Jazzing Up the Bass Line

Galit Zadok

About this exposition

One could say that basso-continuo is the heart of baroque music, it occupies a central role in it’s performance practice. It consists of two important elements, the bassline and it’s harmonic realization. A common performance practice nowadays is to have at least one chordal instrument (such as harpsichord, organ or theorbo) who plays the harmonic realization together with the bassline and one melodic bass instrument (such as cello, bassoon or viola da gamba) which sticks only with the written bassline. The goal of this research is to explore and experiment with the idea of varying the bassline, and investigating the effects of using such variations on the music and the performance. This research consists of three parts. First the study of historical treatises which deals with basso-continuo, specifically with bass variations. The second part will focus on an in-depth analysis of two musical examples in order to determine a set of possibilities. Namely the second sonata by Jan Dismas Zelenka ZWV 181 and Arcangelo Corelli’s op.1. These are interesting since they explicitly shows a coexistence of two bass parts. Thirdly, using the knowledge obtained in the previous steps in order to add bassline alterations on existed repertoire and study it’s effects on the performance.

type	research exposition
keywords	Basso Continuo, Ornamentation, improvisation, diminutions, baroque, creative practice
date	21/02/2022
published	11/07/2022
last modified	11/07/2022
status	limited publication
affiliation	Koninklijk Conservatorium Den Haag, the Netherlands
copyright	Galit Zadok
license	CC BY-NC-ND
language	British English
url	https://www.researchcatalogue.net/view/1430331/1430332
published in	KC Research Portal
portal issue	3. Internal publication

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Jazzing Up the Bass Line (2022)

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