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2

I think you have a slight misconception of how a feeling of rest is given in music. Yes baroque music did have the tendency to just go on but that does not mean it could not have places of rest. The effect of rest or pause can be given by just the use of a longer note value. If you have a piece in 3/4 time and it is mostly quavers and crotchet the use of a ...


9

Moto Perpetuo or Perpetuum mobile. Per the Wikipedia: literally meaning "perpetual motion", has two distinct meanings: pieces of music, or parts of pieces, characterised by a continuous steady stream of notes, usually at a rapid tempo, or whole pieces, or large parts of pieces, which are to be played repeatedly, often an indefinite number of times.


1

I contacted Dr. Tymoczko and asked for an example. His response was Mozart, piano sonata K310 in A minor, 3rd movement, starting at m.211.


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First - you should be aware that Tymoczko's usage here is not standard. The term fauxbourdon is usually only used to refer to the late Medieval/early Renaissance technique of almost pervasively harmonizing in this manner. This is all before tonal harmony, and fauxbourdon can be employed in any mode, though care needs to be taken to use B-flat or B as ...


11

Baroque music was all about expressiveness, and the rhythm was not necessarily meant to be held as strictly as the Renaissance tactus. Wheat Williams has mentioned historically informed performance, and as he says, these things are debated academically. But there is some good indication that Baroque composers did think of slowing down at the end of pieces. ...


9

Wheat Williams covered the basics of historically-informed-performance quite well. I want to add that unmeasured preludes (not uncommon in Baroque music) indicate that Baroque composers did have a concept of give-and-take in regards to tempo. (You can look at examples of preludes here or here to see what the music looked like.) So, while the purists may ...


5

"Historically informed" practitioners will tell you all kinds of stuff overgeneralized from a narrow modern point of view. For example, that dynamics in keyboards are a modern invention. Clavichords were perfectly capable of nuanced dynamic play, and larger instruments like harpsichords had several manuals and registration possibilities in order to allow ...


18

Questions like this cause endless debate among scholars. The basic fact is that sheet music from the Baroque era tends to have a great deal less detail and specificity about interpretive matters than sheet music written in later eras. Bowing directions for strings are never given; the only dynamic markings used are often just "p" and "f", and there are no ...


2

put quite simply, Jazz is based primarily on modern modal structures, other than just major and or natural minor, which is the case for most of classical music. The primary difference between the two is that classical music tends to resolve dissonance, while jazz tends to avoid it. Jazz music basically has a mode for every single extended chord and is not ...


4

There are several things that come to mind here. Disclamatory Edit: As pointed out by Todd Wilcox, I should specify that my answer is rather narrow in some ways. My answer is based on "traditional" Jazz and does not include much of the more modern Classical. There have been many innovations in both genres that have led to music that does not meet my ...


3

Nothing does. See, e.g, : -- Creation du Monde -- Rhapsody in Blue -- Sonny Rollins playing the theme from Tschaikovsky's 6th symphony Yeah yeah I know purists claim a 'swing rhythm' or a lack of free improvisations, but there simply is no objective dividing line.


2

If I had to compose a piece to be jazz as opposed to classical. I would incorporate the blues scales in the piece and use a swing feel for the rhythm. On a classical idea I would stay in the key without the use of a blues sounding scale by avoiding accidentals that would sound bluesy. The rhythm feel would be straight for the piece. I would say that my ...



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