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ULTERIORI INFORMAZIONI OK

and Jazz
Blog Archive Friday, April 6, 2012

▼ 2012  (7)
▼ April  (7) Improvisation in Baroque and Jazz
The  Introduction

Contextualizing

Improvisation  in  Baroque  and
Jazz
Linking  Improvisation  Between
These  Two  Styles
Linking  Key  Fundamentals  of  Jazz
and  Baroque  Music...
Piecing  It  All  Together
Bibliography
IB information
Kai  Ying  Chen
For  IB  Music  Group  performance  SL.  IB
diploma  number:  003938  112.
Claremont  High  School
View  my  complete  profile
Improvisation  in  music  can  take  many  forms;  however,  it  is  generally  based
on  the  performer's  creative  power  to  make  up  series  of  elements  on  the
spot  with  basic  or  no  pre-­written  instruction.  For  example,  a  performer
might  be  given  the  opportunity  to  improvise  a  rhythmic  sequence,  an
accompanying  harmony,  a  melodic  line  or  even  all  three  at  once.
                       Improvisation  has  always  been  a  major  component  in  many  styles  of
music,  and  dates  back  to  its  beginnings.  In  early  music,  call  and  response
forms  were  dominant.  This  allowed  for  a  great  deal  of  improvisation  on  the
part  of  the  soloist  singer  as  well  as  the  participating  audience.
                       In  Jazz  music,  improvisation,  or  improv,  is  arguably  the  most
important  feature.  Although  there  are  many  different  styles  of
improvisation,  usually  matching  with  a  sub-­style  of  Jazz,  there  are  some
common  elements  to  most  pieces.  For  one,  improvisation  is  usually  not
entirely  random.  While  the  majority  of  improvisation  in  Baroque  music  occurs
in  the  harmony,  improvisation  in  Jazz  can  be  found  in  many  elements.  Melodic  lines  are
often  improvised  by  the  lead  musician.  Rhythms  can  be  improvised  through
syncopation  and  the  harmony  is  usually  improvised  by  the  bass  section  of  the  band.
                       In  addition  to  new  themes  and  conventions  in  drama  and  visual  art,
the  Baroque  period  introduced  many  new  ways  to  compose  and  perform
music.  Chords  were  the  focus  for  many  compositions,  and  figured  bass  was
first  used  in  this  period.  Figured  bass  was  used  to  notate  music  with  only
chord  progressions,  so  during  performances  the  keyboardist  in  the
accompaniment  would  improvise  the  full  chord.

                       "The  new  emphasis  on  chords  and  the  bass  part  resulted  in  the  most
characteristic  feature  of  baroque  music,  [...]  With  the  left  hand  the  organist
or  harpsichordist  plays  the  bass  part,  which  is  also  performed  by  the  cellist
or  bassoonist.  With  the  right  hand  the  keyboard  player  improvises  chords
following  the  indications  of  numbers  (figures)  above  the  bass  part.  This
bass  part  with  numbers  (figures)  is  called  a  figured  bass."  (Kamien  128)

                       Figured  bass  was  usually  found  in  a  form  unique  to  the  baroque
period,  the  concerto  grosso.  The  concerto  grosso,  or  "large  concerto",
consisted  of  the  musical  focus  being  passed  between  the  entire  orchestra
(known  as  the  tutti,  the  Italian  word  for  "all")  and  the  soloist  or  small  group  of
instruments.  During  this  time,  an  element  known  as  the  basso  continuo  constantly
plays  a  bass  accompaniment.
 Posted  by  Kai  Ying  Chen  at  5:11  AM  

1 comment:
Jones  Morris September  14,  2016  at  5:27  AM

the  arts”  (Ibid  1141).  Through  the  structure  of  his  poems  and  their  rhythms,  classic
rock  albums

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