9318646
Beschreibung
Karteikarten von Emilia Taddonio, aktualisiert more than 1 year ago
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Erstellt von Emilia Taddonio
vor mehr als 7 Jahre
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| Frage | Antworten |
| Composer | Johann Sebastian Bach |
| Style/ Period | Baroque 1600-1750 |
| Tonality | . From bar 12 the addition of G#s starts to modulate the music to the dominant key of A major. A perfect cadence in this key is reached at bars 16–17 (V7–I). The music then modulates to the dominant of the dominant key – E major – through the addition of D♯s from bar 23. A perfect cadence in that key occurs in bars 24–25. However, within a couple of bars the music has returned to the dominant key of A major with a perfect cadence in bars 28–29. The tonic key of D major is reached at bar 37. There are then a few passing modulations (lasting only a bar or so) before a perfect cadence in the tonic key of D major at bars 63–64, and another, final perfect cadence in D again at bars 77–78. The music then moves straight into the relative minor key of B minor for the start of Section B. |
| TOnic key of Section A | D major |
| Section A: Describe the tonal modulation | D major (tonic key) addition of G# A major (dominant) addition of D# E major A major (dominant) D major (tonic key) ~couple of passing modulations~ D major. |
| Section A Texture | predominantly contrapuntal and fugal. The texture in the concertino builds up from monophonic, a single melodic line, to two-part counterpoint to three-part counterpoint and then four-part counterpoint . At this point, more ripieno parts join in until all are playing by bar 33. Apart from a few rests, the texture remains quite full until the end of the section at bar 78. |
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