brandenburg concerto

Question 1

concerto grosso

Answer 1

The concerto grosso features two groups of instruments played both separately and in combination with each other. The form offers the potential for many types of texture, including dialoguing and antiphonal effects. The two groups are a smaller group known as the concertino, and a larger group made up of a string orchestra, known as the ripieno.

Question 2

Concertino

Answer 2

Concertino – soloists – flute/ violin

Question 3

Ripieno

Answer 3

the orchestra

Question 4

Gigue

Answer 4

lively dance- in compound time / simple time with triplets – Brandenburg concerto is in style of gigue - its in 2 / 4

Question 5

basso continuo

Answer 5

The basso continuo or, more usually, just continuo, came into use in the early Baroque period. The term literally translates as continuous bass and describes the part played usually by the harpsichord (or organ) and cello (or other bass instrument such as the bassoon or viola da gamba). ‘basso continuo’ refers to 2 instruments – 1 plays chords and one plays bassline.
* Harpsichord
* Cello
* Double bass

Question 6

continuo

Answer 6

The continuo part is an accompaniment and was used extensively in both vocal and instrumental forms of music in the Baroque. It supports and holds together the other parts by providing a bass line and harmonies. The keyboard player would play the Figured bass.

Question 7

Figured bass:

Answer 7

a type of musical shorthand for the keyboard player. The figures indicate the chord to be played above the bass note and whether this is in root position or first or second inversion.

Question 8

Fugue

Answer 8

: a musical form comprising an exposition, middle section and final section. – complex musical form. The music is contrapuntal.

Question 9

Ternary

Answer 9

Ternary (or A B A) form: a simple musical form in three sections with an ABA structure.

Question 10

Contrapuntal

Answer 10

Contrapuntal: when two melodies are played ‘against’ each other and interweave - almost the same as ‘polyphonic’; written in counterpoint.

Question 11

Counterpoint

Answer 11

Counterpoint: literally means ‘tune against tune’. It is the simultaneous combination of two or more melodies with independent rhythms.

Question 12

Harpsichord role:

Answer 12

The harpsichordist is a soloist in some sections of the movement. – virtuoso with scalic runs
The harpsichord also forms part of the continuo, providing a background accompaniment
The harpsichordist ‘realises’ the figured bass as chords and melody.

Question 13

Features of the Baroque style

Answer 13

• the use of ornamented melodic lines
• contrasting dynamics with just two levels - loud and soft (called terraced dynamics)
• the basso continuo
• USe of a harpsichord
• the establishment of the major/minor tonal system – before it was modal
• the use of the diatonic/normal chords of I, ii, IV, V and vi
• different musical textures such as monophonic, homophonic and polyphonic
• musical devices such as the sequence, pedals and suspensions
• use of the Baroque orchestra, based on the new string family (violins, violas and cellos replacing viols) with harpsichord playing supporting harmonies as part of the basso continuo.

Question 14

In the Brandenburg Concertos, Bach broke with tradition in a number of ways. In the fifth concerto, for instance:

Answer 14

• There is an extended virtuoso (difficult display) solo part for harpsichord. 164-176 This is regarded as the first concerto for keyboard solo in musical history. Much of the most difficult solo music is found in the rapid scalic runs in both right and left hands. There are also passages where both hands play trills at the same time.
• Only occasionally does the harpsichord play continuo chords (e.g., bars 29–37). In these passages there is figured bass.
• The ripieno (string orchestra) only has one violin part (normally there would be two).
• The concertino (solo group) consists of the combination of flute, violin, and harpsichord.

Question 15

Structure

Answer 15

The movement is a large ternary structure (ABA)

Question 16

A (bars 1– 78)

Answer 16

• The A section in D major begins in fugal style (see notes on texture)
• There are brief sections in the dominant key (A major)

Question 17

B (bars 79– 232)

Answer 17

• The middle section begins at bar 79 in the relative minor key (B minor), with a new theme (in the flute), which has many similarities to the main one
• The second theme returns in bar 148, this time in the dominant (A major) in the ripieno
• Fragments of the theme from the A section make frequent appearances
• The section ends with a perfect cadence in B minor

Question 18

A (bars 233– end)

Answer 18

• A repeat of the opening A section, beginning with an extra D major chord in the continuo to establish the return to the tonic key.

Question 19

Instruments

Answer 19

Instruments: soloists, ripieno, basso continuo
Flute
Principlae violin
ripieno Violin
Viola
Cello basso continuo
Double bass basso continuo
Harpsichord – sometimes a soloist - basso continuo

Question 20

stretto

Answer 20

overlaping with quick entries

Question 21

Rhythm

Answer 21

Triplets, dotted rhythms – mostly semiquavers and dotted quavers, some crotchets and minims

Question 22

Tempo

Answer 22

allegro

Question 23

Metre

Answer 23

metre is 2/4, duple time – two beats to the bar – but the music could also be notated in 6/8 compound time. It is essentially a Baroque gigue (a dance in compound duple time).

Question 24

Harmony

Answer 24

• The harmony is consonant, functional, diatonic.
• mostly chords I, IV and V
• some chords II, VI and dominant sevenths in various inversions.
• mainly root position and first inversion chords.
• Perfect cadences announce the ends of sections.
• Pedal note – often, sequences occasional, Suspensions – occasional

Question 25

Tonality:

Answer 25

A: D Major – brief sections in A major – diatonic
B: B minor

Question 26

Texture

Answer 26

A: monophonic bars 1-2, counterpoint 3 - 29, 30 – 78 ripieno joins in making texture mostly polyphonic
B: texture is lighter and more homophonic, antiphonal writing/dialogue 107-110, returns to homophonic – harpsichord rejoins basso continuo, polyphonic, antiphonal writing/dialogue 155 – 163, harpsichord solo, antiphonal writing/dialogue 177 – 192, polyphonic imitation, stretto
A: polyphonic

Question 27

Melody

Answer 27

Mostly conjunct – mostly steps with some leaps – passing notes.
Harpsichord has Scalic runs & Trills