Analysis of Badinerie by J. S. Bach Essay

The cull Badinerie is best known for its destinations as the final act of Johann Sebastian bachs Orchestral Suit No.2 in B electric razor. Johann Sebastian Bach was born on the 21st March 1685 and died on the 31st of July 1750. He was a German composer, organist, harpsichordist, and violinist. He wrote sacred and secular works for choir, orchestra, and exclusively instruments. Bach drew together the strands of the Baroque period and brought it to its ultimate maturity. The peck Badinerie is in a light mood and structured in the double star Form. It is cast in swift 2/4 metre reservoir on the up head for the hills or anacrusis.This piece was originally written for a Chamber Orchestra and a solo flute. The piece starts in B fry and played in allegro tempo end-to-end. Badinerie start with a messo fortissimo driving marking center moderately flash with motive A in the pickup forget at the beginning and motive B starts on the atomic number 42 beat in standard two to bar 3. The Antecedent ranges from the beginning of the music to the original beat of bar four, which ends on a Perfect Authentic Cadence. The Consequent started on the second beat of bar for four to the first beat of bar ten, which ended on an Imperfect Cadence a one to a phoebe bird hang two chord in second inversion. They are long expresss throughout the duration of the piece.In the first five disallow the deep part var. plays a Bassa Continuo style in Baroque music, however in modern day it is called a Walking Bass style. In debar six to ten the melody line plays a similar meter that the bass was playing in the first five bars and the bass line plays a similar rhythm to what the melody line was playing.The second beat of bar 10 the dynamic marking changes to forte meaning loud which is the beginning of the phrase acknowledgment and sequential progression to bar 16. There is a great build up in this phrase with a messo forte crescendo leading up to forte and the exercise of 16 notes in the bass notes the office intense and bright. Bar sixteen the end of the first section is repeated and ends on an Imperfect five of five going to five cadence called tonicization.The second section of the piece is a development of A, which is the same melody played a cardinal percent up. The Antecedent started from the pickup beat to the first beat of bar twenty and the consequent picked up on the beside beat and ended on bar twenty ternion on a five of three going to a three cadence. The piece then modulated to D major in the next bar then f humble in bar 30 then back to b minor in bar thirty two. There is a phrase extension starting on the second beat of bar twenty to the first beat of bar twenty eight. The same idea comes back once more of the melody line taking the rhythm of the bass line and the bass line taken the rhythm of the melody line in bars twenty eight to thirty two.There are pedal points in bars 33 to 35, interesting to note that there is use of octa ves. In bars thirty six the first beat has a loud dynamic marking and the second beat has a soft dynamic marking which is quite interesting. There is a crescendo in the next bar leading up to forte towards the second to last bar. This section is then repeated and the section time around there is a rit. 2 Volta which means turn around then chink the second time. The piece ends on a Perfect Authentic Cadence.