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It was during the 17th Century that the system of modes finally crumbled away. By adding accidentals the Major/Minor key system developed. The 17th Century also saw the invention of several new forms and designs, such as:
The orchestra started to take shape, mainly in the strings, and the violins became the dominant instrument, and most important in orchestras.
| Composer | Nationality | Composer | Nationality |
| Vivaldi | Italian | Handel | German |
| A. Scarlatti | Italian | Couperin | French |
| D. Scarlatti | Italian | Lully | French |
| Corelli | Italian | Rameau | French |
| Monteverdi | Italian | Purcell | English |
| Bach | German |
Monody
A monody is a single voice line supported by an instrumental bass line, upon which
chords were constructed. The voice line followed the natural speech rhythms of the words.
This style of writing for the voice (half singing and half reciting) became known as
recitative. All the composer wrote down beneath the melody was a bass line to be played by
a low stringed instrument, such as a cello. This was called the 'basso continuo', but the
composer expected another continuo player on harpsichord, organ or lute, to build up
chords upon the bass line. As these chords had to be improvised, the player had to be very
skilful. Figures below the notes indicated which chords to play. This is called a figured
bass.
Early Opera
The first opera was written in 1597, called 'Dafne', and was composed by Peri. It
had choruses, dances and instrumental pieces, all done by a small orchestra. It contained
music and drama (i.e. Music-Drama). The first truly great opera was composed by Monteverdi
in 1607, and was called 'Orfeo'. The music heightens the dramatic impact. The music and
drama blend together well. There was a lot of instrumental ritomello (Italian for return,
and means when a section returns). Before each verse of the aria (song), we hear an
instrumental ritornello.
The Italian Overture
Scarlatti's operas often began with an overture in three sections: quick, slow,
quick. This was the Italian Overture. Scarlatti designed the arias in his operas in da
capo form, i.e. ABA. Another name for this is ternary form.
The French Overture
Lully's operas began with a French Overture.. slow, quick, slow. This is the other
way round to an Italian Overture.
Baroque Opera in England
The one great English opera of the 17th Century is 'Dido and Aeneas', and was
composed by Purcell.
Oratorio
Born about the same time as opera, this vocal music was at first very similar to
operas. (They had arias, choruses and recitatives) They were acted out with scenery and
costumes. The main difference was that an Oratorio was based on a sacred story. Eventually
oratorios ceased to acted out, and were given musical presentation only. Handel's Messiah,
Samson, Israel and Egypt are all Oratorios.
Passion
A passion is a special oratorio telling the story of Christ's crucifixion. Besides
recitatives, arias and choruses, Bach also included settings of chorales (Gerinan hymn
tunes.)
Cantata
Bach composed more than 200 church cantatas (cantata means sung, sonata means
played). These are for soloists and choruses, accompanied by orchestra and continuo, and
are like miniature oratorios. A fine example is Number 140, by Bach, based upon the
chorale, 'Sleepers, Wake'.
Instrumental Music
During the Baroque period, instrumental music becwne equally as important as vocal
music.
Fugue
A fugue is a contrapuntal piece, based upon the idea of imitation. It is usually
written in 3 or 4 parts, called 'voices', and these are referred to as Soprano, Alto,
Tenor and Bass. The detailed structure of a fugue can be rather complicated. The entire
piece grows mainly from a single brief tune of strong musical character. This is called
the subject. Then it is @ted by the other voices in tum each at it's appropriate pitch.
The most famous collect is the 48 preludes and fugues by Bach.
The Chorale Prelude
These are usually for organ, and most of them were composed in Germany. It is
based on a chorale, could be in Fugal style, or a set of variations.
The Suite
A suite is a collection of dances for one or more instruments. Many were written
for harpsichord. They contain:
However, before or after the Gigue a composer might introduce dances such as the minuet (in 3 time, a slow and stately waltz), a bourde, a gavotte or a passepied, Somethnes a suite began with a prelude (opening piece).
The pieces were usually in the same key, and in binary form (AB). French composers, however, often wrote in Rondo form (ABACADA etc.)
Baroque Sonatas
Sonata means sounded (to be played). Many Baroque sonatas were for two violinsand
continuo (usually cello and harpsichord). Composers called these trio sonatas (There are
only three music lines - the harpsichord plays the figured bass.) A violin was sometimes
replaced with a flute or an oboe. There were two types:
Pucell, Corelli, Bach, Handel, Scarlatti and Couperin all composed sonatas.
The Concerto Grosso
The word concerto means get together. The idea of opposition and contrast led to
two contrasting groups of instruments: A small group of soloists (Usually two violins and
a cello), called the concertino, and an orchestra of strings called either the ripieno or
the tutti (meaning everyone).
The Solo Concerto
This grew out of the Concerto Grosso, and has a single instrument solo, and a
string orchestra. There are solo sections and tutti sections. The quick movements were
often in ritomello form: Tutti 1, Solo 1, Tutti 2, Solo 2, Tutti 3, etc.
Vivaldi wrote more than 500 concertos, both concerto grossos and solo concertos, his most famous being 'The Four Seasons'.
The Orchestra
During the Baroque period, the orchestra started to take shape. The string section
became a selfcontained unit. To this composers would add other instruments in ones and
twos: Flutes, Recorders, Oboes, Bassoons, Horns, and occasionally trumpets and kettle
drums.
There was still a continuo. There was a lot of contrast, especially in the dynamics. Sometimes there were also echo effects.
The Main Characteristics of Baroque Music