Last lesson (hopefully)

Tonality
Harmony
and
Section B
Listen to the B section

Comment on:

The melody
The rhythms
The texture
The instruments
The dynamics
Section B (bars 79-232)

The substantial middle or B section starts off

with a varied version of the subject played by
the __________ in bars 79-86. The key of the music
is _________ the relative minor of the opening
key of D major. The dynamics are ___________.
Section B (bars 79-232)

The substantial middle or B section starts off

with a varied version of the subject played by
the solo flute in bars 79-86. The key of the music
is B minor the relative minor of the opening
key of D major. The dynamics are piano.
Section B (bars 79-232)
This variant of the subject is more lyrical,
accompanied by flowing triplet quavers in both
solo violin and harpsichord. The repeated tonic
Bs provide a tonic pedal. This
section allows for more of the solo concertino
instruments (flute, violin and harpsichord) to
engage in dialogue. Look at bars 106-128 for an
example of this.
Section B (bars 79-232)
The original form of the subject appears in the
ripieno violins at bar 87, the variant is heard in
the solo
violin. Further entries of both forms of melody
follow at
bar 97 (subject in violins and violas) and bar 99
(variant
in the harpsichord right hand part). There is a
perfect cadence at
bars 98 99. This key is the dominant of the key of
the B minor.
Section B (bars 79-232)

In bars 106 128, the music mostly features the

_________ instruments. Bach gives the harpsichord a
more soloistic role in this passage, releasing it
from the basso continuo function of supporting
the harmony.
Section B (bars 79-232)

In bars 106 128, the music mostly features the

solo instruments. Bach gives the harpsichord a
more soloistic role in this passage, releasing it
from the basso continuo function of supporting
the harmony with bassline and chords. In this
passage the instrument plays in patterns of
triplet thirds and features some dialogue with
solo flute and violin also playing in thirds.
Section B (bars 79-232)

In bars 106 128, the music mostly features the

_________ instruments. Bach gives the harpsichord a
more soloistic role in this passage, releasing it
from the basso continuo function of supporting
the harmony.
Notice the rising scalic bass and the sequential
patterns (bars 137-141). The music is using material
derived from bar 2 of the original subject.
Section B (bars 79-232)

For the first time the solo flute and violin are
now playing in unison throughout bars 130-148
to reinforce the melody line. The other parts
mostly provide accompaniment.
Section B (bars 79-232)
A perfect cadence in A major is reached at bars 147
148. Throughout bars 148-155
a tonic ________on A is played on the basses and harpsichord.
The trilling during this passage on the ____________ to
sustain the sound on the long tied notes.
Section B (bars 79-232)
A perfect cadence in A major is reached at bars 147
148. At this point the variant of the subject is heard in
both ripieno violins and violas. Throughout bars 148-155
a tonic pedal A is played on the basses and harpsichord.
The 2 bar harpsichord link at bars 155-156 takes the
music to E minor and we then have a statement of the
subject in flute, violin and upper strings followed by
another statement at bar 161, this time in B minor. Notice
the trilling during this passage on the harpsichord to
sustain the sound on the long tied notes.
Section B (bars 79-232)

The texture is generally lighter in this section, allowing for the concertino
instruments to be heard. The opening bars of the B section feature the
solo flute with accompaniment in a homophonic texture, although it is
interspersed with some contrapuntal passages (bars 86-106).

In bars 128 148 the solo flute and violin play in octaves.
Did you know?

Baroque pieces in a major key only ever modulated to the dominant

(5th above), the subdominant (4th above), or their relative minors, as
well as the relative minor of the home key.
What is the formula to work out
relative majors and minors keys?
Major Minor

To work out the relative minor

from a major key count down 3
semitones.