Corelli 1689: Trio Sonata in D- Structure, Tonality, Rhythm & Instrumentation
- Created by: Rachie S
- Created on: 08-02-17 21:26
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- Corelli 1689: Trio Sonata in D: Structure, Tonality, Rhythm & Instrumentation
- Structure: STORC
- Section Articulation
- Clear articulation of the main sections is shown through repeats and cadences
- An example of this is the pedal at the end of section A
- Clear articulation of the main sections is shown through repeats and cadences
- Tonal Structure
- The music moves from the tonic to the dominant at the end of section A
- The modulation begins at bar 9
- Closely related keys are modulated to in the B section before ending on the tonic
- B minor is one of the brief modulations in bars 26-34
- The music moves from the tonic to the dominant at the end of section A
- Overall Structure
- Binary form (AB)
- Section A is bars 1-19
- Section B is bars 20-43
- Binary form (AB)
- Repetitions
- The motivic structure is very tight with most material being based on the 1st 2 bars
- Bar 20 is based on an inversion of bar 1
- The motivic structure is very tight with most material being based on the 1st 2 bars
- Contrast
- There is little contrast between the 2 main sections in terms of melody or texture
- The only contrast is the sighing suspension figures starting at bar 28
- There is little contrast between the 2 main sections in terms of melody or texture
- Section Articulation
- MKR ST: Tonality
- Modulations
- Key
- Reinforcement of Tonality
- Speed of Modulation
- Tonality Clear?
- H TAPPD: Rhythm
- Harmonic Rhythm
- The harmonic rhythm is fairly fast with at least 2 harmonies per bar for most of the piece
- The harmonic change speeds up at cadences
- First half of bar 42
- Tempo & Metre
- Allegro in compound duple time
- Activity Level
- As with most faster Baroque movements there is an almost constant quaver movement with many semi-quavers as well
- Phrase Length
- Though the initial imitative entry is 2 bars, the actual phrases are long and irregular in length
- The A section divides into 2 phrases pf 11 and 9 bars
- Though the initial imitative entry is 2 bars, the actual phrases are long and irregular in length
- Predominating Notes/ Rhythms
- Other than quavers, the most common rhythm is the 4 semi-quaver quaver one
- First heard in the 2nd half of bar 1
- Other than quavers, the most common rhythm is the 4 semi-quaver quaver one
- Devices
- Corelli makes use of syncopation
- Hemiola in bars 26-27
- Corelli makes use of syncopation
- Harmonic Rhythm
- GC VIP: Instrumentation
- Groupings/ Roles
- The violone plays the bass line with the organ improvising harmonic fills
- Particularly clear from bar 28
- The violins play equally important roles with frequent overlaps
- Bar 12
- The violone plays the bass line with the organ improvising harmonic fills
- Combination
- Trio sonata is very common in Baroque and includes 2 melody instruments and continuo
- Virtuosic Writing
- Corelli's music is less virtuosic than later Baroque
- He emphasises the use of rhythmic energy and textural devices like imitation
- Corelli's music is less virtuosic than later Baroque
- Interesting Writing
- The writing is quite conservative with the tessitura bing lower than later Baroque composers
- Both the violins and violone cover tessituras of around 2 octaves
- The writing is quite conservative with the tessitura bing lower than later Baroque composers
- Performance Indications
- There is very little use of performance indications
- There are slurs on the suspension passage in bar 28
- There is the indication of echo effects at the end
- There is very little use of performance indications
- Groupings/ Roles
- Structure: STORC
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