Cantata No. 80 - Ein feste Burg ist unser Gott - Mvt 8

Structure

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• Two 8 bar sections - Typical chorale structure - Bach’s Cantata No. 48 mvt 7

• First consists of a repetition of 2 × 2 bar phases

Tonality

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• D major

• Modulations to A major (dom) - Typical Baroque modulation pattern - Gabrieli’s In Ecclesiis

• Short modulation to G major and E minor (rel min of sub dom) - Very inventive to go to minor key so close to the end (VERY TENSE)

Harmony

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• Functional harmony - Handel’s Messiah: And the Glory of the Lord:

  • Perfect cadences - Emphasises modulations and defines the phrase structure

  • Imperfact cadence near end

• Dissonance: 4-3 / 7-6 / 9-8 suspensions - Creates mild tension - Vivaldi’s Gloria

Melody

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• Melody closest to that of Luther’s original hymn tune: Conjunct, diatonic, starts with repeated notes - The congregation know the CF and so can sing along

• 2 bar phrasing - Mimics the phrasing of the text - Bach’s Cantata No.48 mvt 7

Rhythm, Tempo & Metre

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• Starts with anacrusis - Exciting start, draws emphasis to start of each phrase

• Pause at end of each phrase - Defines the end of each phrase - Bach’s Cantata No.48 mvt 7

• Lots of crotchets with quaver passing notes - Simple as whole congregation singing plus the choir

Texture & Sonority

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• Chordal homophony throughout - Allows text to be clearly heard - Bach’s Cantata No. 48 final movement

• 4 Part SATB choir, plus congregation, orchestra (2 violins, 3 oboes) and continuo - Unity at end of chorale - Similar orchestration to Vivaldi’s Gloria

• Orchestra doubles the vocal lines - Helps give them emphasis - Smyth’s Mass in D: Gloria