1. Corelli: Trio Sonata in D, Op. 3 No 2
What do we know about Corelli?

2. Listening Log:
Listen to at least 3 different works from the following collections:
1681 Op. 1 Sonatas in three parts (12 sonate de chiesa)
1685 Op. 2 Sonatas in three parts (11 sonate da camera)
1681 Op. 3 Sonatas in three parts (12 sonate de chiesa)
1681 Op. 4 Sonatas in three parts (12 sonate da camera)
Remember to write observations about musical features in reference to Baroque and Trio Sonatas

3. Corelli
Italian
Violinist (new instrument) & composer from early age – toured and was famous across europe
He taught Vivaldi!
He developed the trio sonata & concerto Grosso

4. Characteristics of Baroque Music?

5. Characteristics of Baroque Music?
Texture: polyphonic/contrapuntal/imitation/canon /fugue/ stretto
Melody: ornamentation/conjunct/scalic/repetition/ continuo/subject-answer-counter subject/motovic
Rhythm: Hemiolas/syncopation
Structure: Ritornello/equal phrases/slow-fast-slow/movements
Harmony: consonant/cadences/suspensions/ cadences/continuo/”hot cross buns”

6. Characteristics of a Trio Sonata
Structure
Tonality and Harmony
Texture and Instruments
Rhythm
Melody
The ago of the continuo – what was the role of the continuo?

7. Characteristics of a Trio Sonata
The ago of the continuo – what was the role of the continuo?

8. Listening Log:
Listen to at least 3 different works from the following collections:
1681 Op. 1 Sonatas in three parts (12 sonate de chiesa)
1685 Op. 2 Sonatas in three parts (11 sonate da camera)
1681 Op. 3 Sonatas in three parts (12 sonate de chiesa)
1681 Op. 4 Sonatas in three parts (12 sonate da camera)
Remember to write observations about musical features in reference to Baroque and Trio Sonatas

9. Structure
Binary Form (Common with all sonata quick movements – this is the 4th movement)
What is Binary form?
What key does the piece begin with?
Where/when does is modulate?

10. Where does it return to the tonic?
A = b Tonic Dominant
B = b. 20 – 43 Modulations through Tonic
related keys
Where does it return to the tonic?

11. Texture What’s the texture of the opening bar? Fugato
Describe the texture at bar 3. Contrapuntal/homorhythmic
What is the role of the bass line? Completes 3rd part of 3 part counterpoint
Describe the entries at bar Canonic based on X
What does polorised texture mean? What impact does this have?

12. Texture B How does the B section begin? Canonic Entrances
Wave Effect as the music moves from one to the other – audience can see the movement pass from one performer to the next (imitation)
Describe the texture at bars

13. Notes – Texture Contrapuntal with fugato and series of canonic entries
Homorhythm
Active Walking Bass
Polarised texture – key board instrument fills in notes and harmony between high violins and low cello
Pedal Notes
Imitation

14. Tonality & Harmony What key is the piece in? Where does it Modulate?
Diatonic Music = Functional Harmony (accidentals are only used to provide modulations)
When does it come back.
What happens in bat 8-10? Modulating sequence/expressive use of suspensions
What cadence is used at bar 11? In which key? Perfect cadence in A
How is the key of A emphasised from bar 11 – 19? insistent A, Unison A in Violins
What harmonic feature do we see from bar 17-18?
Hot Cross Buns

15. Tonality and Harmony section B
B = A Major
Canonic entrances in A – at what intervals?
B.23 – similarities? Differences?
What is the role of the bass line?
What is the cadence at bar 27? What name do we give it?
What key are we in at bar 33?
Compare the frequency of the figured bass with earlier on in the piece – what does this tell us about the harmonic pace (i.e frequency of chord changes) in the piece?
Active Bass – v. very Baroque!!
How do you recognise changing of the key?
Lets work out the cadences between bars
B = harmonic feature in Vio. 1? in vVio 2?
B. 39 – how is the tonic key established?

16. Notes – Tonality & Harmony
Tonal – D Major
Modulation to dominant (A) by end of section A
Section B continues in Dom. Moves back to tonic via related keys
Circle of 5ths
Functional Harmony – mainly root position and 1st inversion chords (6), some 2nd inv(6/4). And dominant 7 chords (7)
Suspensions
Tonic and dom. Pedals
Inverted pedal notes

17. Hot Cross Buns V

18. Melody
Made up of small motives – X & Y – these are developed throughout. Can you find examples?
This is called affekt
Describe how bars 5&6 relate to the subject. Inversion
Where is this inverted theme developed.
Mark up Subject & Answer.
What melodic feature occurs in bars 13-14? Which motif is used? Descending sequence, X

19. Melody Section B What do you notice about the melody?
How would you describe the new theme at bars 28-29?
Bat 33 – describe the melodic material?
How do violin 1 and violin 2 relate to each other?

20. Notes – Melody Monothematic and motivic – based on subject of fugato
Some Free counterpoint
Many melodic sequences
Motifs from the opening 2 bars are inverted in the course of the music.

21. Rhythm and Metre Hemiola!!! Bar 26 (1st Violin) leading to bar 27
Notes:
Unform – mostly based on rhythmic motifs presented in the subjecrt
Some syncopation
Hemiolas
Walking bass

22. Baroque features