Bach 1st movt

Question 1

what performing forces are used? what is interesting about his choice?

Answer 1

• SATB choir
• tutt orchestra
• 3 oboes
• violin 1/2/viola
• continuo - cello and harpsichord
• continuo - viol and organ
• only cantata which differentiates between continuos

Question 2

what musical elements can be commented on?

Answer 2

• structure/tonality
• texture
• melody
• harmony
• rhythm, tempo and metre

Question 3

how many sections can this movement be split up into?

Answer 3

eight sections

Question 4

comment on structure/tonality in bars 1-16

Answer 4

• (S) tenor→(TA) alto→ (S) soprano→ (TA)bass

- D→A(harpsichord)→D→G(oboe)→A→D

Question 5

comment on structure/tonality in bars 16-30

Answer 5

• (S) soprano/ (CM) alto → (TA) bass→(S) tenor
  (end of section marked by tonic pedal in organ )
• modulates in same pattern between D, A and G (functional/diatonic)

Question 6

comment on structure/tonality in bars 30-45

Answer 6

• (S) tenor→(TA) alto→ (S) soprano→ (TA)bass

- mainly in tonic key with occasional modulations to A and G

Question 7

comment on structure/tonality in bars 46-60

Answer 7

• (S) soprano/ (CM) alto → (TA) bass→(S) tenor
  (end of section marked by tonic pedal in organ )
• D →G(bar51)→D

Question 8

comment on structure/tonality in bars 60-82

Answer 8

-NEW THEME: bass→tenor→alto→soprano (circle of 5th)
- highly modulatory - passes through related minor keys
F#m(bar73)→Bm→Em→Bm→A (bar80-organ)

Question 9

comment on structure/tonality in bars 82-90

Answer 9

• NEW THEME: tenor→bass→alto→soprano

- A→Bm(alto)→F#m→A(organ)

Question 10

comment on structure/tonality in bars 90-100

Answer 10

• SIMILAR THEME: soprano→alto→tenor→bass
• passes through related minor keys
• reaches chromatic climax (bars 98-99)

Question 11

comment on structure/tonality in bars 100-114

Answer 11

LIKE OPENING THEME: tenor→bass→soprano→alto

• starts in tonic key
• passes through modulations
• ends with tonic pedal

Question 12

comment on texture

Answer 12

• highly contrapuntal
• fugal style - uses subjects/tonal answers
• countersubject such as 2nd section with alto - based on 2nd phrase of hymn
• use of doubling of orchestra and voice

Question 13

comment on melody

Answer 13

• uses cantus firmus (pre-existing melody forming basis of composition - martin luther hymn in 15299)
• melody is mainly conjunct
• tonal answer - subject transposed 4th lower
• melisma - scalic passage
• diatonic melody with occasional chromaticism
  range: S=11th; A=12th; T=nearly 2 oct; B=10th

Question 14

comment on harmony

Answer 14

• functional/diatonic
• frequent cadences
• pedal - tonic pedal end of sections
• suspensions 4-3 on bar 16

Question 15

comment on rhythm,tempo and metre

Answer 15

• metre: 4/2 - simple quadruple time
• varying rhythms
• continuous quavers
• tied notes - add momentum
• dotted rhythm