2012 SCHOOLS’ NOTES

TOUR 6 Mozart, Handel & Vivaldi Concertos

NEW SOUTH WALES notes by Kathleen Beazley

Australian Chamber Orchestra 2012 Schools’ Notes NSW Tour 6 Mozart, Handel & Vivaldi Concertos

TOUR 6 – CONCERTO CARRY ON Possible Topics/Units of Study: Baroque Music; Music for Small Ensembles/ Large Ensembles; Structure; Tonality/Pitch.

CORELLI: Concerto Grosso in D, Op.6, No.1 – 13’00”

VIVALDI: Violin Concerto in C major, RV190 – 9’00” Satu Vänskä (violin)

HANDEL: Concerto Grosso in G, Op.6, No.1 – 12’00”

VOCABULARY: Solo (Soli) Tutti Concertino Ripieno Figured bass Concerto Grosso Concerto Largo/Adagio Allegro Cadence Arpeggio Scale Score Markings A tempo giusto Soli Tutti Tasto solo

WEB LINKS: Corelli Wikipedia - http://en.wikipedia.org/wiki/Arcangelo_Corelli Baroque Composers and Musicians - http://www.baroquemusic.org/bqxcorelli.html Poets & Composers Index to short biographies - http://www.bach-cantatas.com/Lib/Corelli-Arcangelo.htm 52 composers.com - http://www.52composers.com/corelli.html 8notes.com - http://www.8notes.com/biographies/corelli.asp Vivaldi Wikipedia - http://en.wikipedia.org/wiki/Antonio_Vivaldi 52 composers.com - http://www.52composers.com/vivaldi.html Poets & Composers Index to short biographies - http://www.bach-cantatas.com/Lib/Vivaldi.htm Musician Matters (related info) - http://musicianmatters.com/music-analysis/antonio-vivaldi-concerto-for-violin-rv-286/ 8notes.com - http://www.8notes.com/biographies/vivaldi.asp Handel Wikipedia - http://en.wikipedia.org/wiki/George_Frideric_Handel 8notes.com - http://www.8notes.com/school/history/handel.asp 52 composers.com - http://www.52composers.com/handel.html Poets & Composers Index to Short Biographies - http://www.52composers.com/handel.html

Australian Chamber Orchestra 2012 Schools’ Notes NSW Tour 6 Mozart, Handel & Vivaldi Concertos

COMMON IDEAS/THEMES TO EXPLORE IN LESSONS:

SOLO VS THE GROUP: All three of these works have a solo vs. group structure. The Concerto Grossi (Corelli & Handel) has the concertino vs. the ripieno, whilst the Vivaldi has the solo violin vs. the orchestra. CONVENTIONS OF BAROQUE TONALITY: These works use conventional tonality throughout. The keys are clearly established in the beginning and the methods used to modulate are quite formulaic in nature. Techniques such as sequences are used often to move through keys. Modulations are generally to conventional keys (i.e. the dominant, relative minor/major, etc). CONVENTIONS OF MOTIVIC DEVELOPMENT: Motifs are developed and presented in quite similar ways (Baroque conventionality) in these works. This helps to reinforce the Baroque style being studied. There is a strong use of scalic and arpeggiated movement in the motifs of these works.

TEACHING IDEAS: These ideas run in sequence. It would be good to do the Performing activities first as this will get students into the style of the work immediately through a “doing” activity. See Teacher Notes at the end of this booklet for more details about each idea. There are also some pre prepared worksheets you can use or model other worksheets on.

SYLLABUS ALIGNMENT Ideas can be applied to cover stages 4 to 6

PERFORMING/DOING COMPOSING/CREATING LISTENING/MUSICOLOGY

IDEA 1 Solo vs the Group: Students could perform the Allegro movement of the Corelli as a class arrangement that emphasises this idea. Attached score for easy arrangement and actual musical score of the movement.

IDEA 3 Composition preparation – Students may wish to do some composition exercises using scale ideas and arpeggio ideas in preparation for composition writing. IDEA 4 Having used the above activity as a starting point, students can complete the guided composition task. See Teacher Notes and worksheet included at this back of this booklet.

IDEA 2 Stage 4 – 6 Have students listen to the second movement (Allegro) of the Handel and complete the analysis worksheet. This will enable students to gain a much clearer understanding of the building blocks used in baroque pieces such as these. This would also be a good springboard activity to lead into composition work with students.

Australian Chamber Orchestra 2012 Schools’ Notes NSW Tour 6 Mozart, Handel & Vivaldi Concertos

The following are expounded explanations of the four main aides for this program of pieces. These are designed so that they can be adapted to a number of works within the genre. Take these ideas and use them for other pieces so as to build on the foundations provided in this pack. Good luck……have fun!

