Music History – 1600 to 1750 Unit 3 ReviewTonality and Figured Bass Emerge

Key Concepts and Definitions

• Tonality: System of organizing pitches and chords around a central tonic note or key
• Tonic: The central pitch or chord that serves as the point of resolution in a tonal piece
• Diatonic: Notes belonging to a particular key signature, including the seven pitches of the major or minor scale
• Chromatic: Notes outside of the diatonic scale, often used for color, tension, or modulation
• Cadence: A melodic or harmonic formula that creates a sense of resolution or closure at the end of a phrase or section
  • Authentic cadence: Consists of a dominant chord (V) resolving to the tonic (I)
  • Plagal cadence: Consists of a subdominant chord (IV) resolving to the tonic (I)
• Figured bass: A system of notation using numbers and symbols to indicate harmonic progressions and intervals above the bass note
• Basso continuo: The practice of improvising harmonic accompaniment based on a figured bass line, typically performed by a keyboard instrument and a bass instrument (cello or bassoon)

Historical Context

• The emergence of tonality and figured bass occurred during the Baroque era (c. 1600-1750)
• The Baroque period witnessed a shift from the modality of the Renaissance to the tonal system
• The development of tonality and figured bass was influenced by the rise of monody and the emphasis on solo vocal music with instrumental accompaniment
• The Doctrine of the Affections, an aesthetic theory that sought to evoke specific emotions through music, played a significant role in shaping the expressive qualities of Baroque music
• The growth of the middle class and the increasing popularity of public concerts and opera performances contributed to the demand for more expressive and dramatic music
• Advancements in instrument design, such as the development of the modern violin family and the standardization of the keyboard, facilitated the exploration of new compositional techniques and styles
• The dissemination of music through printed scores and the increased mobility of musicians led to the exchange of ideas and the standardization of musical practices across Europe

Development of Tonality

• Tonality evolved from the modal system of the Renaissance, which was based on church modes (Dorian, Phrygian, Lydian, Mixolydian)
• Composers began to favor the Ionian (major) and Aeolian (natural minor) modes, which eventually became the foundation for the modern major and minor scales
• The use of chromaticism, or notes outside the diatonic scale, increased as composers sought to create more expressive and dramatic music
  • Chromaticism was used for word painting, depicting emotions, and creating tension and release
• The concept of key relationships and modulation (changing from one key to another) became more prominent, allowing for more complex harmonic structures
• Cadences, particularly the authentic cadence (V-I), gained importance as a means of establishing and reinforcing the tonic key
• The development of functional harmony, in which chords have specific roles within a key (tonic, subdominant, dominant), provided a framework for composing and analyzing tonal music
• The circle of fifths, a visual representation of the relationships between keys, became a useful tool for understanding and navigating tonal harmony

Introduction to Figured Bass

• Figured bass, also known as thoroughbass or basso continuo, is a system of notation used in Baroque music to indicate harmonic progressions and intervals above the bass note
• The figured bass line typically consists of a bass note with numbers and symbols written below it, indicating the intervals to be played above the bass
• The most common figures include:
  • No figure: Play the bass note alone or with the third and fifth above it (root position triad)
  • 6: Play the third and sixth above the bass note (first inversion triad)
  • 64: Play the fourth and sixth above the bass note (second inversion triad)
  • 7: Play the third, fifth, and seventh above the bass note (seventh chord)
• Accidentals (sharps, flats, and naturals) are indicated by placing the appropriate symbol before the figure
• The realization of a figured bass line, known as the basso continuo, was typically improvised by a keyboard instrument (harpsichord or organ) and a bass instrument (cello or bassoon)
• Figured bass allowed for flexibility in performance and encouraged the development of improvisational skills among musicians
• The practice of figured bass also facilitated the composition of complex harmonic progressions and the exploration of new chord voicings and textures

