Shrock - Baroque Music Practices Flashcards
(26 cards)
General
Options are available - freedom to utilize different instruments, voices, ornamentation
Physical environment and life were quiet
Sound - Timbre
The quality that represents the subjective or emotional aspect of sound
Unified
Based on clear text declamation
Sound - Volume
Represents objective of technical aspects
Ideal was soft
Physical construction of instruments only allowed for moderate volumes
Forte was softer then
Sound - music choices
Simpler and more transparent
Rhythms followed natural declamation of text
Tempo for clear text
Higher - sweeter, softer
Sound - ensemble
Choir of various sizes in churches (12-16 or 30-40)
Secular madrigals - one person per part
Instrumentation often included ad libitum basso continuo
Small ensemble contrasted with large choir
Range was smaller - within staff
Ripieno - parts sung by the full chorus
Sound - soft and sweet
light, purity of vowels
Absence of much vibrato
Clear fast articulation for ornamentation
Instruments
Orchestra was formed
Model tone of human voice
Basso continuo - realized by lute, harpsichord, organ
Parts written today are modern, there is flexibility
Organs for secular
Harpsichord for sacred
Character of accompaniment in character of voices
Vibrato
Present but limited
Oscillation in pitch was narrower
Used as an ornament
Pitch
Relative, no standardization
Feel free to change keys - no standard
Pitch/key should match character
Chamber pitch - one step lower
Meter, Tempo, Conduction
Elements of one determined elements for the other
Meter signs chosen for tempos
Heartbeat = basic pulse
Natural rubato - accelerations and decelerations with slowing at cadences
Variations of tempo acceptable - expcted
Recitative
Reaction against obscuring texts with polyphony
Text was supremely important
Cadences often delayed and played after the vocal line
Telescoped cadence: first note played with final note of singer. Faster.
Tempos
Description of character
Adagio - with ease
Affettuoso - longingly
Allegretto - graceful
Allegro - brisk, lively
Andante - rhythms as written
Grave - serious
Largo - enlarging
Maestoso - majestic/brilliant
Moderato - with modestly
Vivace - lively
Articulation & Pharsing
Soft and light
Soft was ideal
Ornamentation depended on lightness
Metric accentuation - weak vs. strong beats
Dotted = silence d’articulation
Slurs - syllables
Undulating sound - string of pearls
Phrasing - not thought of in large sections but small, cellular level
Messa di voce
Metric accentuation
Emphasis varied
Strong or good notes were intrinsically long
Weak beats were intrinsically short
Natural text declamation
Rhythmic Alteration
Allowed for considerable flexibility in performance
Expressive characteristics
Reflect natural speaking rhythm
Notes inegales
alterning the length of the two beamed eighth notes, inequality
Andante
”Walk as they stood”
Notes performed equally
Over dotting
altering dotted values by making the value of the dotted note longer
Overture style
slow homophonic section characterized by dotted rhythms precedes faster imitative section
Ornamentation
Established and prevalent
Long passages or altered melodies
Considered creative duty
Based on nationality
Limited in choral music
Practical - Instruments
Decide with basso continuo otherwise they will play
Arias - light registration reduce players
Chorus - full sound, full instruments
Print text for continuo to follow
Organ or harpsichord
Need a melodic instrument
Practical - General
Can perform half step down (A422)
Chamber pitch = 1 step lower
Consider: many pieces were composed for male voices so modern satb scores may need adjusting
Secco recitative
Continuo, sometimes conducted
Accompanied recitative
Involve full orchestra, always conductied
