Badinerie

• Badinerie: General Texture Points:

  • Melody & Accompaniment
  • The flute plays the main melody
  • Basso Continuo provides continuous bassline
  • The cello and 1st violin also share small parts of the melody
  • The 2nd violin and viola provide harmony
  • There are sections with imitation and contrapuntal textures
• Badinerie - Texture Analysis: Section A bars 1-5:

  • Melody & Accompaniment texture
  • The flute plays the melody
  • Violins 1 and 2 and the viola play the harmonic accompaniment
  • The cello plays the bassline
  • Doubling - violin 1 plays the quaver part of the flute
  • The cello plays a small melodic fragment
• Badinerie - Texture Analysis: Section A bars 6-10:

  • Polyphonic texture
  • Flute and violin 1 play ascending sequence countermelody
  • Violin 2 and the viola play the harmonic accompaniment
  • The cello plays the bassline containing melodic material (a version of motif X in an ascending sequence)
  • Doubling - violin 1 plays a very similar melody except with a slightly different rhythm on the repeated notes
• Badinerie - Texture Analysis: Section A bars 11-16:

  • Melody & Accompaniment texture
  • The flute plays the melody
  • Violins 1 and 2 and the viola play the harmonic accompaniment
  • The cello plays the bassline
• Badinerie - Texture Analysis: Section B bars 16-21:

  • Polyphonic texture
  • The flute plays the melody
  • The 1st and 2nd violins and the viola play the harmony
  • The cello shares the melody and provides imitation in a descending sequence
  • Doubling - violin 1 plays the quaver part of the flute
• Badinerie - Texture Analysis: Section B bars 22-26:

  • Melody & Accompaniment texture
  • The flute plays the melody
  • Violins 1 and 2 and the viola play the harmony
  • The cello plays the bassline
• Badinerie - Texture Analysis: Section B bars 27-32:

  • Polyphonic texture
  • The flute and violin 1 play a descending sequence melody
  • Violin 2 and viola play the harmony
  • The cello plays the bassline with melodic material in an ascending sequence
  • Doubling - violin 1 plays a very similar melody except with a slightly different rhythm on the repeated notes
• Badinerie - Texture Analysis: Section B bars 32-35:

  • Polyphonic texture
  • The flute plays a descending melodic figure
  • There is a conversation between the flute and violins/viola
  • The cello plays a bassline - E pedal point
• Badinerie - Texture Analysis: Section B bars 36-40:

  • Polyphonic texture
  • The flute & violin are in unison
  • Violins 1 and 2 and the viola mostly play the harmony except for the ending
  • The cello plays the bassline with melodic material based on motif X
  • The cello plays quaver-semiquaver pattern of X
• The harmony of Bach's Badinerie is diatonic and mostly uses triads. However, there are a small number of special chords that are not triads and which represent chromatic harmony:

  • 7th chords
  • Secondary dominant chords
  • Neapolitan 6th chord
• 7th chords (Badinerie):

  When Bach uses 7th chords, they are usually the V7 chords.

  V7 chords are also known as dominant 7th chords
• (Badinerie) Dominant 7th chords - V7 chords in Section A:

  b.3^2 - F# A# C# E

  b.15^2 - C# E# G# B
• (Badinerie) Dominant 7th chords - V7 chords in Section B:

  b.19^2 - B D# F# A

  b.23^2 - A C# E G

  b.27^2 - A C# E G

  b.31^2 - F#A# C# E

  b.37^2 - F# A# C# E
• Secondary dominant chords are a special type of dominant 7th chord. They are the V7 chord of a new key. Secondary dominant chords make you think the music has modulated:

  In Bach's Badinerie the secondary dominant chord is in bar 24^2, in Section B
• Neapolitan 6th chord:

  This example of chromatic harmony is only found once in Bach's Badinerie. It is in Section B bar 35^2 and makes the music sound different here. (It is a chromatic ii chord)
• A suspension is when one note from the previous chord is held when the chord changes:

  Suspensions occur in bars 8^1, 10^1 and 32^1 in Bach's Badinerie.
• Section A starts in B minor and ends in F# minor
• Section B starts in F# minor and ends in B minor
• Where does the first V7 chord come in Section A in Badinerie?

  b.3^2
• Where does the second V7 chord come in Section A of Badinerie?

  b.15^2
• Where do the V7 chords come in Section B of Badinerie?

  • b.19^2
  • b.23^2
  • b.27^2
  • b.31^2
  • b.37^2
• Where do suspensions occur in Badinerie?

  • b.8^1
  • b.10^1
  • b.30^1
  • b.32^1
• A suspension is when one note from the previous chord is held when the chord changes
• Secondary dominant chords are a special type of dominant 7th chord. They are the V7 of a new key. It makes you think that the music has modulated to a new key.
• Where does the secondary dominant chord happen in Badinerie?

  b.24^2
• A Neapolitan 6th chord is chromatic ii chord. It makes the music sound different in Badinerie.
• Where does the Neapolitan 6th chord happen in Badinerie?

  b.35^2
• What type of cadence is V-I?

  Perfect cadence
• What type of cadence sounds finished and resolved?

  Perfect Cadence
• What type of cadence is any-V?

  Imperfect cadence
• What type of cadence sounds unfinished and unresolved?

  Imperfect Cadence
• What type of cadence is V-vi?

  Interrupted Cadence
• What type of cadence sounds surprising and unexpected?

  Interrupted Cadence
• What type of cadence is at b.3-4 of Badinerie?

  Perfect Cadence
• What type of cadence is at b.7-8 of Badinerie?

  Perfect Cadence
• What type of cadence is at b.9-10 of Badinerie?

  Imperfect Cadence
• What type of cadence is at b.15-16 of Badinerie?

  Perfect Cadence
• What type of cadence is at b.19-20 of Badinerie?

  Perfect Cadence
• What type of cadence is at b.20-22 of Badinerie?

  Imperfect Cadence
• What type of cadence is at b.23-24 of Badinerie?

  Perfect Cadence