• Layering of sound, how the different layers relate

• Monophonic texture – single, unaccompanied melody

• Polyphonic texture – 2 or more equally important melodies sounded at the same
time
• Homophonic texture – one melody, chordal accompaniment
• Textures can be changed within a piece for variety and contrast

• Refers to the organising of musical elements in time

• Ways to outline form:
• Repetition – restating musical ideas
• Contrast – avoiding monotony with new ideas
• Variation – reworking ideas to keep them fresh
• Simple forms: Binary, Ternary

1. Medieval Era – Drone, Named after Pope Gregory I (r. 590-694)

Was the official music of the Roman Catholic Church
No longer common since 2nd Vatican Council (1962-1965)
Monophonic melody set to Latin text
Flexible rhythm, no beat and meter
Originally, was transmitted orally, no musical notation system

• Sometimes called plainchant

• has a uniform, monochromatic sound – any contrasts that occur are of the
mildest sort.
• Plainchant consists purely of melody, the voices sing in unison with no supporting
chords or harmonies.
• The chant melodies move smoothly in small steps rather than wide leaps.
• The rhythm flows gently and irregularly, mainly matching the natural rhythm
and stress of the Latin words to which this music is sung.

• Organum - free organum: the intervals between the two voices are not always the
same.
• Free organum was developed further by the Notre Dame School. They began to
increase the freedom and rhythmic complexity of the organal voice leading to two
distinct voices, both with different characteristics. Generally the lower voice would
have the original plainchant in its original form, with the upper voice taking the more
interesting material.
Renaissance - Tallis Speum in alium Thomas Tallis

1. Motet
Short polyphonic choral work
Predominantly Latin text
sometimes overlaid with vernacular text
Often borrows from lowest voice part from a chant
2. Two key forms:

2. Mass
From Catholic worship service consisting of five parts:
Kyrie
Gloria
Credo
Sanctus
Agnus Dei
2. Palestrina
3. Counterpart to Renaissance Motet, which is sung primarily in Latin
Anthem is sung by choir during services in Protestant churches.
Usually unaccompanied, and sung by choir throughout

Madrigals
Intended for amateur performers (after dinner music)
Extensive use of word painting
Printed in part books, or opposing sheet format
Originated in Italy, later brought to England
 4. Baroque Era

• Use of Major and Minor Tonality

• Unity of Mood
• Continuity of Rhythm
• Ornamented Melodies
• Terraced Dynamics
• Homophonic and Polyphonic Texture
• Basso Continuo
• Unity of Mood; “Affections”;
• Continuity of Rhythm
• Melodies expand, unfold and unwind.
• Terraced dynamics
• Polyphonic texture
• Basso Continuo
• Text Painting

A FUGUE is a polyphonic (contrapuntal) work based on one main theme, called the SUBJECT.
Throughout the work, the different melodic lines, called VOICES,ie. Soprano, Alto, Tenor,
Bass, imitate the Subject. They ANSWER the SUBJECT, usually in the V or relative major.
There are Real and Tonal Answers.
Later in the piece, the SUBJECT can shift to a new key; it can acquire a counter-subject.
It can be imitated upside down in INVERSION.
It can be presented in RETROGRADE.
It can be presented in AUGMENTATION and DIMINUTION.
The Subject can be imitated before it is finished. This is STRETTO.

Keyboard or Instrumental works inspired by Baroque dances

Bach wrote 6 English Suites, 6 French Suites, 6 Partitas
Most important dance movements: all in Binary Form
1. Allemande : German, Moderate tempo, usually 4/4 time
2. Courante : French, Fast tempo, ¾ time
3. Sarabande: Spanish, slow, ¾ time, emphasis on the 2nd beat
4. Gigue: English? Scottish? Fast tempo in 6/8 time
5. Optional movements: Minuet, Gavotte, Bourree etc.

German Chorale: Hymn, sung in vernacular, syllabic text setting, steady rhythm
Organ Chorale or Chorale Prelude: for introduction,for alternatim praxis, in non- Lutheran
service, as a prelude or postlude
Two examples:
Herzlich tut mich Verlangen
Christ lag in Todesbanden, based on ‘Victimae Paschali Laudes’ ( 11th c)
 Also used in Cantata no. 4

The Baroque Orchestra

Based on violin family of instruments
About 10-40 players
Always has basso continuo (harpsichord + cello, bass or bassoon), and upper strings
(violin and viola)
Some other instruments included from time to time – recorders, flutes, oboes,
trumpets, horns, trombones, timpani

Basic forms: Ternary (ABA), Binary (AB, AABB, AAB, etc.)

concerto Grosso
Small group of soloists (concertino) pitted against a larger group (ripieno/tutti)
Usually in 3 movements: fast-slow-fast
Ritornello form usually featured in first and last movements
A theme is repeatedly presented, sometimes in smaller fragments

Also written for instrumental ensemble, just as it was for keyboard

Each are based on dance rhythm and style, though the music was not intended to
accompany dancing
Contrasting tempo, meters and character

Opera seria: "serious opera", dealt with big philosophical issues, mythological
figures, nobles

Opera buffa: "comic opera", more contemporary subjects. intended to be easy

for ordinary folk to understand. there may be comic scenes and characters, e.g. king
sung by a soprano

La serva padrona (The Servant Turned Mistress)

by Giovanni Battista Pergolesi

Monteverdi (1567-1643)
Classical Music

• Contrast of mood
• Flexibility of rhythm  e.g. fermatas, syncopations
• Tuneful melody
• Homophonic texture
• Gradual dynamic changes
• Balanced and symmetrical phrasing

SONATA FORM

• One of, if not, THE most common form in the Classical era
• Also called sonata-allegro form
• Sonata Form is broadly in ABA Ternary Form with 3 main sections
• Exposition (A)  initial statement of themes, entire section usually repeated
• Development (B)  tension building section, themes broken up into motives
• Recapitulation (A)  resolution of tension, restatement of themes
• Concludes with a Coda

Character

1. Contrast of mood
2. Flexibility of rhythm
3. Homophonic Textures
4. Tuneful Melodies
5. Gradual dynamic changes
6. Piano is king ( no more basso continuo)

Movements
1. Sonata Allegro movement, usually fast
2. Slow movement, can be ‘Theme and Variation’ or Sonata Form
3. Dance inspired movement: Minuet and Trio, Scherzo
4. Final movement, can be Rondo

Exposition: Tonic Key theme ( themes)

Transition
New key ( V or relative Major) theme or themes
Closing
Development: most dramatic section. Techniques used here: motives or fragments
from themes, sequence, modulations; sometimes a new theme can occur, or a
polyphonic treatment of existing themes.
Recapitulation: 1st theme returns in tonic,
Transition
 2nd theme returns in TONIC
Closing/ Coda

Recitatives and Arias

Recitativo Secco : basso continuo accompaniment
Recitativo Accompagnato : instruments added
Aria : Da capo aria : ABA form ( from the top/ head)
Chorus: