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Bach - Coggle Diagram

- - - - Embellished
      - versions of phrases of the chorale are presented and with a final tonic
      - pedal note the movement comes to a majestic close
  - - - Telemann- "Die Tageszeiten"- also has long orchestral intro before soprano is introduced singing the melody
      - Stolzel “ Pentecost cantata 1” starts with a long orchestral intro
      - Graupner cantata "machet die tore weit" final chorale has a short string homophonic and homorhythmic intro
    - - The bass enters first with an ornate melismatic line of scalic
      - semiquavers followed a bar later by the soprano with an embellished
      - version of the cantus firmus
- - - - WL :Vivaldi's concerto is scored for 2 violins as a trio sonata with a string orchestra and continuo- showcases strings which is Vivaldi's principle instrument
      - reflective of a congregation in a church
      - W F Bach lasset uns ablegen de
    - - creates a large sound and thick texture which would stand up to a church's acoustics which is where the piece would be played
      - WL: Ethel Smyth- "Mass in D" - orchestra also doubles the choir but antiphony is also used - more reflective of the romantic era it was composed in
- - - - WL: ethel Smtyh uses soloists in a polyphonic texture
      - WL: Bach Bradenburg concerto uses a fugal texture
      - Buxtehude "membra jesu nostri" has a fugal texture
      - Handel "israel in Egypt" " he smote all the 1st born of egypt"
  - - - W F bach cantata " lasset uns ablegen"
  - - - Graupner cantata "machet die tore weit" final chorale has a homophonic chordal texture
- - - - Handel messiah "Amen"
    - - Stotzel christmas oratorio
      - Graupner cantata "machet die tore weit" final chorale has a 4 note melody that is sequenced at a higher pitch
    - - shows Bach believed in the Lutheran church and perhaps wanted latin hymns to be accessed by everyone as that's what the church stood for
      - WL: Buxtehude "Seist du jesu christ" - also uses hymn melodies, one of Bach's known influences. Chorale fantasia uses imitation, ornamentation and counterpoint
      - WL: Handel- "Israel in Egypt" oratoria composed almost entirely from selected passages from the old testament
  - - - WL: Henry Purcell- used melisma on "falling" as a word painting technique, another baroque composer who expressed nature through melismas as they provided emotion
      - Handel messiah "Amen"
      - stolzel pentecost cantata 1 has melismatic passages
    - - Telemann "Die Tageszeiten"- lots of ornamentation in both orchestration and soprano
    - - Stolzel “Pentecost cantata 1” has lots of ornamentation
  - - - Graupner cantata "machet die tore weit" final chorale is syllabic
      - Handel "israel in Egypt" " he smote all the 1st born of egypt"
    - - stolzel Pentecost cantata 1 is conjunct
- - - - Handel "messiah" "worthy is the lamb" uses syncopation
    - - Buxtehude "membra jesu nostri" has dotted rhythms
  - - - Handel "messiah" "worthy is the lamb" string semi quaver section
      - stolzel pentecost cantata 1 has fast quavers in lower parts
  - - - Handel "Messiah", "And with his stripes" uses a pause at the end of the piece
    - - Handel "israel in Egypt" " he smote all the 1st born of egypt" has a constant crotchet pulse in lower parts