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bach- ein feste burg- mvt 1 - Coggle Diagram
bach- ein feste burg- mvt 1
context
composed music using functional harmony:
primary and secondary triads
composed chorales- religious choral pieces- SATB- bach worked in the church
root position and first inversion chords
baroque composer (1685-1750)- death marks the end of the baroque era
cadential progressions: Ic-V-I; ii7b-V-I
dissonances are not avoided but are prepared and resolved (treated functionally)
functional modulations to related keys (dom, subdom, relative minors)
other chorale rules also- no parallel fifths/octaves, no doubled thirds, etc.
known for incredibly high level of skill and technique (e.g. fugues)
he was v religious- music written for church
part of the Lutheran church- music was a big part of the church service
tonality
major key-
devotional, strength, music is praising god
modulates to related keys-
baroque feature, adds musical interest
D major
brief and frequent modulations to all related keys:
relative minor: Bmin (b.65)
dominant: Amaj (b.7)
relative minor of dominant: F#min (b.67)
subdominant: Gmaj (from b.10)
relative minor of subdominant: Emin (b.63)
from bar 60- highly modulatory until near the end-
adds musical interest, highlights new text from chorale- mentions 'evil enemy'
harmony
functional -
baroque feature
perfect and imperfect cadences-
to mark sections, reflect words
dissonance/ suspensions-
adds harmonic interest, sounds devotional
diatonic and functional harmony- perfect cadences, primary chords, etc.
occasional second inversions- mostly root and first inversions
suspensions are prepared and resolved- dissonances handled in a functional manner (b.9-10 alto)-
conventional
some chromatic chords- b.71 diminished 7th- handled in a functional way
pedal notes- tonic pedal b.27-
strength and grandeur
some chromaticism used (altos b.94)-
adds interest
texture
highly contrapuntal-
celebratory, grand, praise
fugal, imitation, canon
contrapuntal-
first movement of a cantata- sense of occasion
lots of imitation
canon between oboe and organ
fugal- subject, answer, countersubject-
feature of baroque music, common to opening movement of cantata, creates excitement and occasion
subject- tenor
answer- alto (tenor sings countersubject)
subject- soprano (alto sings countersubject)
answer- bass (soprano sings countermelody)
opens with fugal exposition; rest of the mvt is highly imitative, with many other fugal entries-
baroque contrapuntal technique, also often used to open a cantata
subject/ answer are the opening phrase of the chorale melody-
hugely important Lutheran chorale melody which the congregation would recognise
countersubject is an extension of the second phrase of the chorale melody-
bach is using the melody as a compositional tool- he loves demonstrating compositional technique and skill
WL- opening Kyrie from B Minor Mass- good example of a large-scale choral work which opens with a fugue to create a sense of occasion and reverence
sonority
SATB choir-
sacred music, chorale
orchestra-
adds strength, devotional, grand
organ-
sacred music
continuo-
baroque feature
three oboes, violin 1 and 2, viola
'violoncello e cembalo'-
continuo, expected
AND 'violone e organo-
unusual addition, adds weight/ grandeur and plays cantus firmus
sackbut part is often added to strengthen the lower part
bach's son Wilhelm Friedemann Bach later added trumpet parts-
give an additional sense of grandeur and occasion
orchestral parts mostly double choral parts, with the exception of continuo and canon
relatively wide vocal range-
sung by professional singers
tempo+ rhythm + metre
continuous quaver movement-
baroque feature, celebratory
some syncopation-
rhythmic interest, alters chorale melody
some parts play long notes- cantus firmus- organ and oboe
4/2-
fits the words
quite fast tempo-
devotional, praising, strength, etc.
some dotted rhythms-
rhythmic interest
some long note values- pedal and cantus firmus
melody
decorative, passing notes, melismatic, etc.-
praise, strength, celebration, etc.
sequences-
melodic development
repetition-
emphasises message of words
this cantata is based on one of the most famous Lutheran chorale melodies-
the chorale melody would be recognised by the congregation- would unite people; bach revered Lutheranism- could be a mark of respect; could be bach challenging his compositional skill
melodic material of Lutheran chorale is embellished/ developed:
passing notes (tenor b.1)
sequences (tenor b.5-6)
changes rhythm
ornamentation (auxiliary notes, etc.)
repetition
bach adds melismas
cantus firmus- oboe and organ play unaltered melody in canon-
exploiting melody
melody is developed in choral parts with passing notes, sequences, etc.
cantus firmus- a pre-existing melody that forms the basis of a polyphonic composition- is usually played with long note values over a contrapuntal composition
fortspinnung- development of melody through sequences, repetition, alteration of intervals, etc.