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A Level Music > Bach 1723 > Flashcards

Bach 1723 Flashcards

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Ultimate Music Theory flashcards
1
Q

Context

A

Cantata, work for one or more voices with accompaniment
Based on Luther’s melody, words, hymn in the form of the CF
Before Reformation, hymns did not exist, music heard in churches in the form of plainsong, by choirs.
After Reformation, the congregation in the Protestant Church would all sing a hymn together
Baroque cantatas consist chorale, aria, recitative, chorus, sung during the service

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2
Q

Harmony

A

Functional harmony, perfect cadences frequent
Chords predominantly in root position, 1st inversion, 2nd occasionally used
Occasional dissonance
Tonic pedal

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3
Q

Functional harmony, cadences frequent

A

Characteristic of Baroque
Often use Dom 7, strengthen cadences
Confirm modulations to new key, definitively ends phrases (After, Glory of the Lord, Handel)
Rare imperfect cadence in 8th mv, lead onto the last phrase

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4
Q

Chords predominantly in root position, 1st inversion, 2nd occasionally used

A

Stronger chords that reflect the strength of the Protestant church (2 years after, Bach, chorale no 1)

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5
Q

Occasional dissonance

A 
4-3, 9-8, 7-6 sus
Baroque characteristic dissonance
 (Before, 4,3 Corelli Sonata da chiesa No 2)
Dim 7 
Word painting, devil’s war equipment
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6
Q

Tonic pedal

A

1st mv, 4 bars to end
Drive towards cadence point, strengthens major and uplifting tonality
Cantata about God
(After, The Messiah, Handel)

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7
Q

Texture

A 
Variety used
Contrapuntal
Mel dom hom
Homophonic
Heterophony
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8
Q

Contrapuntal

A

1st mv, Build up TASB
Answer, not real, altered to allow music to flow
(Just after, Bach Great Fugue, real answer)
Canon between oboe, violin, half bar displacement
(Before, Pachelbel’s cannot 2 bar displacement between 3 violins)
Bach, famous for his fugues, v characteristic of him
2nd mv, independent SB, S sings CF variation, Highly ornate melody

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9
Q

Mel dom hom

A

2nd mv, upper strings play semiquaver triadic line, lower strings accompany with offbeat octave leaps and walking bass in intro, outro,
Characteristic of arias
(After, Gelobet sei der Herr, mein Gott, Bach)

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10
Q

Homophonic

A

8th mv, expected of chorale (After, Jesu Meine Freude, homophonic chorale)
Heighten the text, EP importance of God

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11
Q

Heterophony

A

2nd mv, S and oboe
Oboe supports S,
S embellishes it, characteristic of Baroque music

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12
Q

Tonality

A

Functional major tonality

Minor keys

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13
Q

Functional tonality

A

All in D major
D major, v uplifting key, relating to God
(After, Handel’s Messiah, D major Hallelujah chorus)
Also fits around the harmonic series of the natural trumpet
1st mv, mod to dominant (Amaj), subdominant (Gmaj)
Characteristic of Baroque music
(Just before, No 1 Well Tempered Clavier)

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14
Q

Minor keys

A

1st mv, rare modulations to minor keys like B, F#, E min

Word painting, heighten devils war equipment

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15
Q

Melody

A 
Luthers chorale forms basis of all 8 movements
Heavy ornamentation of CF
Sequences
Chromatic word painting
Quasi instrumental
Word setting
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16
Q

Luthers chorale forms basis of all 8 movements

A

8th, most similar, v conjunct, diatonic, v narrow range, heightens text, importance of God
(After, Wachet auf, ruft uns die Stimme, based on the hymn tune by Nicolai)
1st , Bach’s, loosely based on Luther’s, more conjunct with scalic desc, asc in a fugue, not a perfect answer, develop short melodic fragments around the harmony, Bach was the master of fugues
(Just after, Bach, Great fugue, perfect answer)

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17
Q

Heavy ornamentation of CF

A

2nd, S but still distinct, V charcteristic of Baroque music, very ornamented
(1 year after, Cantata BWV 78)

