{"id":884,"date":"2017-02-19T05:13:12","date_gmt":"2017-02-19T05:13:12","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=884"},"modified":"2020-04-11T21:51:25","modified_gmt":"2020-04-11T21:51:25","slug":"purcell","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/purcell\/","title":{"raw":"Purcell","rendered":"Purcell"},"content":{"raw":"

Ode 4 - Ground Bass and sung by a male counter-tenor.<\/strong><\/h3>\r\nListen to \u00a0Ode 4:\u00a0 \"Here the Dieties approve\".\u00a0 This is an example of \u00a0 basso ostinato or ground bass:<\/strong>\r\n\r\nhttps:\/\/youtu.be\/ch33bAFx2aA\r\n\r\nT\r\n<\/strong>The lower part\u00a0 performed by the cello. Note that the cello melody\u00a0 is being repeated\u00a0 throughout the entire \u00a0selection.<\/span>\u00a0 It is six measures long. You can count them. A beautiful expressive melody is\u00a0 executed\u00a0 over this repeated melody (ground bass)\u00a0 by the singer. In addition, note that the phrases the singer is singing do not always conform in length to the six measure ground bass, yet the parts fit together beautifully.<\/em>\u00a0The harmony here is provided by the\u00a0The \"metallic\"\u00a0 <\/em>sounding notes of the harpsichord.\r\nBasso continuo style though it does not have to be\u00a0 presented as\u00a0 a\u00a0 ground bass. . Two opposing characteristics of the baroque (extravagance and discipline) are demonstrated here.\u00a0The expressive emotional song of the singer\u00a0 (extravagance<\/span>)\u00a0 is structured to the constraints of the repeated \u00a0ground bass or basso ostinato (discipline<\/span>) . The singer in this excerpt\u00a0 is a male \u00a0conter-tenor<\/strong> who has developed his high falsetto vocal quality \u00a0extending \u00a0his vocal \u00a0register into the \u00a0female register. It has its own very distinctive quality. The first half of the selection is sung the latter half \u00a0is performed by the strings of the orchestra.\r\n\r\nDido \u00a0and Aeneas\u00a0\u00a0<\/strong>Recitative and \u00a0Aria: \u00a0Thy Hand Belinda\r\n<\/strong>In this aria you first hear hear a short introduction. Then\u00a0 the ground bass which is\u00a0 five measures long is\u00a0 repeated 11 times, begins and\u00a0characterized by a series\u00a0 descending pitches. This aria is a lament and the ground bass of a lament\u00a0 has descending notes as exhibited here. IN the opera, Dido and NAbneas,\u00a0 \u00a0Aneas have become shipwrecked \u00a0on the Island of Carthage. \u00a0 Dido, queen of Carthage, has fallen in love with him. However Aeneas \u00a0must continue on his voyage at the request of the gods. The grieving Dido prepares to mount the funeral pyer as she sings this very emotional and expressive lament. aria.\r\n<\/span>\r\n<\/strong>\r\n\r\nhttps:\/\/youtu.be\/hxyqopWq3IY\r\n\r\n \r\n\r\nDido and Aeneas\u00a0 - Come Away Fellow Sailors<\/strong>\r\n\r\nThis chorus and \u00a0aria sung by the sailors as they prepare to depart Carthage on their voyage. This\u00a0 festive song is in the style of a horn pipe which is\u00a0 an Irish dance.\r\n\r\nhttps:\/\/youtu.be\/lpL_bNDWIUk\r\n\r\n \r\n\r\n\"Come away, fellow Sailors, come away your anchors be weighing,\r\nTime and tide will admit no delaying.\r\nTake a boozy short leave of your nymphs on the shore,\r\nAnd silence their mourning,\r\nWith vows of returning,\r\nBut never intending to visit them more.\r\nNo never intending to visit them more.\r\nNo never, no never, intending to visit them more.\"","rendered":"

Ode 4 – Ground Bass and sung by a male counter-tenor.<\/strong><\/h3>\n

Listen to \u00a0Ode 4:\u00a0 “Here the Dieties approve”.\u00a0 This is an example of \u00a0 basso ostinato or ground bass:<\/strong><\/p>\n