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Baroque Music

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Concerto No. 2 in E major is a splendid work of art that is the essence of the Baroque era. This movement works by creating an aural picture that models the characteristics of Baroque art. By providing an in depth analysis of this work it will show how the drama of this piece unfolds.
The instruments that Bach has written this piece for consist of Solo Violin, Violin 1, Violin 2, Viola, and Bass Continuo. Right at the beginning an E major triad is promptly stated with all instruments. This marks the beginning of the A section, and it automatically gives us a tonal key of the piece. In the next measure, Bach keeps to the tonal center but adds some ornaments to make it more appealing and interesting. This beginning statement is really imperative …show more content…

Each of these measures outline different chords with all voices playing fast sixteenth note phrases. The chords represented in these measures are the iii, V7/ii, ii, V, I, and IV. Then in measure 6 Bach has the whole ensemble descending down inverted chords. Then we are brought back to the V chord which brings us back to I in measure 9. Bach repeats the beginning phrase in measure 9 at measure 11. Then we are brought back to the beginning E major triad. This is played by the soloist which is also marking the beginning of another solo section in measure 12. This solo part features ornaments including passing tones and fast sixteenth note ideas. The only two voices that are playing in measure 13 are the soloist and basso continuo. There are several cadences at the end of this phrase, but eventually the music leads to a V chord to lead into the A’ …show more content…

Now in measure 25 it brings us back to the same rhythmic phrase that was used in measures 4-6. Except that Bach uses the iii chord to the vi chord, and the ii chord to the V7 chord. The passage written in measures 6-8 are used in the tonal center of B major during measures 27-29.During measure 29 there is a vii half diminished 6/5 chord that eventually lands on B major in measure 30. Then we find a ii chord leading to a V7 then back to I (B major). Then the Solo Violin embelleshes the chords that are found in measure 31. These chords include a vi, iv 6, V7 and 1 chord. Then there is a ii-V-I progression in measure 34 that leads us into

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Bach worked as a composer for royalty in Germany during the Weimar and Baroque period and contributed over 200 original cantatas. Bach was most well known for playing the organ, and his most important work contributed to music was The Well-tempered Keyboard that involved 48 preludes and fugues, a pair for each major and minor key. The significance of his work was the full range of keys used and the distinct difference from each key. Towards the end of Bach’s life he performed for the court of King Fredrick II and was beloved in Prussia. At the end of his life Bach had composed over 1,000 works and was a major influence on Haydn and Mozart.

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Both J.S. Bach and G.F. Handel use different aspects of music to compose important pieces of music. The baroque period is often known as the time when artists exaggerated their motion and produced drama through interpreted detail. Both of these composers used this baroque style to convey messages through their music. The similarity in their music was that it is in a spiritual manner. J.S. Bach’s style was a harmonic and motivation manner, which Handel’s is more of a narrative.

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This fourth instance of the A melody is otherwise played the same as in “The Raiders March” until the last two bars, where it immediately jumps into what was the coda of the original piece (1:53). Here, the coda acts as a musical break between the A melody and a new C melody, which is really just the A melody of “Marion’s Theme”. As the strings transition between the two parts at (2:05), one can notice that this version of “Marion’s Theme” differs significantly than the original, most notably in its instrumentation. Here, the horn plays the melody while string ensemble plays harmony for the first six bars (2:09).

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G. F. Handel and J.S Bach were both composers who were born in Germany. Bach came from a family with a rich musical background, while Handel did not (Kamien, pg 143). The compositions of Handel and Bach, Messiah and Wachet Auf, both have a religious context and include the ritornello technique. As for the texture of these compositions, both are characterized by a polyphonic and imitative texture. Additionally, string instruments are used in Messiah and Wachet Auf.

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Johann Sebastian Bach is one of the most well-known and highly esteemed composers of the Baroque period and all time. He wrote sacred and secular work for choir, orchestra and solo instruments. During his lifetime, he was mostly known as a great a organist. His works are now considered some of the finest ever composed. Bach’s compositions are full of intricate counterpoint.

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Towards the end of this movement, we get a long series of magical-sounding ascending and descending piano trills which then fall into a very low, but ambitious bass line which carefully (but quickly) builds up into a climactic and cheerful finale that concludes the movement with an exciting boom at the

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The concert had three sections which were separated by short break. The second piece was . It opened with a baroque music - the Partita IV in D major, BWV 828 which was composed

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The harmonic movement of the opening thirty-one bars is primarily the tonicization of A major through a [V to I] progression. A half cadence is then used at bar thirty-two to make a modulation to the five chord: E Major. At bar thirty-three the

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The chords throughout this piece are all heard in first inversion in order to make shifts between keys easy, however, each cadence is played in F major. Chords move through the circle of fifths starting on G and ending with Bb, with chords changing at the end of each statement on the last syllable. The use of the circle of fifths reflects the conflict happening on stage, giving the effect of a darkened mood, underlined with a sudden modulation to D minor. Figaro begins to lack comprehension which is portrayed through a modulation to A major, the corresponding false relation. A modulation to D major is heard as Susanna teases Figaro by saying ‘you are my servant, no?’ and brightens the mood.

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The ‘’Baroque’’ era ended on July 28, 1750, when Johann Sebastian Bach died. HIs marked the start of the Age of Enlightenment and the Classical era. The Age of Enlightenment was a period of time in the 18th century where philosophers encouraged the use of reason and the questioning ideas about God, humanity, politics and government. Philosophers from this era include Voltaire, Denis Diderot who published encyclopedia, and Mary Wollstonecraft -feminist and a women’s rights advocate. Baroque style music characteristics included repetitive, dance influenced rhythms, a single mood throughout the song, emphasis on string instruments and piano and forte as its dynamics.

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Bars 1 and 2 of the melody line use appoggiaturas with added acciaccaturas in a similar manner to Variation V. Similarly to Variations I, II and V, there is a sudden change in dynamics and texture in bar 5. The right hand 's semiquavers are punctuated by arpeggiated chords in the bass line. In bars 7-10, the bass line changes back to quavers. Also, bars 9 and 10 are reminiscent of the passages in Variation III. Bars 13-16 are reiterations of bars 1-2 with acciaccaturas added to the offbeat quavers in bars 15-16.

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From bar 41, the texture of the winds gradually fills up as the flute now joins the bassoons. Clarinets and horns enter at bar 45. At bars 46-48, antiphonal treatment of strings against woodwinds. Inner strings play an ostinato descending 4-note scale motif in tremolo. The music becomes more agitated.

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First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals.

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It features two main themes, plus many melodic episodes. The structure - in A-B-A form - is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic c and the resultant nimble fingerwork required. It has remained one of the great standards amongst the

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There are several theories that regard where and when the music originated. The historiographers pointed out that there are different periods of music with each period having its own characteristics, its composers, its instruments, its rhythm and significance to the existing music today. The first three periods; Medieval, Renaissance and Baroque are expounded in this essay. The periods span through different times albeit some overlapped one another. The essay also focuses on the common factor that triggered the existence of the music periods and its impacts on each period.

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