What is the structure of the third movement of Brandenburg Concerto No. 5?

The movement is a fugue with a concerto grosso structure. It begins with the fugue subject in the violins (bars 1-8), followed by entries in other parts. The movement alternates between fugal expositions and episodic passages (e.g., bars 49-56) where the soloists play virtuosic material. It ends with a lengthy harpsichord cadenza (bars 178-190) over a dominant pedal, then a final tutti section. Overall, it's a blend of fugal counterpoint and solo-tutti contrast.

How does Bach use the harpsichord in this movement?

The harpsichord has a dual role: it provides the basso continuo (harmonic foundation) throughout, but also acts as a solo instrument. In the fugue, it sometimes plays the subject or countersubject. Its most prominent moment is the final cadenza (bars 178-190), where it plays rapid scales and arpeggios alone, showcasing virtuosity. This was innovative for its time and foreshadows the keyboard concerto.

What are the key features of the fugue subject?

The fugue subject is in D major, played by the violins in bars 1-2. It features a rising arpeggio (D-F#-A) followed by a syncopated, stepwise descent. The rhythm is lively with dotted notes and semiquavers. The subject is answered in the dominant (A major) by the second violins and violas. A countersubject (a contrasting melody) accompanies the answer, often in semiquavers.

Why is this movement considered a concerto grosso?

Because it contrasts a small group of soloists (concertino: flute, violin, harpsichord) with the full orchestra (ripieno: strings and continuo). The ripieno plays the tutti sections, often with terraced dynamics, while the concertino plays solo episodes. This dialogue between solo and tutti is a defining feature of the concerto grosso form, which Bach adapted from Italian models like Corelli.

What modulations occur in this movement?

The movement begins in D major (tonic) and modulates to the dominant (A major) for the answer. Later, it moves to the relative minor (B minor) and other closely related keys like E minor and G major. The final cadenza is over a dominant pedal (A), preparing the return to D major for the final tutti. These modulations are typical of Baroque fugues and help create harmonic interest.

How does Bach create contrast in this movement?

Bach creates contrast through texture (fugal vs. homophonic), dynamics (terraced between solo and tutti), and instrumentation (solo flute, violin, harpsichord vs. full strings). He also uses rhythmic contrast: the fugue subject is syncopated, while episodes feature rapid semiquaver runs. The final cadenza provides a dramatic contrast as the harpsichord plays alone, free from the orchestra.

J S Bach: Brandenburg Concerto No. 5 in D major, 3rd Movement

EDEXCEL

GCSE

J S Bach's Brandenburg Concerto No. 5 in D major, 3rd movement is a set work within the Instrumental Music 1700-1820 area of study. It features a study of fugue in a Gigue dance movement and allows for the analysis of general Baroque musical features.

Objectives

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Topic Overview

The third movement of J.S. Bach's Brandenburg Concerto No. 5 in D major is a lively fugue in alla breve time (cut common time), marked 'Allegro'. This movement exemplifies the late Baroque concerto grosso form, where a small group of soloists (concertino) – here, flute, violin, and harpsichord – interplay with the full orchestra (ripieno). The harpsichord takes a particularly prominent role, not just as continuo but as a virtuosic solo instrument, foreshadowing the later keyboard concerto. The movement is in D major and follows a contrapuntal texture throughout, with the fugue subject introduced by the violins and then developed through various keys and instrumental combinations.

This piece is a cornerstone of the Edexcel GCSE Music set works, as it encapsulates key Baroque features: terraced dynamics, basso continuo, ornate melodic lines, and a strong sense of rhythmic drive. Studying this movement helps students understand how Bach manipulated fugal techniques within a concerto framework, creating a dialogue between soloists and orchestra. The movement's structure – a fugue with episodes and a final cadenza-like passage for harpsichord – demonstrates the blend of strict counterpoint and improvisatory freedom typical of Bach's style. It also provides a clear example of how Baroque composers used sequence, imitation, and pedal points to build tension and structure.

For GCSE students, this movement is essential for analysing musical elements such as texture (contrapuntal, homophonic), tonality (modulations to dominant and relative minor), and instrumentation (the distinctive timbres of Baroque flute, violin, and harpsichord). It also offers insight into the social context of the time: the Brandenburg Concertos were written for the Margrave of Brandenburg, showcasing the latest Italianate styles adapted for German tastes. By mastering this piece, students gain a deeper appreciation of Baroque music's complexity and its influence on later Western classical music.

Key Concepts

Core ideas you must understand for this topic

→Fugue: A contrapuntal composition where a subject (main theme) is introduced by one voice and then imitated by others. In this movement, the fugue subject is a lively, syncopated melody in D major, first heard in the violins.
→Concerto Grosso: A Baroque form contrasting a small group of soloists (concertino) with the full orchestra (ripieno). Here, the concertino consists of flute, violin, and harpsichord, while the ripieno includes strings and continuo.
→Basso Continuo: A continuous bass line played by harpsichord and cello, providing harmonic foundation. In this movement, the harpsichord also has a solo role, breaking away from strict continuo to play virtuosic passages.
→Terraced Dynamics: Abrupt changes in volume between loud and soft, typical of Baroque music due to the harpsichord's inability to produce gradual dynamics. This is evident when the ripieno enters forte after solo passages.
→Sequence: The repetition of a melodic or harmonic pattern at a higher or lower pitch. Bach uses sequences extensively in episodes to modulate and build momentum.

