97
2. answer: subject imitated in another voice
3. countersubject: dif fer ent theme heard against the
subject
4. exposition: first section, subject presented in
each voice one time
5. episodes: interludes lacking the subject
6. contrapuntal devices: augmentation, diminution,
retrograde, inversion, stretto
B. Works encountered in text
1. The Young Person’s Guide to the Orchestra, by
Britten
2. Messiah choruses, by Handel
3. Wachet auf, opening movement, by J. S. Bach
III. Bach’s Keyboard Fugues
A. The Well- Tempered Clavier
1. two volumes: 24 preludes and fugues in each
2. intended as teaching aid: expressive and techni–
cal challenges
3. written for new tuning system
B. Contrapunctus I, from The Art of Fugue
1. 14 fugues, 4 canons
2. systematic exploration of fugal devices
3. contrapuntal mastery; ultimate achievement
4. keyboard music; also recorded by orchestras,
chamber ensembles
C. LG 18: Bach: Contrapunctus 1, from The Art of
Fugue (1749)
1. four– voice fugue
2. fugue subject outlines D minor triad
3. extended middle section: false entries, overlap–
ping of subjects (stretto)
4. tonic reestablished: final statement of answer
over sustained pedal in bass
5. final chord: major (common feature in Baroque
music)
OUTLINE
I. Keyboard Instruments in the Baroque Era
A. Technological advances, new levels of refinement
1. musicians broaden technique
2. keyboards inherently suited to polyphonic
per for mance
B. Harpsichord
1. strings plucked by quills
2. tone not sustained
3. dynamic extremes not pos si ble, only subtle nuances
C. Organ
1. German builders 1600s, 1700s
a. sets of pipes, contrasting tone colors
b. multiple keyboards, terraced dynamics
2. J. S. Bach: renowned keyboard player
a. sought– after con sul tant to church- organ
builders
b. famous for improvisation
D. Keyboard forms
1. toccata and prelude
a. free- form pieces based on improvisation
(often written out later)
b. showcase performer’s dexterity
c. highly contrasting musical ideas and tempos
d. often paired with or ga nized form (e.g., Toc–
cata and Fugue in D Minor by J. S. Bach)
2. fugue: systematic elaboration of short musical
ideas
a. written for solo keyboard, groups of instru–
ments, voices
II. The Fugue and Its Devices
A. Fugue: contrapuntal composition based on imitation
1. subject: main theme, unifying idea; single theme
pervades
CHAPTERfi28 Pro cess as Meaning: Bach and the Fugue
98 | Chapterfi28
TEACHING CHALLENGES
The subject and answer entries of the Contrapunctus I from
The Art of Fugue can sometimes be difficult to detect in the
organ recording of the whole piece, especially in the middle
entries (0:52–2:10). If this is causing prob lems in your class,
try the video of the Keller Quartet; not only is the four– voice
counterpoint being played by dif fer ent instrumentalists, but
the camerawork assists students in recognizing the vari ous
subject and answer entries among the four voices.
SUPPLEMENTAL REPERTORY
SUPPLEMENTAL BIBLIOGRAPHY
Marshall, Robert L., ed. Eighteenth- Century Keyboard Music.
2nded. London: Routledge, 2003. A collection of eleven essays
written by leading scholars of eighteenth- century music. The first
essay by Laurence Libin (“The Instruments,” pp.1–32) is a help–
ful introduction to the clavichord, harpsichord, and organ
(among others).
YOUR TURN TO EXPLORE
performer weave aspects of a recognizable melody through
the texture as he/she improvises? Are there par tic u lar por–
tions of the melody that are featured more prominently, and
if so, why do you think this is?
MODEL RESPONSE
OVERVIEW
This chapter introduces music for keyboard instruments in
the Baroque era, focusing on improvisational genres and the
fugue. Bach’s Art of Fugue illustrates the pro cess of fugal
composition at the height of this composer’s contrapuntal
mastery.
LEARNING OBJECTIVES
1. To understand the clavichord, harpsichord, and organ as
the main types of keyboard instruments during the
3. To recognize Bach’s Contrapunctus I from The Art of
Fugue as an exemplary model of fugal composition
LECTURE SUGGESTIONS
1. Show your class images and demonstrations of a clavi-
chord, harpsichord, and organ, noting the difference in
2 . Before playing for the class the toccata from Bach’s Toc–
ASSIGNMENT SUGGESTIONS
1. Watch the video se lection of the Contrapunctus I from
The Art of Fugue featuring the Keller String Quartet.
