BACH: CANTATA NO.

48: ICH ELENDER MENSCH

Features that indicate BACH: CANTATA NO. 48: ICH ELENDER MENSCH was composed for the
Thomaskirche in Leipzig.

Lutheran sacred Cantata.

Word painting, falling interval on To-des!, bar 19 mvmt I.
Theological allegory of the cross, Kreuz motif on Kreuzkelch, bar 13 mvmt II.
E Major, bar 10 mvmt II, indicates a deathly sadness.
Use of biblical texts.
SATB male choir, use of trebles to sing upper parts.
First performance in 1723 during the Sunday service at the Thomaskirche.
Structure is typical of the Lutheran sacred Cantata (chorus, recitative, chorale and solo
aria).
Limited instrumentation: one trumpet, two oboes, string orchestra and continuo.

Features of the music in mvmt I and II of BACH: CANTATA NO. 48: ICH ELENDER MENSCH
which indicate a sense of anguish and despair.

Word painting, falling interval on To-des!, bar 19 mvmt I.

E Major, bar 10 mvmt II, indicates a deathly sadness.
Theological allegory of the cross, Kreuz motif on Kreuzkelch, bar 13 mvmt II.
Use of diminished sevenths, bar 12 mvmt II.
Use of augmented sixth, Schmerz, bar 1 mvmt II.
Frequent modulations of key, bar 2 mvmt II.
Sighing cadence, Mensch, bar 14 mvmt I.
Delayed cadence, bar 3 mvmt I.
Minor sixth motif, bar 12 mvmt I.

Features that indicate BACH: CANTATA NO. 48: ICH ELENDER MENSCH was composed in 1723
during the Baroque period.

Affekt: a constant mood or style that is maintained throughout the movement.

Use of melisma, bar 16 mvmt I.
Use of a cantus firmus, bar 14 mvmt I, in the trumpet part.
Imitative entries, bar 88 mvmt I.
Inverted pedal note, bar 135 mvmt I.
Use of diminished sevenths, bar 12 mvmt II.
Perfect cadences, bar 8 mvmt II.
Colle parte writing, bar 2 mvmt III.
Tierce di Picardie, bar 138 mvmt I.

MILES DAVIS: FOUR

Harmony

Chord contractions, bars 13-16

Extended chords: added 13th chords, bars 29-30
Diminished chords, bar 9.
Tritone substitutions, bars 29-30.
Complex harmony in the head; simpler changes in choruses.
Turnaround cadence, bar 16.

Melody

Scalic patterns, bar 9.

Wider pitch range in choruses.
Melodic decoration through extended techniques, bar 121.
Chromaticism, bar 12.
Head is pre-composed; choruses are all improvised.
Pickups, bars 31-32.

Structure
Introduction, bars 1-8.
Head, bars 9-24.
Chorus 1, bars 25-56.
Chorus 2, bars 57-88.
Chorus 3, bars 89-121.
Rhythm
Swung quavers in the head, bar 9.
Syncopation in the head, bar 9.
Triplet rhythms, bar 2.5.
Walking bass in the first chorus.
Rim shots to punctuate the music.
Mostly fast quaver runs in choruses.
Texture
Melody dominated homophony,
Walking bass in piano, chorus 1.
Monophonic trumpet break before the first solo.
Very high tessitura for trumpet.
Two-part texture for trumpet and bass at start of first chorus.
Tonality
Eb major
Chromatic harmonies in the head obscure tonality.

DUKE ELLINGTON: BLACK AND TAN FANTASY

Harmony
Mostly diatonic harmony, bar 11.
12-bar blues sequence, bars 1-12.
Extended chords: added 9th, bar 84.
Circle of 5ths, bars 20-21.
Diminished chords, bar 58.
Substitution chords, bar 11.
Melody
Chromaticism, bar 14.
Blue notes, bars 3-4.
Appoggiaturas, bar 62.
Pickups, bar 53.
References to Chopins Funeral March, bar 87-90.
Improvised melody, bar 35.
Structure
Chorus 1, bars 1-12.
Chorus 2, bars 13-28.
Chorus 3 and 4, bars 29-52.
Chorus 5, bars 53-64.
Chorus 6, bars 65-76.
Chorus 7, bars 76-82.
Coda, bars 87-90.

Rhythm

Quadruple time throughout.

Syncopation, bars 17-18.
Medium slow tempo.
Four strong, accented beats per bar.
Triplet crotchets, bar 29.
Texture

Melody dominated homophony, bar 5.

Stride bass, bar 55.
Parallelisms, bars 28-29.
Parallel movement in opening and closing sections.
Saxophone chordal accompaniments, bars 13-28.

Tonality
Begins and ends in Bb minor.
Modulation to parallel major, bar 13.
Chromaticism, bar 14.
Substitution chords, bar 11.

