Brandenburg Concerto No.4 movement 1 (BACH)
- Created by: DoctorWho789
- Created on: 07-03-15 21:24
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- Context
- Brandenburg Concerto No.4 movement 1 (BACH)
- Forces
- Violin and 2 recorders
- String Section
- Seldom had more than 4 violinists
- The word ripieno at the start indicates that these staves are solo parts
- A harpsichordist accompanies both groups with chords that improv.
- Clear distinction between the virtuoso violin and simpler recorders
- Structure
- Ritornello form
- Ritornello 1, Solo 1, Riternello 2, Solo 2, Riternello 3, Solo 3, Riternello 4, Riternello 1
- G-Rit, solo Emi-Rit, solo C-Rit, solo Bmin- Rit G-Riternello 1
- 1-83 Rit 1, 83-137 Solo, 137-157 Rit 2, 157-209 Solo 2, 209-235 Rit 3, 235- 323 Solo 3, 323-344 Rit 4, 345- 427 Rit 1
- Riternello means a little return- refurs to the use of shortened repititions between contrasting episodes
- An episode is a different part
- Ritornello 1, Solo 1, Riternello 2, Solo 2, Riternello 3, Solo 3, Riternello 4, Riternello 1
- Chord progression I-V-I which is repeated 4 times to emphasise the key of Gmj
- Ritornello form
- Dynamics
- Although there are no dynamic markings, there are changes between the concertino and ripieno
- Loud when all are playing
- Quiet when only the concertino is playing
- Although there are no dynamic markings, there are changes between the concertino and ripieno
- Rhythm
- 3/8 indicates simple metre but if you tap it with your foot it sound like one-dotted crotchet beat per bar
- Syncopated rhythms in the recorders in bars 4,6,15 etc
- the continuo in bars 79-80 goes into 3/4 time
- Melody
- Often include arpeggio figures that outline the underlying chords
- 2nd recorders arpeggios in bars 1-2 clearly trace the triads played by ripieno strings
- Harmonically charged melodic lines are particularly obvious in the extended viiolin solos
- Spinning out of short motifs to form longer melodic lines, often by using sequences and varied repitition
- Use of counterpoint melodies in ars 35-36 and 43-44
- Often include arpeggio figures that outline the underlying chords
- Harmony
- Chords I and V play a vital role in asserting the key in the longer ritornellos
- Neapolitan 6th Bar 155
- Harmonic rhythm varies throughout the piece
- Tonic pedals help to reinforce tonal centers eg bars 83-89
- Texture
- Use of counterpoint and contrapuntal combination of motifs
- Forces
- A concerto is a large-scale composition for soloists
- Concerto Grosso
- Written between 1717 and 1722 for the court of Cohen
- Given to the ruler of the Brandenburg states
- Brandenburg Concerto No.4 movement 1 (BACH)
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