M U S I C H I S T O R Y – T H E B A R O Q U E P E R I O D K N O W L E D G E O R G A N I S E R

The word BAROQUE means “Fancy decoration” and “ornamentation” in art, architecture, fashion and music and refers to music that was composed in a certain time period between 1600-1750 (the
The Baroque Period year one of the greatest Baroque composers – J. S. Bach – died). Music written during the Baroque period is very ORNATE and DECORATED. POLYPHONIC and CONTRAPUNTAL textures are very
common. Baroque music was performed mainly in CHURCH or in the PRIVATE SALONS OF THE RICH with a SMALL ENSEMBLE and SMALL AUDIENCE- known as CHAMBER MUSIC. Dancing was
(1600-1750) popular in the Baroque period and the orchestral music which accompanied it (see ‘THE BAROQUE DANCE SUITE’ below) was often performed separately (without dancing) as a stand-alone
instrumental SUITE.
Instruments, Timbres and Sonorities The Baroque Orchestra Melody and Texture
STRINGS - VIOLS (older types of string instruments) popular in the early Baroque, but Baroque Melodies are often DECORATED or ORNAMENTED by the performer adding
superseded by VIOLINS, VIOLAS, CELLOS (and later double basses) forming the backbone embellishments and ornaments (trills, turns etc.) or extra notes during performances, giving a
of the Baroque Orchestra. The LUTE was also a popular string instrument used mainly for “busy” feel to the melody of much Baroque music.
solos or accompanying songs. The melody line of much Baroque Orchestral Music was often performed by FIRST VIOLINS.
WOODWIND – FLUTES (wooden), RECORDERS, OBOES and BASSOONS. IMITATION - often used in Baroque Orchestral Music – a “dialogue” between instruments copying
BRASS – TRUMPETS (valveless, hence only being able to play a limited amount of pitches) or echoing each other with the same musical phrase/idea, sometimes at different pitches
used on special occasions and for dramatic effect only. SEQUENCE – a short melodic idea, repeated again at a higher or lower pitch, by the same or a
PERCUSSION – TIMPANI (kettle drums) the only notable percussion instrument used in different instrument(s).
the Baroque period, again for special effects and dramatic occasions. The frequent use of IMITATION in much Baroque Orchestral Music often results in a POLYPHONIC
KEYBOARD – ORGAN and HARPSICHORD (its “tinkling” timbre easily identifies Baroque texture – a dense, overlapping of sound as different instrumental parts “weave” together in a
from other types of music!) are the main keyboard instruments, both performed the role complex web of sounds e.g. FUGUE.
of the CONTINUO (‘filling out the harmonies’) performing from FIGURED BASS notation. HOMOPHONIC (melody and accompaniment) textures were more common in genres such as the
Often the Harpsichord player led the Baroque orchestra (no conductors (or pianos!) yet!) SOLO CONCERTO or SONATAS.
