Music a leve;

Question 1

Movement 1 - Instrumental forces

Answer 1

Four part chorus SATB
3 Oboes; a taille, violins 1 and 2, viola, cello and violone.
Continuo instruments; organ and cembalo.
Violins and Viola - double the SAT lines.
Cello - shadows the bass - elaborating in heterophony.

Question 2

Movement 2 - Instrumental forces

Answer 2

Vocal duet for soprano and bass
soprano - doubled by oboe - sometimes in heterophony.
violins 1 + 2 and violas - provide obbligato line in unison - supported by Continuo.

Question 3

Movement 8 - Instrumental forces

Answer 3

Chorale requires; SATB - each part doubled by instruments.
Soprano and Alto doubled by Oboe and Violins.
tenor - Taille and viola
Bass - continuo instruments.

Question 4

M1 - R,M,T

Answer 4

Cut common time

type of time - brisk pace.

Question 5

M2 - R,M,T

Answer 5

Moto perpetuo semiquavers
With walking bass quavers and florid shorter values in vocal parts.
Oboe - necessitates a relatively fast controlled tempo.
quadruple time

Question 6

M8 - R,M,T

Answer 6

More moderate tempo
relies heavily on flowing quavers in the lower part.
Pause indicates - end of phrases.

Question 7

Melody

Answer 7

Luther’s chorale provides the melodic basis for all 3 movements.

Question 8

M1 - Melody

Answer 8

Each phrase - in turn
Very loose variation of the chorale melody in vocal parts .
Direct statement of theme - reserved for oboes in canon with violone.
Sequence - cello - bar 1
Chromaticism - word painting to underline guile of devil - bar 97-99.
Mixture of syllabic word setting.
Extended melisma’s in choral writing.

Question 9

M2 - Melody

Answer 9

Heavy ornamentation
extended melismas and bass solo
Angular instrumental writing for the bass singer - bars 13-18

Question 10

M8 - Melody

Answer 10

Powerful repeated notes
Mainly conjunct movement with occasional leaps.
forceful descending scales at end of first section and at final phrase.
Single note outside scale of D major.

Question 11

Harmony

Answer 11

Clearly defined cadences.
Triads and 7ths in various positions
Pedal points - M1 -  bars 27-30
Suspensions:
 4-3 suspension in M8 - bar 2.
7-6 suspension in M8 - bar 8
9-8 suspension in M8 - bar 10
Dissonances arising from freely moving lines and passing notes.
Diminished 7ths - M1 - Bar 71.

Question 12

M1 - Tonality

Answer 12

Chorale dominates throughout - D major
variety of keys are used throughout:
E minor - bars 63-64
B minor - bars 65-66
F# ,minor - bars 67-68
A major - bar 90

Question 13

M2 - Tonality

Answer 13

Also in D major
Modulation of keys:
A major - bar 27
B minor - bar 46

Question 14

M8 - Tonality

Answer 14

Provides insights into Bach’s ingenious handling of a theme that could have been largely harmonised in D.
Perfect cadences in A major - 5-9
Imperfect cadence in E minor - bar 10.

Question 15

M1 - Structure

Answer 15

Takes each phrase in turn.

Presented in a fugal working out in the vocal parts before rounding it off with a canonic version - Oboes and Violone.

Question 16

M2 - Structure

Answer 16

Uses Ritornello form
A theme that recurs at various points throughout the movement - upper strings
Sometimes touching on different keys.
Statements of the chorale in soprano with different parallel text in bass.

Question 17

M8 - Structure

Answer 17

A nine line chorale - with lots of repetitions.
This happens in phrase 4 where it uses same as phrase 2.
Phrase 9 has the same melodic line.

Question 18

M1 - Texture

Answer 18

Contrapuntal
imitative writing in the vocal parts in fugal style.
Canon at the octave in oboes and violone, with half bar between the entries
Complicated more through heterophony in cello - bars 20-22
A more elaborate version of the vocal bass line.

Question 19

M2 - Texture

Answer 19

Contrapuntal - with Ritornello theme in upper strings - supported by walking bass
Over this - can hear an embellished version of the chorale in the soprano
Independent line in the solo bass part.

Question 20

M8 - Texture

Answer 20

Homophonic

Lower parts are rhythmically independent

Question 21

Relative works

Answer 21

Wauchet AUF:
Uses cantus firmus
Taille in movement 1
Uses hymn by Phillip Nicoli forming basis for cantata melody.

Question 22

Relative works - Structure

Answer 22

Vivaldi - Finale 4 - use of loose Ritornello form - where it is repeated a lot.

Question 23

Relative works - Texture

Answer 23

Bach’s Brandenburg concerto - in D major - very contrapuntal throughout.

Question 24

Sonority

Answer 24

Soloists:
Queen of the night - soprano
Tamino - tenor
Papageno - a baritone
three ladies - all soprano - have separate parts heard in homophony - 237
First and Second sopranos double at the unison.
Part of orchestra used; 2 Oboes, 2 Bassoons, 2 horns in Bb and strings in No.4
Same forces used plus Clarinets in No.5
Pizzicato - in Adante in No.5 - bar 214+

Question 25

Sonority

Answer 25

Soloists:
Queen of the night - soprano
Tamino - tenor
Papageno - a baritone
three ladies - all soprano - have separate parts heard in homophony - 237
First and Second sopranos double at the unison.
Part of orchestra used; 2 Oboes, 2 Bassoons, 2 horns in Bb and strings in No.4
Same forces used plus Clarinets in No.5
Pizzicato - in Adante in No.5 - bar 214+

Question 26

T,M,R - No.4

Answer 26

Allegro maestoso - Larghetto - Allegro Moderato.
Simple quadruple time 4/4 for first 2 allegro sections
Contrasts with simple tripe 2/4 in Larghetto.
Syncopation in the orchestral intro - imparting sense of urgency.
Free time delivery in Recitative section.
Frequent dotted rhythms
Rapid dramatic flourishes - triple semiquavers in the Allegro moderato - bars 62-63.
Virtuoso streams of semiquavers - 79-92

Question 27

T,M,R - No.5

Answer 27

Allegro - Moderato
Cut common time - changing to more relaxed quadruple 4/4 in Moderato
Frequent dotted rhythms
Insertion of rests within melody of Andante - bars 218-19.

Question 28

Melody - No.4

Answer 28

Vocal range of Queen of night recitiavite and aria is wide above middle C to F - 2 octaves and a 3rd higher.
Last bar - contains falling diminished 7th.
Unusual phrase structure - start of aria - 3+3+2+2 bars.
Sequence - bars 28-31
Chromatic des- pathos - bars 41-3
Allegro moderato - contains rapidly moving scales.
Word painting - mix of syllabic, slurred quavers and melisma’s.

Question 29

Melody - No.5

Answer 29

Quintet:
Word painting - mix of syllabic, slurred quavers and melisma's 
Periodic phrasing 
Generally diatonic writing
Repeated notes

Question 30

Harmony - No.4

Answer 30

Interupted cadences - bars 55-56
Neapolitian 6th - bar 19
Diminished 7th - bar 20
Tonic pedal - opening
Appogiatura chord - bar 52
Supspensions - bar 66

Question 31

Harmony - No.5

Answer 31

Augmented 6th chord - bar 150

Functional - with clear defined perfect and imperfect cadences.

Question 32

Tonality

Answer 32

No.4:
Starts in Bb major - modulates to 2 other keys:
G minor - bar 21
C minor - bar 38
No.5:
Starts in Bb major and modulates to other keys:
F major - bar 34
D minor - bar 142
Eb - bar 172