Bach Movement 3

Question 1

Ritornello i Bars 1-8

Answer 1

In fugato style in A minor
Violin soloist plays the same part as the orchestral 1st violin throughout this passage
The subject is presented by the 1st in b1-4, with a countersubject in the violas and free counterpoint in the bass

Question 2

Ritornello i Bars 9-15

Answer 2

The subject is restated by the bass in A minor in b9-12 with the countersubject in the 2nd violins and free counterpoint in the 1st violins
The short codetta in b12-14 is based on the last bar of the subject, is an imitative sequence, modulating to C major.
The harmony moves in a circle of 5ths in b11-15

Question 3

Ritornello i Bars 15-25

Answer 3

The subject is presented by the violas in C major in b15-18 with the countersubject in the bass and free counterpoint in the 1st and 2nd violins
The closing passage returns in A minor, with continuing references to the subject, ending with a V - i cadence in b24-25

Question 4

Solo i Bars 25-31

Answer 4

Beginning in A minor
The orchestral parts are marked piano in these eight bars
The first eight bars are based on the primary triads sometimes decorated with suspensions and appoggiaturas

Question 5

Solo i Bars 31-42

Answer 5

The use of semi quavers from b31 provides further contrast to the ritornello theme
Harmony moves in a circle of 5ths in b33-39 modulating to E minor

Question 6

Ritornello ii Bars 43-46

Answer 6

E minor

1st violins have the subject and the 2nd violins have the countersubject

Question 7

Solo ii Bars 46-59

Answer 7

Begins in E minor
Initially a transposition of bars 25-26 up a 5th (varied in b52-53)
Bars 54-59 are a transposition of bars 35-40 up a 6th or down a 3rd to C major

Question 8

Ritornello ii Bars 60-72

Answer 8

C major
The subject returns in the 2nd violins in b60-63 answered by the 1st violins in G major in b64-67, then restated by the violin in C major in b69-72

Question 9

Solo iii Bars 73-90

Answer 9

Begins with sequences based on the last two bars of the subject, gradually returning to A minor in b73-81, with the harmony often moving in the circle of 5ths
The solo part becomes more elaborate in b82-87, leading to a cadenza-like prolongation of the dominant chord in b88-90
There is a false entry of the subject in the bass in b90, still using dominant harmony

Question 10

Ritornello iii Bars 91-94

Answer 10

A minor

Subject returns in the 1st violin part doubled by the soloist

Question 11

Solo vi Bars 94-116

Answer 11

Begins in the same way as b25-32 then somewhat altered from b102
The solo part contains 2 part writing from b105, with rising sequence in the orchestra
The first bar of the subject is used in an imitative sequence by the bass and upper orchestral strings in b110-116, with the harmony moving in a circle of 5ths from tonic to dominant

Question 12

Ritornello vi Bars 117-141

Answer 12

A minor

Same as 1-25