Brandenburg Concerto No.5 in D Major (3rd movement)

Question 1

when was it published

Answer 1

1850 (100 years after his death)

Question 2

who composed it

Answer 2

Bach

Question 3

Genre

Answer 3

late baroque, Concerto Grosso

Question 4

solo instruments

Answer 4

flute, harpsichord, violin

Question 5

structure

Answer 5

Ternary ABA

Question 6

A section (1)

Answer 6

bars 1-78, Fugato, D Major

Question 7

B section

Answer 7

bars 79-232 (1;18) Ritornello, B minor

Question 8

A section (2)

Answer 8

bars 233-310 (3:49) Fugato, D major

Question 9

A section 1 (description)

Answer 9

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.

Question 10

B section (description)

Answer 10

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

Question 11

A section 2 (description)

Answer 11

expect for a D major chord at the start of 233 it is an exact repeat

Question 12

A section Modulations

Answer 12

includes modulations to the dominant ( A Major)

Question 13

B section modulations

Answer 13

in the key of B minor ( d major’s relative minor) modulations to its dominant F# minor and A major

Question 14

Melody

Answer 14

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

Question 15

melodic devices

Answer 15

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.

Question 16

metre

Answer 16

2/4 (triplet quavers give it a 6/8 feel)

Question 17

tempo marking

Answer 17

allegro throughout

Question 18

rhythm

Answer 18

in the style of gigue. triplets and dotted rhythms are dominant throughout as well as semiquavers in the harpsichord part.

Question 19

texture

Answer 19

contrapuntal (monophonic first 2 bars)

Question 20

texture a section

Answer 20

fugato. stretto stats bar 64

Question 21

double bass texture

Answer 21

mainly doubles the cello only plays in the tutti sections

Question 22

instrument texture

Answer 22

excepted cello and double bass most of the other parts are generally independent

Question 23

example of flute and violin doubling

Answer 23

bars 33-34

Question 24

example of the flute and solo violin paralleling in 3rds

Answer 24

bars 107-114

Question 25

describe the texture of the harpsichord solo at 163-176

Answer 25

two part canonic

Question 26

when is there a free canon

Answer 26

between the flute and solo violin in bar 193

Question 27

how does Bach create contrast

Answer 27

changing the texture ( melody is based around the same four notes so diatomic and invariant) this also allowed him to create dynamic change

Question 28

describe the dynamics

Answer 28

terraced dynamics

Question 29

chords

Answer 29

diatonic triads in root or first inversion along with dominant sevenths in the root position or inverted.

Question 30

what created chordal variety

Answer 30

occasional on beat dissonance with suspensions or appoggiaturas which is then resolved.

Question 31

what underlines the key changes in the B section

Answer 31

tonic or dominant key changes

Question 32

how does each section end

Answer 32

with a perfect cadence

Question 33

describe the harmony

Answer 33

diatonic