Sonata pian'e forte

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Rhythm and Metre

  • Split common time
  • Two longer bars (30 and 44, notated in 3/2)
  • No strong first beat of bar (something that was typical of baroque)
  • Syncopation
  • Weak beats emphasised with longer notes (bar 8 - cornett)
  • Homophonic sections have a more pronounced rhythmic drive (bars 45-50)
  • Dotted notes for beginnings of phrases
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Melody

  • Stepwise movement (conjunct - violin bars 27-28)
  • Steps are extended to form scalic movement (bar 27-30)
  • Larger leaps are 4ths (cornett - bars 10-11)
  • Repeated notes are a distinctive feature (cornett at beginning has 4 D's)
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Harmony

  • Root position and first inversion chords (typical of Renaissance)
  • Continuously root position (bar 47-53)
  • Second inversions only used as passing chords (the end of bar 53)
  • Suspensions are the main form of dissonance (bar 16 - there is a 7-6 suspension)
  • Typical 4-3 suspension (bar 20)
  • Perfect cadences are most common (bar 77/bars 13-14)
  • Functional harmony
  • Phrygian cadence IVb-V (bars 44-45)
  • VIIb-I cadence (bar 4)
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Structure

  • Through-composed
  • Q+A between choirs
  • Dorian mode transposed to G (bars1-14)
  • Forte tutti section (begins and ends on C in bars 26-31)
  • Main antiphony section (bars 31-70) Tonality is fluid in this section with longer phrases
  • Ends with a tierce de picarde (bars 70-80)
  • Final sections is a tutti section (last 10 bars)
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Tonality

  • Hints of Gm at beginning, HOWEVER, music is in Dorian mode of G (bars 1-2)
  • A mode is a white note scale
  • Mixolydian mode occurs at (bars 26-31)
  • Tierce de picardie (bar 4)
  • Modulates to Bb, Ends in Gm with Ebs detracting from sense of Dorian mode.
  • Perfect cadence (bar 77)
  • Plagal cadence at end
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Texture

  • Antiphonal texture (bars 37-40)
  • Imitation (bars 37-38)
  • Sometimes, only the rhythm is imitated (bars 1-2 trombone 2+3)
  • Alternating soft and loud dynamics
  • Most texture is in free polyphonal (each part of equal importance)
  • Longer sections as individual choirs (tutti)
  • Extended imitation (bars 71-75)
  • Homorhythm (bar 37)
  • The bass part is the simplist with longer notes
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Performing Forces

  • Choir 1 - Cornett and 3 sackbuts
  • Choir 2 - type of viola and 2 sackbuts

At St Mark's, Gabrielli had a regular ensemble of 2 cornetts and 2 sackbuts that were supplement for special ocassions (like for this piece)

Sackbut and cornett were both used in church to add strength in vocals or even to rpelace a missing singer

Non-idiomatic writing (each part is played by an instrument not written for it) (Idiomatic would be written especially for voice, guitar, drums etc)

This piece could be given to any group of instruments to play because the range is quite narrow

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Performing Forces

  • Choir 1 - Cornett and 3 sackbuts
  • Choir 2 - type of viola and 2 sackbuts

At St Mark's, Gabrielli had a regular ensemble of 2 cornetts and 2 sackbuts that were supplement for special ocassions (like for this piece)

Sackbut and cornett were both used in church to add strength in vocals or even to rpelace a missing singer

Non-idiomatic writing (each part is played by an instrument not written for it) (Idiomatic would be written especially for voice, guitar, drums etc)

This piece could be given to any group of instruments to play because the range is quite narrow

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