- Sonata Published in 1597
- Intended for performance in St Mark's Basilica, Venice on an important liturgical occasion
- Gabrieli could call on services of a relatively large number of instrumentalists, indicating the wealth of the insitution.
- Historically important, it is one of the first to specify dynamic contrasts.
Rhythm and metre
- The sonata has longer note values at the start progressing to livelier movements towards the end.
-Time signatures inserted editorially.
Most of the piece is notated in duple time with occasional 3/2 bars
-Syncopation and dotted rhythms.
- Melodic style gives the impression of a transfer of Motet-like vocal writing to instruments.
- Ranges are relatively restricted.
- Much of the writing is conjunct, largest interval is an Octave.
- 4ths and 5ths occur relatively frequently.
- Root-position and first-inversion chords dominate, occasional consonant 4th.
- Writing is not functional,
Cadences frequent, including PERFECT, IMPERFECT (Phrygian) and plagal.
- Suspensions, Circle of 5ths (bars 36-41), tierces de Picardie (bar 80)
- The music is based on the Dorian mode on G, but cadences on most steps of the mode contribute to the works fluid tonal scheme.
- The sonata is through-composed with clear breaks into contrasting sections
- The only repetitions occur within sections, often in the antiphony.
E.G bar 34. - Where the music of Bar 31 is repeated a 4th lower.
- Two four-part instrumental groups.
- Free counterpoint, in four parts (most of bars 1-13)
- Imitation (bars 17-20)
- Antiphony (bars 37-40)
- Eight-part counterpoint (Bars 26-31)
- Eight-part homophony (Bar 40)