Brandenburg Concerto No.5

  • Melody   * Mostly conjunct melody, although there are some leaps   * There are rising sequences (b137)   * Many ornaments - typical for baroque   * 2 principal themes   * Subject and answer are alternate every 2 bars   * Entries of subject and answer are closer than before - seeming fast and tumbling (stretto)   * Countersubject - harmony line for subject   * Uses pedal, suspensions, and sequences
  • Harmony   * Uses standard chords (I, IV, V, sometimes II and VI)   * includes dominant 7ths in inversions   * Functional harmony   * Usually uses root and 1st inversion chords   * Occasional suspensions (b130)
  • Tonality   * Predominantly D major   * B section is in B minor - relative minor   * Final A section is back in D   * Sometimes modulates to dominant (A maj)   * ^ Indicated by use of accidentals
  • Instrumentation   * A concerto grosso - concerto for more than 1 soloist   * Concertino - solo instruments (flute, violin, harpsichord)   * Ripieno - accompanying part (string orchestra)   * Basso continuo - continuous bass line in harpsichord + low strings   * Harpsichord has 5 roles - soloist, part of the basso, realising the figured bass, completing the harmony, conducting/directing the ensemble
  • Tempo   * 2/4   * Uses many triplets and dotted rhythms (theme 1)   * Harpsichord part has many semiquaver runs   * Could’ve also been notated in 6/8 (due to triplets)
  • Context   * Bach wrote 6 Brandenburg concertos for the Margrave of Brandenburg   * Usual for Baroque music to only have 1 mood - affection   * Affection for this piece was upbeat - similar to a dance   * Written as chamber music - small group of musicians
  • Dynamics   * Few dynamic markings, since it is Baroque era   * There are terraced dynamics - balancing the instrument sounds
  • Structure   * Ternary structure (ABA)   * A section is a fugal style (Expositional)   * B section adds a new theme
  • Texture   * Mainly polyphonic (more than 1 melody at a time)   * use of imitation   * At the start, the flute + violin play in two-part imitation   * When the harpsichord comes in, the subject is on the left hand, while the answer is in the right - 2 part counterpoint   * Once all solo instruments are playing, this is 4 part counterpoint   * Occasionally flute + violin play in thirds

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