Major Composers and Works

• Claudio Monteverdi (1567-1643)
  • "L'Orfeo" (1607): One of the earliest operas, showcasing the expressive potential of monody and the early use of tonal harmony
  • "Vespro della Beata Vergine" (1610): A collection of sacred works demonstrating Monteverdi's mastery of both Renaissance polyphony and Baroque style
• Heinrich Schütz (1585-1672)
  • "Musikalische Exequien" (1636): A funeral music composition that exemplifies the expressive use of harmony and text painting
  • "Symphoniae Sacrae" (1629, 1647, 1650): Three collections of sacred concertos that showcase Schütz's skill in combining German and Italian styles
• Jean-Baptiste Lully (1632-1687)
  • "Armide" (1686): A tragédie en musique that demonstrates Lully's mastery of French Baroque opera and dance forms
  • "Te Deum" (1677): A grand motet composed for the celebration of Louis XIV's victories, featuring elaborate choruses and orchestration
• Arcangelo Corelli (1653-1713)
  • "12 Concerti Grossi, Op. 6" (1714): A set of concerti grossi that established the standard three-movement form and showcased the idiomatic writing for strings
  • "12 Violin Sonatas, Op. 5" (1700): A collection of sonatas that demonstrated the expressive and technical possibilities of the violin and the use of tonal harmony
• Henry Purcell (1659-1695)
  • "Dido and Aeneas" (c. 1688): One of the earliest English operas, noted for its expressive vocal writing and dramatic use of harmony
  • "The Fairy Queen" (1692): A semi-opera based on Shakespeare's "A Midsummer Night's Dream," featuring elaborate musical numbers and dance sequences
• François Couperin (1668-1733)
  • "Les Goûts Réunis" (1724): A collection of chamber music that showcases Couperin's skill in blending French and Italian styles
  • "Pièces de Clavecin" (1713, 1717, 1722, 1730): Four books of harpsichord pieces that demonstrate Couperin's mastery of keyboard writing and the use of ornamentation
• Antonio Vivaldi (1678-1741)
  • "The Four Seasons" (1725): A set of four violin concertos that vividly depict the characteristics of each season through tonal harmony and programmatic writing
  • "L'estro Armonico, Op. 3" (1711): A collection of 12 concertos for one, two, and four violins that showcased Vivaldi's innovative use of ritornello form and virtuosic writing for the solo instrument(s)

Practical Applications

• Figured bass provided a foundation for the development of harmonic analysis and music theory
• The practice of realizing figured bass lines helped musicians develop skills in improvisation, accompaniment, and composition
• Figured bass notation allowed for the efficient dissemination of musical ideas and facilitated the standardization of harmonic practices across Europe
• The use of figured bass in ensemble music, such as in the basso continuo of Baroque opera and instrumental works, promoted the development of new textures and the interplay between melody and harmony
• The principles of tonal harmony and figured bass continue to inform the composition and analysis of Western classical music, even as styles and techniques have evolved over time
• Understanding figured bass and tonal harmony is essential for the accurate interpretation and performance of Baroque music, as well as for the study of music history and theory
• The skills developed through the practice of figured bass, such as harmonic awareness and improvisational ability, are transferable to other musical styles and genres, including jazz and popular music
• The study of figured bass and tonal harmony can enhance a musician's overall understanding of musical structure, phrasing, and expression, leading to more informed and expressive performances

Theoretical Framework

• Tonal harmony is based on the hierarchical relationships between pitches and chords within a key, with the tonic serving as the central point of resolution
• The diatonic scale, consisting of seven pitches arranged in a specific pattern of whole and half steps, forms the foundation of tonal harmony
• Chords built on each degree of the diatonic scale have specific functions within the key, such as the tonic (I), subdominant (IV), and dominant (V)
• The authentic cadence (V-I) plays a crucial role in establishing and reinforcing the tonic key, while other cadences, such as the plagal cadence (IV-I), provide variety and alternative points of resolution
• Modulation, or the change from one key to another, is achieved through the use of chromatic pitches and pivot chords that belong to both the original and the new key
• The circle of fifths provides a visual representation of the relationships between keys, with closely related keys (those sharing many common pitches) located adjacent to each other on the circle
• Figured bass notation is based on the intervals above the bass note, with numbers and symbols indicating the specific notes to be played
• The realization of a figured bass line involves creating a complete harmonic accompaniment based on the given figures, often with the addition of ornamentation and improvised melodic lines
• The principles of voice leading, such as avoiding parallel fifths and octaves and resolving dissonances properly, are essential for creating smooth and coherent harmonic progressions
• The study of tonal harmony and figured bass has led to the development of various analytical techniques, such as Roman numeral analysis and Schenkerian analysis, which provide insight into the deep structure and organization of tonal music

Legacy and Influence

• The emergence of tonality and figured bass during the Baroque era laid the foundation for the development of Western classical music in the centuries that followed
• The principles of tonal harmony and the use of figured bass continued to evolve and be refined throughout the Classical and Romantic eras, as composers sought to expand the expressive and formal possibilities of music
• The works of Baroque composers, such as Bach, Handel, and Vivaldi, have become an integral part of the classical music canon and continue to be widely performed and studied today
• The innovations in instrumental music during the Baroque period, such as the development of the concerto and the suite, have had a lasting impact on the genres and forms of classical music
• The emphasis on expressivity and drama in Baroque music, as exemplified by the Doctrine of the Affections and the rise of opera, has influenced the emotional and narrative qualities of music throughout history
• The practice of figured bass and the art of improvisation have experienced a resurgence in recent decades, with many musicians and ensembles specializing in historically informed performance practices
• The study of Baroque music and the principles of tonality and figured bass remains an essential component of music education, providing students with a foundation in music theory, history, and performance practice
• The influence of Baroque music can be seen in various genres and styles beyond classical music, such as film scores, jazz, and progressive rock, which often incorporate elements of tonal harmony and contrapuntal textures
• The legacy of the Baroque era and the development of tonality and figured bass continue to inspire and inform the work of contemporary composers, who may draw upon, reinterpret, or challenge these historical practices in their own music