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Brandenburg Concerto No. 2 1st movement (Instrumentation (Trumpet …
Brandenburg Concerto No. 2
1st movement
Melodic Development
Two-bar interjection
Using material taken from tutti ritornello
Throughout
E1
E2
(31-32)
E3
(46-49)
E5
(75-76)
:black_small_square: Inspired by
Antonio Vivaldi
:black_small_square: Used by
Giuseppe Torelli
(Op. 6),
:white_small_square: who was inspired by
arias
Fortspinnung
E3
Development of RT C over
chromatically descending harmonic sequence
Harmony
Suspensions
Delayed step
E4
(64 to 66)
Recorder
Modulation
Secondary Dominants
a Third Apart
E3
(50-56)
Chord change
every bar
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∆
E5
(72-75)
(C7 :point_right::skin-tone-6: F7) :point_right::skin-tone-4: (D7 :point_right::skin-tone-6: G∆)
R7
(107-112)
Chord change
every bar
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
Diminished-seventh
R7
(112)
Bº7 :point_right::skin-tone-6: C7
Common tone
Key is confirmed by perfect cadence at end of ritornello sections
R2
(27-28)
R3
(38-39)
Descending
Circle of Fifths
:hand::skin-tone-5: :hand::skin-tone-4:
E2
(33-36)
Chord change
half a bar
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
E6
(90-92)
Chord change
half a bar
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
Rhythm
Anacrusis
Allows for seamless transitions from phrase to phrase
Rhythmic Interest
Syncopations
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
(90-92)
Basso Continuo
:two:
Tension
Interrupted quaver movements
(92-93)
:one:
Preparation
Quaver movements
(90-91)
Prepare for rhythmic change
Create additional rhythmic interest
Supports
harmonic sequence
Drive rhythmically towards new key Am
:three:
Release
Semiquaver movements
(94-95)
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
Texture
Counterpoint
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
(88-89)
Canon
RT A
Continuo + Violone followed by Trumpet
E6
(93-94)
Double canon
RT A
Flute and violin
:black_small_square: Sixths
:black_small_square: Parallel motion
Trumpet and Oboe (two beats later)
:black_small_square: Thirds
:black_small_square: Parallel motion
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
Theme and Development
Motives
Tutti Ritornello Themes
A
Outlines
triadic
F major notes with Bb passing notes
Rising
dactylic
semiquaver rhythm
B
C
Falling
dactylic
semiquaver rhythm
D
Outlines alternating V7 I chords
Basso Continuo
Concertino Themes
E1
E2
Instrumentation
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)
Trumpet :trumpet:
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
Writing style inspired by the
Bolognese Trumpet Sonatas
Triadic and scalar passages (first few bars)
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
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
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
Concertino Theme A
Countermelody B
E4
Melodic Material
Concertino Theme A
Semiquaver Accompaniment
Suspension Chain
E6
R1
mm. 1 to 8
:black_small_square: Fmaj (
I
)
E1
mm. 9 to 22
:black_small_square: Fmaj
:black_small_square: Cmaj (15)
R2
mm. 23 to 28 :heavy_division_sign:
:black_small_square: Cmaj (
V
)
E2
mm. 28 :heavy_division_sign: to 35
:black_small_square: Fmaj
:black_small_square: Dmin (31)
R3
mm. 36 to 39
:black_small_square: Dmin (
vi
)
E3
mm. 40 to 55
:black_small_square: Dmin
:black_small_square: Bbmaj
R4
mm. 56 to 59
:black_small_square: Bbmaj (
IV
)
E4
mm. 60 to 67
:black_small_square: Bbmaj
:black_small_square: Cmin
R5
mm. 68 to 71
:black_small_square: Cmin (
v
)
E5
mm. 72 to 79
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