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    Lawrence Oncley, "Baroque Music and Bop: A Comparison"

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    Lawrence Oncley, "Baroque Music and Bop: A Comparison"

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    24 views4 pages

    Oncley - Baroque Music and Bop

    Uploaded by

    boursin
    Lawrence Oncley, "Baroque Music and Bop: A Comparison"

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
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    sd pat of genera conceain th Bar | “An neesting comparison inthe halle of ‘ Bertin ae deateg opmiaioe st |" sltinpaet Ermal ppiece mat be Baroque Music and Bop: A Comparison Stine. 103p ad ary he | Senin Raphael we oth ond = Sebscapl wat ittened by “te screed Rapathe “Madonna EET tags ier i sage motte | Sedi'™in Normand Pom, EH, Com ftom turmonie pragesdon to malic | *Tany EH. Zeya i Goene be Lyn Lawrence Oneley “Were Baroque composers wereun- | _Ltersurs 16 Chapa Hil, Unies doubioy conned wittnodc nes | , of Nort Crs, 1535,pp. 133,138 i ite'Bartee war's period of sore | *Thislsseen ne “eabo ndcaton nb arapforinamancoegi Tanty ind Milnplanne comet and ompet food | B8h'shich ste tt Oa othe chordal sosd eer Roque sae ee crtng andsinoose seme ope | | olive Band at ee ro a Geman compen eS Puech | 248083) when ibe tga “Eee area separated asthe are by over To hu Sextenese toro meton Haniel and | pons presuayo he pune tetachord Sie yar and diferente iene ‘whether on a phrase-by-phrase basis ot based, and that which is varied The teneatie fashion Sevan cute nsdn Cis what | ctlced eu bar opelag in ALL Baroque music (1600-175) and jar (ca, | Concerto Gros fot, Ve he consepmal cr ee | ote fon ato y te dine texture inal antonharconrnceonc | “mest placed y enon oat Spaiediowmectterenderygtar | fad gti Tacforatons ofthe te GPylaie Uvclomnean Tee hows otis | Sena Dou) tule progeny on beeae |, achrd are aucsed te x bow tte Ml tons coed ee te the {hr hamealeeimeworr unum: | *7he mas Pse SC. Por eommenty co mngaroae (eu 16S01790) and toa op small ensemble vont snoblshed thatthe incr | the teh, se Plas Comology PA etcdatiee Gomes mote, bay oro, | Tia, Quartet Gunes, Senet teenie oftiebassineeanbetesdin | Conf Lendon Reiee degen ich eased primary tors ton 1943 | "ohare Gee sh melody instruct, Tine rarely: ctierty susening | | Pook 1948 ol ed peat The ery 1960, winch cal peat be | po hth soon (pao or pit thot macel ic same Serey Bier | Te wslaton Othe ska i aways Utd av bap No proand sa Bis, G ins isa Sint crop cen: | "won teonse is tite sare Une te Cian stool gous ctl conection: | (inion plano serves as a mody Sod Inshingtisenptastomactc | Ge reuton ote wocedg sae Tis fresnel pany aan nrg cs. flarpatens Wedeoncrngstocuraten | srots rth urea te srtbende Si nsnmestal soft Barogse may 8 Bop age eovembe ten port sapeca of Baroque tach ik, wih phi one sco Slot aed oat ian one migntsrps | Progrsive Sit Band tips, Bah ovthadown aneven more | feur'thd Buon il of farms feeoah cold have some practic impit | two ots feted soit inpotan pols 'The Busgce penoa | yin iothe ned bea teary over is Cato on rages pavorance pace, ‘rod uad aston faculty ae’ 1690,eewiBelnteed | Goulencon ton Sedione'The nimi fitters sed and | "(00-12 pape {Eilesuenethanosi paces tse | anor eaten say areca oat as etlby arcconined accrue pein ot | cyt ston pays ine with and thor cine adhe | "Pures slain ashes ees by Spurn, in both Sopsod Bwogee muse | "par aed ISlteed'teamen ozone ad | fetter ane he ona Sou (35 paormers) te arp ase 10) ‘ monrce Whleimcode buses we | bay y’Btne neettne nana Soembls Seek One ofthe bate carters of Boab Sa'isutt Boros tenors, they ae | fay pacha bay eine Sete sis tpl of vont, wich ‘also essentially controtied by harmonic articulation of the harmonic schema, but Baroque ~ smal ‘the contrast between the high-range melody (or Seo Sota ead ae orange ee si a ih rage melody intra "7 secange | band fhe Kgboud double by te cao © — # | ‘bassoon. Exactly the