3.3 Instrumental Forms: Concerto and Suite

The Baroque era saw the rise of two major instrumental forms: the concerto and the suite. These forms showcased the virtuosity of soloists and the rich textures of ensembles. Concertos featured contrasting dynamics and ritornello form, while suites presented stylized dance movements.

Concertos and suites exemplified Baroque musical ideals, emphasizing dramatic contrasts and intricate harmonies. These forms allowed composers to explore new instrumental techniques and showcase the capabilities of various instruments, from solo violins to full orchestras.

Concerto Forms

Concerto Grosso and Solo Concerto

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• Concerto grosso features a small group of soloists (concertino) contrasting with a larger ensemble (ripieno or tutti)
• Solo concerto highlights a single soloist accompanied by an orchestra
• Both forms showcase virtuosity and contrasting textures between the soloist(s) and the ensemble
• Emerged in the late 17th century and became popular during the Baroque era
• Notable composers include Arcangelo Corelli, Antonio Vivaldi, and Johann Sebastian Bach

Ritornello Form and Terraced Dynamics

• Ritornello form is a structural framework commonly used in Baroque concertos
  • Consists of alternating sections between the full orchestra (ritornello) and the soloist(s) (episodes)
  • Ritornello sections present the main thematic material and establish key centers
  • Episodes allow for solo virtuosity and modulation to different keys
• Terraced dynamics involve abrupt changes in volume between sections (forte and piano) rather than gradual crescendos or decrescendos
  • Reflects the limitations of Baroque instruments and the aesthetic preference for clear contrasts
  • Contributes to the dramatic effect and interplay between soloist(s) and orchestra

Basso Continuo

• Basso continuo, or continuous bass, is a harmonic accompaniment played by a group of instruments (continuo group)
  • Typically includes a keyboard instrument (harpsichord or organ) and a low melodic instrument (cello or bassoon)
  • Keyboard player improvises chords based on figured bass notation, while the low instrument reinforces the bass line
• Provides a foundation for the harmony and rhythm throughout the concerto
• Allows for flexibility and improvisation in the accompaniment
• Supports the soloist(s) and helps to unify the ensemble

Baroque Suite

Overview and Dance Movements

• Suite is an instrumental genre consisting of a collection of stylized dance movements
• Originated in the 16th century and reached its pinnacle in the Baroque era
• Movements are based on popular dances of the time, each with distinct characteristics and rhythms
• Suites were composed for various instrumental ensembles, including solo keyboard, chamber groups, and orchestra
• Provide entertainment and showcase the composer's skill in writing contrasting movements within a unified work

Core Dance Movements

• Allemande
  • Moderate tempo, duple meter (4/4)
  • Serious and introspective character
  • Often features complex rhythms and contrapuntal texture
• Courante
  • Lively tempo, triple meter (3/4 or 6/4)
  • Two main types: French (fast, energetic) and Italian (slower, more lyrical)
  • Characterized by running passages and rhythmic vitality
• Sarabande
  • Slow tempo, triple meter (3/4)
  • Dignified and expressive character
  • Often features ornate melodies and emphasis on the second beat
• Gigue
  • Fast tempo, compound duple meter (6/8 or 12/8)
  • Lively and energetic character
  • Often features imitative counterpoint and virtuosic passages
• Other dance movements may include Minuet, Gavotte, Bourrée, and Passepied