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In the Baroque era, performers improvised ornaments, and basso continuo keyboard players improvised chord voicings based on figured bass notation. However, in the 20th and early 21st century, as common practice Western art music performance became institutionalized in symphony orchestras, opera houses and ballets, improvisation has played a ...
It was rare for established composers of the Baroque era to write down realizations. With few exceptions, those that have survived are short teaching demonstrations, or else student exercises. From this exiguous material must present-day scholars seek to recover the styles of the period, which varied considerably from time to time and place to ...
Unfigured bass, less commonly known as under-figured bass, is a kind of musical notation used during the Baroque music era in Western Classical music (ca. 1600–1750) in which a basso continuo performer playing a chordal instrument (e.g., harpsichord, organ, or lute) improvises a chordal accompaniment from a notated bass line which lacks the guidance of figures indicating which harmonies ...
Modern editions of such music usually supply a realized keyboard part, fully written out in staff notation for a player, in place of improvisation. With the rise in historically informed performance, however, the number of performers who are able to improvise their parts from the figures, as Baroque players would have done, has increased.
The form expanded in scope during the Baroque period with works ranging from J. S. Bach's Chromatic Fantasia and Fugue, BWV 903, for harpsichord; Great Fantasia and Fugue in G minor, BWV 542, for organ; and Fantasia and Fugue in C minor, BWV 537, for organ are examples.
Baroque music (UK: / b ə ˈ r ɒ k / or US: / b ə ˈ r oʊ k /) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. [1] The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition (the galant style). The Baroque period is divided ...
Basso continuo, though an essential structural and identifying element of the Baroque period, continued to be used in many works, mostly (but not limited to) sacred choral works, of the classical period (up to around 1800). [2] [failed verification] An example is C. P. E. Bach's Concerto in D minor for flute, strings and basso continuo.
In the Baroque period, it was common for performers to improvise ornamentation on a given melodic line.A singer performing a da capo aria, [1] for instance, would sing the melody relatively unornamented the first time and decorate it with additional flourishes and trills the second time.