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Brandenburg Concerto No. 2 1st movement (Instrumentation (Trumpet …
Brandenburg Concerto No. 2
1st movement
Theme and Development
Motives
Tutti Ritornello Themes
A
Outlines
triadic
F major notes with
Bb passing notes
Rising
dactylic
semiquaver rhythm
Anacrusic
C
Falling
dactylic
semiquaver rhythm
Outlines
triadic
F major notes
with
Bb passing notes
Anacrusic
D
Outlines alternating V7 I chords
Similiar rhythm to Theme B
Anacrusic
B
Conjunct semiquavers → stepwise motion
Anacrusic
Basso Continuo
Concertino Themes
CT1
Ascends
stepwise
to F with a
trill
on the leading note E
Drops an octave and becomes more
arpeggiated
CT2
Played in
imitation
between
trumpet
and
oboe
(32-35)
C-F-C derived from later part of RT A
Melodic Development
Fortspinnung
E3
(50-57)
Development of RT C over
chromatically descending harmonic sequence
E2
(32-35)
Rising sequence
of RT B variation in
flute
over
descending circle of fifths
Falling sequence
of CT E2
(in
imitation
between oboe and
tromba a fourth apart)
E6
(96-99)
Rising sequence
of RT B variation in
oboe
in
descending circle of fifths
Falling sequence
of CT E2
(in
imitation
between violin and
flute a fourth apart)
Two-bar interjection
:black_small_square: Inspired by
Antonio Vivaldi
:black_small_square: Used by
Giuseppe Torelli
(Op. 6),
:white_small_square: who was inspired by
arias
Using material taken from tutti ritornello
E5
(75-76)
E3
(46-49)
E2
(31-32)
Throughout
E1
Passing notes
E6
(86-87)
RT A in violin
Rhythm
Rhythmic Interest
Syncopated violins
E3
(50-56)
Violins I
Creates additional rhythmic interest/contrast to a piece restricted to being on beat
Supports harmonic sequence
Drives rhythmically towards new key Bb∆
E5
(72-74)
Violins I
Creates additional rhythmic interest/contrast to a piece restricted to being on beat
Supports harmonic sequence
Drives rhythmically towards new key Gm
Interrupted
quaver movements
E6
(90-95)
Basso Continuo
Ripieno Violins
:two:
Tension
(92-93)
Interrupted quaver movements in BC
RIP violins play minims
Supports
harmonic sequence
Drive rhythmically towards new key Am
:three:
Release
(94-95)
Semiquaver movements
RIP violins play rapid semiquaver movements in a dactylic rhythm with the use of a G# auxillary passing note
:one:
Preparation
(90-91)
Quaver movements in basso continuo
RIP violins move from semibreve notes to minims
Prepare for rhythmic change
Violin notes support chord
changes and outline harmony
Create additional rhythmic interest
Anacrusis
Allows for seamless transitions from phrase to phrase
Harmony
Modulation
Diminished-seventh
R7
(112)
Bº7 :point_right::skin-tone-6: C7
Common tone
Descending
Circle of Fifths
:hand::skin-tone-5: :hand::skin-tone-4:
E2
(33-36)
Used to modulate from F to Dm
Gm7 :point_right::skin-tone-6: C7 :point_right::skin-tone-6: F :point_right::skin-tone-6: Bb∆7 :point_right::skin-tone-6: Em7 :point_right::skin-tone-6: A7 :point_right::skin-tone-6: Dm
Chord change
half a bar
E6
(90-92)
Gm7 :point_right::skin-tone-6: C :point_right::skin-tone-6: F7 :point_right::skin-tone-6: Bø7 :point_right::skin-tone-6: E7 :point_right::skin-tone-6: Am
Used to modulate from Gm to Am
Chord change
half a bar
E6
(96-99)
Dm7 :point_right::skin-tone-6: G7 :point_right::skin-tone-6: C :point_right::skin-tone-6: F7 :point_right::skin-tone-6: Bø7 :point_right::skin-tone-6: E7 :point_right::skin-tone-6: Am
Chord changes
half a bar
Secondary Dominants
a Third Apart
E3
(50-56)
F7 :point_right::skin-tone-6: (D7 :point_right::skin-tone-6: G7) :point_right::skin-tone-6: (E7 :point_right::skin-tone-6: A7) :point_right::skin-tone-6: (F7 :point_right::skin-tone-6: Bb∆)
Used to modulate from Dm to Bb∆
Chord change
every bar
R7
(107-112)
Bb7 :point_right::skin-tone-6: (G7 :point_right::skin-tone-6: C7) :point_right::skin-tone-6: (A7 :point_right::skin-tone-6: D7) :point_right::skin-tone-6: Bº7
