Sonate Pian'e Forte

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  • Created by: MOsborn11
  • Created on: 07-06-13 11:32
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  • Sonate Pian'e Forte
    • CONTEXT
      • composer at St Marks in Venice
      • instrumental style not yet idiomatic
        • narrow range (top part minor 10th and coro 1 could have easily been sung by a SATB choir
      • Cori Spezzati
        • continued the development of polychoral style
          • two alternating groups in polychoral style
          • each part of equal melodic importance
        • much use of antiphony
          • two choirs answer each other with breif phrases in an antiphonal texture (37 - 40)
          • long initial statements by each choir, then tutti forte sections, then a series of short antiphonal sections
          • central antiphonal section (40-43)
            • fluid tonality
            • after each anitphonal section there is always music of 3-4 bars with the whole ensemble playing, usually different melodic material
      • played at an important ceremony
        • regular ensemble of two cornetts and two sacbutts which was supplemented
      • continuo not a prominant feature
      • modes still used (dorian mode in particular)
        • first statement bt Coro 1 in Dorian mode transposed to G
        • trace of mixolydian mode (26-31)
        • Ends in G minor with frequent Eb's detracting from the sense of Dorian modality
        • main tonic not at (26) is C but Bb's show it is not in C major but is in Mixolydian mode transposed a 4th to C
      • 'sonata' = not sonata form just 'music to be played'
      • transition from renaissance to Baroque style
        • famous for its use of dynamics (like terraced dynamics)
        • new technique of bringing in new melodic material after one choir answered another instead of just restating the old music
        • Chords standard for the time in root position or 1st inversion
          • some passages made up of continous root position chords (47-53)
        • when there are leaps in melody, the note following the leap lies within the interval of the leap (typical renaissance)
          • 10, cornett part leaps a 4th and then descends within that interval
        • Tierce De Picardie (4)(common renaissance)
        • some use of modern tonality
          • in G minor then modulates to Bb major (45)
        • no time siganture (typical renaissance)
    • TEXTURE
      • imitation at beginning of sections
        • trombone 3 imitates trombone 2 a minim later, starting a 5th below (1-5)
        • extended passage of imitation for 4 bars (71)
      • homorhythm (45)
      • chordal homophonic texture (47-48)
        • some homphonic sections have pronounced rhythmic drive (45-50)
      • bass parts tend to be simpler and have more long notes
      • individual lines heard together
        • in 3rds (top two parts bar1)
        • in 10ths (1st parts of each choir bar 28)
    • PERFORMING FORCES
      • cornetts and  sacbutts used in church choral music to add strength to a vocal line or replace a singer
    • STRUCTURE
      • forte tutti section (26_31) begins and ends on C
        • scalic idea in top parts and 5th trombone
    • HARMONY
      • second inversion chords appear only as a passing chord on weak crotchet beat (end of 53)
      • suspensions are main form of dissonance
        • 16, 7-6 suspension, A in trombone 4 clashes with B in bass before resolving on a G
        • most common suspension 4-3 (20, violin F clashes with G in trombone 5 over a bass C)
      • Unusual use of cadences
        • VIIb-1 (4)
        • II-I (47-48)
    • MELODY
      • octave leap in cornett part (67) to create drama for the tutti entry
    • TONALITY
      • II-I cadence (47-48)
      • plagal cadence (48-49)
        • final cadence plagal
      • composers free to introduce a limited number of accidentals
    • RHYTHM AND METRE
      • two longer bars notated 3/2 (30 and 44)
      • syncopation common
        • weak beats emphasized with longer notes (cornett 8)
        • syncopated noted made more appective by being approached by a leap
          • dotted crotchet in A in trombone 2 at (11)
      • dotted crotchets at beginning of phrases
        • dotted minims (1 and 26)
        • dotted crotchets (37-39)
  • central antiphonal section (40-43)
    • fluid tonality
    • after each anitphonal section there is always music of 3-4 bars with the whole ensemble playing, usually different melodic material

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