Describe how the camera angles correspond to the sub-
ject and answer entries, episodes, and pedal points. Listen
PART 3: MUSIC IN WORDS
J. S. Bach, Concerto for Violin, BWV 1041, movt. I
1. Create a simple listening outline.
What to Listen For
MELODY: longer asymmetrical phrases (especially in solo), some leaps, many sequences
RHYTHM/METER: duple meter at a fairly fast tempo
0:00 entire ensemble opens with striking ritornello
0:35 first entrance of the soloist, building upon the same motives, soft strings and harpsichord support under neath
1:21 the soloist and the orchestra respond back and forth
1:36 extended passage with a descending sequence for the soloist
1:50 soloist returns to the first solo melody, but now at a dif fer ent pitch level and with varied sequences
RUBRIC
• Student’s descriptions should reflect terminology for the ele ments of music learned in Part I as well as new concepts for
Part III (such as virtuosity, ritornello form, basso continuo).
• Student should provide a brief description of in ter est ing or impor tant features using timings (as shown above).
2. Consider how you might describe this song to a friend . . .
This is the first movement of a very elegant solo violin concerto by Johann Sebastian Bach. Because it is a concerto, there is
a soloist and a larger group of instruments for a contrast in sound. The string orchestra plays almost throughout, but often
backs off to allow the soloist to shine. The strings introduce a rising interval (the space between two pitches) at the very
100 | Part 3
Music in Words | 101
RUBRIC
• Student is free to use subjective language (“very elegant,” “notes fit together beautifully”). Note that Chapter13 urges
returns throughout the piece”).
3. Short paragraph describing the work as you might for a concert report . . .
Like Vivaldi’s La Primavera, Bach’s Violin Concerto, BWV 1041 is also for solo violin, string orchestra, and basso continuo.
The first movement is in ritornello form, as is common for Baroque concertos, but the solo episodes vs. ritornello sections
are not as delineated as they are in the Vivaldi. The opening rising interval at the beginning of the ritornello can be heard
RUBRIC
• Student should synthesize responses to questions 1 and 2, using some terminology (in bold) and writing expressively.
• Student may draw comparisons to and contrast with the Vivaldi La primavera concerto.
PART 3: CLASSROOM- READY ACTIVITY 1
Activity Description
Instructions
This activity can work as either an individual or a group exercise. If you choose the group option, divide the class into groups
of three or four students. Explain that you will be playing examples of music from the Re nais sance and Baroque eras. Stu–
102 | Part 3
Student Worksheet | 103
STUDENT WORKSHEET
Name: ________________________________________________________________
Example 1 Example 2
Rhythm: Rhythm:
Harmony: Harmony:
Example 3 Example 4
Rhythm: Rhythm:
Harmony: Harmony:
Texture: Texture:
PART 3: CLASSROOM- READY ACTIVITY 2
Activity Description
Instructions
104 | Part 3
Student Worksheet | 105
STUDENT WORKSHEET
Name: _______________________________________________________________
Vivaldi: Winter from The Four Seasons Notes:
I. Allegro non molto
II. Largo
III. Allegro
Sliding and falling to the ground with great force __________________________________________
Then running fast again over the ice, __________________________________________
Name: ________________________________________________________________
1. Purcell: Dido and Aeneas, Act III, “When I am laid in earth” (0:57–1:42)
Which of the following techniques is featured in this excerpt?
2. Cozzolani: Magniflcat (0:00–1:43)
How does this excerpt exemplify the Baroque style?
3. Handel: Water Music, Alla hornpipe (0:00–0:56)
This excerpt is part of a larger piece called a ___________________.
4. Billings: David’s Lamentation
In which context would this piece originally have been performed?
5. J. S. Bach: Wachet auf, No. 1, Chorale fantasia (0:28–0:45)
In this passage, we hear _______________________________________________.
6. Handel: Messiah, No.18, “Rejoice greatly”
What is the form of this excerpt?
7. Vivaldi: Spring, from The Four Seasons, I (0:32–1:06)
What is happening at this point in the excerpt?
106 | Part 3
8. Strozzi: Amor dormiglione (0:00–1:01)
Which of the following best describes the dominant texture in this excerpt?
9. Handel: Messiah, No.44, “Hallelujah Chorus”
This excerpt comes from a larger piece called a/an ______________________________________.
10. J. S. Bach: Contrapunctus I, from The Art of Fugue
This piece is known as a _________________________.
