The first movements of concerto grossos in the Baroque period were commonly in

ritornello form. Describe Bachs approach to this structural form in the first movement
of the second Brandenburg Concerto.
Define and find an example of each of the following:
Ritornello
Episode
Counterpoint
Fugue
Subject
Countersubject
Ripieno (no example necessary)
Concertino (no example necessary)
Continuo (no example necessary)
Pedal notes
Hemiola
Circle of 4ths progression
Circle of 5ths progression
What is a melodic sigh? Where would one find this in this concerto?
Why is the tromba not playing in movement 2?
How is movement 2 considered to be contrapuntal?
Compare the continuo part with the tromba part at the beginning of movement 3.
What happens to the continuo when the oboe answer enters?
Describe what is happening in the oboe part at the first episode in movement 3 from
measure 13-20.
Discuss the key relationships of this concerto.
What are some devices that Bach uses in varying or developing his motives in
movement 3? Cite some examples of this.
Bach was known to use a device called fortspinnung. What is meant by fortspinnung
and how was it utilized in this concerto?

Bachs use of melody in the Brandenburg Concertos is closely linked with harmony.
In order to be able to write the counterpoint, his melodies had to be devised so that
they could be combined easily with other melodic ideas. What were 3 ways that
melodies/motifs could be created to accommodate counterpoint to work? Cite
examples for each.