Music Essay – Brandenburg Concerto No.5 in D major, 3rd Movement
Q. Comment on Bach's use of MELODY, HARMONY and TEXTURE in 'Brandenburg 5, 3rd mov't.'
Similar to many other Baroque composers, Bach has employed several of the techniques and
effective ways of displaying his virtuoso style of composing, especially on the featured harpsichord
on which he predominantly played as a composer.
In this set work, Bach uses a variety of textures in order to create areas of contrast and intrigue. For
example, the first two bars consist of an unaccompanied single line melody, creating a brief
monophonic texture, followed by an antiphonal two-part counterpoint, creating a polyphonic
texture. This continues to build from a two-part counterpoint, to a three-part and finally a four-part
counterpoint, producing a more full-textured tutti section. The Concerto Grosso creates the
potential for these textural variations including their antiphonal and dialoguing features.
This movement is generally contrapuntal throughout, with frequent uses of imitation. Bach also used
textural variations in order to vary the dynamics, as when both the concertino and ripieno play, it
will create a forte dynamic. In contrast, in the sections where only a few instruments play, the music
will be more piano. Notably, the harpsichord solo has just a two-part canonic texture with the flute
and solo violin at bar 163. Overall the texture remains predominantly contrapuntal and fugal with
layered instrumental parts through the majority of the movement.
Typical of the Baroque era, Bach’s Brandenburg Concerto contains an extensive use of
ornamentation in the harpsichord, such as appoggiaturas and trills. These were considered vital in
sustaining the sound produced, preventing it from dying out. Section A of this movement displays
the principal use of scalic and triadic melodies. For example, even the first bar shows the violin
playing the semi-quaver and dotted quaver rhythm, solely based on the triad of the tonic key of D
major, playing an A and a D. The following bar also illustrates this, now making a stepwise and scalic
movement based on the tonic. This technique is also employed in the flute part of section B at bar
79, now in B minor. The fast tempo, typical of a 3rd movement, helps to convey an ongoing sense of
motion, as there is hardly a time when there is a significant rest. The constant moving passagework
makes use of sequences, repeating the main melody or subject at a different pitch.
Bach uses simple diatonic chords, mainly triadic in root position or in first inversion. He creates more
interest out of the simple chords by adding ornamentation as well as occasional prolonging
suspensions too. Here, there would be a momentary dissonance which would soon after be
resolved. Vitally, each of the sections end with a distinguished perfect cadence, in the key of D major
in both section As and the key of B minor in section B. Bach uses tonic and dominant pedals to
emphasise these modulations.
In conclusion, Bach has employed both fugal and contrapuntal techniques to create textural interest,
as well as harmonic devices which embellish the accompaniment, and melodic devices that decorate
the theme.
Q. Comment on Bach's use of MELODY, HARMONY and TEXTURE in 'Brandenburg 5, 3rd mov't.'
Similar to many other Baroque composers, Bach has employed several of the techniques and
effective ways of displaying his virtuoso style of composing, especially on the featured harpsichord
on which he predominantly played as a composer.
In this set work, Bach uses a variety of textures in order to create areas of contrast and intrigue. For
example, the first two bars consist of an unaccompanied single line melody, creating a brief
monophonic texture, followed by an antiphonal two-part counterpoint, creating a polyphonic
texture. This continues to build from a two-part counterpoint, to a three-part and finally a four-part
counterpoint, producing a more full-textured tutti section. The Concerto Grosso creates the
potential for these textural variations including their antiphonal and dialoguing features.
This movement is generally contrapuntal throughout, with frequent uses of imitation. Bach also used
textural variations in order to vary the dynamics, as when both the concertino and ripieno play, it
will create a forte dynamic. In contrast, in the sections where only a few instruments play, the music
will be more piano. Notably, the harpsichord solo has just a two-part canonic texture with the flute
and solo violin at bar 163. Overall the texture remains predominantly contrapuntal and fugal with
layered instrumental parts through the majority of the movement.
Typical of the Baroque era, Bach’s Brandenburg Concerto contains an extensive use of
ornamentation in the harpsichord, such as appoggiaturas and trills. These were considered vital in
sustaining the sound produced, preventing it from dying out. Section A of this movement displays
the principal use of scalic and triadic melodies. For example, even the first bar shows the violin
playing the semi-quaver and dotted quaver rhythm, solely based on the triad of the tonic key of D
major, playing an A and a D. The following bar also illustrates this, now making a stepwise and scalic
movement based on the tonic. This technique is also employed in the flute part of section B at bar
79, now in B minor. The fast tempo, typical of a 3rd movement, helps to convey an ongoing sense of
motion, as there is hardly a time when there is a significant rest. The constant moving passagework
makes use of sequences, repeating the main melody or subject at a different pitch.
Bach uses simple diatonic chords, mainly triadic in root position or in first inversion. He creates more
interest out of the simple chords by adding ornamentation as well as occasional prolonging
suspensions too. Here, there would be a momentary dissonance which would soon after be
resolved. Vitally, each of the sections end with a distinguished perfect cadence, in the key of D major
in both section As and the key of B minor in section B. Bach uses tonic and dominant pedals to
emphasise these modulations.
In conclusion, Bach has employed both fugal and contrapuntal techniques to create textural interest,
as well as harmonic devices which embellish the accompaniment, and melodic devices that decorate
the theme.
