ClassicalMusic..ppt

Classical Music The Classical Style From Baroque to Classical High Baroque 1700-1750 Albinoni (1671-1750) Handel (1685-1759) J. S. Bach (1685-1750) Classical 1750-1820 Haydn (1732-1809) Mozart (1756-1791) Beethoven (1770-1827) Baroque vs. Classical Baroque Counterpoint Ornamentation Binary Form Constant Feeling Little Modulation Classical Homophonic texture Less Ornament Sonata Form Range of Feelings Modulation Central Musical Examples: Baroque Albinoni (#3): Oboe Concerto Op.9 no. 5 Allegro Handel (#5) : Organ Concerto Op. 4 No. 4 Allegro J.S. Bach (#6): Brandenburg Concerto No. 2 Allegro assai Baroque vs. Classical Counterpoint Ornamentation Binary Form Constant Feeling Little Modulation Homophonic texture Less Ornament Sonata Form Range of Feelings Modulation Central Classical Style A new understanding of music at the theoretical level (tonality) leading to unique expressions (i.e. original phrasings): a kind of dramatic journey through a sequence of musical keys, outward and back from the tonic. A new vehicle for this new style called the sonata Musical Scales 1 C D G 2 D E A 3 E F# B 4 F G C 5 G A D 6 A B E 7 B C# F# TONIC SUPERTONIC MEDIANT SUBDOMINANT DOMINANT SUBMEDIANT LEADING TONE Tonic Dominant (G major) Tonic (G) The first note of the major and minor scales, and the chords and keys rooted on that note. Dominant (D) The fifth note of the major and minor scales, and the chords and keys rooted on that note. Sonata Form: (2 Tonal Parts) 1. Exposition: a theme or group of themes in the tonic (G) followed by a modulation of those themes to the dominant (D) and a second theme or second group of themes. 2. Development Recapitulation: a repetition of the exposition followed by fragmentations and recombinations of the themes in various keys, ending with a return to the tonic (G) and a recapitulation of exposition – this time with the second group of themes in the tonic (G). * Malaspina Great Books