IDEA 1: Solo vs the Group: Students could perform the Allegro movement of the Corelli as a class arrangement that emphasises this idea. See the score for easy arrangement and actual musical score of the movement.

There are two versions of the first 16 bars of the Corelli (Final Allegro movement) included in this pack; a simplified score with the melody parts in simple meter and the original with the melody parts in the triplet rhythms. This can be done on any instruments you have in the classroom. You may wish to look at only the melody lines first for Stage 4 students and then build up the other layers to create a class arrangement. There are documents of groups of like as well as the whole score. Feel free to use them all how you see fit. NB – The viola part has been doubled on the stave above into treble clef for students that do not read alto clef. EXTENSION – Senior students may wish to use this arrangement as a model to create their own class arrangement of other movements in the works. This could be a valuable task for those learning to use, or becoming more familiar with, music software.

IDEA 2: Stage 4 – 6 - Have students to listen to the second movement (Allegro) of the Handel and complete the analysis worksheet included at the end of this booklet. This will enable students to gain a much clearer understanding of the building blocks used in Baroque pieces such as these. This would also be a good springboard activity to lead into composition work with students.

Handel score analysis: The worksheet template in this pack is designed to be quite flexible. Stage 4 students will need more guidance so the examples from the score are essential. You may also choose to do this as a class or in small groups with younger students. Once this has been done you can use the same or similar questions to look at other movements in the works for this program. The motivic development is quite similar particularly for the Concerto Grossi – this is conventional for the time. EXTENSION – More advance students will be able to complete this worksheet with much less guidance and will be able to use it as a springboard into composition work. The answers to the questions are given in red on the worksheet template – don’t forget to remove them from the sheet when giving it out to the students!

Australian Chamber Orchestra 2012 Schools’ Notes NSW Tour 6 Mozart, Handel & Vivaldi Concertos

IDEA 3: Composition preparation – Students may wish to do a few composition exercises using scale and arpeggio ideas in preparation for composition writing.

SCALES-REVIEW-SHEET TEACHER Composition Exercises STUDENT Composition Exercises: This is a template that can be used in all Stage groups. The younger students will take longer to complete this activity in preparation for the next composition activity/project. They will also need more guidance. The focus of this activity is to help students to build a musical motif through guided steps. NB - Before completing this activity it is important to review or introduce students to the formulas for major and minor scales (older students will simply need to review them – see the SCALES-REVIEW-SHEET). EXTENSION – Once you have completed this activity/worksheet with the students you may wish to repeat the process using arpeggios instead of scales. This will add to the ideas base that students can use to build their compositions in the next activity/project.

IDEA 4: Having used the above activity as a starting point, students can complete the guided composition task. See Teacher Notes and the worksheet included at the back of this booklet.

COMPOSITION-TASK Guide sheet: This is a good guide for step-by-step composition writing. Not only does it scaffold the process for the students but it also offers a model that can be used for other composition processes/tasks. This can also be used to structure a composition diary in the upper stage groups (Stage 5&6).

Australian Chamber Orchestra 2012 Schools’ Notes NSW Tour 6 Mozart, Handel & Vivaldi Concertos

WORKSHEETS

Australian Chamber Orchestra 2012 Schools’ Notes NSW Tour 6 Mozart, Handel & Vivaldi Concertos

COMPOSITION TASK GUIDE SHEET: STAGE 4 – 6

STEP 1

Using the ideas explored in the composition exercise task, write a short melodic idea. You may base your idea on a

scale or an arpeggio. If you are feeling adventurous see if you can incorporate both into your idea. The motif should

be no longer than about 2-3 bars. Choose any time signature you like (eg: ).

STEP 2

Now decide who you would like to play in your ensemble. You can make it a conventional Baroque ensemble by

using the same instruments Corelli, Handel or Vivaldi used, or you may want to try for a unique grouping of

instruments. The important thing is that they need to blend and go together as a group.

STEP 3

In what key is your piece going to be? (your choice of instruments will somewhat guide your decision here). Now that

we have established the key, determine the following details (use the table from the exercise if you wish):

Tonic key; Dominant key; Relative minor key; Tonic minor key; Chords for the main cadence types.

STEP 4

Start by presenting the motif in one of the main parts. You may then want to repeat it and add a harmony in another

part. Play around with it and see what you can come up with. Remember to refer to the Handel or Corelli score as

your model when trying out your ideas. Also don’t forget about the motif development ideas you tested out in the

composition exercises activities you completed.