same polarity exists in Dincpie,eveninaworkforscoioiy. | Myint saan onary ease forms tn techaigues tadaads | Heth cons he fre rotor undetaning ofthis ine | elem a he eae ac _gevy isu) Pople peti eto tly an ‘wo high renge melody instruments eee quarter acts I Tat, the sila between fRe"rogue’ basso sontnuo and the bop Baroque ~ large ensemble thytim sccuon importa enough ta the Solo Conse (rat) Funston ofeach istrumest wil be dscissee ‘one solo imrument The Baroque keyboard instrument (hut sting ene (10-12 payers) chord or aren) plays 4. connuous mulods ‘aso contin Ssuelly in even eae values with the le han, Seng bass doubles ind improvise: chods, based on the Ture a pasr apmbols, wih the igh A tilt | crencontnihhnaes D2)2) edocs a eeeaaicrey ates sate | Eat bm ttt ae sesame | es ese no een teem tit meet | aground wo Dw £9 LF seat ul | Sly tec ps ep ea ee ecw tty ihe "Sn ee cee taretny | Sactagetectetucioas dado Sermo eke nts | ein” wea, Seis pom cso | ep tian rr mh Sacra | See coerce | comming rem ty | Sena all ra ranted, To what extent the moter inégales ofthis ma creunatance 9 ig ban of 16 10 | “Sere aso witen on chorale melodie and op. ‘fore weed in ster counties ie curently the Tee alas the amet combo | ular songs (Ezample 1). Dance forms, i ‘Gvidaly ota collected int sue or sonata J L9 LEY sving wit wire uses Suite attden nccent to punctate the | SRB "Sis normaly organized in the following. | camera, also exemplified th varatons pi Sbiosts melody ‘David Fuller makes the suring sues wap sani eleted usally 2 32-bar song. | ibe nthe oramerted repets. This practice Meter Rhythm and Tempo: A wide vasieyof | sion hat the noes iégaes eatin may hi form or 1-bar lysis then prevented na | 2s articalarynotbie inthe Freoch dances, se Gets nie Baroque Double ple, | comtiased i the Freeh opera comiguetroagh fem and variations Format hte terme | with their laboraely embellished doubles Tidadrupe mctrs nbs ple and com | the nineteenth centry and erased te Ante performed by all tsteumentstogtr, ar an | OU instrumental forms of the Baroque, the oun ubdtriong reall encounter tre. | 10 the French opera of New Oreans, 1 Shbelishedcloy,Thivscction set writen | mative fue, eercars and ctnzons, and eemty Bop scr are much move rented, | knows that some’ ofthe est New Orleans ‘ut twt i morked cut im advance by the | te ee forms sch as he coecaa nd prelude Sith ossrpiesimple being used almost | Jazimen, amens them the Creole clarinetist pats stad avenger Te pan | he be nad evasion procedure Sreustey, “Quadrapleconound: alow | Alphonse Pou tied with members ofthe ert then repeat tne chord progression ot | However the improvised cadenza moverents {Gmpos i ctstonally found in bop bt more | French opera orchestra * the, ofnal song (comping on the chord | desenbed carer would have resembled toc FReqeniyethe blues Inthe 1960sperormes| Improvnation All musi fils vomewbere in Feat ere mee woroviss alow: | tte. and Hach supposedly was able to cher Dave Brubeck and Git Evam explored | the region beemeen total spontanely and com StngS maioy which ouinee tharmonic po. | DTovse fepue ‘regular and composite meters Pct predic. Eves comporon can be [Febion ond provides steady pute Above | se example 1 following the text Bene nen soul be expected by ws | advance and how much se to chance in per aoe atch uhich ay ar may nex | 1 DOP variation forms ate used almost caclusely. “The sources of the mueal Barone musi, a woud be expected Py | formance or iprovse, Barogue muse leaves ve any conection wih the melody of the onnectionto Aean muse Synsopatons the | ‘Hore elemeats fo chance than does any Wes rae acai head urangemeatesualy | Matta ae previusly-weiten popular sons bea accents and the tes ove th sane | Gm classical muse ntl the aleatric musi of eer eee cand an nacempanied sola | (standards), withthe melodies and chord pro beat, are mote common bon melodie ands | the nat few decades. Many Baroque com | SSstea'may‘be' performed before the final | ESSIONS, of the tational, welve-meabire GE