Bach Brandenburg Concerto No. 5 in D Major, Chem redox

Ravel's use of timbre

"con sordino"-mutes playing techniques such as flutter tongue( Trr), "sul sol", divisi, pizz, -harmonics -tessitura of of Bassoon solo Theme E fig 9, and horn solo theme D fig 25 -Clarinet Eb wailing on Theme C -cleverly spaced dissonant chords

Ripieno

"full", the body of instruments accompanying the concertino

Significance in terms of Keyboard Concerto

-Acts as a soloist aswell as usual accompaniment -virtuosic difficulty (cadenza-like passage in mov 1) -Bach's harpsichord concerti were more directly influential on the keyboard concerti, as they were not heard for a long time

Ritornello Form

A form translating to "return" based on a returning musical section alternating with episodes of contrasting material. The episodes featured the concertino players while the ritornello was usually played by the tutti in part or full.

Define Concerto Grosso

A piece of music commonly associated with the baroque era, written for a group of solo instruments accompanied by an orchestra. Translates to "grand concerto"

Concerto

A piece written for a solo instrument accompanied by an orchestra

Cadenza

A virtuosic solo passage in a musical work

Tonal Answer (fugues)

An answer in which the intervals are adjusted to maintain a sense of the tonality. Not REAL answer.

Title, composer, genre

Brandenburg Concerto no. 5 in D major, by J. S. Bach, concerto Grosso

Gigue

British isles origin, compound meter, usually fast and lively

Concerto en sol pour piano et orchestre

Concerto in G for piano and orchestra

tutti

all

andante a piacere

at a free walking pace

andante

at a walking pace

adagio assai

at ease, extremely slow

Polyphony

Music with two or more melodies blended together.

Instrumentation mov 1

Piccolo Flute Oboe cor anglais Eb Clarinet Bb Clarinet A Clarinet 2 bassoons 2 Horns in F trumpet in C Trombone 2 timpani side drum Triangle cymbal wood block bass drum whip harp piano 8 Violin 1 8 violin 2 6 viola 6 cello 4 Double bass (5 stringed)

Tasto solo

Played with "one finger" ie. the bass alone without realisation/harmonisation

unis.

Unison-resume playing together

Ripieno instruments

Violin 2 Viola Cello Double Bass Harpsichord

Stretto

Where a composer imitates a passage, but the second part enters before the first part has ended.

Concerto Grosso

a baroque composition for orchestra and a group of solo instruments. "grand concerto"

Mode

a scalia arrangement of pitches, eg pentatonic, dorian etc

Allegremente

brightly

Trr

flutter tongue

glissando a piacere

freely played glissando

gliss

glissando-slide from one pitch to another

accelerando

gradually getting faster

°

harmonic note

Tonal

having defined pitch centre

Tenuto

hold for full value (-)

quasi cadenza

improvisatory flourish

Cadenza

improvised flourish at cadence point, developed into improvised solo during concerto, later notated from Beethoven onwards

Concerto

large scale work for solo instrument and orchestra in three movements

Meno vivo

less lively

levare le sord.

lift the mute

polymeters

many time signatures

sordini

mutes

Diatonic

of the key

sulla cassa

on the box/drum

Orchestration moments

opening: clever voicing between chords in piano, strings spaced out chords- masks bitonal dissonance- fig. 9 bassoon solo in tenor clef, high tessitura (theme E), fig 25 horn theme D -impressionist orchestration in harp glissandi, mimiced by clarinet bassoon, flute, at fig 25 -piccolo helped by flute at the end of melody of theme A (low)

modo ordin.

ordinary manner

pizz.

pizzicato-pluck string

8b

play an octave lower than written

Staccato

play for half the value of the note (short and detached)

8ve

play octave higher/ lower than written

double stopping

playing two notes on adjacent strings simultaneously

presto

quick

tremelo

rapid repetition of a note or alterations of a note

tempo 1

return to initial tempo

flutter tongue

rolling r sound while blowing

accent

sharp attack/particular emphasis

Sord.

