J.S.Bach Brandenburg.

Introduction
1. Set of 6 Concertos
2. 'Concerti Grossi' because of accompanyinh 'Ripieno' (Mainly strings and continuo)
3. Combined with a select group of soloists, the 'concertino'.
4. Bach oved working with the form of Three movement compositions
5. Note: numbers 3+6 DO NOT have any solo instruments.
6. Musical Elements
  1. Form
    1. 'Quasi Ritornello
    2. no clear cut distinction between 'Ripieno' and 'Concertino'.
    3. Both sections seem to play most of the time (tutti)
    4. 'Ritornello' is a series of short themes reappearing (rondo-like) in various keys, with soloists (the concertino) playing episodes in between.
  2. Structure
    1. Rit = Ritornello
    2. Con = Concertino
    3. Bar 1-8, (Rit 1), F Major
      1. Bar 9-10, (Con 1), F Major
        Bar 11-12, (Rit 2), F Major
        Bar 13-14, (Con 2), F Major
        Bar 15-16, (Rit 3), C Major
        Bar 17-18, (Con 3), C Major
        Bar 19-20, (Rit 4), C Major
        Bar 21-22, (Con 4), C Major
        Bar 23-28, (Rit 5), C Major
        Bar 29-30, (Con 5), F Major
        Bar 31-39, (Rit 6), D Minor
        Bar 40-59, (Rit 7), D Minor-C Major-F Major-Bb Major
        Bar 60-67, (Con 7), G Minor-Eb Major
        Bar 68-83, (Rit 8), C Minor-G Minor
        Bar 84-93, (Con 8), G Minor-D Minor-A Minor
        Bar 94-118, (Rit 9/10), A Minor-F Major
  3. Texture
    1. Mainly Dense
    2. Many examples of various motifs interacting simultaneously
  4. Tonality
    1. Home Key: F Major
    2. Occasionally Minor: e.g. Bar 68 - C minor; Bar 88 - D minor
    3. Examples of Modulations
      1. C Major (Dominant)
      2. D minor (Relative minor)
      3. Bb Major (Sub-dominant)
      4. Eb Major (Flattened Leading Note)
      5. C minor (Dominant minor)
      6. G minor (Supertonic)
      7. A minor (Mediant minor)
  5. Harmony
    1. Diatonic
    2. Dominant 7th (root position) (Con 7- 51)
    3. Dominant 7th 4/2 (third inversion) (52)
    4. Major triad 6/3 (First inversion) (72)
  6. Techniques + Devices
    1. Rising Sequence (bars 96-97) OBOE
    2. Sequence (bars 33-34) FLUTE
    3. Sequence (bars 76-79) SOLO TRUMPET
    4. Falling sequence (bars 77-79) VIOLA
    5. Syncopation (bar 50-55; 107-112) VIOLIN 1 - ripieno
    6. Cadences: Perfect (bar 8;28;39;83;93)
    7. Imitation (bar 96-98) SOLO VIOLIN + FLUTE
    8. Arpeggio based (bar 1-2) TRUMPET
    9. Reduced instrumentation (bar 60-67) Concertino + continuo
  7. Instrmentation
    1. Concertino Soloists
      1. Tromba: Trumpet ( no valves in Bach's Day). Written a 4th lower that the sound.
      2. Flauto: (Flute a bec): Recorder
      3. Oboe
      4. Violino: Violin
    2. Ripieno
      1. Violin I
        Violin II
        Viola
        Cello
        Double Bass
        Harpsichord/ Cembalo continuo
  8. Score Indications
    1. Tasto Solo: (bar 102-103): Harpsichord, play the notes without filling in harmonies.
    2. all unisono: Cello/Bass and Harpsichord play in unison.

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J.S.Bach Brandenburg.

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