badinerie

Context:
- Who is J.S. Bach?
- What is Badinerie a part of?
- Name the titles of the 7 movements
- Name the Suite

•Johann Sebastian Bach was a German Baroque composer (1685-1750) known for his instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor
•Badinerie is part of a suite composed between 1738 and 1739
•The titles of the 7 movements are: Overture, Rondeau, Saraband, Bourree, Polonaise, Menuet and Badinerie
•The title of the suite is "Orchestral Suite No. 2 in B minor"

Melody:
- Describe the melody in Badinerie
- Name and describe the 4 motifs used in Badinerie

The movement is based on two short musical ideas (X and Y). The flute part has a two-octave pitch range. The movement includes ornaments and compositional devices typical of the Baroque era.
Motif X - a descending B minor arpeggio
Motif Y - an ascending, conjunct and arpeggio
Motif X1 - ascending and inverted
Motif Y1 - extended and developed

Melody:
1. Name at least one bar where you can find a trill
2. Name at least one bar where you can find an appoggiatura
3. Name at least the bars where a sequence can be found

Trills: Bars 8(beat 1), 10(beat 1), 15(beat 2), 27(beat 2), 30 (beat 1) and 32 (beat 1)

Appoggiaturas: Bars 33 (beat 1) and 40 (beat 1)

Sequences: 6(beat 2) - 10beat 1) and bars 28(beat 2) - 32(beat 1).

Articulation:
- What articulation is used in Badinerie

•Staccato
•Legato
•Ornamentation (trills, appoggiaturas,)

Dynamics:
- Are any dynamics used?

Mostly forte, including use of terraced dynamics (although very few markings appear on the score, which was typical of the period).

Tempo:
- Are any tempo markings used?

Allegro (not marked on the score)

Structure and Form:
- What form is Badinerie in?
- What is Badinerie's structure?

Binary form (AB), with each section repeated once (AABB):
Section A: 16 bars
- Bars 0 (beat 2) - 16 (beat 1)
Section B: 24 bars
- Bars 16 (beat 2) - 40 (beat 1)

Harmony:
- Describe the harmony used in Badinerie. Refer to chords and cadences
- Name 6 harmonic devices used in Badinerie

Diatonic throughout. Section A modulates from the tonic to the dominant minor and Section B does the opposite. Imperfect and perfect cadences are clearly presented throughout. Chords frequently occur in inversion with occasional use of V7 in third inversion. A Neapolitan sixth chord is used in bar 35. Suspensions also occur in bars 81, 101 and 321.

1. Suspensions - when one note from the previous chord is held while the chord changes. 4-3 chords are used

2. Fast harmonic rhythms

3. Variety of chords ranging from chord I to V - Chord I, II and V mainly used

4. Inversions - changing the order of the chord. First and second inversions are used

5. Neapolitan chords - when a minor chord becomes a major chord. This is called a chromatic chord.

6. Mainly perfect cadences at the end of phrases

Instrumentation:
- Name all the instruments used and describe their role in the piece

Flute - this was called the transverse flute. It is the main soloist and plays all the main melodies

Violin 1, violin 2 and the viola play the accompaniment

Violin 1 - mainly plays harmony in higher register

Violin 2 - plays lower harmony

Viola - plays lowest harmony

Basso continuo - the name for the harpsichord and cello part. They both play the same part. The harpsichord pays the bass part in their left hand and plays chords/improvises in right hand

Rhythm and Metre:
- What type of rhythms are used?
- What is the Metre / Time Signature?
- Give the rhythm of Motif X
- Give the rhythm of Motif Y

- Simple ostinato rhythms, forming the basis of the two short musical ideas (X and Y), consisting almost totally of quavers and semi-quavers.
- The time signature is 2/4 throughout.
- Motif X: quaver -> 2 semiquavers
- Motif Y: 4 semiquavers

Tonality:
- What key is Badinerie in?
- How does the key change in Section A?
- How does the key change throughout Section B?

- Key of B minor
- Section A: B minor -> A major -> F# minor
- Section B: F# minor -> E minor -> D major -> B minor

- Section A begins in B minor and ends in F# minor whilst section B does the opposite, beginning in F# minor and ending in B minor.

Texture:
- What is the overall texture of Badinerie?
- What other types of texture are used?

Homophonic (melody and accompaniment). The flute and the cello provide the main musical material, but the 1st violin participates occasionally. The 2nd violin and viola provide harmony with less busy musical lines.
•Melody and accompaniment
•Unison and doubling also are used

Context on J.S. Bach:
1. Who is he?
2. When did he live?
3. What is he known for?
4. How great was he?

