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.
Structure and melody 8 illustrated points. An excellent, secure paragraph. Do not forget words such as diatonic, monothematic, outline of a third, etc. Always safer to have more than 8 illustrated.
ReplyDeleteHarmony is outstanding and tonality is excellent. Clearly more than 8 illustrated points (14) however tonality needs more bar numbers and points, in case it comes up on its own. It's easy once you have the start of the Circle of Fifths and don't forget the relative minor, B, at bar 26.
Meter is METRE. Two parts plus continuo (which is 2 parts in itself). 9 illustrated texture points here, very good - don't forget stretto is allowed here too. 6 illustrated points in rhythm, lets hope it's paired with harmony!
Really excellent set of paragraphs, I am only giving you more to add in case those combinations don't come up eg. if tonality comes up all alone then you just have to be able to list keys. Same with texture and Rhythm.
Outstanding - Harmony, Excellent - Melody (structure), Tonality, Texture, Confident Rhythm and Metre