The study of vocal music
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| What is the context of "Ein Feste Berg"? (Who-What-Where-How-Why-When) | WHO: Johann Sebastian Bach
WHAT: Church Cantata
WHERE: Leipzig
HOW: SATB choir with soloists and strings
WHY: Services at St Thomas's church
WHEN: 1727
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| Describe the melody of "Ein Feste Berg Ist Unser Gott" [4] | Theme in soprano with countersubject in alto (bar 16 to bar 30)
New thematic material announced which becomes conjunct (bar 60 to bar 82)
Melody closely related to opening theme (bar 100 to bar 114)
Cantus Firmus announced (bar 1 to bar 16)
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| Describe the harmony of "Ein Feste Berg Ist Unser Gott" [5] | Tonic notes (bar 1)
Chromatic climax (bar 97 to bar 100)
Leap of a perfect fifth (bar 60 to bar 82)
Vocal lines become and scalic and melismatic (bar 16 to bar 30)
Long tonic pedal note (bar 27, bar 57)
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| Describe the tonality of "Ein Feste Berg Ist Unser Gott" [6] | Modulation to dominant (bar 1 to bar 2, bar 13 to bar 16, bar 80)
Short modulation to subdominant (bar 12, bar 51)
Brief glimpses of subdominant and dominant (bar 39 to bar 45)
F# minor (bar 73)
E minor (bar 76)
B minor (bar 75, bar 78)
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| Describe the rhythm of "Ein Feste Berg Ist Unser Gott" [6] | Simple quadruple time
Semiquavers to quavers
Melismatic passages contain continuous quavers (bar 22 to bar 24)
Tied notes occur in the main theme
Occasional dotted rhythms (bar 33)
Metre of 4/2
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| Describe the texture of "Ein Feste Berg Ist Unser Gott" [3] | Highly contrapuntal in a fugal style
Builds in layers from tenor to bass (bar 1 to bar 16)
Tenor countersubject (bar 4)
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| Describe the instrumentation of "Ein Feste Berg Ist Unser Gott" [2] | Scored for SATB choir and tutti orchestra
Vocal lines are closely doubled by orchestra throughout
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| Describe the melody of "Alles Was Von Gott Geboren" [4] | Angular bass moments (bar 51, bar 52)
Bass is highly scalic with melismatic passages
Descending sequence in continuo (bar 19)
Soprano trill (bar 26)
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| Describe the harmony of "Alles Was Von Gott Geboren" [3] | Scalic semiquavers (bar 9)
Chromatic semiquaver movements in bass (bar 60 to bar 69)
Secondary dominant and dominant seventh chords occur frequently
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| Describe the tonality of "Alles Was Von Gott Geboren" [4] | Dominant modulation through to subdominant (bar 1 to bar 5)
Simple dominant modulation (bar 12, bar 38)
B minor (bar 53)
F# minor (bar 60)
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| Describe the rhythm of "Alles Was Von Gott Geboren" [4] | In common time throughout
Moto perpetuo semiquavers (bar 1 to bar 8)
Bass has semiquavers as predominant note value
Intricate decorative passages involving dotted rhythms (bar 66)
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| Describe the texture of "Alles Was Von Gott Geboren" [3] | Heterophonic texture between soprano and oboe (bar 12)
Melody dominated homophony (bar 1 to bar 8)
Highly contrapuntal with soprano and bass entrance (bar 9 to bar 23)
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| Describe the instrumentation of "Alles Was Von Gott Geboren" [3] | Oboe and soprano trills (bar 26)
Solo bass sings independent aria
Oboe doubles soprano
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| Describe the melody of "Das Wort Sie Stollen Lassen Stahn" [2] | Conjunct and diatonic throughout with small leaps
Two bar phrases which are repeated (bar 1 to bar 4)
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| Describe the harmony of "Das Wort Sie Stollen Lassen Stahn" [2] | Imperfect cadence (bar 10)
Chords are diatonic and funtional
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| Describe the tonality of "Das Wort Sie Stollen Lassen Stahn" [2] | Dominant modulation (bar 2, bar 5 to bar 8)
Moves through subdominant to reach relative minor (bar 9 to bar 10)
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| Describe the rhythm of "Das Wort Sie Stollen Lassen Stahn" [4] | In common time
Anacrusis beginning
Pauses to mark where a cadence has occurred
Crotchets and quavers with passing notes throughout
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| Describe the texture of "Das Wort Sie Stollen Lassen Stahn" [2] | Homophonic throughout
Chordal throughout
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| Describe the instrumentation of "Das Wort Sie Stollen Lassen Stahn" [2] | SATB choir with orchestral accompaniment and congregation
Soprano and alto are both in range of an octave
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