Corelli 1689: Trio Sonata in D- Structure, Tonality, Rhythm & Instrumentation

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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
      • 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
      • Overall Structure
        • Binary form (AB)
          • Section A is bars 1-19
          • Section B is bars 20-43
      • 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
      • 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
    • 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
      • 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
      • Devices
        • Corelli makes use of syncopation
          • Hemiola in bars 26-27
    • 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
      • 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
      • 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
      • 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


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