Corelli - Trio Sonata in D, Op. 3 No.2: Movement IV

Set of revision cards outlining the main features for Corelli's Trio Sonata set work for Edexcel Music A2 for Unit 6: Further Musical Understanding. 

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  • Created by: Misha Mau
  • Created on: 12-06-12 16:13

Context/Background information

  • Corelli is most influential composer of the baroque period
  • He was comissioned by rich patrons to write music for them
  • Op. 1 and Op. 3  sonatas are known as Sonata da Chiesa (Church Sonatas) to be played at church or sacred concerts, 
  • Four movements slow-fast-slow-fast and style contrapuntal
  • Op.2 and Op.4 are Sonata da Camera and more secula in four movements with Prelude followed by three dances and more homophonic in texture. 
  • Op.3 has 12 sonata da Chiesa and all 4 movements of No.2 are in D major. 
  • No melodic link between movements but are to be played as a whole. 
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Performing Forces + Handling and Texture

  • four performers
  • 1st and 2nd violins equal partners with similar tessitura, imitate eachother frequently
  • violone low pitched string instrument similar to bass viol with 5 of six strings
  • continuo played by organ, player improvises inner harmonies
  • movement is contrapuntal and in 3 part texture
  • opening section fugal style with stretto entries
  • polarised texture 
  • texture more homophonic at cadence points 
  • Drops music down an octave for final 3 bars. 
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Structure and Tonality and Harmony

  • Binary Form: A (repeated) B (repeated)
  • Section A starts in D major modulated to dominant (A major) 
  • Section B begins in dominant modulates through related keys (B minor) back to the tonic at the end which could be called a Codetta. 
  • Diatonic and consonant mainly root position chords
  • Dissonance occurs through suspensions b9 and 10) usually these all resolve downwards 
  • frequent perfect cadences which define phrase structure and changes of key
  • Circle of 5ths progression b32-35
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  • mono-thematic with melodic invention deriving from opening 3 note motif based on rising 3rd
  • melody is developed by : 
    • sequences b1, b2, b15-17
    • inversion b5, 
    • addition of anacrusis to motif for entries starting b32. 
  • Almost all melody is based on interval of 3rd and stepwise movement. 
  • Ocassionally an octave leap
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Rhythm + Metre

  • written in the style of a gigue (lively dance in compound time)
  • two main beats per bar which is enhanced by phrasing dotted crotchet beats in opening subject
  • violone entry b6 half way through bar
  • Syncopation 1st violin b26-27
  • hemiolas b27 and 31 with harmony changing on 1st, 3rd and 5th quavers of the bar. 
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