Notes on Corelli

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  • Created by: Efua
  • Created on: 24-05-10 18:04
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1.In a style of a gigue
2.Binary form
3.A:119, B:2043
1.Bar 26cross rhythm (he across the middle of the bar results in the 1st violin
sounding as though it is in ¾ while lower parts remain in 6/8 time causes
2.Bar 27Hemiola makes all three parts sound like there are in ¾ time. The
position of chord changes reinforces the effect of the rhythmic disruption.
1.18: D major, 919:A major, 2021: A major, 2225: D major, 2628: B major,
2932: E minor, 33:A major, 3435:G major, 3643:D major
1. Whole piece based on bar 1
2. The motif is inverted in bars 20violin 1, 21 violin 2 and the
3. Differentiation on the motif in bar 32 in violin 1 and 2 in bar 35
4. The writing of the melody is idiomatic and has scalic figures e.g.
V1bar 4
1. Contrapuntal texture
2. Begins like a fugue: 12 subject heard in violin 1, 34 real answer heard
by 2nd violin (real same melody as sub, answer4th below sub), bar 6subject in
violine, bar 111st violin based on subject
3. texture is mainly widelyspaced, with the 2 violin parts often crossing and
placed high above the bass (bars 12)
4. Bars 1619: Polarised texture lots of space inbetweenFeature of
baroque music.
5. At the start (bars 20, 21, 22) fugal sub is heard in free inversion. The
imitative 2ndviolin and bass parts enter only a bar apart forming a fugal texture
known as stretto.
6. Bass part takes a more functional role after bar 23(esp 3538)
7. Bar 30end Contrapuntal texture typical of Baroque period
8. The imitation between the 1st and 2nd violins from bar 3235 is derived
from subquaver and semiquaver motif motivic development
1. Harmony is functional it defines the keys we have identified, though use of
perfect cadences.
2. Most of the chords are rootposition or 1st inversion triads, seasoned with
dissonant suspensions (resolve by step usually to a consonant not)
3. Violone, OrganContinuo part realise the harmony
4. Perfect cadence in A major to establish the key bar 1011
5. 1214 Harmonic feature sequencing
6. Bar 1819 Perfect cadence in A major
7. Bar 28 Cadence in B minor
8. Bar 29 98,76 suspensions
9. Bar suspension 76
10. Cadential 64 with 43, perfect cadence in D major used a lot in baroque

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