 1. The cadential 6/4 2. Harmonic rhythm: the hemiola 3. Coloured chords at the cadence Baroque Musical Language 1: The Continuo and Figured Bass Harmonic dominance, acceptance of the basso continuo. Two players provided the continuo, which usually included a bass instrument (e.g., viola da gamba) and a keyboard The keyboard player realised the figured bass, filling the harmonies implied by the figures Interpretation of Figured Bass: (a)the figures (with the highest number on top) represent intervals counted from the bass note. The triad notes can be put between in any order (b)a root-position chord usually has no figure, but 5 sometimes follows 6 to indicate resolution. 3 4 6 (c)the figuring for 3 (first inversion) is usually reduced to 6. (d)an accidental on its own affects the third of the triad (e)an accidental next to a number affects that specific interval. A diagonal stroke through a figure indicated sharpening. (f)suspension figurings are 9-(8), 7-6, and 4-(3). Care must be taken to prepare the dissonance in the part in which it occurs.
Example 1: How to realise figured bass Example 2: Suspension figuring Baroque Musical Language 2: The Dominant Seventh V 7 - I is the fundamental harmonic progression of the tonal era The 5 th of the scale is the strongest note in the harmonic series apart from the octave, with a natural pull towards its fundamental The other notes of motion in the dominant 7 th chord include The leading note semitone pull towards the tonic The minor seventh resolved downwards Its function is to reinforce the sense of key Its diatonic spelling is unique to a specific key
In the Renaissance, the 7 th, as a dissonance, usually required preparation. Monteverdi and the early opera writers, in seeking greater means of musical expression, shook off this convention, and the dominant 7 th emerged as an independent chord with its own special sound. Inversions, figurings and resolutions of the dominant seventh: All inversions used freely In V7c-Ib, the 7 th may rise V7d a favourite chord of Handel, normally resolves into Ib
Baroque Musical Language 3: Features of Melody Sequences: In the Renaissance, imitation was used to draw attention to the text Baroque composers soon realised the potential of the repeated pattern (varied in pitch) as a means of extending a single musical line: the sequence became a favourite feature It could be either an exact (real) sequence, or one in which the intervals were slightly altered Repeated phrases, echoes, melodic decoration: Frequently, composers did not differentiate between the lines that they wrote for voices, and those for instruments. Thus, it was often very difficult to sing. Example: Sequences
Example: Complex vocal lines Some composers did write melodies for a particular medium. Corelli wrote music for the violin that demonstrated its lyrical and dynamic qualities
... and Purcell and Handel wrote with skill specifically for the voice. Purcell captured the essence of the words in an individual way. In this example, notice the effect of the rests and of the hypnotic repetition of words: Handel wrote to please popular taste, seeking to move and involve his audience. His ability to write a good tune was vital to his success. For your listening diary: find examples of melodies by Baroque composers how are they characteristic of the Baroque? Session 1: Basic Harmonic and Melodic Features of Baroque music (Compare with session 1 of Renaissance) Musical Features explored in this session: Baroque Musical Language: Music based on Triads 1. The continuo and figured bass 2. Interpretation of figured bass 3. The chord of the dominant 7 th 4. Some features of Baroque melody (e.g., sequence as an extension of imitation, taking on a harmonic role) Functional Harmony 1. Chord progressions 1. Strong progressions (e.g., the progression of fifths, scale movement in the bass, the ground bass 2. Neutral progressions (e.g., progressions of first inversions) 2. Harmony at the cadence: further characteristics 1. The cadential 6/4 2. Harmonic rhythm: the hemiola 3. Coloured chords at the cadence
Functional Harmony 1: Chord Progressions From about 1620, some important principles were formulated which came to dominate harmonic thought and practice. Tonality was the most important principle established at that time by gradually replacing the modal system with major and minor scales. The chords in each key in three groups (tonic; dominant: 5 th higher; and subdominant: 5 th lower) now had specific functions to the tonal centre, and to each other. Strong progressions: 1.The progression of fifths This progression, a sequence of roots with falling 5ths or rising 4ths, is probably the strongest and most natural progression. Much tonal music is based on it: I IV vii iii vi ii V I The most common version of this progression has its roots in the Renaissance, using the end part of the sequence: vi or I iib V I The falling fifths combined with the pull of the semitone movement - often decorated by a suspension assured the constant use of the progression throughout the whole tonal era.
