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Bach Cantata no. 78
Vocabulary related to the work - Bach Cantata no. 78
| Question | Answer |
|---|---|
| Melisma | Many notes set to one syllable |
| Tierce De Picardi | When a piece/movement ends with a cadence onto a major chord |
| Continuo, Continuo Instruments | Continuous Bass support for the vocal or instrumental parts above. Violone, cello, organ |
| Choral (Movement?) | 7 |
| Aria duetto (Movement and voices) | 2, Soprano/Alto |
| Aria | A song for soloist or duet |
| Word Painting | Music that reflects the literal meaning of the words |
| Cantata, types of movements | A work for vocalist, chorus and instrumentalists usually based on a religious text. Arias, recitative, duets and choruses |
| Figured Bass | Numbers placed beneath the bass line that would indicate what chords/intervals the player should play or improvise above them. |
| Violone | Double bass |
| Homophonic | 1 Melody + Chordal accompaniment |
| Polyphonic/Contrapuntal | More than one melody |
| Dominant, Dominant of Bb Major | 5th note/chord of a key, F major |
| Relative Minor (Starts on what tonic solfa) | Starts on the lah of relative major with a sharp soh (si) |
| Modulation | When a piece changes key, usually to a related key (Dominant/subdominant/Relative minor) |
| ABA Form | Ternary (Da Capo Aria) |
| Question and Answer | Antiphony |
| Instrumental Theme that reoccurs in the second movement | Ritornello Theme |
| Recitative | Dramatic speech like form of singing, contrast to an aria |
| No Tonal Centre = ?, Movement? | The key is not clear, there are a lot of chromatic notes, movement 3 |
| Final cadence in 3rd movement, key? | C minor |
| Recitative secco? Movement? | Dry recitative with sparse or bare accompaniment, movement 3 |
| What changes in the last section of the 3rd movement | More active accompaniment, repeated notes in the continuo |
| Wide leaps, repeated notes, ornamentation at the end of the movement (melisma), What movement is this? | 3 |
| Patron of Bach at the time and a patron of a lot of music at the time | The church, dictated what composers wrote about, made certain rules eg. not allowing the composer to use the tritone (diminished 5th C-Gb) or what they called the devils chord |
Created by:
BMurphy4
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