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Structure – (Ternary Form) Texture The texture is POLYPHONIC/CONTRAPUNTAL Like the first movement, this third movement could also be thought of as Ritornello form though The movement begins in fugal style. The subject in the solo violin is followed by an answer in the flute at a distance of two bars. We now have two-part imitation. The texture builds during the first page Occasionally the flute and violin play in thirds. The harpsichord also does this. When the ripieno is playing, the flute and violin sometimes double each other in unison (e.g.bar 33). The bass line in Section B often uses pedals A (bars 1 – 78) B (bars 79 – 232) A (bars 233 – end) Tonality The music is in D major. This key is used for most of the two A sections. The B section starts in the Relative Minor of Bm and also modulates to the dominant (A major) The music is diatonic and functional Modulations are keys are shown by clear perfect cadences and pedals in the B section. Harmony Performance Forces & Handling Concerto Grosso line-up – unusual to use wind instruments Ripieno string orchestra with only 1 violin part Concertino solo group consisting of baroque wooden flute, violin and harpsichord (v. unusual) Basso Continuo of bass instruments and harpsichord reading a figured bass e.g. 29-37 Virtuosic writing for harpsichord e.g. 1st mvt has a cadenza – probably played by Bach Trills for harpsichord to hold long notes and no dynamics possible Tempo, Rhythm & metre The metre is 2/4 but feels like 6/8 time. It is essentially a Baroque gigue (a lively dance in compound duple time). It uses triplets and dotted rhythm throughout. The dotted quaver-semiquaver grouping (e.g. b1) would have been performed as a triplet The harpsichord part in particular has many semiquaver runs. Bach Brandenburg Concerto No.5, Mvt III in D major Melody Much of the music is in conjunct (stepwise) style (e.g. bar 2), though there are leaps (e.g. fourths in bar 1). Small range of an octave of the main motif bars 1-2 and its clear 2 bar phrase Often the conjunct music is extended to scalic runs, especially in the harpsichord part. Lots of rising sequences e.g. at bar 137 There are occasional ornaments, with trills (e.g. bar 19) in the harpsichord part. There are appoggiaturas in the main middle section theme when it returns in A major (e.g. bar 148). The harmony uses the standard chords of the time (i.e. predominantly chords I, IV and V, with occasional use of II and VI), including dominant sevenths in various inversions. The harmony is functional. The harmony uses mainly root position and first inversion chords. Perfect cadences announce the ends of sections. Suspensions are used occasionally (i.e. 9–8 suspension at bar 130). Pedals are important in the B section both tonic and dominant e.g. tonic pedal bar 79 Ic – V – I cadence ends the B section Background/Context Top German composer from 1685 – 1750 Example of secular (non-religious) music Example of chamber music i.e. 8/9 performers not designed to be played in a formal concert setting The 6 Brandenburg Concertos were written between 1711 and 1720, and in 1721 were dedicated to the Margrave of Brandenburg, maybe ordered or part of a job application