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Bach Flashcards

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1
Q

Tonality- 5

A
  1. Diatonic
  2. Functional
  3. Clear and expected modulations that are prepared
  4. Returns to G major after modulations
  5. Perfect cadences establish dominant keys
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2
Q

Give an example of a modulation that is prepared and expected

A

Bar 15

C Sharp’s suggest D major- the dominant

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3
Q

Give an example of when a perfect cadence establishes a dominant key

A

Bar 24-25

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4
Q

Name the four other keys Bach modulates too (excluding D major) and where

A

E minor bar 129-137
B minor bar 166-170
A minor bar 175-185
C major bar 202-208

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5
Q

How is the ritornello significant for the tonality?

A

Chordal accompaniment is used to emphasise modulation

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6
Q

Harmony-8

A
  1. Functional
  2. Mostly diatonic
  3. Bar 1-13, the key is established due to repeated I and V in root position
  4. Modulation to the dominant is achieved by the use of a pivot chord
  5. Suspensions
  6. Tonic- dominant harmony
  7. Harmonic sequences (typical of late baroque harmonies)
  8. Hemiola’s are harmonised by a circe of fifths
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7
Q

Give an example of a pivot chord

A

Bar 14, Em is chord VI in G and chord II in D

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8
Q

Give two examples of suspensions

A

Bar 15 1st recorder

Bar 17 2nd recorder

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9
Q

Give an example of tonic- dominant harmony

A

Bar 22 the recorders play a chord of A7 whilst the bass instruments outline a triad of D major

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10
Q

Give an example of a harmonic sequence

A

Bar 33-39, D cadence becomes the dominant of G major and is followed by a perfect cadence in G

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11
Q

Give an example of a circle of fifths

A

Bar 79-80, the bass notes are B-E-A-D-G-C

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12
Q

What are the instruments in the Concertino?

A

Solo Violin

2 solo recorders

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13
Q

What are the instruments in the Ripieno?

A

2 violins
Viola
Cello
Double bass

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14
Q

What are the instruments in the Continuo?

A

One bass instrument
One harmony instrument
e.g. harpsichord/ organ

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15
Q

What is a concerto grosso?

A

A work with 2 or more instruments with solos

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16
Q

What are episodes?

A

When the solos are playing

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17
Q

Modulations only occur in…

A

the episodes

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18
Q

Instrumentation- 6

A
  1. Clear distinction between the solo violin and the recorder parts
  2. Violin solo has demi semi quaver flourishes, triple and double stopping
  3. Violin solos are exposed due to sparse accompaniment
  4. Recorders work in pairs often in parallel 3rds and 6ths
  5. Unusual combination of instruments for the time
  6. Harpsichord given a more important role e.g. when flutes have their solo
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19
Q

What is the structure?

A

Fusion of Ternary form and Ritornello form

Within the ternary form, there is a ritornello structure of alternating ritornelli and episodes

20
Q

Describe the form

A

Ternary Form
Section A: 1-83
Ends with hemiola rhythms
Contains most of the thematic material for the central section
Functions as an extended ritornello in relation to the whole movement

Section B: 83-344
Alters between solo and tutti passages in which the motifs are developed into melodic lines
Modulations take place in solo passages to related keys
Hemiola rhythms and a perfect cadence in Bar 342-344 signal end of section

Section A: 345-427
An exact repeat of bars 1-83

21
Q

Describe the structure

A 
Ritornello Structure
Ritornello 1: 1-83
Episode 1: 83-137
Ritornello 2: 137-157
Episode 2: 157-209
Ritornello 3: 209-235
Episode 3: 235-323
Ritornello 4: 323-344
Ritornello 1: 345-427
22
Q

Describe what happens in Ritornello 1 and when it is

A

Bar 1-83
1-23 exposition of motifs
23-35 original repeated and transposed to D major
57-69 repetition of original in tonic key
69-83 no changes of key

23
Q

Describe what happens in Episode 1 and when it is

A

Bar 83-137
Violin solo with recorder and ripieno interjections. Begins in G major then D major in bars 102-128 modulating to E minor in bars 129-137

24
Q

Describe what happens in Ritornello 2 and when it is

A

Bar 137-157

Transposed repeat of bars 63-83 in E minor

25
Q

Describe what happens in Episode 2 and when it is

A

Bar 157-209
Non-thematic violin solo of great virtuosity.
Begins in E minor and modulates to B minor (166-170) then to A minor (175-185)
Modulates through G major (201) to C major in bars 202-208

26
Q

Describe what happens in Ritornello 3 and when it is

A

Bar 209-235
C major
This is a transposed and varied repeat of 57-83
Motif F (in the recorders in bar 69-75) is simplified in the solo violins double stopping in bar 221-227

27
Q

Describe what happens in Episode 3 and when it is

A

Bar 235-323
Solo violin closely imitated by ripieno strings and recorder interjections occur at intervals.
263-285 a varied repeat of bars 35-57 is introduced. This could be considered another ritornello section but this one modulates from D through C and finally to G

28
Q

Describe what happens in Ritornello 4 and when it is

A

Bar 323- 344
In B minor
A repeat of bar 63-83 transposed from G major to B minor
The two bar link to Ritornello is based on motif D

29
Q

Describe what happens in Ritornello 1 for the second time and when it is

A

Bar 345-427

Exact repeat of bar 1 -83

30
Q

Rhythm-5

A
  1. Dance rhythms
  2. One in a bar triple metre
  3. Syncopated rhythms of recorders
  4. Hemiolas
  5. Complex rhythms used to signal the end of sections
31
Q

Give an example of hemiolas

A

Basso Continuo bar 79-80

32
Q

Explain the 3 rhythmic things that happen in bar 79-80

A
  1. The upper strings accentuate the 2nd, 1st then the 3rd quavers of each bar
  2. The recorders accentuate the intervening quavers
  3. The 2nd quaver of bar 82 gets particular emphasis because the chords change at this point (IV7 -V7)
33
Q

Melody- 6

A
  1. Arpeggio figures that outline the underlying chords
  2. 2nd recorder’s arpeggios in bar 1-2 trace the triads played by the ripieno strings
  3. Extended violin solos are harmonically centred
  4. Scalic passages
  5. Motifs are developed into longer passages through repetition and sequence
  6. In almost every bar one or more of the melodic ideas derive from these 6 motifs
34
Q

Give an example of when the violin solo is harmonically centred

A

Bar 84

The unaccompanied violin changes the G major triad onto the dominant 7th of C major

35
Q

Give an example of a scalic passage

A

Bar 202-208

Solo violin

36
Q

How many motifs are there?

A

6

A-F

37
Q

Describe motif A

A

Bar 1-2

Arpeggiated idea repeated a forth lower to form a sequence

38
Q

Describe motif B

A

Bar 3

Quaver motif which is extended in bar 4-6 and repeated as a sequence in bars 7-12

39
Q

Describe motif C

A

Bar 13

Rising scale

40
Q

Describe motif D

A

Bar 14

Descending triad

41
Q

Describe motif E

A

Bar 36

Semiquaver idea

42
Q

Describe motif F

A

Bar 44
Syncopated idea is twice repeated in a descending sequence. At the same times the solo violin and ripieno violin provide counter melodies from motif D

43
Q

What is fortspinnung? Give an example

A

Growth of a melody from a simple motif. Typical of late baroque motifs.
Bars 18-22, the solo violin has a descending sequence which is built out of motif D.

44
Q

E minor

A

129-137

45
Q

B minor

A

166-170

46
Q

A minor

A

175-185

47
Q

C major

A

202-208

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