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music gcse > Brandenburg Concerto No.5 in D Major by J.S Bach > Flashcards

Brandenburg Concerto No.5 in D Major by J.S Bach Flashcards

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1
Q

baroque features BC

A
  • figured bass
  • ornamented melody
  • diatonic chords
  • pedal, suspensions, sequences
  • lack of dynamics on score
  • maj and min tonal system
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2
Q

describe the form of BC

A
  • chamber music
  • concerto grosso (concertino, ripieno)
  • ternary form (+fugal characteristics)
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3
Q

how does the B section change the fugato in BC

A

-new 8 bar theme based on fugato: keeps 4th interval from V-1, same semiquaver rhythm but no triplets
- new triplet accompaniment figure from broken chords
- ripieno stops

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4
Q

describe the instrumentation of BC

A
  • concertino: flute, violin, sometimes harpsichord
  • ripieno: string ensemble of violin, viola, cello and double bass
  • continuo: harpsichord
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5
Q

describe the melody of the A section of BC

A
  • anacrusis
  • conjunct
  • small leaps
  • fugato/subject + counter subject
  • virtuoso style scalic runs
  • ornamentation
  • accidentals
  • rising sequence
  • frequent subject quotes + question and answer
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6
Q

give an example of anacrusis in BC

A

bar 1

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7
Q

describe the melody of the A section subject in B

A
  • dotted rhythm
  • 4th leap
  • conjunct
  • triplets
  • ends on tonic
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8
Q

give an example of a virtuoso style scalic run in BC

A
  • A section: bars 15-16 and bars 42-48
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9
Q

describe how the A section fugato is used in BC

A
  • introduced on solo violin
  • answered with flute with perfect fifth leap so it ends on the dominant (tonal answer)
  • counter subject from b5 in violin
  • subject in LH harpsichord b9-10 and answer in RH bar11-12
  • ripieno plays fugato b29-30
  • frequent quotes of subject eg b.50-51, 64-66
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10
Q

give an example of ornamentation BC

A

A section - trill bar 19
B section: appoggiaturas in fugato and b.149

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11
Q

list as many features of the A section texture in BC as you can

A
  • imitation - 2 part texture
  • doubling
  • contrapuntal
  • polyphonic
  • unison
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12
Q

list as many features of the A section tempo, metre, and rhythm in BC as you can

A
  • Allegro
  • 2/4 Baroque Gigue
  • dotted rhythms
  • triplets
  • triplets
  • semiquavers
  • stretto
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13
Q

list as many tonality and harmony features of the A section in BC as you can

A
  • D major
  • modulates to dominant A, with G#s
  • figured bass
  • inverted tonic pedal
  • functional harmony using mainly diatonic and chords standard chords - mostly I, IV, V some ii, vi - in root position and first inversion
  • perfect cadences
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14
Q

give an example of accidentals in BC

A

A section bar 56

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15
Q

give an example of a sequence in BC

A
  • A section: rising sequence bar 72-74 triplets in harpsichord
  • B section: rising sequence played 10th apart on harpsichord b.114 onwards, rising sequence of flute and violin b.137-141, desending sequence b.192 onwards, rising sequence in harpsichord b.125 on
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16
Q

give an example of imitation in BC

A
  • A section: bar 3
  • B section: 2 part imitation in harpsichord solo b.162 onwards
17
Q

give an example of doubling in BC

A
  • A section:
    • between flute and violin b.33-34
    • between cello harpsichord and double bass b.39-40
    • b.64-65
    • unison between flute and violin b.75-76
  • B section:
    • rising sequence of flute and violin b.137-141
    • fragment of main theme b.181-182
18
Q

give an example of dotted rhythms in BC

A
  • A section fugato
19
Q

give an example of triplets in BC

A
  • A section: fugato, counter subject b.5, rising sequence b.72-74 in harpsichord
20
Q

give an example of stretto in BC

A
  • A section: b.64-65 with doubling of subject
  • B section: b.223
21
Q

give an example of a modulation in BC

A
  • A section: modulates to dominant A, with G#s, in b.12
  • B section: modulates to relative minor Bm, b.99 modulates to F#m )relative minor of dominant), b.136 modulates to A, b.157 modulates to Em, b.198 modulates to F#m
22
Q

give an example of a pedal in BC

A
  • A section: inverted tonic b.22-24
  • B section:
    • tonic pedal b.79-81, b.90-95
    • F# tonic pedal b.99 on
    • inverted tonic pedal in A b.142-144
    • dominant pedal in double bass C b.198
    • dominant pedal of Bm b.217 on
23
Q

give an example of a perfect cadence in BC

A
  • A section:
    • perfect cadence in A b.28-29
    • perfect cadence in D in harpsichord b.77-78
  • B section:
    • perfect cadence in A b.136
    • perfect cadence in Bm b.231-2
24
Q

list as many tonality and harmony features of the B section in BC as you can

A
  • modulations
  • pedal
  • suspensions
  • perfect cadences
25
Q

list as many features of the B section tempo, metre, and rhythm in BC as you can

A
  • semiquavers
  • longer notes eg minims
  • triplets
  • cantabile
  • stretto
26
Q

list as many features of the B section’s texture in BC as you can

A
  • new triplet broken chord accompaniment figure
  • texture thins as ripieno stops b.79
  • antiphonal between harpsichord and flute + violin b.107-128
  • unison
  • 2 part imitation in harpsichord solo
27
Q

describe the melody of the B section of BC

A
  • new 8 bar theme based on fugato containing 4th interval
  • quotes of original subject
  • quotes of new fugato
  • appoggiaturas
  • rising sequence
  • subject and answer
  • descending sequence
28
Q

give an example of a suspension in BC

A

B section: A in violin b.121, D in flute b.122

29
Q

how does BC end?

A

with a perfect cadence in D and a fermata

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