Corelli - Trio Sonata in D

simple bipartite Binary Form

Section A: bar 1-19

Section B: bar 19-end

bars 41-43 could be regarded as a Codetta emphasising tonic tonality

Gigue-like due to 6/8 compound metre and Allegro tempo

fugal-like writing:

opening theme treated lke a subject, imitated on the dominant in bar 3 as a Real Answer, then heard in continuo part at bar 6

technique in a fugal texture known as Stretto where instrumental entries are closer together, only a bar apart: bar 20-23

entries on the tonic modulating to the relative minor (B minor): bar 23-28

imitative entries of a modified subject passing through A, D and G majors before returning to the tonic: bar 32-41

most of melodic material is derived from the first 3 nots based on a rising third - monothematic (motif a)

second half of bar 1 is a rising sequence of motif a with added passing notes (bar 1)

first half of bar 2 is a further sequence of this embellished version (seen again in inversion in bar 5)

mixture of triadic and conjunct movement often treated imitatively: bar 20-23

and sequentially: bar 28-29

primarily diatonic but with odd moment of chromaticism as part of a modulation: bar 26

definitively functional in D major, modulating to the dominant (A major by the end of section A)

modulations to related keys:

B minor - bar 26-28

E minor - bar 31-32

Circle of fifths - A major, D major and G major: bar 33-35

suspensions: 7-6 suspension on first beats of bars 9 and 10

inverted pedal on A (second violin): bars 15-17

mostly employs chords in root position and first inversion: beat one of bars 10 and 11

perfect cadence: bar 18-19

both violin parts are of equal difficulty

occasionally there is crossing between parts: bar 12

idiomatic string writing although no pizzicato is used

although called trio sonata it requires 4 performers (violin, violin 2, violone and organ)

range of 2 octaves and a semitone (first violin)

light counterpoint prevails: bar 7-19

monophonic opening becomes two-part homophony by bar 3 and finally three-part counterpoint by bar 7: bar 1-7

parallel 10ths between violin 2 and celloL bar 8-9

Cello providing functional bass line: bars 28-end

homophonic at cadence points: bar 42-43

violins leapfrog over each other with successive imitation a 4th higher: bar 32-34

inverted pedal on A: bar 15-18

fugal-writing: bar 1-6

Stretto: bar 20-23

uses mainly simplistic rhythms emphasising the dotted crotchet pulse of compound, duple 6/8 metre

gigue-like through fast driving rhythms: first opening bars

normal quaver and semiquaver movement is occassionally varied and reversed by sustained notes: inverted pedal bar 15-19

cross rhythms created by syncopation in first violin: bar 26

Hemiola creates effect that metre has changed to triple simple time as opposed to duple compound time: bar 27