Re[2]: Tangentially GG...actually baroque

[Bruce Petherick <b.petherick@pgrad.unimelb.edu.au>]

At 03:57 23/05/96 -0500, you wrote:
>1. A diatonic (as opposed to chromatic), cantabile or "hummable" theme.
>(You can usually translate a Mozart theme into a Bach theme by getting rid
>of the accidentals!)

I would argue exactly the opposite! especially in regard to Mozart.  As the
harmonic system of the Baroque wasn't as defined as it was in the Classical
period, there is a lot more chromaticism. I would also disagree with the
"hummable".  Mozart is more hummable than Bach, or Vivaldi for that matter.
[These are all gross generalizations I realize].
>
>2. There is a(n) (fairly) independent bass line.

Yep. Ok.

>3. The middle voices at least *try* to create melodies of their own. In
>post-baroque music, the middle voices don't even try to *hide* the fact
>that they're there mainly to complete the *chords* (of which there would
>typically be three or four). This was epitomized by Johann Strauss jr. and
>Franz Lehar. (Just picture what it would be like to play second violin in
>"The Merry Widow"!)

I'd rather die. Alto lines in most vocal works are also included in this
horrible picture.


>4. The main theme(s) get(s) mentioned in other voices than the top
>(soprano) one.

Or to put it another way, there is less definition between the voices.


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