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UNIT 3
BAROQUE
1600-1750
J O H A N N S E BA S T I A N
BACH
 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
 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?
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
Prelude and Fugue in e minor - Prelude
• Dominant pedal
Vater Unser Im Himmelreich,
• Suspensions (Close intervals  wider intervals)
BWV 737
 Melodies written in “major” and “minor” modes
Fantasia & Fugue In G Minor,
• Began to influence how chords were conceptualized BWV 542, "The Great"
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!
MODERN MAJOR/MINOR
 Do
Re
 Do
Mi
Fa
Mi
So
La
Ti
So
Do
Do
Scales are actually just PATTERNS of HALF STEPS and WHOLE STEPS
Major: W-W-H-W-W-W-H
 Do
 Do
Re
Me
Me
Minor: W-H-W-W-H-W-W
Fa
So
So
Le
Te
Do
Do
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
PRACTICE