what type of piece is the brandenburg concerto?
baroque concerto
what key does the piece start in
d major
what instruments are part of the concertino and ripieno?
concertino - violin, principal violin
ripieno - ripieno violin, ripieno viola, violoncello, double bass, harpsichord
what instrument partially plays in both parts
harpsichord
what structure is the piece in?
ternary aba
what was different about the instrumentation of the piece?
- flute and violin was a strange combination for a concartino at the time
- there was only 1 violin in the ripieno when there is usually 2
what is the metre at the start of the piece
2/4 - simple duple time
what was the tempo of the piece at the start?
allegro - quick and lively
what are the bar numbers of the sections of the piece?
A - b1-78
B - b79-232
A - b233-310
list melodic features in the first section A
- disjunct - b1 principal violin
- conjunct - b4 flute
- perfect 5th interval b3 d to a
- triadic b5 principal violin
- perfect 4th interval b9 harpsichord a to d
- scalic b11-13 harpsichord
- scalic runs b15-16 harpsichord [b25-27, b42-44]
- trill b19 harpsichord
- sequencing b25 flute and violin
- doubling in flute and violin (and unison) b42-44
- stretto, overlapping and quick entries b40 harpsichord
- virtuostic semiquaver scalic runs
- descending quavers b58-61 RH harpsichord, ascending quavers b58-61 LH harpsichord
- imitation between flute and violin b58-61
what texture does the first section A have?
- fugal b1-6 principal violin, b3-9 flute and b9-13, b11-13 harpsichord
- b29 contrapuntal (and everyone plays)
how does tonality change in the first section A?
- begins d major
- modulates to a major (dominant of d)
- then modulates to e major (secondary dominant)
- modulates back to a major
- then back to d major
list some instrumentation features in the first section of A
- 1st movement has extended cadenza
- rapid scalic runs in both hands b15-16
- trills on the harpsichord
overall shows the virtuosity of the instrument (harpsichord)
harmony techniques in the first section A
- perfect cadence in a major b16 harpsichord
- perfect cadence V to I in a major b28
- figured bass in harpsichord
- b45 passing notes
- inverted pedal note b56-58
- diatonic chords
- perfect cadence V to I in d major before the start of section B
list the rhythmic features of the first section A
- triplets [b48-52, b58-60, b37-40]
- dotted rhythms
- fast semiquaver runs
- subject starts with an anacrusis
- polyrhythmic
- large number of triplets gives 6/8 time (gigue like feel)
list melodic features from section B
- appoggiatura b80
- conjuct
- sequencing b119 flute
- repetition
- trills
- polyphonic imitation flute and violin b
list tonality of section B
- begins b minor (minor section begins new section)
- modulates to f# minor (sharpened 7ths - b98 in flute and violins)
- modulates to a major
- then back to b minor
- then to d major
what dynamics are started to use in section B
piano, forte, pianissimo,
what harmony devices are used in section b
passing notes b88 suspensions b115 perfect cadence V to I in a major b147 pedal note b198-202, b217-221 dominant 7th b223 (7 in figured bass) perfect cadence in b minor before start of second section A
describe tonality in the second section A
begins in d major and ends in d major
describe rhythm in the second section A
triplets
dotted rhythms
on the beat - b273-276
describe harmony in the second section A
- inverted pedal notes b245-246
- pedal notes b296-298
- suspension b303-306
- perfect cadence a to d to the end the piece
