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Unit 3 baroque

Unit 3 baroque. 1600-1750. Johann sebastian bach. 1685- 1750 German composer, organist, harpsichordist, violist, violinist. Known for contrapuntal technique, and harmonic and motivic organization Fugue (like extreme imitative polpyhony !)

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Unit 3 baroque

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  1. Unit 3baroque 1600-1750

  2. Johann sebastianbach • 1685-1750 • German composer, organist, harpsichordist, violist, violinist. • Known for contrapuntal technique, and harmonic and motivic organization • Fugue (like extreme imitative polpyhony !) • During lifetime, respected more as organ player than composer Toccata, Adagio & Fugue, BWV 564 - Fuga

  3. Father was a director of musicians: Uncles were all professional musicians • Orphaned at 10, but continued to learn from family (brothers), • received scholarships for music • Worked as an organist in Arnstadt, but disliked the choir. Randomly took months off to walk 250 miles and stay with an older organ master (Buxtehude) for months • Wanted to be Buxtehude’s “amanuensis” (assistant/successor), but would not marry daughter • Married his second cousin, had seven children (only four survived to adulthood) • While in Kothen, his wife suddenly died. • Married a highly talented soprano (17 years younger!) and had thirteen more children (six survived to adulthood) • All his children became musicians. • Continued to work for better churches, as royalty/patrons would hire him. • Weimar, Kothen, Leipzig • Never got to write an opera – Why?

  4. Emotion in Harmony • Harmonies created with purpose! • Not just incidental because of polyphony • Not just one melody note (fauxbourdon) and a few intervals • Importance of BASS voice as well as melody! • TWO voices (melody and bass) with MULTIPLE intervals • Tension created by intervals • Dominant pedal • Suspensions (Close intervals  wider intervals) • Melodies written in “major” and “minor” modes • Began to influence how chords were conceptualized Prelude and Fugue in e minor - Prelude Vater Unser Im Himmelreich, BWV 737 Fantasia & Fugue In G Minor, BWV 542, "The Great"

  5. Bach’s Harmonic Genius • Figured Bass • Same idea as Fauxbourdon, but BACKWARDS and EXPANDED! • Note– Basso Continuo used figured bass! • ALL players were required to “Realize” figured bass!

  6. Modern major/minor • Do Re MiFa So La Ti Do • Do Mi So Do • Do Re Me Fa So Le Te Do • Do Me So Do Scales are actually just PATTERNS of HALF STEPS and WHOLE STEPS Major: W-W-H-W-W-W-H Minor: W-H-W-W-H-W-W

  7. Bach as teacher • Don’t forget – he wrote music for all instruments, voices, occasions… and LEVELS OF ABILTIY! • Well -Tempered Clavier • Explores every key, major and minor • Interesting debate about tuning practices of the day (“meantone”) • 2 and 3 part “inventions” • Explores counterpoint, all rules of rhythms/harmonies

  8. Practice

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