The Baroque 2/4 ( ) Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992)

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 6 th ) 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 (vii d7 ) Has a dominant function Built up on minor thirds on the semitone below the root of the final chord Play:

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

2. The Neapolitan 6 th 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 17 th and 18 th centuries it is usually found in a minor key in its first inversion (hence the term, Neapolitan 6 th ) It functions in the same way as iib, moving towards V directly (a), via Ic (b) or via a diminished 7 th 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:

2 categories: Modulation: Key Relationships 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 c minor E-flat major 1 degree flat 1 degree sharp F major d minor G major e minor f minor A-flat major g minor B-flat major

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 19 th century as the use of chromatic harmony increased Whatever means are used to make a modulation, a chord of the dominant group (V, V 7, viib or vii d7 ) 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) Play: 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

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 Play: 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

4. Chromatic movement in the bass Play:

5. Modulation by sequence Play: Overlapping statements of the melody

6. Switch from tonic major to tonic minor Play: More common in the music of Schubert and Brahms, but had roots in the Baroque e.g., the echo moves to the minor 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 18 th 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 17 th 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 17 th and early 18 th 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