DMITRI SHOSTAKOVICH: PRELUDE AND FUGUE IN A MAJOR

Harmony
Sustained left hand pedals, bar x of prelude.
Tertiary relationships, bars 60-61 of fugue.
Dominant pedal, bars 62-29 of fugue.
Slow harmonic pulse in prelude.
Very diatonic, bar 43 of fugue.
Modulations to very distant keys, bar x of fugue.
Melody
Monothematic,
Melody is constructed of small motivic units,

Chromaticism,
Derived from subject, bars 1-4 of fugue.
Real answer in voice 2 of fugue.
Mostly diatonic
Structure
Prelude
Section A, bars 1-12.
Section B, bars 13-22.
Section A1, bars 23-28.
Fugue
Exposition, bars 1-14.
Middle section, bars 15-61.
Closing section, bars 62-99.
Rhythm

Rhythm is very regular in prelude.

Syncopation in countersubjects of fugue.
Affekt
Alla breve in fugue.
Texture

Two-part counterpoint, bar 3 of prelude.

Homophony, bars 21-22 of prelude.
Monophony, bar 1 of fugue.
Polyphony, bar 12 of fugue.
Inverted pedal, last six bars of prelude.

Tonality
A major in prelude.
Middle section in prelude has ambiguous tonality.
A section of prelude is entirely diatonic.
Some modality, bars 20-21 of fugue.
Modal chord progressions, bars 82-86 of fugue.

JOHANNES BRAHMS: PIANO QUINTET IN F MINOR

Harmony
Use of augmented sixth chord, bars 39-40.
Pedals, bar 2.
Fundamentally diatonic, bar 194.
Plagal cadences, bar 190.
Tierce di Picardie, bar 226.
Melody
Sequential writing, bars 2-5.
Repeated patterns, bars 13-14.
Chromaticism, bar 166.
Structure
Scherzo: Section A, A1, B, A2.
Section B of the Scherzo is the central fugato.
Each section of the Scherzo is split into smaller sub-structures.
Trio: A, B, A1.
Trio is much shorter than the Scherzo.
Rhythm

Taut dotted rhythms, bar 23.

2/4
Syncopation, bars 3-5.
Interlocking patterns, bar 158.
Texture

Homophony, bar 25.

Fugato, bars 67-100.
Monophony, bars 13-18.
Five-part counterpoint, bar 84.

Tonality
Tonality defines structure.
Tertiary relationships
Trio is in the tonic major.
Modulation to dominant, bar 77.

JOSEPH HAYDN: SYMPHONY NO. 26 IN D MINOR, LAMENTATIONE

Harmony

Functional and diatonic, bar 9.

First-inversion chords, bar 9.
Circle of 5ths progression, bars 57-64.
Perfect cadences, bars 78-79.
Melody
Plainsong melody, bar 26.
Conjunct melodic writing, bar 6.
Appoggiaturas, bar 12.
Balanced phrasing, bar 4.
Structure

Sonata form
Exposition, development, recapitualtion
Rhythm

Syncopation, bar 92.

Long, sustained notes, bar 95.
Continuous quaver runs, bar 70.
Dance-like staccato, bar 100.
Texture

Two-part counterpoint, bars 13-16.

Homophony, bars 9-12.
Tutti unison texture, bars 43-44.
Colla parte writing

Tonality
D minor
Modulation to tonic major for recapitulation of the second subject
Development is tonally unstable

J.S BACH: PARTITA NO. 4 IN D

Harmony
Perfect cadences, bars 4-5 of the Sarabande.
Cadential 6/4 patterns, bars 11-12 of the Sarabande.
Circle of fifths, bars 24-26 of the Sarabande.
Diminished 7th, bar 45 of the Gigue.
Melody
Fortspinnung, bar 15 of the Sarabande.
Ornamentation, bar 13 of the Sarabande.
Accented passing notes, bar 20 of the Sarabande.
Sequential repetition, bar 9-10 of the Gigue.
Structure
Gigue, simple binary form: A, B
No reprise of the opening music in the Gigue.
Sarabande, rounded binary form: A, B, A
The second half of the Sarabande is longer than the first.

Rhythm

Sarabande rhythm, bars 9-12.

9/16, bar 1 of the Gigue.

32nd note runs, bar 33 of the Sarabande.
Dotted rhythms, bar 16 of the Gigue.
Texture

Two-part counterpoint, bar 3 of the Sarabande.

Four-part writing, bar 12 of the Sarabande.
Homophony, bar 1 of the Sarabande.
Monophony, bar 2 of the Sarabande.

Tonality
Modulation to dominant of the dominant, bars 7-8 of the Sarabande.
Modulations to related keys, bar 14 of the Sarabande.
Gigue modulates through related keys in the B section
Gigue modulates to the dominant in the A section.