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| compositional device in baroque period where by the bey board part only has the bass note with numbers that the right hand has to play |
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| elaborate, melodic embellishments |
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| rapid alternation between 2 notes |
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| starting on an upper note then go up then back to the middle then lower note (only play it once) |
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| same melodic motive repeated at different pitches |
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| an accompanying part that includes a bass line and harmonies |
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| theory in musical aesthetics popular in the Baroque era |
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| collection of dancelike movements or dances for soloist (instruments) or a group of instruments |
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| for 1 soloist and 3 people |
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| 2 soloist, 4 people on stage |
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| unaccompanied solo sonata |
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| in churches and its by tempo |
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| more for entertainment like in a drawing room |
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| Domenico Scarlatti 1685-1757 |
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| over 600 sonatas for harpsicord and one of the founders of the keyboard technique |
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| type of composition based on alternation of contrast between soloist and orchestra (concerto grosso) |
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1st movement of baroque concerto
orchestra-soloist-orchestra-soloist-orchestra
they alternate with orchestra playing the same material |
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| when the soloist and orchestra play together |
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| the soloist (can have more than 1) |
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| large built in organ that was usually in churches |
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concertos for every instrument (over 500)
wrote sacred and secular music
red headed and a violenist |
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| born in Germany, musical family, a violinist and organist, lutheran, write music for port cities in Germany, choral music, masses and motets, wrote keyboard pieces, became director of music of St. Thomas church, not well known in life time, best of improv |
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| a type of composition based on the initial presentation of a melody called the subject which is then repeated through imitation throughout the piece |
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| 1-subject, 2- answer, 3- subject all of this together is called episodes (counter subject is the same as answer) |
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| short improv piece that precedes a fugue |
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| a play in which dialogue is sung with orchestral accompaniment it also has costumes and scenery sometimes they even act |
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| interested in revival of ancient greek dramas and they study greek plays, they also said greeks sung |
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| basis for baroque opera- most important component |
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| a simple line with choral accompaniment so that the text could be understood |
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| seconda prattica and sublimated music to the text |
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| written in 1607 by Montiverdi and it was an opera |
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| Naples, more homophonic, melody on top and everything else was harmony |
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| founder of Neapolitan opera |
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| more homophonic and melody on top with everything else harmony |
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| dealt with the lives of everyday people, low brow entertainment and evolved into operas of mozart |
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| smaller work for orchestra, chorus and soloist and was mainly sacred |
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| large work for orchestra, chorus and soloist, more secular |
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| 1741- handel- opera without staging, 3 sections, 1 section is the birth 2nd is the crucifixion of Jesus, and the 3rd section is the resurrection of Jesus and redemption of man kind. Accompaniments small string orchestra with winds and tympani |
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4 part pices for Soprano, alto , tenor, bass
Tenor and orchestra with many people per section |
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| soloist with orchestral accompaniment and the melodic lines are less ornate and lots of sequences |
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| free rhythm, sung by one person, accompanied by continuo or orchestra and the notes further the thoughts |
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| sung by one person, accompanied by continuo or orchestra and the notes further the thoughts and its shorter and has a stricter rhythm |
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| George Frederic Handel 1685-1759 |
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| early career was in Italy, he was German, wrote 36 operas between 1712 and 1741 one of them being Julius Caesar |
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| dignity, ballet, stylized sword fights, composer for Louis the fourteenth |
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| More than one singer? (not sure about this one) |
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