Bach

Question 1

Tonality- 5

Answer 1

1. Diatonic
2. Functional
3. Clear and expected modulations that are prepared
4. Returns to G major after modulations
5. Perfect cadences establish dominant keys

Question 2

Give an example of a modulation that is prepared and expected

Answer 2

Bar 15

C Sharp’s suggest D major- the dominant

Question 3

Give an example of when a perfect cadence establishes a dominant key

Answer 3

Bar 24-25

Question 4

Name the four other keys Bach modulates too (excluding D major) and where

Answer 4

E minor bar 129-137
B minor bar 166-170
A minor bar 175-185
C major bar 202-208

Question 5

How is the ritornello significant for the tonality?

Answer 5

Chordal accompaniment is used to emphasise modulation

Question 6

Harmony-8

Answer 6

1. Functional
2. Mostly diatonic
3. Bar 1-13, the key is established due to repeated I and V in root position
4. Modulation to the dominant is achieved by the use of a pivot chord
5. Suspensions
6. Tonic- dominant harmony
7. Harmonic sequences (typical of late baroque harmonies)
8. Hemiola’s are harmonised by a circe of fifths

Question 7

Give an example of a pivot chord

Answer 7

Bar 14, Em is chord VI in G and chord II in D

Question 8

Give two examples of suspensions

Answer 8

Bar 15 1st recorder

Bar 17 2nd recorder

Question 9

Give an example of tonic- dominant harmony

Answer 9

Bar 22 the recorders play a chord of A7 whilst the bass instruments outline a triad of D major

Question 10

Give an example of a harmonic sequence

Answer 10

Bar 33-39, D cadence becomes the dominant of G major and is followed by a perfect cadence in G

Question 11

Give an example of a circle of fifths

Answer 11

Bar 79-80, the bass notes are B-E-A-D-G-C

Question 12

What are the instruments in the Concertino?

Answer 12

Solo Violin

2 solo recorders

Question 13

What are the instruments in the Ripieno?

Answer 13

2 violins
Viola
Cello
Double bass

Question 14

What are the instruments in the Continuo?

Answer 14

One bass instrument
One harmony instrument
e.g. harpsichord/ organ

Question 15

What is a concerto grosso?

Answer 15

A work with 2 or more instruments with solos

Question 16

What are episodes?

Answer 16

When the solos are playing

Question 17

Modulations only occur in…

Answer 17

the episodes

Question 18

Instrumentation- 6

Answer 18

1. Clear distinction between the solo violin and the recorder parts
2. Violin solo has demi semi quaver flourishes, triple and double stopping
3. Violin solos are exposed due to sparse accompaniment
4. Recorders work in pairs often in parallel 3rds and 6ths
5. Unusual combination of instruments for the time
6. Harpsichord given a more important role e.g. when flutes have their solo

Question 19

What is the structure?

Answer 19

Fusion of Ternary form and Ritornello form

Within the ternary form, there is a ritornello structure of alternating ritornelli and episodes

Question 20

Describe the form

Answer 20

Ternary Form
Section A: 1-83
Ends with hemiola rhythms
Contains most of the thematic material for the central section
Functions as an extended ritornello in relation to the whole movement

Section B: 83-344
Alters between solo and tutti passages in which the motifs are developed into melodic lines
Modulations take place in solo passages to related keys
Hemiola rhythms and a perfect cadence in Bar 342-344 signal end of section

Section A: 345-427
An exact repeat of bars 1-83

Question 21

Describe the structure

Answer 21

Ritornello Structure
Ritornello 1: 1-83
Episode 1: 83-137
Ritornello 2: 137-157
Episode 2: 157-209
Ritornello 3: 209-235
Episode 3: 235-323
Ritornello 4: 323-344
Ritornello 1: 345-427

Question 22

Describe what happens in Ritornello 1 and when it is

Answer 22

Bar 1-83
1-23 exposition of motifs
23-35 original repeated and transposed to D major
57-69 repetition of original in tonic key
69-83 no changes of key

