2nd Movement Aria Duetto
The 2nd movt. Is an Aria duet between Soprano and Alto. Its rocking staccato accompaniment in the continuo part makes it easy to recognise.
This movement is rich in use of sequence and imitation . Don’t mix up the 2!!! Sequence occurs in the same part,(or voice) but imitation is when 1 part copies another. They can sound alike.
This movement is rich in use of sequence and imitation . Don’t mix up the 2!!! Sequence occurs in the same part,(or voice) but imitation is when 1 part copies another. They can sound alike.
Also notice the double bass part below; the only time the violone (double bass) appears in the work which plays staccato(detached) and pizzicato (plucked). This instrument is on the right as we look. Notice that the player doesn't use a bow.
Below is the opening of the Soprano part with the important features, melisma (many notes to 1 syllable) and sequence (a pattern of notes repeating at a different pitch)
Always be aware which voice leads and which imitates. The Soprano is high and the Alto low. This makes it easy to follow
E.g. Bars 8, 28, 50, the soprano leads but at 16, 36,69, and 83 the alto leads.
E.g. Bars 8, 28, 50, the soprano leads but at 16, 36,69, and 83 the alto leads.
Loads of sequences throughout.
E.g. 1st 5 notes of bar 9.
16 and 17 in Alto.
5 note pattern of bars 19 and 20.
The list is endless! Often sequences and Imitation occur simultaneously. Study the score and LISTEN!
E.g. 1st 5 notes of bar 9.
16 and 17 in Alto.
5 note pattern of bars 19 and 20.
The list is endless! Often sequences and Imitation occur simultaneously. Study the score and LISTEN!
Parallel 3rds and 6ths were a symbol of purity and chastity in the 18th Century! Both occur at Bars 19 and 20.
6ths at Bars 31and 92,
3rds at 38, 64, 89, and 95.
Another interval to feature is the 4th but not in parallel.
6ths at Bars 31and 92,
3rds at 38, 64, 89, and 95.
Another interval to feature is the 4th but not in parallel.
Many melismatic phrases.
E.G. Bar 9 and 10, 19 and 20, 30 and 31 etc..
All of the above are “red hot” exam questions and all can be used to Word Paint. Sometimes word painting is illustrated by repetion.
Examine the treatment of the following words; eilen(9 and 10), O Jesu(16 and 17) Zu Dir((36 and 37) Ach hore(64)
E.G. Bar 9 and 10, 19 and 20, 30 and 31 etc..
All of the above are “red hot” exam questions and all can be used to Word Paint. Sometimes word painting is illustrated by repetion.
Examine the treatment of the following words; eilen(9 and 10), O Jesu(16 and 17) Zu Dir((36 and 37) Ach hore(64)
Ternary form. ABA. Section A is from 1-50. B is 51-98 and A (Da Capo) is 1-50. The movement ends a the repeat of the A section on a pause.
Note; the Dept. notes refer to the intro as being a Ritornello theme. There is, however no such thing! Ritornello is a form which uses a recurring theme. This theme is important however, so be familiar with it.
The B section goes through several different related keys before returning to the tonic Bb in the repeated A section. Below is a short excerpt from the B section. Observe the bassline which touches Gm, then immediately Cm. Rapidly changing keys is expected in the B section. Also notice the sequence and imitation in the vocal parts and the melisma at the end of the soprano.
Note; the Dept. notes refer to the intro as being a Ritornello theme. There is, however no such thing! Ritornello is a form which uses a recurring theme. This theme is important however, so be familiar with it.
The B section goes through several different related keys before returning to the tonic Bb in the repeated A section. Below is a short excerpt from the B section. Observe the bassline which touches Gm, then immediately Cm. Rapidly changing keys is expected in the B section. Also notice the sequence and imitation in the vocal parts and the melisma at the end of the soprano.
The key is Bb major, the relative major of Gm. Remember the key of a piece is the key it starts and ends in. However in an exam you may be asked what the key is at a given point.
The A section is in Bb. Note the obvious V-I cadences easily heard by focusing on the bass line; Bars 8, 20, 36, and 50.
B section travels through several keys; Note cadences- Cm at 60 and 64, Dm at 80 and F major at 98.
Note the text which uses phrases like; We pray…Exalt thee…Oh Jesus… Oh Master…Gracious favours. The general mood of the 3 arias is one of praise of God.
The A section is in Bb. Note the obvious V-I cadences easily heard by focusing on the bass line; Bars 8, 20, 36, and 50.
B section travels through several keys; Note cadences- Cm at 60 and 64, Dm at 80 and F major at 98.
Note the text which uses phrases like; We pray…Exalt thee…Oh Jesus… Oh Master…Gracious favours. The general mood of the 3 arias is one of praise of God.
Another version of the same song