STEP 5

Always review your work. As you continue through the compositional process, review what you have done and try to

map ahead so you have a clear direction.

Use the above steps to guide you through the compositional process. The more you document your process the

better your understanding will be.

‘If in doubt – try it out'

This is an excellent motto to use when composing. You never know what gems you might come up with. Have fun

and good luck!

Australian Chamber Orchestra 2012 Schools’ Notes NSW Tour 6 Mozart, Handel & Vivaldi Concertos

SCORE ANALYSIS WORKSHEET GUIDE: STAGE 4 - 6

Handel: Concerto Grosso Op.6 No.1- 2ndmvt Using the score of the second movement as your reference/guide, answer the following questions: 1. Identify the main motif and highlight where it occurs throughout the movement. Use the same colour each time.

Main Motif

B1-2: Oboes; Violin1, concertino & ripieno B9-10: Oboes; Violin1, concertino & ripieno 2. Now identify where the motif has been altered in some way but is still identifiable. Highlight these in different colours according to their changes (key change, tonality change, etc).

Eg. Bar 11 – Key change to D maj

B3-4: 8ve higher – Violin 1, concertino B11-12: D major – Violin 1, concertino B13-14: D major – Oboes; Violin 1,concertino & ripieno B33-34: E minor – Oboe 1; Violin 1, concertino & ripieno B39-40: Same rhythm, altered notes – Oboe 1; Violin 1, concertino & ripieno 3. Scales are used in interesting ways throughout this movement. Look at bars 5-8 of the score. In which parts can you identify scalic ideas? (Stage 4-5) The concertino violoncello & the ripieno viola. (Stage 5-6) Violin 2 in both the concertino and ripieno use scale ideas on the first and second beat and also as a pedal point between this idea.

Eg: Describe how Handel has used the idea of a scale in these bars. (Stage 4-5) Each part uses an ascending scale idea with each note being repeated 4 times. (Stage 5-6) The first scale idea ascends one note sounding on the beat for each step. The second scale idea ascends sounding each step seven times and is the pedal point idea within the pattern. Identify where a chromatic scale idea is used in this movement. Which instrument plays it? B19-21: Basso Continuo - moves chromatically ascending from F# - B using four repeated quavers for each step in the pattern. 4. Chromatic ideas are used often in this movement for interest. They also help the piece move through different keys. Look at the Violin 1 parts in the concertino & ripieno groups in B5-8:

The highlighted idea above is a perfect example of a sequence – a device often used to move through keys and to create tension in a piece. Identify and highlight at least one other sequence used in this movement. B15-19: Violin 2, concertino & ripieno B41-43: Violoncello, concertino

MAJOR & MINOR SCALES REVIEW

MAJOR SCALES : T - T - S - T - T - T - S

C Major

F Major

G Major

Now add the right accidentals (sharps & flats) to create the major scale.

? Major

MINOR SCALES : T - S - T - T - S - T1/2* - S *The 7th note is always raised to create a semitone between the 7th and 8th notes

A Minor

D Minor

E Minor

Now add the right accidentals (sharps & flats) to create the minor scale.

? Minor

Composition Exercises

W.B.

W.B.

W.B.

1

1. Write out a G major scale using crotchets.2. Stg4 - Label each of the notes 1-8 / Stg5+6 - Label the scale degrees.3. Stg4 - Circle No's. 1, 5 & 6 / Stg5+6 - Circle the Tonic, Dominant & Submediant.

(5)1

G4. Now write out a major scale starting on the fifth note / dominant. What key are we in now?

(6)1

5. Now write out a minor scale starting on the sixth note / submediant. What key are we in now?

6. Using the given rhythm patterns create three musical motifs in the tonic key ONLY USING CONSECUTIVE PITCHES (notes that are next to each other. (HINT - Start the first on on the tonic)

Composition Exercises

W.B.

W.B.

W.B.

1

1. Write out a G major scale using crotchets.2. Stg4 - Label each of the notes 1-8 / Stg5+6 - Label the scale degrees.3. Stg4 - Circle No's. 1, 5 & 6 / Stg5+6 - Circle the Tonic, Dominant & Submediant.

2 3 4 5

6

7 8

(5)1

G

4. Now write out a major scale starting on the fifth note / dominant. What key are we in now?

2 3 4 5 6 7 8

(6)1

5. Now write out a minor scale starting on the sixth note / submediant. What key are we in now?

2 3 4 5 6 7 8

6. Using the given rhythm patterns create three musical motifs in the tonic key ONLY USING CONSECUTIVE PITCHES (notes that are next to each other. (HINT - Start the first on on the tonic)