Organisation Of Pitch

Question 1

Melody features of Movement One

Answer 1

In Movement 1, each phrase is presented in turn. There is a very loose variation of the chorale melody in the vocal parts, a direct statement of the theme being reserved for the oboes in canon with violone.

Other points to note:
-Sequence (Cello in b. 1)
-Chromaticism (b. 97-99) word painting to underline the guile of the devil
-Mixture of syllabic word-setting and grouping of two or three notes per syllable in the Chorale
-Extended melismas in the Choral writing

Question 2

Harmony features of Movement One

Answer 2

Bach’s harmony is functional, with:

-Clearly defined cadences
-Triads and 7ths in various positions
-Pedal Points (b. 27 (beat 3) to b. 30 (beat 3))
-Dissonances arising from freely moving lines and passing notes
-Diminished 7ths (b. 71 (beat 1-2))

Question 3

Melody features of Movement Two

Answer 3

Heavy ornamentation of the Chorale melody occurs in Movement Two

Other points to note:
-Mixture of syllabic word-setting and grouping of two or three notes per syllable in the Chorale
-Bass solo of Movement Two
-The angular, almost instrumental writing for the Bass Singer (b. 13-18)

Question 4

Harmony features of Movement Two

Answer 4

Bach’s harmony is functional, with:

-Clearly defined cadences
-Triads and 7ths in various positions
-Dissonances arising from freely moving lines and passing notes

Question 5

Melody features of Movement Eight

Answer 5

Movement Eight presents the Chorale tune without elaboration. Notice its

-Powerful repeated notes
-Mainly conjunct movement with just the occasional leap
-Forceful descending scale at end of first section and again in the final phrase
-Single note outside the scale of D major (G#)

Other points to note:
-Mixture of syllabic word-setting and grouping of two or three notes per syllable in the Chorale

Question 6

Harmony features of Movement Eight

Answer 6

Bach’s harmony is functional, with:

-Clearly defined cadences
-Triads and 7ths in various positions
-Suspensions, such as a 4-3 suspension (b. 2 (beat 2)); 7-6 suspension (b. 8 (beat 1); 9-8 suspension (b. 10 (beat 2))
-Dissonances arising from freely moving lines and passing notes

Question 7

Examples for Wider Listening for Bach Organisation of Pitch

Answer 7

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