If Renaissance music is a calm, flowing river, Baroque music is a raging ocean.
Starting around 1600, music changed fundamentally. It became heavier, more ornate, and emotionally explosive. The church was no longer the only game in town; kings and queens wanted music that screamed "power," and the rise of Opera meant that even sacred music began to sound dramatic.
But what actually makes a piece "Baroque"? And how do modern choirs sing it without making it sound heavy and muddy?
The Philosophy: The Doctrine of Affections
To understand the music, you have to understand the mindset. Baroque composers firmly believed in the Doctrine of Affections (Affektenlehre). The goal of music was not just to be beautiful, but to arouse specific emotions (affects) in the listenerompassion, joy, anger, or despair.
Unlike Romantic music, where emotions shift constantly, a Baroque movement often explores one single emotion until it is exhausted. If a piece starts happy, it stays happy.
The Baroque Sound: A Checklist
1. The Basso Continuo
This is the engine of Baroque music. Unlike the floating equality of Renaissance polyphony, Baroque music is built from the bottom up. A solid bass line (played by Cello, Bassoon, or Double Bass) drives the music forward, while a keyboard instrument (Harpsichord or Organ) fills in the chords.
2. Terraced Dynamics
We are used to gradual crescendos and decrescendos. But in the Baroque era, especially on instruments like the Harpsichord, you couldn't just "get louder" by pressing a key harder.
- The Solution: "Terraced Dynamics." The music shifts blocks of sound instantly. It goes from Piano (soft) to Forte (loud) like stepping up a terrace, with no ramp in between.
- Choral Application: Choirs often mimic this by adding or subtracting voice parts, or simply shifting intensity instantly at the start of a new phrase.
3. Melisma & Ornamentation
A melisma is one syllable stretched over many moving notes (think of the "Glo-o-o-o-ria" in Angels We Have Heard on High). In the Baroque era, singers were expected to be virtuosos.
- Trills and Mordents: Singers would add decorations (ornaments) to the melody, especially at cadences, to show off their agility and add "sparkle" to the texture.
The Big Three: Masters of the Era
1. Johann Sebastian Bach (1685–1750)
The mathematical genius. Bach didn't travel much, but he absorbed every style of Europe and perfected it. His music is dense, contrapuntal, and incredibly difficult.
- Key Work: Mass in B Minor. Often called the "Mount Everest" of choral music. It is a fusion of the old Renaissance style and the new Baroque dance forms.
- Symbolism: In the Crucifixus, Bach uses a descending chromatic bass line that repeats over and over (a Passacaglia). This "lamento bass" was a universal symbol of death and sorrow in the Baroque era.
2. George Frideric Handel (1685–1759)
The showman. Handel was a German who lived in England and wrote Italian operas. He was a cosmopolitan superstar.
- Key Work: Messiah. When Italian opera fell out of fashion, Handel invented the English Oratorio basically an opera without costumes or sets. The Messiah uses word-painting masterfully; when the choir sings "All we like sheep," the notes literally scatter in different directions.
3. Antonio Vivaldi (1678–1741)
The Red Priest. Vivaldi wrote hundreds of concertos for violin, and you can tell. He treats the choir like an orchestra.
- Key Work: Gloria. The opening movement is comprised of octaves and rhythmic jumps that mimic the bowing of a string section. It requires a crisp, fiery articulation.
Performance Guide: "Light and Shade"
How do you sing Baroque music today?
1. The "Dance" Articulation Baroque music is rooted in dance steps (Gavottes, Minuets, Gigues).
- The Error: Singing it "legato" and smooth like a 19th-century hymn.
- The Fix: Detach the notes. Use "air space" between notes, especially on leaps. Think of a violin bow bouncing off the string.
2. Vibrato as an Ornament In the 1700s, vibrato was likely used as an occasional ornament to warm up a long note, not a constant "wobble." Modern choirs often reduce vibrato to create the "straight tone" clarity needed to hear the complex harmonies.
3. Hierarchy of Beats Not all beats are created equal. In a 4/4 bar, beat 1 is the King, beat 3 is the Queen, and beats 2 and 4 are the peasants.
- Technique: Lean slightly on the strong beats and back off on the weak ones. This gives the phrase a "lilt" and keeps it moving forward.
4. The Hemiola (The Rhythmic Trap) Just before a final cadence, Baroque composers often change the feel of the meter from 3 beats (1-2-3, 1-2-3) to 2 beats (1-2, 1-2, 1-2) spread over two bars.
Pro Tip: Watch the conductor! The hemiola is a moment of braking. It creates a massive sense of arrival when the final chord lands. It is the Baroque version of a "drop."
Video Masterpiece: The Ultimate Bach
Watch the Netherlands Bach Society perform the Cum Sancto Spiritu from the Mass in B Minor.
- Listen for: The "Terraced Dynamics" where trumpets enter and exit.
- Watch for: The joy in the singers' faces as they navigate the melismas. It is a physical workout.
Recommended viewing: Bach - Cum Sancto Spiritu from Mass in B minor BWV 232 | Netherlands Bach Society
Why We Still Sing It
Baroque music demands technical perfection. There is no place to hide; every line is exposed. But it rewards you with an intellectual and physical adrenaline rush that no other music can provide. It is complex, logical, and overwhelmingly grand.
We have built the foundation. Now, let's explore the stories behind specific masterworks in our next series. Next: Understanding Conductor Gestures.
About the Author
HaND. is a choral veteran with 15 years of experience in practice and organization. A primary Bass, HaND. also demonstrates exceptional versatility as a Countertenor and Vocal Percussionist.
