class and I’ll
be happy to
• PDFs of lecture slides available
• Readings added to the syllabus
– pp. 32–41 (Fundamentals: harmony, texture,
tonality and mode, musical form)
• Frescobaldi dates added
• Bach suite for Jan. 30 changed
• Vivaldi listenings corrected Housekeeping
– Monteverdi,The Coronation of Poppea DVD clip
– Frescobaldi, Passacaglia from the Dance Suite
• Introduction to the Solo Concerto and
– Vivaldi, Violin Concerto in G, Lastravaganza, Op.
4, No. 12 (1712–1713), movements I and II Frescobaldi Passacaglia
• Homework: pick out at least one thing that surprised
you and that you would listen for a second time.
• Post it on the Discussion section ofmyCourses.
• Include a timing from the track (e.g. 1:09–1:15).
• Include a description using vocabulary from class. T ools for Large-Scale Composing
• Problem: You are an early Baroque composer .
Your patron can’t get enough of music for
instruments. You want to create significant,
longer compositions without relying on short,
dance-like music. What do you do?
– self-contained movements with some kind of several
variety in mood, tempo, meter, musical form,,key
etc. Tools for Large-Scale Composing
• Repetition, variation, contrast, returning
material, and imitation are all ways of creating
substantial, extended compositions.
• The late Baroque is filled with larger-scale
musical works that use these techniques. Annotating Musical Form
• Exact repetition (repetition):
– A A or |: A :|
• Varied repetition (variation):
– A Aʹ Aʺ, etc.
• Entirely new music (contrast):
– A B
• When music returns after contrast (return)
– A B A Annotating Musical Form
• To show smaller details, lowercase is used:
– a aʹ occurs within a single sectiBnfor instance The Meaning of Concerto
• Concertare (Latin): to contend/to contrast.
• Concertare (It.): to coordinate/unite a diverse
group of players/singers in a harmonious
– e.g. stringed instruments with and without frets,
keyboard instruments, brass instruments with and
without slides, woodwind instruments.
– each of these would have been tuned differently. Late Baroque Concerto
• Typically, a late Baroque concerto has three
– I. Bright, extroverted, fast tempo
– II. Contrasted: quieter, slower, more expressive
– III. Fast again, sometimes faster than the first
• Vivaldi’s Concerto In G, La stravaganza
[“Extravagance”], has three movements that
follow this pattern:
– I. Spirituoso e non presto
– II. Largo
– III. Allegro Late Baroque Concerto
• The three movements use two musical forms,
typical of the late Baroque:
– Movement 1: ritornello form
– Movement 2: ground bass form/variation form
– Movement 3: