Badinerie - Music GCSE Set Work Revision

Composer

Johann Sebastian Bach

Large Scale Work

Orchestral Suite No.2 In B Minor

Movement no/ number of movements in work

Movement 7 - Final in Orchestral Suite No.2

Composition date

1738/9

Location of composition

Leipzig, Germany

Form and structure

Binary (AB or AABB)

Key - and key at halfway point

B minor (tonic key) and F# minor at the end of the first section (dominant key)

Instrumentation

Solo flute, strings and basso continuo

Instrumentation (specific)

Violin 1, Violin 2, Viola, BC (like harpsichord or cello, maybe a theorbo)

Tempo

Allegro, Constant throughout

Metre

2/4 (simple duple), use of an anacrusis

Rhythm

Predominantly quavers and semiquavers, use of ostinato rhythms

Dynamics

Forte, Use of terraced dynamics - typical baroque feature of sudden changes between forte and piano

Harmony (6 things)

1) Modulations - to dominant and relative major keys and others 2) frequent perfect and imperfect cadences 3) diaonic throughout (within various respective keys) 4) except neapolitan 6th chord in bar 35 (major triad built on the flattened supertonic - so a C major in key of Bm) - only chromatic chord in the whole piece 5) Use of inversions (chords are found in root, position 1st&2nd inversion and some 3rd too 6) Use of a pedal point in BC in bars 33-35 - E is sustained whilst harmony changes

Texture (3)

1) Homophonic with melody in solo flute part 2) BC part has some melodic interest too 3) The Violin 1 part sometimes embellishes the flute’s melody

Motif X

Found throughout piece, mainly in flute part and sometimes is modified e.g. in cello part where the melodic contour and rhythm are slightly changed

Melodic decoration

Use of ornamentation, suspensions

Use of cadences

Use throughout pieces, only perfect and imperfect in the their various respective keys

3₂ - 4₁ (A)

Perfect in Bm

7₂ - 8₁ (A)

Perfect in A

9₂ - 10₁ (A)

Imperfect in F#m

11₂ - 12₁ (A)

Perfect in F#m

15₂ - 16₁ (A)

Perfect in F#m

19₂ - 20₁ (3₂ - 4₁) (B)

Perfect in Em

21₂ - 22₁ (5₂ - 6₁) (B)

Imperfect in D

23₂ - 24₁ (7₂ - 8₁) (B)

Perfect in D

29₂ - 30₁ (13₂ - 14₁) (B)

Imperfect in D

31₂ - 32₁ (15₂ - 16₁) (B)

Perfect in Bm

35₂ - 36₁ (19₂ - 20₁) (B)

Imperfect in Bm

37₂ - 38₁ (21₂ - 22₁) (B)

Perfect in Bm

39₂ - 40₁ (23₂ - 24₁) (B)

Perfect in Bm

Identify key at the start of the extract (A)

Bm

Identify key in bar 4 of the extract (A)

Bm

Identify key in bar 8 of the extract (A)

Identify key in bar 10 of the extract (A)

F#m

Identify the chord outlines by the the second violin’s 1st 4 notes (A)

Bm

Identify 2 instruments that play the basso continuo

Harpsichord and/or cello

Give a bar number where the viola and second violin play in unison (A)

13 (both play the same A)

Give the name of the highest pitch played by the flute (A)

D

Identify the type of inversion used in the second beat of bar 5 (A)

2nd inversion

Identify the type inversion used in the first beat of bar 13 (A)

1st inversion

Identify the location (bar and beat numbers) of a descending B minor arpeggio in flute part (A)

0²- 2^1 / 4² - 6^1 (or 0² - 1² / 4² - 5²)

Identify the keyboard interrumpir playing in the extract (A)

Harpsichord

Give a bar number with chord of E major (A)

Bar 7

Describe role of basso continuo (A)

Provides the bass line and the chords