Dotting in the Baroque Era

Dotting The dot in Baroque music lengthens the durations of the note after it is placed by a variable amount. The variable duration of the dot depends on the rhythmic freedom practiced by the baroque composer at all time and places. Sometimes dots are placed after the notes which augments the note value, but in... Continue Reading →

Baroque Tempo

Baroque Tempo Tempo Judgement in the Baroque period  is one of the most important and difficult elements of expression. Musicianship skill is greatly required. There is seldom one absolute right tempo; however good tempo is achievable. Given the same piece of music, depending on the desired acoustic resonance, a larger force is required for a... Continue Reading →

Ornamentation in Baroque Era Part II

1. Trills Trills are more or less rapid and an unmeasured alteration between a main note and an upper auxiliary tone and semitone above. In the 16th century and early 17th century, trills optionally begun with its main note, or its upper auxiliary note, fulfill its melodic function. When it has a harmonic function, it... Continue Reading →

Ornamentation in Baroque Era – Part I

1.  Appoggiatura The Appoggiatura (Ital. appogiare, to lean) is an auxiliary note, more or less stressed and commonly (although not necessarily) dissonant to the harmony where it resolves. An appoggiatura is a dissonant essentially both of melody and harmony in structure, which acts as a suspension, except it does not require to be prepared. When... Continue Reading →

Ornamentation

Historically Baroque Ornamentation was without notation but of improvisatory tradition. Ornamentation was increasingly popular later but never completely replaced by notation. The notation was commonly completed but was not always capable of sounding complete in performance; the composer, mainly obligatorily supplied the figuration. The more or less improvised ornamentation was chiefly through the influence of... Continue Reading →

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