Paragraphs/Essays for Corelli

Structure and Melody

Corelli's Trio Sonata III in D is written in binary form with repeats The entire structure is a result of his highly motivic writing which is first shown in bar 1 where the motif is extended with passing notes filling the third gaps as shown in bar 1 beats 3-4. Close imitation or Stretto is used in bars 20-22 between violin I and II. There is frequent use of sequence such as rising sequences in bar 1 beat 4 - bar 2 beat 3 and inversion is shown in bar 5. This leads to mostly conjunct writing with some small leaps and occasional octave leaps like the one at bar 26 in the first violin. Imitation is shown in bars 11-13 within the canon at the same region.




Harmony and Tonality


The harmony in Corelli's Trio Sonata III in D is functional as demonstrated by his use of cadences which confirm the key (such as the perfect cadence in bars 18-19) and chords in root position (bar 6 beat 4) or first inversion (bar 7 beat 1). Tonic pedal is used in bars 15-18. There is occasional use of the second inversion such as in bar 30 beat 1 but it immediately resolves to the root chord. 7ths are often used such as in bar 9 in suspensions which are shown in the figured bass which also describes a sharpened 6th chord and a diminished triad in bar 14 bear 4, the only deviations from diatonic harmony.
The tonality in this piece, like the harmony, is functional with modulations to related keys such as the one to A major in bar 9. The B section starts in A major but returns to D major in bar 22. A the start of the circle of fifths (bars 32-35) E minor is employed which then travels to A major, then D major and then G major.


Texture, Rhythm and Meter


There are three parts plus continuo in Corelli's trio Sonata III in D. This continuo is written in figured bass which begins in bar 7 on the first beat. At bar 1-2 monophony is shown but soon becomes two part at bar 3 until bar 5. There is no harmonic support up to bar 6 beat 4. 3 part canonic imitation is used in bars 11-13. This canonic writing occurs again at bar 28 but in 2 parts with harmonic support. Contrapuncy is used from bar 35 onwards leading to polyphony. Homorhythmic writing is rare and only seen in bars 3-4. Another interesting feature of the piece is the polarised texture when the Bass Viol comes in at bar 6 beat 3.
A gigue like feel is given to this piece with the compound duple time signature. A majority of the work is based around quavers and semi-quavers with longer notes in other parts such at in bar 15. Bars 26-27 are clearly syncopated with a cross rhythm in the top part. This causes a hemiola in bar 27.

Reference Points for Corelli

Harmony

• Perfect V - I cadence bars 18-19 
• 7ths used often bar 9 beat 1
• Circle of Fifths bars 32-35 (traditional composition device)
• Pedal bar 15-18 (tonic)
• Functional Harmony
• Cadences to Confirm Key
• Chords are mostly in root position bar 6 beat 4 and first inversion bar 7 beat 1
• Frequent use of suspension bar 30 beat 4
• Perfect cadence close both sections i.e. bb 42-43
• Sharpened 6th chord
• Occasional use of second inversion bar 30 beat 1 but immediately resolves to root chord
• Figured bass harmony
• Nearly all diatonic harmony apart from bar 14 beat 4 where a diminished triad is used

Melody

• Simple diatonic, motivic, melodic writing
• Outline of thirds is a consistent feature e.g. bar 1
• Prominent use of sequence e.g rising sequence bar 1 beat 4 - bar 2 beat 3
• Decoration to the melody is often through use of passing notes e.g bar 1 beat 4-6
• Use of inversion bar 5
• Leads to mostly conjunct writing with some small leaps and occasional octave leaps e.g. bar 26 (Violin I) 
• Motivic writing leads to imitation as development bar 11-13
• Stretto (close imitation) bar 20-21

Texture

• 3 parts plus organ for figured bass harmonic support (bar 7 beat 1)
• Monophonic bars 1-2
• Two part bar 3-5 in thirds
• Just 3 parts (no harmonic support) bar 6 beat 4
• 3 part imitation (canonic) bars 11-13
• Stretto (close imitation) bar 20-21
• 2 part canonic writing with harmonic support bar 28-31
• Becomes more contrapuntal from 35 onwards
• Homorhythmic bars 3-4 (rare)
• Polarised texture when the Bass Viol comes in

Rhythm and Meter

• Piece is in compound duple time giving a dance (gigue) like feel
• Majority of the work is based around quavers and semi-quavers with longer notes in other parts bar 15 upper parts
• Clearly syncopated bar 26-27 with a cross rhythm in the top part
• Causes hemiola in bar 27

Tonality

• Functional Tonality
• Moves from D to A 
• B section starts in A major but moves back to D in bar 22
• Goes to E minor in bar 32 (super tonic)

Structure

• The piece is in Binary form with repeats
• Structure is entirely dependent on the motivic cell
• Motif is taken through sequence, inversion, imitation and stretto

Performing Forces

• Instrumentation
• A trio sonata is two instruments plus continuo
• In this case the continuo is a bass part and harmonic support
• The two instruments are Violins
• The continuo is an Organ for the harmonic support (plays figured bass) and a Violone/Bass Viol(large viol/a double bass with frets)
• Repeats have ornamentation on repeats
• Piece is highly idiomatic and under the hand
• Violin I never has to exceed third position with a top D at bar 34
• Range is standard but violin I keeps high tessitura
• Never falls below a C# bar 42
• Violin I leads e.g. bars 1-2 however once entries are in and Violin II bar 3 and continuo are in, everyone has equal parts
• Performance Markings
• Phrasing
• Lack of Staccato
• Legato
• Tenuto
• Dynamics
• Absence of lots of dynamics
• Limited dynamics e.g. bar 30 is piano until bar 32 when it is forte
• Unusual
• No pizzicato
• No double stopping, probably due to the speed of the piece
• No indication of articulation except for bar 1 beat 4-6

Homework: Write paragraphs on all of these (combine if you want) e.g. Structure and Melody, Harmony and Tonality