Brandenburg Concerto No.5, 3rd movement Flashcards

1
Q

what is the role of the harphsichord in Brandeburg Concerto 5, 3rd

A

soloist
accompaniment
conductor
reliases figure bass

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2
Q

How would you describe Brandeburg Concerto 5, 3rd

A

gigue, played at allegro

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3
Q

what time signature is Brandeburg Concerto 5, 3rd in

A

2/4, simple time

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4
Q

what key is Brandeburg Concerto 5, 3rd in

A

D major at the start

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5
Q

What were the dynamics in Brandeburg Concerto 5, 3rd?

A

left to performer, no dynamic markings. use texture to make it louder

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6
Q

What are the two types of forms in Brandeburg Concerto 5, 3rd

A

fugue and ternary

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7
Q

what is a fugue

A

a musical form comprising of an exposition, middle and final section

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8
Q

How does the beginning Brandeburg Concerto 5, 3rd

A
  • offbeat semiquavers on
  • stepwise movement - gives gigue feel
  • ends on tonic
  • monophonic texture
    -tonal
    -violin has four detached quavers, known as countersubject
    -concertino
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9
Q

why is Brandeburg Concerto 5, 3rd basso continuo

A

there is concertino and ripieno
showiness
harpsichord

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10
Q

which insturments play continuo in Brandeburg Concerto 5, 3rd

A

cello and harphsicord

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11
Q

what instruments play concertino in Brandeburg Concerto 5, 3rd

A

flute and violin

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12
Q

what instruments play ripieno in Brandeburg Concerto 5, 3rd

A

viola, second violin, cello

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13
Q

what type of cadences are there in Brandeburg Concerto 5, 3rd

A

perfect cadence

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14
Q

what happens in bar 9 in Brandeburg Concerto 5, 3rd

A

dialoguing
threepart counterpoint into four part counterpoint

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15
Q

what happens in bar 19 +21 in Brandeburg Concerto 5, 3rd

A

trilling on minims in harphsichord, to make notes sound longer

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16
Q

what happens before the counter subject of the quavers and semiquavers in harpsichord

A

stretto to add intensity
stepwise movement

17
Q

what are the textures in Brandeburg Concerto 5, 3rd

A

contrapuntal and fugal
monophonic -> two part counterpoint -> three part counterpoint -> four part counterpoint.

18
Q

describe first part of part b in Brandeburg Concerto 5, 3rd (sadder)

A

more lyrical
b minor
homophonic texture, accompianment from harphsichord
tonic pedal in harpsichord and cello
triplets

19
Q

what does unison create and when is it used before in Brandeburg Concerto 5, 3rd and describe this passage before solo harphsichord

A

makes it louder
harphsicrod soloist and sculling is used.
e minor -> b minor
trilling on harphsicord to sustain long tied notes

20
Q

describe harphsicord solo part in Brandeburg Concerto 5, 3rd

A

cannon - contropunctual texture
triplets
dotted notes

21
Q

what is the texture of B section Brandeburg Concerto 5, 3rd

A

Generally lighter, allow concertino instruments to be heard. homophonic texture beggining. contrapuntal passages, dialouging

22
Q

textures of section a in Brandeburg Concerto 5, 3rd

A

contrapuntal and fugal
builds up from monophonic
two part counterpoint -> three part -> four part. ripieno parts join texture remains quite full

23
Q

what is the mood of Brandeburg Concerto 5, 3rd

A

upbeat and uplifting

24
Q

what does stretto create

A

tension and excitement

25
what are commmon baroque devices
suspensions, sequences and pedals
26
name one type of dissonance heard in Brandeburg Concerto 5, 3rd
suspensions
27
Which word describes the overall texture of Brandeburg Concerto 5, 3rd
contrapuntal
28
Describe the melody played by harpshichord before ripieno enters at the start
stepwise trills diatonic subject answer
29
identify texture when ripieno enters branderburg
contrapuntal
30
two features of harmony which are characteristic of Baroque period at start of branderburg
pedal perfect cadences suspenspions sequences
31
name a harmonic device heard at end of harphsichord solo
pedal
32
features that are typical of final movement of concerto grosso
getting faster fugal gigue