Leads into the diminished seventh chord
Chord change
every bar
E5
(72-75)
(C7 :point_right::skin-tone-6: F7) :point_right::skin-tone-4: (D7 :point_right::skin-tone-6: G∆)
Suspensions
Delayed step
E4
(64 to 66)
Recorder
Cadences
Perfect cadences
Confirms key changes at end of ritornello sections
R3
(38-39)
A to Dm
perfect cadence
Confirms key change to Dm
R2
(27-28)
G to C
perfect cadence
Confirms modulation to C
Cadential 64
Concludes the first
ritornello at Bar 8
Used to modulate to Am in
E6
Bars 92 to 93
Harmonic function
of the ritornello
Confirms key change due to
modulations in the episode
Instrumentation
Organisation
Concertino
:black_small_square:
Tromba
: Valveless trumpet in F
:black_small_square:
Flauto
: Recorder
:black_small_square:
Hautbois
: Oboe
:black_small_square:
Violino
: Violin
Ripieno
:black_small_square: Violins I
:black_small_square: Violins II
:black_small_square: Viola
:black_small_square:
Violone
: Early Double Bass
Trumpet :trumpet:
Writing style inspired by the
Bolognese Trumpet Sonatas
Triadic and scalar passages (first few bars)
Limited to notes of the harmonic series
R7
(103-104)
Trumpet only instrument that DOES NOT play RT A
E3
(40-41)
RT A has to be modified
Basso Continuo :musical_keyboard:
Constant use of quavers and semiquavers
Creates
rhythmic drive
and
strong sense of momentum
Disjunct quaver lines based on broken chords
R1
(3-8)
Equal Distribution
of thematic material
E1
Ordering of concertino instruments
Timbre
Violin
mellow
Oboe
nasal
Recorder
bright
Trumpet
brilliant, shrill
Range
Modulation from Fmaj to Cmaj allows recorder and trumpet to play in higher register
Melodic Material
Countermelody B
Concertino Theme A
E4
Melodic Material
Concertino Theme A
Suspension Chain
Semiquaver Accompaniment
E6
Recorder :saxophone:
Louder at higher registers
Violin :violin:
Concertino violin more
virtuosic
than ripieno
E3
(33-34)
Presence of double stops
E1
(13-14)
Use of cross string technique
Texture
E1
Contrast
between alternating
thinner
solo passages and
thicker
tutti interjections
R7
(103 -104)
Near unison statement
of RT A
Basso continuo
(tasto solo = play notes w/o chords)
Canon
E6
(93-94)
Double canon
RT A
Flute and violin
:black_small_square: A sixth apart
:black_small_square:
Parallel motion
Trumpet and Oboe (two beats later)
:black_small_square: A third apart
:black_small_square:
Parallel motion
E6
(88-89)
Canon
RT A
Continuo + Violone followed by Trumpet
Polyphony within Homophony
E3
(50-55)
Polyphonic texture in the concertino
Homophonic texture in the tutti
Violin I outlines harmony in syncopations
Repeated bass quaver notes gives basso continuo quality of a bass line
Counterpoint
Between RT A in the concertino and
countermelody in the bass part
Structure
:question: Ritornellos and Episodes
Instrumentation in Episodes
:check: Episodes 1 and 2 played solely by
concertino
:question: Subsequent episodes played by
tutti
Melodic Development in Episodes
:check: Episodes 1 and 2
rely on episodic material
:question: Subsequent episodes begin to
expand on ritornello material
Canon (88-89) uses RT A
Flute and oboe play motif similar countermelody played by the violone + continuo (88)
Inverted in the concertino violin
R1
mm. 1 to 8
E1
mm. 9 to 22
:black_small_square: Fmaj
:black_small_square: Cmaj (15)
R2
mm. 23 to 28 :heavy_division_sign:
E2
mm. 28 :heavy_division_sign: to 35
R3
mm. 36 to 39
E3
mm. 40 to 55
R4
mm. 56 to 59
E4
mm. 60 to 67
R5
mm. 68 to 71
E5
mm. 72 to 79
2 more items...
:black_small_square: Cmin (
v
)
:black_small_square: Bbmaj
:black_small_square: Cmin
:black_small_square: Bbmaj (
IV
)
:black_small_square: Dmin
:black_small_square: Bbmaj
:black_small_square: Dmin (
vi
)
:black_small_square: Fmaj
:black_small_square: Dmin (31)
:black_small_square: Cmaj (
V
)
:black_small_square: Fmaj (
I
)