SEY ince ae time apes) ose ftom Sweclinck and Mera eal nthe Short Komont pattern of he bes, Mont standards Period to Bach and Hands as conctsion, Th bop musician usually plays without any | 6 32 measures long, with AABA or ABAC SSinorausa ‘wth the Coben percussionist re known ar mochfor tb moval wrlcemesi asthe melody andthe shord po. | ira retire, Example 2 iste « ars agri it ata | flay tom a shee ich res nly the melody. | Compare progression wth he ols pater eee a te areata aut fad te apap rd syle Altoupr | Bro Example ry harmon ae) tealined by te teyboara performer ofthe con: | te usc tocone) the mpeson ht tino and the melo ie eelised by he halo is asponaneos eatin ra ‘conscious contrast between show and fast tempos i eidet in both Baroque muse and tp" A (pial Baroque io sone, fr exat ai oul coma dow flow tore | 0 Finan recy nape sae a erenycatapenaces | Testar: Tete msc, les ote am me le | Sections. When ornaments are added in ‘of patterns which can be used when the bar- | ber of parts and how they relate to each other. Socrates ute woud ony | Selon When orniments ave addin Sree rns appeate to emenise| Msc wih’ a homoge ise hs oe fecond playermnt repeat he oraments aed stematsbetecen ast (up tempo) numbers and Syomafcous creative Row Sano be depended | important melody, ang the othe struments or ar btooen te highrange ain ely and ‘otiowo, they Tequently employ sections of Sindee ‘polyphony aad. secions which Homopbonle writing in" parallel thirds ot sod equally well to. deseribe the prevaling pleat in Bogue musi. When more than Fe melodic isinment pla together however, thoy rarely tow imitate wring aad usualy tein union o in parallel theds Tre mia tive polyphony, amore complex musieal tex {ure in which ach instrament or voice res the meme in sequential order fare nop. A table xcept Joba Levis (an admire of Bret) ond fas Modern Jarz Quart Ther (sighs Fugue for fue fn demonstrates ‘Melody It ical to generale about Ba fosee melody, fr national diferences ad [Rtcnen baton indie composers are nthe solo sonatas of. , Bach and te viola ange aod iythmic complet rue Wr tuoso performance rerpassed only By the p= tigi technic) equremests of some Ine hipeteenh or twenties cetury works. Yet mot tll Barogoe melodies se so complicated. Some Vivaldi iow movement or example, are txceptiona for thir melodie simply, aod Steno hough tm Be ree Improvised manent The Baroqee" tine FAfetions” sggerted that many diferent ‘rotons could be expresed through musi, Sd de side conta reflects ths pace. ‘Sinilaly, rome Bop melodies ae astound loginthet complenty’The depcectvitwosty requred by Chane Parker, At Tau, Dizzy Giles, or Jobn Coltrane (who played nes Sotast he eet was one of “abet of sound ie remarkable evento 4 person fariar with treat clasoal sion. eta ballad by Millet Bevin, representing the cool" or subd beoneen Baroque mie and bop canbe seen {he sclenused in ench, Medieval ad exly {als or modes Staring sroud 1500 these modes graely became date into ba wo Seals, car mor and minor, The transition a early Baroqoe masc fll of melo pe fl abd contemporary performers und etors tugiron to amume tha al elerences to mod iid Boe the aon te rao in bo the situation wae reversed. The fit finy your oc ao ol err were spon in 424100 {tonic eae he "blvee™ ele) wih the teaorinor system (Example 3). Bop ms That ach sale ured ae «bate orimprovinsion iain the nots ofthe chord provided by the fattmnie progression. The revue inthe di over of new seals, some of which su Drsingly tare ot 10 be the old medieval odes For example, he Maolydian mode 8 logon choice Tone withes oniprovte oer & ‘fomipant seventy chord (Example 3b). The ‘blue sae is very sey nto tbe Dorian node (Example 3), Aa outromth ofthe bop Imusisan' lve for higher depree chords wat the sharped ith. This nog. transpore, Samer aharped i (or ated St) an ound Sonny nt he bop bles esl, Tale seed in the Lydian made (Example 38). Georse Rates's Netorial treme remmarzs these

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