18
Q

Sequences

A

1st, CF asc in vln based on CF, doubles S,

provides support

19
Q

Chromatic word painting

A

1st, devil’s war equipment, associated with evil and the devil
(Before, Cantata BWV 150, large amount of chromaticism)

20
Q

Quasi instrumental

A

2nd, v angular B

1 year after, Cantata BWV 78

21
Q

Word setting

A

1st, 2nd, v melismatic, especially B in 2nd
(After, And the Glory of the Lord, long melismatic)
8th, entirely syllabic, heighten text, glory of God
(4 years later, Passion chorale, CF)

22
Q

Sonority

A 
Vocals
Tutti orchestra
Strings
Sackbutt
Taille
2 Basso continuos
Natural trumpets
23
Q

Vocals

A

SATB, 1st, last mv

SB, aria duet, characteristic of Baroque cantatas

24
Q

Tutti orchestra

A

All mv, closely double vocals,
2nd, S doubled by oboe, provide chorale melody
(1 year after, Out of deep anguish I call to you, vocals reinforced with 4 trombones)
2nd, B is v independent, v little doubling

25
Q

Strings

A

2nd, as well as doubling vocals in other mv, provide the instrumentalists and angular obbligato, based on BC,
provide a foundation for the S and B to ornament the cantus firmus

26
Q

Sackbut

A

Smaller bore, bell, like trombone

divine presence

27
Q

Taille

A

More piercing sound than a cor anglais,
used exclusively in moments of jubilation in celebration of God
(After, Sachet auf, ruft uns die Stimme)

28
Q

2 Basso continuo play figured bass

A

1st mv, normally have 1
(Same year, Cantata Jesu, Joy of Man’s Desiring)
2 suggests reflect the strength of the Protestant Church after the Reformation

29
Q

Natural trumpets added by WF Bach

A

Valveless, double length, harmonic series, fanfare like, express joy and grandeur of God
(After, Aria, Jaunchzet Gott in Allen Landen)

30
Q

Tempo, rhythm and metre

A 
Simple square metres
Ties and syncopation
Moto perpetuo
Simple square rhythms
No tempo markings
Pauses on cadences
31
Q

Simple square metres

A

1st, cut C
2nd, 4/4
8th, C
Characteristic of Baroque music (After, Jesu mein freude, Bach)

32
Q

Ties and syncopation

A

1st, drive music forward (After, Britten, St Nicholas, Chorus, Nicolas and the Pickled Boys)

33
Q

Moto perpetuo

A

2nd mv, moto perpetuo semis in orch,
(After, BWV 191 in strings) gives energy and drive
2nd mv, B running semis, very instrumentalistic

34
Q

Simple, square rhythms

A

8th mv, predominantly crotchets, quavers, characteristic of chorales

35
Q

No tempo markings

A

Characteristic of Baroque music, judged by rhythms and metre

36
Q

Pauses on cadences

A

Marks chorale phrases, characteristic of chorales (After, Britten, St Nicholas, Chorus, Nicolas comes to Myra chosen Bishop)

37
Q

Structure

A

Fugal
Aria
Chorale

38
Q

Fugal

A

CF in TASB
(Just before, No 1 Well Tempered Clavier ASTB)
Fragments of other chorale phrases also heard, use fugues to develop small CF fragments Bach, master of fugues
CF, embellished at end, ornamentation, characteristic of Baroque

39
Q

Aria

A

Cantatas usually have arias
(After, Gloria in excelsis Deo, Bach)
Instrumental intro, semiquaver leaping upper string melody over strong quaver bass (1 year after, Cantata BWV 78, cello quavers in 8 bar intro)
Independent B, ornate melismatic scalic semis, S embellished CF
(1 year after, BWV Aria 78 not independent)
Vocals developed with modulations, characteristic of Baroque music
Postlude from intro, brings the whole mv together

40
Q

Chorale

A

9 phrases, first 2 repeated (After, Awake for the Night is Flying, 11 phrases based on Lutheran hymn by Nicolai, Cantata 140)
Heightens importance of text, glory of God

A Level Music (13 decks)

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