Question 23

Describe what happens in Episode 1 and when it is

Answer 23

Bar 83-137
Violin solo with recorder and ripieno interjections. Begins in G major then D major in bars 102-128 modulating to E minor in bars 129-137

Question 24

Describe what happens in Ritornello 2 and when it is

Answer 24

Bar 137-157

Transposed repeat of bars 63-83 in E minor

Question 25

Describe what happens in Episode 2 and when it is

Answer 25

Bar 157-209 Non-thematic violin solo of great virtuosity. Begins in E minor and modulates to B minor (166-170) then to A minor (175-185) Modulates through G major (201) to C major in bars 202-208

Question 26

Describe what happens in Ritornello 3 and when it is

Answer 26

Bar 209-235 C major This is a transposed and varied repeat of 57-83 Motif F (in the recorders in bar 69-75) is simplified in the solo violins double stopping in bar 221-227

Question 27

Describe what happens in Episode 3 and when it is

Answer 27

Bar 235-323 Solo violin closely imitated by ripieno strings and recorder interjections occur at intervals. 263-285 a varied repeat of bars 35-57 is introduced. This could be considered another ritornello section but this one modulates from D through C and finally to G

Question 28

Describe what happens in Ritornello 4 and when it is

Answer 28

Bar 323- 344 In B minor A repeat of bar 63-83 transposed from G major to B minor The two bar link to Ritornello is based on motif D

Question 29

Describe what happens in Ritornello 1 for the second time and when it is

Answer 29

Bar 345-427 | Exact repeat of bar 1 -83

Question 30

Rhythm-5

Answer 30

1. Dance rhythms 2. One in a bar triple metre 3. Syncopated rhythms of recorders 4. Hemiolas 5. Complex rhythms used to signal the end of sections

Question 31

Give an example of hemiolas

Answer 31

Basso Continuo bar 79-80

Question 32

Explain the 3 rhythmic things that happen in bar 79-80

Answer 32

1. The upper strings accentuate the 2nd, 1st then the 3rd quavers of each bar 2. The recorders accentuate the intervening quavers 3. The 2nd quaver of bar 82 gets particular emphasis because the chords change at this point (IV7 -V7)

Question 33

Melody- 6

Answer 33

1. Arpeggio figures that outline the underlying chords 2. 2nd recorder's arpeggios in bar 1-2 trace the triads played by the ripieno strings 3. Extended violin solos are harmonically centred 4. Scalic passages 5. Motifs are developed into longer passages through repetition and sequence 6. In almost every bar one or more of the melodic ideas derive from these 6 motifs

Question 34

Give an example of when the violin solo is harmonically centred

Answer 34

Bar 84 | The unaccompanied violin changes the G major triad onto the dominant 7th of C major

Question 35

Give an example of a scalic passage

Answer 35

Bar 202-208 | Solo violin

Question 36

How many motifs are there?

Answer 36

6 | A-F

Question 37

Describe motif A

Answer 37

Bar 1-2 | Arpeggiated idea repeated a forth lower to form a sequence

Question 38

Describe motif B

Answer 38

Bar 3 | Quaver motif which is extended in bar 4-6 and repeated as a sequence in bars 7-12

Question 39

Describe motif C

Answer 39

Bar 13 | Rising scale

Question 40

Describe motif D

Answer 40

Bar 14 | Descending triad

Question 41

Describe motif E

Answer 41

Bar 36 | Semiquaver idea

Question 42

Describe motif F

Answer 42

Bar 44 Syncopated idea is twice repeated in a descending sequence. At the same times the solo violin and ripieno violin provide counter melodies from motif D

Question 43

What is fortspinnung? Give an example

Answer 43

Growth of a melody from a simple motif. Typical of late baroque motifs. Bars 18-22, the solo violin has a descending sequence which is built out of motif D.

Question 44

E minor

Answer 44

129-137

Question 45

B minor

Answer 45

166-170

Question 46

A minor

Answer 46

175-185

Question 47

C major

Answer 47

202-208