Student Activities
1. Listen to the whole of
Cantata 78 and create a diagram showing the form of the overall work. Include
the following information - instruments, voices, time signature, key signature,
number of bars in each (including repeats).
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1
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2
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3
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4
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5
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6
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7
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| Voice(s) |
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| Key
Sign. |
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| Time
Sign. |
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| Number
of bars |
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| Instruments |
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2. Create diagrams for each
of the movements, showing extra details, such as dynamics and modulations.
Use the analysis template.
3. Make a list of the number
of lines of text in each movement. Now do the same for the number of bars.
What does the ratio tell you about each movement?
| Number |
1
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2
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3
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4
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5
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6
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7
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| Lines
of text |
8
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| Number
of Bars |
144
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4. Transcribe the soprano part
of No 1, with no rests, as a chorale tune.
5. Learn the chorale tune
(Soprano part) of No 7. Practice the following chords (on guitar or keyboard)
- Gm, D, F, Bb, C. Use two of these chords at the end of each phrase of
the chorale - (you have to decide which ones to use). Keep a record of
your work by making a chart of the bars and chords.
| Phrase |
1
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2
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3
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4
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5
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6
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7
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8
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| Chords |
D Gm
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6. Identify the instruments
used in the final chorale.
7. Find these examples
of word painting, and describe each. "The grave", "when sounds the dreaded
judgement knell", "Be strong". Make a list of other types of word painting
(or general ways that music can reflect the meaning of the words). Keep
a diary of examples.
8. For each of the three
arias (Nos 2, 4, and 6), memorise the main theme. As a listening exercise,
record the number of times the theme is heard, and in which part.
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Sop
and Alto Duet |
Tenor
Aria |
Bass
Aria |
| No
of times Main theme is heard |
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9. Find out more about the
Chaconne as a dance form. Memorise the first four bars of the continuo
(cello) in number one. Play the whole of No 1, and count the number of
times you hear this phrase.
10. Analyse No 1, bars
129 - 136 with special regard to the circle of fifths concept.
11. No 3, bar 22-24. Study
these bars for examples of melodic elaboration.
12. Compare the two recitatives,
Nos 3 and 5. Include the following headings; form, harmony, rhythm, melody.
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Form
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Harmony
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Rhythm
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Melody
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| Tenor
No 3 |
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| Bass
No 5 |
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13. Look at the Bass Aria,
No 6. The composer has indicated some dynamic changes in this Aria, particularly
at places where the oboe and Bass voice overlap. Why?
Analysis template
TITLE ________________________________________________
TEXT (mood, special effects,
word-painting, etc.)
STRUCTURE/FORM (create a
chart showing the form of the music)
COMPOSING TECHNIQUES (identify
any special features - sequence, syncopation, imitation, ostinato, etc)
| Special
Feature |
Bar
Number |
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