Brandenburg Concerto No.5 in D Major (3rd movement) Flashcards
when was it published
1850 (100 years after his death)
who composed it
Bach
Genre
late baroque, Concerto Grosso
solo instruments
flute, harpsichord, violin
structure
Ternary ABA
A section (1)
bars 1-78, Fugato, D Major
B section
bars 79-232 (1;18) Ritornello, B minor
A section (2)
bars 233-310 (3:49) Fugato, D major
A section 1 (description)
opens like a fugue; the subject is taken up by each instrument in turn, imitating the previous one and overlapping at a higher of lower pitch.
B section (description)
Begins and ends in B minor. it has a ritornello structure this means episodes based on the 4 notes of the a section transposed two B minor are interweaved with “little returns” of material from the A section
A section 2 (description)
expect for a D major chord at the start of 233 it is an exact repeat
A section Modulations
includes modulations to the dominant ( A Major)
B section modulations
in the key of B minor ( d major’s relative minor) modulations to its dominant F# minor and A major
Melody
mainly based around the opening four notes and is very diatonic. the opening ideas are triadic and stepwise. The opening accompaniment in section b is derivative of the accompaniment in bar 5 of section A
melodic devices
frequent use of sequences, trills and appoggiaturas ( performers would add additional ornaments if they saw fit.) The imitative texture allowed all instruments to share in the melody.
metre
2/4 (triplet quavers give it a 6/8 feel)
tempo marking
allegro throughout
rhythm
in the style of gigue. triplets and dotted rhythms are dominant throughout as well as semiquavers in the harpsichord part.
texture
contrapuntal (monophonic first 2 bars)
texture a section
fugato. stretto stats bar 64
double bass texture
mainly doubles the cello only plays in the tutti sections
instrument texture
excepted cello and double bass most of the other parts are generally independent
example of flute and violin doubling
bars 33-34
example of the flute and solo violin paralleling in 3rds
bars 107-114
describe the texture of the harpsichord solo at 163-176
two part canonic
when is there a free canon
between the flute and solo violin in bar 193
how does Bach create contrast
changing the texture ( melody is based around the same four notes so diatomic and invariant) this also allowed him to create dynamic change
describe the dynamics
terraced dynamics
chords
diatonic triads in root or first inversion along with dominant sevenths in the root position or inverted.
what created chordal variety
occasional on beat dissonance with suspensions or appoggiaturas which is then resolved.
what underlines the key changes in the B section
tonic or dominant key changes
how does each section end
with a perfect cadence
describe the harmony
diatonic
