The Musical Cookbook

Baroque dance music

Different types of Baroque dances have different rhythmic outlines and tempo markings. Some examples include:

This dance is stately. It has three beats in a bar, and starts on the first or third beat of the bar.

This is a slow dance, with three beats in a bar. There is an emphasis on the second beat of the bar (indicated by a longer note, trill or mordent, for example).

Gavotte

A steady dance of four beats in a bar. The music always starts on the third beat.

Bourrée

This is a fast dance. There are four beats in a bar, always starting on the fourth beat.

Gigue

This dance is fast. It is in compound time (6/8 or 12/8) and can start on the first beat of the bar or with a quaver upbeat.

The phrasing is especially important; the balance of phrases must be precise. For example, the Bourrée has four beats in a bar, but always begins on the fourth beat. This means that every fourth bar must end on beat three. For example:

4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3

Of course there is no break in the counting, but the feel and emphasis must be apparent. Count the above example, with a slight accent on beat one each time. As you count, feel beat four moving into beat one.

Once the dance style has been chosen, and the correct rhythmic structure applied from the list above, the dance can be composed. The seven-point plan (see Composing in harmonic style) is the basis for this music. It is really worthwhile looking through this work again if it has been covered before. If the work has not been covered, it is essential that it is studied first. You may also wish to cover the term passing note before starting this recipe.

Preparation

Pupils will need:

Baroque: Recipe

Baroque: Grid

Triads in C major:
CEG	DFA	EGB	FAC	GBD	ACE

Triads in A minor:
ACE	BDF	CEG	DFA	EGB	FAC	GBD

Method

Rhythm

Pupils should choose a dance and take note of the number of beats in a bar for that dance. In the chosen time, they should then write a fairly simple rhythm, lasting for eight bars. Remind pupils to allow for the rhythmic structure of the dance they chose in the rhythm they write. For example, the Bourrée has four beats in a bar, but always begins on the fourth beat. If pupils are using the grid, they should fill in the Counting row with the number of beats per bar, and the Tune row with their eight-bar rhythm.

Triads

Pupils should write a triad for each note in the rhythm. You may wish to explain that the key can be major or minor, and the triads are based on the key. The triads suggested here are for C major or A minor. The triads can be written in the Triads row of the grid.

Inversions

Pupils should apply the two-part rule for inversions to the triads: never use the same inversion twice in a row and always go to the nearest available inversion.

Start notes

Pupils should take the top line of the inverted triads as the basis for their tune. This can be recorded in the Tune row of their grid.

Links

They should then add steps, jumps and same note rhythms to the tune to make it more interesting. However, pupils should make sure the tune does not tangle with the triad notes below.

Harmony

Pupils should add the second and third triad notes below the tune in their original rhythm. Advise pupils to write the tune stems upwards, and the triad stems downwards. At this point, the new idea is introduced to make the music sound Baroque. Using the second and third triad notes as a basis, they should add passing notes where two consecutive notes are a third apart, to make each part more tuneful. Compare the original example below, from the Harmonic style: Recipe sheet, now the harpsichord part, with the other string parts, developed into a Baroque dance. The three triad notes from the right hand have become three individual parts for the strings:

Baroque: Example

Bass part

Pupils should add the bass part using the roots of the original triads. To make the bass part more tuneful, they should add passing notes where possible. Baroque composers were also quite fond of using octave jumps in bass parts, and trill decorations in the tune. One or two of these have been included in the example. The bass part can be written in the Bass row of their grid.

Development

The key structure for the Baroque dance is very important. The music starts in the tonic and works to the dominant by the end of the first section. For example, if you are starting in C major, end in G major. This may be eight bars or 16 bars (or eight bars repeated). The second section of the music starts in the dominant and works back to the tonic, sometimes passing through other keys. This usually balances with the same number of bars as the first section, although some composers developed the music with more bars in the second section. Pupils will need an awareness of scales and key signatures in order to complete this composition fully. The flavour can be achieved without key changes, but a crucial part of the structure will be missing.

Performance

A number of accomplished players are required, as all of the parts have a certain amount of independent rhythm.

Computers

If computers are used, copying and pasting parts from the original keyboard/triad into string parts may be possible. Baroque composers often used harpsichord and strings as the basis for their orchestra and sometimes added oboes and bassoon for extra colouring. Flutes were sometimes used as well.

Examples

Baroque: Sound file (MP3)

Baroque: Sound file (MIDI)

Baroque: Score

Further listening

Bach, J S: Orchestral Suites (Naxos 8.554609)
Handel, G F: Water Music (Naxos 8.550109)