Harmony and Tonality Baroque Vocal Music Dynamics
Music in the Baroque period is An OPERA is a SECULAR drama set to music, acted and sung with costumes, scenery and props, by solo singers and a CHORUS, accompanied by an orchestra. The lyrics or text of an opera is called the TERRACED DYNAMICS
now clearly either MAJOR or LIBRETTO (written by a LIBRETTIST) (the plot or storyline being called the SYNOPSIS) and was developed in Florence in the late 1500’s by the Camerata who wanted to place more importance on the words, – music in either
MINOR (replacing the old rather than the music. Operas are performed in theatres and concert halls. ORATORIO developed at the same time but is a SACRED setting of religious words, often from the Bible, for solo singers, chorus “loud” or “soft”
Medieval and Renaissance and orchestra. Unlike an opera, an oratorio is not “staged” – no costumes, scenery, acting or props and was not performed in theatres – mainly churches or concert halls. sections (no use of
system of MODES). Pieces Both OPERA and ORATOIOS are made up of different vocal forms (as well as the occasional instrumental interlude or piece at the beginning – called the OVERTURE). RECITATIVE – a type of “half cresc. or dim.) One
written in the Baroque period spoken/reciting-half sung” singing developed to enhance the meaning of the words. The voice rises and falls following the natural speech rhythms of the words and used to “carry the plot/story forward”. “mood” usual lasted
that are in a minor key often end RECITATIVE SECCO is accompanied only by the CONTINUO (often with sustained chords playing from FIGURED BASS with a slow HARMONIC RHYTHM); RECITATIVE STROMENTATO features a richer throughout a
on a final chord in the TONIC accompaniment by the strings. ARIA – a SOLO song sung by one of the main characters, often quite long and expressive and reflecting the character’s mood or emotion at a particular point in the movement although a
MAJOR – called a TIERCE DE drama/story. The DA CAPO ARIA (popular from early 1700’s) featured a repeated A section with a contrasting middle B section and instrumental RITORNELLO sections - R A R1 A1 R2 B R A R1 A1 R2 and movement could have
PICARDIE (a major ending in a was VIRTUOSIC with MELODIC DECORATION and embellishment being added on the repeat of the A section. CHORUS – often written for SATB voices and orchestra. “loud” and “soft”
minor key). Other types of sacred vocal music popular in the Baroque period were: settings of the MASS, CANTATAS (vocal work in several movements with choir accompanied by orchestra), CHORALES, PASSIONS, ANTHEMS. sections for contrast.
Baroque Instrumental Music The Baroque Dance Suite
GROUND BASS – a repeating melodic bass line pattern (OSTINATO) used as a basis upon which to add other melodic layers e.g. Formed by grouping a set of shorter pieces together to form a SUITE – contrasting tempo, mood, metres and rhythms; normally in the
“Canon” by Pachelbel, often resulting in a thick, POLYPHONIC musical texture. same key but sometimes tonic minor used for extra musical contrast. The Baroque Dance Suite had 4 key MOVEMENTS, each normally in
FUGUE – a main theme (subject) is answered by a second theme (answer) together with other instrumental parts (called BINARY FORM (AB) with each section usually repeated.
“voices”) adding additional lines e.g. counter subject) creating a dense web of POLYPHONIC or CONTRAPUNTAL texture. ALLEMANDE – often opened the Suite, German origin, moderate tempo, stately character, 4/4 metre
CONCERTO GROSSO – A group of soloists (CONCERTANTE) share the duties of playing solo melodies, contrasted with an COURANTE – normally followed the Allemande, French origin, 3/4 metre, fast tempo, lively character and frequent use of dotted rhythms.
orchestra of “less able” players (RIPIENO), normally 3-4 contrasting movements. SARABANDE – slow and serious dance originating in Spain, in minim time e.g. 3/2, emphasis on second beat of the bar, often the melody
SOLO CONCERTO – one soloist, often performing difficult and complex solos, accompanied by an orchestra, normally 3-4 line decorated with ornaments.
contrasting movements. Normally starts TUTTI – all the instruments playing together. GIGUE – fastest of the movements and often at the end, lively character in compound time e.g. 6/8
SONATA – a solo instrument accompanied by the Cello or Harpsichord (CONTINUO), usually in 3-4 contrasting movements and A MINUET – a stately dance of elegant character in 3/4 time often in BINARY FORM but often two different minuets, usually in a
called after the instrument in which they feature e.g. Violin Sonata = solo violin & continuo. Can be performed in a church contrasting key, were played one after the other, the first minuet repeated at the end to form an overall TERNARY FORM (ABA) structure.
(SONATA DA CHIESA) or a private salon/chamber (SONATA DA CAMERA). A GAVOTTE or a BOURRÉE may be inserted before the final Gigue.
Baroque Composers

Monteverdi (1567-1643) Domenico Scarlatti (1685-1757) Vivaldi (1678-1741) Corelli (1653-1713) Purcell (1659-1695) Couperin (1668-1733) Rameau (1683-1764) Lully (1632-1687) J.S.Bach (1685-1750) Handel (1685-1759)
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