sordino-mute

subito

suddenly

Concertino

the solo group of a concerto grosso, meaning "small concerto"

Gershwin Influences

theme C (wailing, R.I.B.), D + E (espressivo with interrupting shot chords)

Spanish influence

triplet figure in theme B

VI (marking on trombone part)

use 6th position on trombone

à2

with both players

Arco

with the bow

Colla Bacchetta

with the stick

senza pedale

without the pedal

mov 2 summary

extensive development of two motifs: -affettuoso -motif a "main theme" -motif b repeated semiquavers -uses imitation, inversion, parallel motion

tempo primo

first tempo

Mov 1 summary

-Allegro -Ritornello form-early rondo -big solo cadenza for harpsichord -motif a (scale) b (repeated 3rds) c (sequential leaps) -S1 (quaver imitation) S2 (triplet imitation) -contrast between ripieno and concertino in the different sections -polyphony -subtle reappearances of ritornello material in the episodes

Development of Mov 1

-Derivative of Theme A (rhythm) in piano -Theme C played in triplets in piano (embellished) -Back to theme A, also played in trumpet as fragments -Cross rhythms (groupings of 3,5,6 against 2)

Theme E Mov1

-Gershwin (espressivo with staccato interruptions) -Played in high tessitura of Bassoon (timbre, impressionism) -pentatonic

Mov 3 bach

-Gigue-characterised by upbeat, lively tempo and 6/8 feel -Allegro -large ternary form -fugual -b section in rel minor (b minor) -use of stretto entrances -B starts middle of page, flute marked "cantabile" -features parallel motion with imitation + sequence -A starts again, middle of page, with concertino, fugue

jazz influence

-Maj/min in theme B -wailing theme C -flutter tongue (pic, cl, trumpet) -Gershwin-theme D and E (espressivo melody punctuated with short chords) -gliss -cross rhythms -modal -7th, 9th, 11th chords -cadential 7th chords

Impressionism examples

-Modal use, pentatonic theme A and E, harp solo of theme D is G dorian (minor with flat7) -orchestration- woodwind melodies, mellow horn timbre (fig 25 theme D), cor anglais melody in mov 2 -use of harp (solo of theme D) -glissandi (harp, mimiced by woodwind -harmonics -harmony-> 7ths, 9ths, 11ths, parallel chords in mov I + 2 -tinkling obligato -unclear meter (dev strange groupings, mov 2 left hand)

Transition Mov1

-Piano solo, no bar lines=cadenza -Dissolves harmony -creates rising excitement, tension, chromatic

Recap mov 1

-Shorter Reinstatement of A with thicker texture, redistribution of elements, bass drum instead of whip (no shimmering piano triplets) -modulates to Bb maj instead of B minor, oboe has transition not Cor Anglais -Theme B: quintuplet A maj/min -Theme C: in dev form (rhythmic diminution) -Theme D harp solo (unusual) G DORIAN -Flutter tongue Theme C-A maj/min -Theme D -Theme E trill cadenza

Theme B Mov 1

-Spanish triplet- nationalism (ravel's background) -Ex: F# maj/min -> Recap: A maj/min BLUES -only piano playing -quintuplet in recap

Coda Mov 1

-Theme A (lower register of piano)-builds up till end -cross rhythms from end of development -adds trumpet and woodwind with fragmented theme A -orchestrates a crescendo by gradually adding instruments, increasingly exciting material

Significance of flauto traverso

-Transverse modern flute -replaced recorder

Examples of accepted Baroque conventions

-crescendo on ascending passages, decrescendo on descending passages -1st mov. fast if not marked -Harpsichord playing slight rubato to emphasise downbeats

