The Baroque 2/4 -...

The Baroque 2/4

(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.

Session 2: Basic Harmonic and Melodic Features of Baroque music (Compare with session 2 of Renaissance)

Musical Features explored in this session: 1.  Chord progressions (cont.)

1.  Coloured chords at the cadence (e.g., diminished seventh; Neapolitan 6th)

2.  The Plagal cadence

2.  Modulation 1.  Key Relationships (closely-related keys; remote or foreign keys) 2.  Methods of changing key (pivot chords; pivot notes; leap or

abrupt change; chromatic move; modulation by sequence; tonic major to tonic minor)

3. The use of Dissonance 1.  The suspension 2.  Unprepared dissonance (accented passing notes; appogiatura;

4. Chromatic Writing

5. The Chorale (1) – the Melody line of the chorale

Functional Harmony: Coloured Chords at the Cadence

‘Coloured’ chords at the cadence

Introduction of chromatically-altered (‘coloured’ chords) before the dominant

1. The diminished seventh (viid7)

• Has a dominant function • Built up on minor thirds on the semitone below the root of the final chord

Play:

•  In music of the 17th and 18th centuries it usually occurs in the minor key where its characteristic sound adds to the expressiveness of the passage:

Play:

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 17th and 18th centuries it is usually found in a minor key in its first

inversion (hence the term, ‘Neapolitan 6th’) •  It functions in the same way as iib, moving towards V directly (a), via Ic (b) or

via a diminished 7th chord (c):

Functional Harmony: The Plagal Cadence

IV – I

• Lacks the drive of the perfect cadence • May occur as a phrase ending in the course of a piece • Or as a added ‘Amen’

Play:

Modulation: Introduction • Changing from one key to another • Relieves tonal monotony • A composer’s method and timing of the change is crucial • Can be:

• A dramatic stroke

Play (next slide):

• Or a transient excursion

Play:

Modulation: Key Relationships 2 categories:

• Closely Related Keys • Remote or Foreign keys

1.  Closely Related Keys

•  The keys of the primary triads (I, IV and V) •  Their relative minors or majors •  This gives the tonic and 5 closely-related keys in all

C major a minor

G major e minor

F major d minor

c minor E-flat major

g minor B-flat major

f minor A-flat major

1 degree flat

1 degree sharp

2.  The Remote or Foreign Keys

•  All other keys •  Such a modulation in 1600-1850 might have considerable impact,

but became the norm in the later 19th century as the use of chromatic harmony increased

•  Whatever means are used to make a modulation, a chord of the dominant group (V, V7, viib or viid7) is usually needed to establish the new key •  Either at the point of modulation •  Or (if it was an abrupt change) shortly after the modulation

Modulation: Methods of Changing Key

1. Pivot or ‘ambiguous’ chord (or chords)

•  A chord common to both the old and the new key •  Followed by the establishment of the new key via a chord from the

dominant group

Play:

2. Pivot note

•  e.g., a note of the tonic chord can be held over; the next chord placed under or over it then ‘takes over’ and the music proceeds in the new key

Play:

3. Leap or abrupt change

•  A phrase may simply start in a new key, seemingly ignoring the previous cadence

•  Sometimes called ‘phrase modulation’ •  Frequently used in Bach’s chorale harmonisations

Play:

4. Chromatic movement in the bass

Play:

5. Modulation by sequence

•  Overlapping statements of the melody

Play:

6.  Switch from tonic major to tonic minor

•  More common in the music of Schubert and Brahms, but had roots in the Baroque

•  e.g., the echo moves to the minor

Play:

Where does the key-change happen in this example?

The use of Dissonance: The Suspension In the Baroque, the expressive qualities of dissonance were explored still further, especially in Germany where contrapuntal complexity and emotional intensity were linked. 1.  The Suspension

•  The role of the suspension differed a little from Renaissance style •  Its function was to create a sense of movement and drive through syncopation, particularly at

the cadence bars •  The dissonance might appear as either tied of a repeated note from a weak to a strong(er) beat •  In slow music it serves to pull back the music, to make the most of every chord

Double suspensions were also quite common:

Sing:

2. Unprepared Dissonance

(a) The accented passing note

•  Frequently used in contrapuntal music, where its dissonant quality added momentum

•  Often occurred in pairs on the weaker beats, especially in Purcell and Corelli

(b) The appogiatura (or ‘leaning note’)

•  Originated in vocal music where it functioned in the same way as the accented passing note – taking the strong beat away from its resolution

•  In the early Baroque (esp. Monteverdi and other early opera writers) it was ‘freed’ and began to be used to leap onto a dissonance •  This increased in the 18th century •  Remained prominent in recitative, serving the words, especially at

phrase endings •  Frequently added as an unscripted ornament

•  Power of expression: particularly of grief and anguish

Play:

Chromatic Writing

• This feature was systematised through the gradual establishment of tonality and key • The establishment of ‘equal temperament’ opened up further harmonic possibilities – because composers could now write in, and modulate to, any key they wished • These possibilities were fully realised by composers, especially in the late Baroque:

Play:

The Chorale

•  The chorale held a central position in German music of the Baroque •  Evolution:

•  Began with Martin Luther – one of the founders of German Protestantism •  He considered the chorale or hymnal a vital component of Church

worship •  He spent much time building a repertory of suitable texts and melodies •  Texts were in the vernacular so ordinary people could ‘sing with

understanding •  Music came from pre-Reformation hymns and plainsong melodies •  He even adapted secular folk- and popular songs of earlier times

Martin Luther (1483-1546)

•  In 1524, J.Walther’s Songbook (the first of many collections of chorales) was published

•  Luther composed 36 chorales

•  The 17th Century showed continuous activity in the writing of chorale melodies and their use as a basis for composition

•  Cantatas, oratorios, and passions of the late 17th and early 18th centuries include many examples of chorales, both ‘straight’ for congregational participation, and in elaborate settings

The Chorale: Melody Line

•  Many chorale melodies have their roots in plainsong •  Simple with stepwise movement •  Jumps usually occur at the beginning and in-between phrases •  Repeated notes are common

•  The chorale, as inherited by Bach, had become a strong tune in a regular metre •  4/4 was the most common, although some are in ¾

•  It reflected the Lutheran spirit of solidarity and proud faith •  The frequent cadences, indicated by the pause sign, supported and

strengthened the structure •  Basic harmony that usually changes on the crotchet beat (i.e., with

every syllable sung).

Typical chorale melody phrases:

Listen: Bach’s St Matthew Passion (1727)

• Are there any features of the melody that stand out? • Can you identify some of the features we have described – e.g.:

Suspensions Sequence Modulations Chromatic writing

The Baroque 2/4 -...

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