• Johann Sebastian Bach was a German composer and musician of the Baroque era.
• He was born on the 31st of March 1685 and died at the age of 65 on the 28th of July 1750.
• He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor.
• He is generally regarded as one of the greatest composers of all time.

Appoggiatura

An appoggiatura is an added note, one step higher or lower than the main note, which shares the value of the main note by some of its value, usually by half. It is written as a grace note (a small note) without a line drawn through it.

Badinerie

Badinerie is a name given in the 18th century to a type of quick, light movement in a suite

Baroque era

The Baroque era is a period of Western Classical music from 1600 to 1750. This period followed the Renaissance era and was followed in turn by the Classical era.

Basso continuo

Basso continuo, notated as figured bass, is a system of partially improvised accompaniment played above a bass line, usually by a keyboard instrument. The use of basso continuo was customary during the 17th and 18th centuries when only the bass line was written out and the keyboard player was informed which chords to play by reading figures that were placed below the notes. A low melody instrument, such as the cello or the bassoon, usually reinforced the bass line

Chord inversion

A chord's inversion describes the relationship of its lowest note to the other notes in the chord. A C major triad contains the notes C, E and G. Its inversion is determined by which of these notes is the lowest note in the chord.

Neapolitan chord

A Neapolitan chord is a major chord built on the flattened supertonic (second note) of the key. It most commonly occurs in first inversion and is normally referred to as a Neapolitan sixth chord.

Sequence

A sequence is the repetition of a motif at a higher or lower pitch in the same voice or instrument. It is one of the most common methods of elaborating a melody found in eighteenth and nineteenth century classical music.

Suite

A suite (pronounced sweet) is a collection of short musical pieces, usually dances, which can be played one after another. The French word suite means a sequence of things.

Suspension

A suspension is a means of creating temporary dissonance by sustaining a note whilst changing the harmony beneath it, normally on a strong beat.

Terraced dynamics

Terraced dynamics are a feature of Baroque music in which volume levels shift suddenly from quiet to loud and back again without the use of crescendos and diminuendos.

Transverse flute

A transverse flute is an instrument which is held horizontally to the side when played rather than vertically to the front like a recorder. The modern flute is a transverse flute.

Trill

A trill is a rapid alternation between an indicated note and the one above it. Trills may be either diatonic or chromatic. It is indicated by the symbol "tr"

Which bars are a part of Section B and how long is it?

Bars 16(2) - 40(1)
Section B is 24 bars

What happens in bars 16(2) - 18(1) ?

Motif X is stated by the flute in F# minor.

What happens in bars 18(2) - 20(1) ?

Motif X is modified with two quavers to end instead of one crotchet whilst moving the tonality to E minor. The motif is divided between two instruments and is inverted so that it ascends rather than descends.

What happens in bars 20(2) - 22(1) ?

Motif X is presented by the flute, moving the tonality to D major, the relative major.

What happens in bars 22(2) - 24(1) ?

Motif Y returns in the flute part with a modified ending in which the last two quavers are replaced by four semiquavers. This is a transposed copy of bars 10(2) - 12(1)

What happens in bars 24(2) - 28(1) ?

The flute continues to present the main melodic material which is a transposed copy of motif Y1 from bars 12(2) - 16(1). The key of D major which was introduced in bars 20(2) - 22(1) is confirmed with a perfect cadence to close.

What happens in bars 28(2) - 30(1) ?

Motif X is presented by the cellos in a slightly modified version in which the last crotchet of the motif is replaced with a quaver and two semiquavers. This motif was initially presented in bars 6(2) - 8(1) and, as before, is the initial phrase in a musical sequence.

What happens in bars 30(2) - 32(1) ?

Motif X remains with the cellos with a further modified ending in which the last crotchet is replaced with two quavers. It returns the tonality to the tonic key, B minor, and is the answering phrase in a musical sequence that began in bar 28(2)

What happens in bars 32(2) - 34(1) ?

Motif X is developed further at this point to become part of a musical conversation between the flute and the 1st violin. It has an altered pitch shape and is decorated by both an appoggiatura and rapid demisemiquaver movement.

What happens in bars 34(2) - 36(1) ?

Motif Y returns in the flute part with a modified beginning in which the first four semiquavers are replaced by a quaver and four demisemiquavers.

What happens in bars 36(2) - 38(1) ?

Motif X is modified with four semiquavers at the end instead of one crotchet. The motif is divided between two instruments and is inverted so that is ascends rather than descends.

What happens in bars 38(2) - 40(1) ?

Section B is brought to a close in the tonic key by the cellos with a further modified version of motif X. This statement has an altered pitch shape and a less active rhythm than before.