Early Baroque Music Features: idiomatic writing- composers adapted their writing to the specific instrument or vocal composed

ed aimed to express the range of human emotions- not their own emotions- for example rage heroism sorrow and joy meter and rhythm were tied to which ever emotion they were trying to express i.e. some were flexible and quite improvisitary whearas others were regular and strict, the two were often paired for contrast basso continuo- system of partially improvised accompianament on the bass line fugal counterpoint, with harmony as guiding principle rather then counterpoint chromatiscism used for expression of the emotions A system of majorminor tonality evolved in response to composers' use of a central triad and a hierarchy of relationships among the other chords. Common instruments in baroque music- hurdy gurdy, harpsichord, bass viol, lute, violin, and baroque guitar. Religion was extremely important Monody - music for one melodic voice with accompaniment, characteristic of the early 17th century, especially in Italy Homophony - music with one melodic voice and rhythmically similar accompaniment Text over music - intelligible text with instrumental accompaniment not overpowering the voice Vocal soloists Dramatic musical forms like opera, dramma per musica Combined instrumental-vocal forms, such as the oratorio and cantata New instrumental techniques, like tremolo and pizzicato Clear and linear melody Notes ingales, a technique of playing pairs of notes of equal written length (typically eighth notes) with a "swung" rhythm, alternating longer and shorter values in pairs, the degree of inequality varying according to context. Particularly characteristic of French performance practice. aria melodic solo song reflects character often has contrasting middle section ritornello aria instrumental passages between verses of the aria concertato style- groups of instruments or voices share a melody, usually in alternation, and almost always over a basso continuo Precise instrumental scoring large use of Ornamentation Development to modern Western tonality (major and minor scales) Cadenza- an extended virtuosic section for the soloist usually near the end of a movement of a concerto

Types of music in early baroque: Vocal Opera Zarzuela

 Opera seria Opera comique Opera-ballet Masque Oratorio Passion (music) Cantata Mass (music) Anthem Monody Chorale Instrumental Chorale composition Concerto grosso Fugue Suite Allemande Courante Sarabande Gigue Gavotte Minuet Sonata Sonata da camera Sonata da chiesa Trio sonata Partita Canzona Sinfonia Fantasia Ricercar Toccata Prelude Chaconne Passacaglia

 Chorale prelude Stylus fantasticus Examples of Composers and a few of their works: Claudio Monteverdi (15671643) -examples of works: L'Arianna(opera), nine madrigal books Johann Sebastian Bach (16851750) -example: of work the art of fugue Giovanni Picchi (1571 or 1572 1643) -example of work: collection of 19 ensemble canzonas in 1625, Canzoni da sonar Martin Peerson (or Pearson) (born between 1571 and 1573; 1650 or 1651 and buried 16 January 1651) -example of work: the primerose, pipers pavan, Alman, and the fall of the leafe) Salamone Rossi (1570-1630)- Rossi was a transitional figure between renaissance and baroque so many of his pieces lie between feature of both styles, for example instrumental piece: Il primo libro delle sinfonie e gagliarde a 3-5 voci (1607)

main differances- renaissance and early baroque ricercars, fantasias, and canzonas defining forms in Renaissance whearas fugue was a defining baroque form baroque more often written for virtuosos so harder to play more ornamentation then renaissance more importance on instruments and a capella monody and homophony contrast from renaissance texture polyphony exact scoring less likely in renaissance music better use of of unique properties of each instrument in early baroque