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7 Cards in this Set
- Front
- Back
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Melody |
- Monothematic, developed by:
--- Rising sequence with passing notes (b1) --- In inversion (b5) --- Falling sequence (b8-10) --- Extended falling sequence (b15-17) --- Addition of an anacrusis
- Most of the melody is based on thirds and stepwise movement
- Occasionally 8ve leaps (b7 Violin 1) |
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Harmony |
- Functional harmony (defining keys mainly by perfect cadences)
- Diatonic
- Mostly consonant - dissonance comes from suspensions (b9 violin) and double suspensions (b29 violin)
- Chords are mostly in root and first inversion
- Use of 'feminine' cadences - cadences ending on a weak beat (b4)
- Circle of 5ths in the bass (b32-35) |
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Tonality |
- Subject (b1-2) = Tonic/D major - Answer (b3-4) = Dominant/A major
- Modulates to:
--- Relative minor/B minor (b23-28) --- Sub-dominant of the relative minor/E minor (b28-32) --- Through A, D & G majors before returning to the tonic |
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Structure |
- Binary form - AB with both section repeated --- A = b1-19 --- B = b20-43
- Bars 41-43 are possibly a codetta |
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Texture |
- Mostly 3-part texture
- Polarised texture --- Violins high above the bass (3 8ve gap b10-12) --- Figured bass fills the gap
- Begins like a fugue (b3 = real answer)
- Stretto entries (b11-13)
- Contrapuntal but polarised texture is a baroque feature |
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Rhythm |
- Gigue = a lively dance in compound time
- Violone enters halfway through bar
- Syncopation (b26-27 Violin I)
- Hemiola (b27) |
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Performing forces & handling |
- Trio refers to the three melodic lines (there are 4 performers)
- 1st violin was probably written for Corelli to play
- Parts aren't hard to play - the violins are equal partners, they share the tune, have a similar tessitura and often cross (Violin II is highest at the end)
- Violin writing is idiomatic but not full range (3rd position is used rarely b34)
- Continuo improvises the part from the figured bass
- Ornamentation could have been improvised by the players
- Violone is similar to the cello |