The addition of the seventh, to either the dominant or supertonic chord, strengthens the progression further through the pull of semitones. This can also be achieved by the chromatic alteration of notes in the progressions, e.g., the alteration of the 3 rd in ii 7 makes a dominant seventh of the dominant: Strong progressions: 2. Scale movements in the bass The use of ascending and descending scales in the bass dates back to very early part-music. Step-wise movement gives the music direction towards the tonic or the dominant; often helped by contrary motion in the top part. Ascending scales usually move between tonic and dominant chords (examples on next slide). Descending scale movements produce particularly strong and satisfying progressions; they generally move from tonic and often include chords associated with the progression of 5ths (examples on slide 20).
Strong progressions: 3. The Ground Bass The descending scale was often used as a ground (a repeating bass on which variations were built): Chromatic movement was included where the affect of the music demanded an emotional response of grief or anguish from the listener. Neutral progressions: Progressions involving roots rising a 3 rd, e.g., I iii Weak progressions: The consecutives rule The most difficult progressions to handle are those that rise or fall by step. There is a danger of consecutive fifths and octaves, so there has to be some contrary motion. The rule of no consecutives remained the general norm (the bareness of the sound was deemed unacceptable), but some are found, especially between inside parts. The rule only replies to moving parts and to perfect fifths. Stepwise root progressions, really belong to the modal period of the Renaissance or earlier (where the movement towards a tonal centre was often lacking); or to the 19 th century Impressionists, where root movement by step was a characteristic trait.
6 The Cadential : 4 Functional Harmony 2: Harmony at the Cadence During the Baroque, decorations other than the suspension became common at the cadence. The decorated dominant (ic-v) became typical of the late Baroque and Classical styles, and decorations of the tonic (usually involving the progression I-IVc-I) also occurred: Functional Harmony 2: Harmony at the Cadence Harmonic Rhythm: The Hemiola It became increasingly common for the harmonic rhythm to quicken towards the cadence to give a forward momentum to the music. This effect was enhanced by the use of the hemiola a rhythmic interaction between the standard metre and the harmonic rhythm, creating a broadening at cadences:
The hemiola, with its syncopated effect, serves to drive home the message of the words in no uncertain manner. Sing: Functional Harmony 2: Harmony at the Cadence Coloured chords at the cadence Introduction of chromatically-altered ( coloured chords) before the dominant 1.The diminished seventh (vii d7 ) Has a dominant function Built up on minor thirds on the semitone below the root of the final chord
In music of the 17 th and 18 th centuries it usually occurs in the minor key where its characteristic sound adds to the expressiveness of the passage: 2. The Neapolitan 6th Took its name from frequent use by Alessandro Scarlatti (1660-1725), who composed operas in Naples for many years It is a major chord built on the flattened supertonic In the 17 th and 18 th centuries it is usually found in a minor key in its first inversion (hence the term, Neapolitan 6 th ) It functions in the same way as iib, moving towards V directly (a), via Ic (b) or via a diminished 7 th chord (c):
Session 1: Basic Harmonic and Melodic Features of Baroque music (Compare with session 1 of Renaissance) Musical Features explored in this session: Baroque Musical Language: Music based on Triads 1. The continuo and figured bass 2. Interpretation of figured bass 3. The chord of the dominant 7 th 4. Some features of Baroque melody (e.g., sequence as an extension of imitation, taking on a harmonic role) Functional Harmony 1. Chord progressions 1. Strong progressions (e.g., the progression of fifths, scale movement in the bass, the ground bass 2. Neutral progressions (e.g., progressions of first inversions) 2. Harmony at the cadence: further characteristics 1. The cadential 6/4 2. Harmonic rhythm: the hemiola 3. Coloured chords at the cadence