Purcell, Trumpet Sonata, All Movements

  • Created by: Noxas
  • Created on: 15-12-19 13:30


Melody and accompaniment in opening bars. Shifts to antiphonal at bar 8 between trumpet and strings.

Bar 14: contrapuntal and imitative

Bar 26: violins play in unison

Overall, homophonic

1 of 18

Harmony and Tonality

D major chord in root position, use of chords I + V to establish key. Harmonic rhythms increases towards the ends of phrases, and bassline is often rising (and only descends towards cadences).

Modulation to dominant key, A major, at bar 5. Brief modulations to B minor and A minor, before returning to the tonic.

2 of 18


Trumpet: mostly plays in higher register, virtuosic, reaches top of its range at bar 17.

Basso Continuo: ascending bass, use of full range of instruments

Violins/viola: sometimes take melody, sometimes accompaniment. Full range

3 of 18


Ternary Form

A section: pomposo, ceremonious style. Mostly D major. 11 bars in total.

B section: B minor. 9 bars.

A1 section: D major. 10 bars.

4 of 18


Like most baroque pieces, dynamics are sparse, mostly terraced.

Mostly forte, or mezzoforte.

One or two diminueno and crescendo.

5 of 18


Motif A - trumpet fansare like, moves through 3rd and 5th of tonic. Arcing shape. (repeated in violins, antiphonal style)

Motif B - short, stepwise, descending motif.

Motif C - bar 20, fragment of motif A and inverted motif B.

Variations of motifs throughout, lots of trills and decoration to develop motifs.

Broad final descent to end of movement.

6 of 18


Without the trumpet, the texture here is purely built on the strings. Mostly homophonic, quite sparse at times.

7 of 18

Harmony and Tonality

B minor, relative minor of 1st movt. Perfect cadence at bar 2. Section B modulates to A major.

Gradual increase in chromatic harmony.

Bar 42, augumented triad in A minor. Rising bassline and 4-3 suspensions throughout.

Section B1 explores ideas of Bb major.

Ends with tierce de picardie to prepare for movt 3.

8 of 18


No trumpet, thank god! I hate that insrtument with a raw passion.

Violins take the melody, as basso continuo plays chordal accompaniment. There's not really much to say.

9 of 18


Binary form!!! We all love a good binary form.

A - 4 bars, B minor

A1 - 4 bars, E minor

B - 6 bars, A major

B1 - 6 bars, A major

slooow tempo, andante

10 of 18


Very much piano/pianissimo, a few swelling crescendo and diminuendos right after each other.

11 of 18


very short phrases, mostly groups of 3 notes.

Varied melodic shapes in all voices.

Falling melody (with a rising bass), contrary motion! 

12 of 18


Texture increases from monophonic to 3 voices, then a bass is added so it grows gradually thicker.

Antiphony at bar 68.

Contrapuntal texture, very thick with lots of parts playling at once.

Quite fugal at times.

13 of 18

Harmony and Tonality

1st violin plays subject, viola plays octave lower, 2nd violin a 5th higher than viola.

Stepwise violin, abscence of significant modulations. 

Brief switch to B minor with cadence at bar 95, then tonic is restored.

14 of 18


Strings play in a round, and the violins lead this section (unfortunately, the trumpet returns in this section).

Basso continuo is back with chordal accompaniment

15 of 18


Ternary form, sections aren't as clear as previously (seriously i can't tell please send help)

Ends with a short codetta (like a coda, but shorter), that references an earlier section of the movement.

16 of 18


Mostly forte, especially with that trumpet being loud everywhere. 

A few crescendo, but it is just. Forte.

17 of 18


4 bar subject, falling appogiature reference to movt II.

Trumpet takes melody at bar 62.

Descending sequences and modifications of subjects via inversion.

Final statement of subject at 108 until codetta begins with fanfare like figures.

18 of 18


No comments have yet been made

Similar Music resources:

See all Music resources »See all Baroque resources »