Bach movement 3

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  • 3rd movement- allegro assai
    • Structure
      • Ritornello form
        • Opening ritornello (1-5)
        • 1st episode (25-42)
        • 2nd ritornello (43-45)
        • 3rd ritornello (60-72)
        • 3rd episode (73-90)
        • 4th ritornello (90-93)
        • 4th episode (94-116)
        • 5th ritornello (117-141)
    • Style
      • Gigue
      • 9/8
      • Dance like characteristics
        • triple time metre
        • running quavers
        • Regular 4 bar phrasing at start of the opening ritornello
      • Fugal texture adds to the sense of this movement being a fast and furious galloping hunt
    • Melody
      • Opening anacrusis a reminder of the 1st movement
      • The subject uses 3 distinct patterns; each of 3 quavers
        • Falling scale (also in sequence, and inversion)
        • Featuring a lower auxiliary note
        • Rising triad
      • 1st episode (25-42)
        • Solist
          • Arpeggio figures and scales
      • special bariolage string technique displayed (105-116)
        • Open e-string with the stopped note played on the a string in rapid succession
        • Stopped notes rise in intervals as the pattern progresses
    • Harmony
      • A minor (tonic key)
      • The subject and countersubject are wholly diatonic
      • The answer is identical to the subject but in E minor (dominant)
      • Harmonic rhythm is largely one per bar
      • Leaping octaves in bass part (21-22)
      • Bar 60 second violins in parallel 6ths
        • Whilst soloist hovers on inverted dominant pedal notes
      • 2nd violins double a third below 1sts (69)
      • Harmony at (82)  outlines a cycle of 5ths
        • Am-Dm7-G7-C7-Fmaj7-Bm7-/dim5
    • Tonality
      • A minor (1-4)
      • E minor (5-8) (dominant)
      • A minor (9-12) (tonic)
      • D minor,G major (13-14) (modulatory passage
      • C major (15-18) (relative major)
      • A minor (19-20) (tonic)
      • D minor (21)(subdominant)
      • A minor (22-24) (tonic)
    • Texture
      • Unlike a fugal opening the subject and countersubject are announced together above a supporting bassline
      • Violins double the subject in unison (69)
      • Contrapunctal texture

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