| Basso Continuo or “continuous bass” or “thorough bass” |
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| system of notation and performance practice, used in the Baroque period, in which an instrumental bass line is written out and one or more players of keyboard, lute, or similar instruments fill in the harmony with appropriate chords or improvised melodic lines; or the bass line itself.
A bassline in which each note stands for a chord above, notes above filled in by realization. went with the improvisatory style of the time. |
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| a melodic line along with the basso continuo |
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| Doctrine of the Affections (Affektenlehre) |
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| Prima Practica (first practice) |
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| Seconda Practica (second practice) |
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collection of works – 1. (overture, prelude, sinfonia, or fantasy), 2. Recitative, 3. Aria, 4. Recitative, 5. Duet for ex.
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originally based on Greek Dramas |
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| Claudio Monteverdi,1567-1643 |
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| emotions; Baroque composers sought musical means to express emotions such as sadness, joy, anger, love, fear, excitement, or wonder. |
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| a large lute with extra bass strings |
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| Baroque musicians saw ornaments as a way for moving the affections, trills, turns, appogiaturas, mordents, scales, arpeggios… longer ones used for slower stuff, sometimes called division, diminution, or figuration. |
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| Tonality in the 17th Century |
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| music starts to sound tonal by the end of the century, though still influenced by the church modes |
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