Baroque Instrumental Music

Instrumental Music
The same forces that were driving changes in vocal music helped transform instrumental music as well. Though working without texts, composers of instrumental music sought to move listeners by writing works that evoked human passions. The new emphasis on homophonic texture, a greater sense of rhythmic freedom, and a desire for timbral contrast animates instrumental music of this time.

Instruments of the Baroque

Keyboard Instruments Winds, Brass, Percussion Strings
Violin, viola, cello

Instrumental Genres
Sonata Trio Sonata Concerto (Concerto grosso, solo concerto, ripieno concert) Suite (Variation Suite) Keyboard Genres:
Free Fugue Chorale (Vocal-based genre) Dance-Based Genres

Sonata
Term widely used in Baroque Different meaning by 18th century Sonata italian that which is sounded (vs cantata) no fixed number/order of movements trio sonata three parts (2 high, continuo) Undemanding for amateurs
(the sonata will later become a very important genre in the 18th century/classical era)

Concerto
Broad term Any number of musical forces working in concert (would later be a termed used to identify opposition of musical forces soloist against orchestra, singers against instruments) Sub-categories:
Concerto Grosso: small group of soloists (concertino)

Sonata Sub-categories
Sub-categories:
Concerto Grosso: small group of soloists (concertino), against large ensemble (ripieno)
tutti all

Solo concerto: single, or pair of soloists against a ripieno Ripieno concerto: no soloists

Suite
A group of dances (usually 4-6) varying in tempo, meter, and character. Basic Format:
Allemande (moderate, duple) Courante (fast, triple) Sarabande (slow, triple) Gigue (fast, dotted, compound)
Other dance forms could also be substituted

Keyboard Genres
Free Vocal based: arrangements of chansons, chorales Dance based: principles of dance suites Variations: typically variation on bass line with ever-changing melody above

Free
Based on no preexisting material No particular pattern/structure Imitative/non-imitative, both? Most important non-imitative:
Toccata Canzona Fantasia Prelude

Free
Most important imitative:
Ricecar Fugue

Toccata
Italian toccare to touch Virtuosic music for keyboard Imitative/non-imitative Fugal Sounds improvisational, indefinite rhythm Bachs Toccata and Fugue in D minor

Fugue
Emerged in 17th century Fuga canon Single thematic idea is subjected to imitative treatment for entire length of work Rooted in texture rather than form No typical structure