Significance of the 6 Brandenburg Concerti

-set of 6 dedictated to Margrave of Brandenburg -Variety of instrumentations from strings, woodwind and natural brass instruments eg no 2 uses violin, flute, oboe and trumpet -contrasts with the previously string dominated works of previous composers (Corelli) -Utilise a more complex harmonic palette and motific development -Except for 1, all in f-s-f structure, later established by Albernoni -Each Concerti in the set is unique in character, whereas Corelli and Vivali's concertos were less differentiated

Neoclassical examples

-use of constricted orchestra, yet consisting of 20th century instrumentation eg oboe + cor anglais -Sonata form with 5 subjects, ternary form, not traditional key relationships -restrained emotion, clarity of melodic line, yet melody is very 20th century (2nd mov melody) (dissonant harmony) -contrast between 2 overarching subjects (A/B,C,D,E)(Lively, lyrical) -transition builds tension, relief in recap, yet very modern material, rhythm, tonal relationships -Basso continuo style in mov ii, neoclassical->baroque

Theme C Mov1

-wailing blues line (high tessitura) Eb clarinet helps wailing sound -subsequently played by muted trumpet -inspired by Gershwin's rhapsody in blue -later subject to diminution, flutter tongued by woodwinds

Tempos + definitions

1. Allegro "fast and lively" 2. Affetuoso "affectionately" 3. Allegro "fast and lively"

Baroque Characteristics

1. Monothematic 2. Rhythmic Drive 3. String-dominated 4. Basso continuo/figured bass 5. Polyphonic texture-imitation 6. Syncopation 7. Canonic 8. Melody- Fortspinnung- gradual spinning out of melodic material 9. Imporivsed/conventional unwritten ornamentation

Published in what year

1721

1°

1st player

Time signature of mov 1

2/2

2°

2nd player

Defining Time signatures

4/4-simple quadruple 6/8-compound duple 3/4-simple triple etc.

Basso Continuo

A Baroque music ensemble containing one chordal instrument and one bass melody instrument. The figured bass given was largely improvised or "realised" by the keyboard player.

Corelli vs Bach

Corelli -Simpler instrumentation, Trio sonata accompanied by String orchestra -Simplistic harmony and simple triadic +scalic melody -less developed melodic material -Created contrast by utilising the addition and subtraction of the two bodies of sound, between the small concertino and the ripieno (tutti) group. Bach -More motific development (eg extensive development of two motifs in mov 2 of no 5) -polyphonic, more complex development using canons and imitation -more variety in instrumentation (w/w and natural brass) -greater virtuosity required -contrasted with musical material between the two bodies of sound, or between ritornello and episode sections

Div.

Divisi- divide section to play given parts

Role of Harpsichord

Dual role. As soloist (concertino) and accompaniment (ripeno, basso continuo). Usually accompaniment when given figured bass, during the Ritornello sections. Large cadenza in mov 1

Sonata form

Ex,Dev, Recap (usually in 1st mov)

Theme A Mov 1

Features: short quavers, driving momentum, pentatonic, spritely, folk-like -Bitonal, yet sounds simpler than it is -glitering triplet piano arpeggios Ex: played by piccolo, trumpet Recap: 1.piano has theme A not bitonal arpeggio 2. Celli not playing 3. Thicker texture 4. harp included

Instrumentation (Italian and English)

Flauto Traverso Violino Principale Violino di Ripieno Viola di Ripieno Violoncello Violone Cembalo Concertato Transverse Flute Solo Violin Accompanying violin Accompanying viola Cello Double Bass solo Harpsichord

Concertino instruments

Flute Violin Harpsichord

chromatic

conjunct motion comprised of semitones

simile

continue playing as previous (usually for pedalling)

Basque

culture in spain

bacchetta

drumstick

Theme D Mov1

espressivo melody interrupted by staccato quavers -also influenced by Gershwin (blue notes) -figure 25 played by horn in high tessitura, thicker texture, shorter

espressivo

expressively