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Typical Fugue Exposition (4-part) Music of the Baroque 55 A special type of variation form deserves mention, the passacaglia. A passacaglia (and its close relative, the chaconne) is a unique form of theme and variations, in which a repeated bass line, called a ground bass, is the central theme. The ground bass is repeated many times with little or no alteration, and the harmonic and melodic ideas that are layered over the bass line comprise the variations. The passacaglia was somewhat rare, but the Passacaglia in c minor of Johann Sebastian Bach is a supreme example of polyphonic variation technique. Listen to This Track #6 Bach, Fugue in G minor This compact fugue, sometimes known as the “Litte Fugue,” is one of Bach’s most popular fugues for the organ. It is a four-voice structure. The subject is a surprisingly simple melodic idea, which is answered fairly quickly in the other voices. After the fourth voice enters (in the organ pedals) the exposition ends quickly and an episode follows. In this fugue the differences between an episode and a stretto are fairly subtle. Rather than try to find them, simply listen to Bach’s imaginative way of interlacing pieces of the subject among the contrapuntal lines. The piece ends with a flourish, but quickly, in keeping with its nickname. The End of the Baroque: Rococo Many composers in the late Baroque period sought to clarify formal structures, and bring more order to the perceived excesses of the contrapuntal forms employed by Bach and others. Two of Bach’s own children, Carl Philipp Emanuel and Johann Christian, became exponents of the rococo style. This style, also called the gallant style, is characterized by a homophonic texture with regular phrases and simpler melodies than the complex polyphonic music normally associated with the Baroque. Several Baroque composers, including Bach himself, sometimes chose to compose works, especially suites, in the rococo or gallant style. Rococo ideals foreshadowed Classical and even some Romantic concepts of musical style and timbre. As the forces of change gathered to end the perceived excesses of Baroque polyphony, the next era, the Classical era, was born.
56 Chapter 5 Principal Baroque <strong>Composer</strong>s Henry Purcell, 1659–1695 English Giuseppe Torelli, 1658–1709 Italian Arcangelo Corelli, 1653–1713 Italian Girolamo Frescobaldi, 1583–1643 Italian Jean-Baptiste Lully, 1632–1687 French George Frideric Handel, 1685–1759 German Johann Sebastian Bach, 1685–1750 German Antonio Vivaldi, 1678–1741 Italian Francois Couperin, 1668–1733 French Alessandro Scarlatti, 1660–1725 Italian Domenico Scarlatti, 1685–1757 Italian Key Terms Age of Absolutism major Age of Science minor aria opera Baroque oratorio basso continuo overture cadence prelude cantata recitative chorus ripieno concertato tempo scheme concertino toccata concerto grosso fugue virtuoso
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Track Title/Composer/Performer Musi
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M usic to Your Ears An Introduction
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Contents Preface vii 1 What Is Musi
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7 Beethoven and the Transition to R
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Preface The purpose of this book is
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2 Chapter 1 that might have puzzled
Page 15 and 16: 4 Chapter 1 Writings from the Greek
Page 17 and 18: 6 Chapter 1 Figure 2 The treble cle
Page 19 and 20: 8 Chapter 1 Often a musician will f
Page 21 and 22: 10 Chapter 1 Key Terms adagio mezzo
Page 24 and 25: 2 Musical Instruments Evidence exis
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Page 30 and 31: The Percussion Family timpani Music
Page 32 and 33: The Symphony Orchestra Percussion H
Page 34: Name Date Chapter 2 Review Musical
Page 37 and 38: 26 Chapter 3 Gregorian Chant Gregor
Page 39 and 40: 28 Chapter 3 requirements of the Ch
Page 41 and 42: 30 Chapter 3 Summary residences at
Page 44 and 45: 4 The Renaissance Music History Tim
Page 46 and 47: The Mass The Renaissance 35 Since b
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Page 60 and 61: Music of the Baroque 49 Astute read
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Page 73 and 74: 62 Chapter 6 A. (statement) Twinkle
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Page 77 and 78: 66 Chapter 6 The Concerto The fourt
Page 79 and 80: 68 Chapter 6 Composer Profile Wolfg
Page 81 and 82: 70 Chapter 6 Summary Haydn’s symp
Page 84 and 85: 7 Cultural Overview Beethoven and t
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Page 97 and 98: 86 Chapter 8 Likewise, chamber musi
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Page 105 and 106: 94 Chapter 8 Composer Profile Franz
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106 Chapter 9 Beethoven’s music s
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108 Chapter 9 twenty years of her l
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110 Chapter 9 Nationalism cycles he
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112 Chapter 9 Composer Profile Anto
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Name Date Chapter 9 Review The Late
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118 Chapter 10 Music History Timeli
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120 Chapter 10 The Impressionistic
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122 Chapter 10 2 4 7 9 11 1 3 5 6 8
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124 Chapter 10 Music composed in th
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126 Chapter 10 Spain pivotal works
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128 Chapter 10 American works by or
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130 Chapter 10 that the sounds arou
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132 Chapter 10 Key Terms absolute m
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11 Introduction Beyond Classical Mu
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The Big Band Era Beyond Classical M
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Beyond Classical Music 139 This aca
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Beyond Classical Music 141 was noth
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Glossary a cappella Vocal music tha
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Glossary 147 cadenza Unaccompanied,
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Glossary 149 country western Type o
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Glossary 151 fusion A type of jazz
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inversion Mirror image of a melody
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Glossary 155 Neo-Classical Strictly
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Glossary 157 pure music Music that
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Glossary 159 spiritual Sung by Afri
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Glossary 161 triple meter A metric
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Bibliographic References Apel, Will
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166 Index chant, 25-27 character pi
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168 Index Neo-Romantic, 118, 124 no
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104 Chapter 9 music drama as “a t
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