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).

     
    1
    2
    3
    4
    5
    6
    7
    Title              
    Voice(s)              
    Key Sign.                     
    Time Sign.              
    Number of bars              
    Instruments              
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
    2
    3
    4
    5
    6
    7
    Lines of text
    8
               
    Number of Bars
    144
               
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
    2
    3
    4
    5
    6
    7
    8
    Chords
    D Gm
                 
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.
     
      Sop and Alto Duet Tenor Aria Bass Aria
    No of times Main theme is heard      
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.
     
     
    Form
    Harmony
    Rhythm
    Melody
    Tenor No 3        
    Bass No 5        
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 ________________________________________________
 
VOICE(S) INSTRUMENTS
   
   
   
   

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
   
   
   
   
   
NOTES