What You Need to Demonstrate

Key skills and knowledge for this topic

Identification of Baroque stylistic features
Understanding of fugal structure and Gigue dance characteristics
Analysis of musical elements (pitch, tonality, structure, sonority, texture, tempo, metre, rhythm, dynamics)
Use of appropriate musical vocabulary and terminology
Contextual understanding of the work within the Baroque period
Ability to compare and contrast the work with unfamiliar pieces

Marking Points

Key points examiners look for in your answers

Identification of Baroque stylistic features
Understanding of fugal structure and Gigue dance characteristics
Analysis of musical elements (pitch, tonality, structure, sonority, texture, tempo, metre, rhythm, dynamics)
Use of appropriate musical vocabulary and terminology
Contextual understanding of the work within the Baroque period
Ability to compare and contrast the work with unfamiliar pieces

Examiner Tips

Expert advice for maximising your marks

💡Listen to the set work as a whole before focusing on specific musical elements
💡Study the score alongside the audio to identify key themes, chord patterns, and rhythms
💡Practice comparing the set work with unfamiliar pieces that share similar stylistic characteristics
💡Use accurate musical vocabulary in all written responses
💡Be prepared to complete musical dictation tasks related to the set work
💡When analysing the fugue, always identify the subject, answer, and countersubject. In this movement, the subject is in D major (tonic), and the answer is in A major (dominant). Mention how Bach uses real and tonal answers to maintain harmonic coherence.
💡Pay close attention to the harpsichord's role. In the final cadenza, the harpsichord plays a virtuosic solo over a dominant pedal. This is a key moment to discuss how Bach blurs the line between soloist and accompanist, and how this anticipates the Classical piano concerto.
💡Use specific bar numbers and musical terminology in your answers. For example, refer to 'bars 1-8' for the subject entry, 'bars 49-56' for a sequence, and 'bars 178-190' for the cadenza. This demonstrates precise knowledge and gains marks.

Common Mistakes

Pitfalls to avoid in your exam answers

Using inappropriate terminology (e.g., describing texture as 'thick' or 'thin' instead of 'homophonic' or 'polyphonic')
Failing to use specific musical vocabulary related to the Baroque period
Inability to identify or describe musical devices like imitation, sequence, or pedal points
Lack of focus on the specific musical elements when evaluating the piece
Misconception: The harpsichord only plays the continuo part throughout. Correction: While the harpsichord does play continuo, it also has extended solo passages, especially in the final cadenza, where it plays rapid scales and arpeggios without the orchestra.
Misconception: The movement is a strict fugue with no deviations. Correction: Although it begins as a fugue, it includes episodes (free sections) and a final cadenza, making it a hybrid of fugue and concerto form.
Misconception: Terraced dynamics are the only dynamic effect. Correction: While terraced dynamics are prominent, Bach also uses echo effects (e.g., between solo and tutti) and the natural dynamic contrasts between instruments (e.g., flute vs. strings) to create variety.

Frequently Asked Questions

Common questions students ask about this topic

Before You Start

Prior knowledge that will help with this topic

•Basic understanding of Baroque music (1600-1750), including its stylistic features like ornamentation, basso continuo, and terraced dynamics.
•Knowledge of musical elements: texture (monophonic, homophonic, polyphonic), tonality (major/minor keys, modulation), and structure (binary, ternary, fugue).
•Familiarity with the concerto grosso form and the instruments of the Baroque orchestra (violin, viola, cello, harpsichord, flute).

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J S Bach: Brandenburg Concerto No. 5 in D major, 3rd Movement

Topic Overview

Key Concepts

What You Need to Demonstrate

Marking Points

Examiner Tips

Common Mistakes

Frequently Asked Questions

Before You Start

Likely Command Words

Ready to test yourself?

Related Topics in EDEXCEL GCSE Music

Afro Celt Sound System: Release (from 'Volume 2: Release')

Appraising

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Composing

Topic Synopsis

Key Concepts & Core Principles

Exam Tips & Revision Strategies

Common Misconceptions & Mistakes to Avoid

Examiner Marking Points

J S Bach: Brandenburg Concerto No. 5 in D major, 3rd Movement

Topic Overview

Key Concepts

What You Need to Demonstrate

Marking Points

Examiner Tips

Common Mistakes

Frequently Asked Questions

What is the structure of the third movement of Brandenburg Concerto No. 5?

How does Bach use the harpsichord in this movement?

What are the key features of the fugue subject?

Why is this movement considered a concerto grosso?

What modulations occur in this movement?

How does Bach create contrast in this movement?

Before You Start

Likely Command Words

Ready to test yourself?

Related Topics in EDEXCEL GCSE Music

Afro Celt Sound System: Release (from 'Volume 2: Release')

Appraising

Approaches to Performing

Composing