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Instant download pdf Experience Music 4th Edition Charlton Solutions Manual full chapter
Instant download pdf Experience Music 4th Edition Charlton Solutions Manual full chapter
Solutions Manual
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CHAPTER 9
Baroque Solo and Chamber Music
CHAPTER OUTLINE
Keyboard Music
Fugue
Suite
Baroque Sonata
LISTENING GUIDES
suite
toccata allemande
fantasia courante
prelude sarabande
fugue gigue
subject gavotte
exposition sonata
countersubject sonata da chiesa
episode sonata da camera
chorale prelude solo sonata
console (of an organ) trio sonata
stops (on an organ) Elisabeth-Claude Jacquet de la Guerre
pedal board
swell box (on an organ)
IM 9 | 1
OVERVIEW OF CHAPTER 9
This chapter focuses on the rich array of instrumental works that developed during the baroque
period. This was the era of the great violin makers, the Stradivari family and others. Likewise,
improvements were made on most wind instruments. During this period, the organ and
harpsichord become the favored keyboard instruments.
Coverage of instrumental areas begins with keyboard works, including discussions of the
fantasia, prelude, and toccata. Separate sections dealing with the fugue and suite are included,
with attention to works for keyboard.
The final section introduces the baroque sonata. The text points out the distinction
between the da chiesa type and the da camera type. The text also mentions the unaccompanied
sonata, the solo sonata, and the trio sonata.
1. When students first encounter this seamless style of instrumental writing, they often
confuse the lack of pauses in the surface rhythm with an absence of cadences. Using a
busy example such as François Couperin’s Les barricades mystérieuses, demonstrate that
the piece does come to harmonic rest while the rhythm keeps it ticking.
2. The baroque period is often referred to as the golden age of organ building. The
harpsichord was another focus of baroque keyboard composition. Although these timbres
are indeed characteristic of the baroque, compositions originally intended for these
instruments are often performed on the piano. Play two different versions of the same
piece. The “Little Fugue” featured in this chapter is an ideal example, because it is so
widely recorded. Or compare recordings of solo harpsichord, organ, and piano. Which
timbre do your students feel suits the music best? Are quick rhythms heard more clearly
on the harpsichord? What are the advantages of the organ and piano?
3. The fantasia, prelude, and toccata were showpieces, improvisatory in nature. They were
commonly paired with a fugue. Challenge your students to find a parallel grouping in the
vocal music of the baroque, which they have already studied. (In the recitative and aria, a
freely structure recitative is paired with a highly structured aria for the sake of contrast.)
4. When listening to a polyphonic work such as the “Little Fugue in G minor,” students can
easily become overwhelmed with all that is happening. The key is for them to listen for
each entrance of the subject. During the episodes, just keep their attention focused on the
return of the subject. Then, as they become more comfortable, have them start listening
for what happens between subject entrances: Fugue episodes are one of the best places to
listen for sequence. Pedal points also occur in anticipation of the subject’s return.
5. Students have learned about basso continuo in principle; now have them put their
knowledge to the test. How many performers does basso continuo involve? How is this
baroque feature incorporated into various instrumental ensembles? The name trio sonata
does not signify three performers, but three melodic lines (bass line and two melodic
lines). The ensemble performing a trio sonata consists of four performers, two plus
continuo. Likewise, the solo sonata consists of the soloist and continuo for a total of three
performers. (The fugue, almost alone among baroque instrumental works, has no
IM 9 | 2
continuo, being a solo work.) Play excerpts of various genres and challenge students to
think about each of these groupings and the central role of the continuo in the baroque.
1. What were the principal instruments of the baroque? Can you describe how they work?
How they sound?
2. How does a composer make a fantasia, prelude, and toccata sound improvisatory?
3. What was the typical makeup of the continuo?
FURTHER LISTENING
Keyboard music:
J. S. Bach, Toccata and Fugue in D Minor, BWV 565. This is one of Bach’s most famous organ
works. It was also transcribed for orchestra and used in Disney’s film Fantasia (1940). Disney
used it again in the 1954 movie 20,000 Leagues under the Sea.
J.S. Bach, Any prelude and fugue from The Well-Tempered Clavier
Suite:
J. S. Bach, Cello Suite no. 3 in C Major, BWV 1009. The bourrée from this suite is included in
this chapter, but the entire suite is a pleasure to hear because of the interesting contrasts among
the dances. The movements are Prelude, Allemande, Courante, Sarabande, Bourrée, and Gigue.
The suite has also been transcribed for classical guitar, and recordings of that version are also
easily available.
Solo sonata:
Elisabeth-Claude Jacquet de la Guerre, Sonata in D Minor for Violin and Basso Continuo. The
sixth movement of this seven-movement sonata is presented in this chapter. The entire sonata
also is a pleasure to listen to because of the contrasts among the movements. The movements are
Grave, Vivace e Presto, Adagio, Allegro, Adagio, Allegro, Aria, and Allegro.
Trio Sonata:
IM 9 | 3
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