Sonate Pian'e Forte
- Created by: MOsborn11
- Created on: 07-06-13 11:32
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- Sonate Pian'e Forte
- CONTEXT
- composer at St Marks in Venice
- instrumental style not yet idiomatic
- narrow range (top part minor 10th and coro 1 could have easily been sung by a SATB choir
- Cori Spezzati
- continued the development of polychoral style
- two alternating groups in polychoral style
- each part of equal melodic importance
- much use of antiphony
- two choirs answer each other with breif phrases in an antiphonal texture (37 - 40)
- long initial statements by each choir, then tutti forte sections, then a series of short antiphonal sections
- central antiphonal section (40-43)
- fluid tonality
- after each anitphonal section there is always music of 3-4 bars with the whole ensemble playing, usually different melodic material
- continued the development of polychoral style
- played at an important ceremony
- regular ensemble of two cornetts and two sacbutts which was supplemented
- continuo not a prominant feature
- modes still used (dorian mode in particular)
- first statement bt Coro 1 in Dorian mode transposed to G
- trace of mixolydian mode (26-31)
- Ends in G minor with frequent Eb's detracting from the sense of Dorian modality
- main tonic not at (26) is C but Bb's show it is not in C major but is in Mixolydian mode transposed a 4th to C
- 'sonata' = not sonata form just 'music to be played'
- transition from renaissance to Baroque style
- famous for its use of dynamics (like terraced dynamics)
- new technique of bringing in new melodic material after one choir answered another instead of just restating the old music
- Chords standard for the time in root position or 1st inversion
- some passages made up of continous root position chords (47-53)
- when there are leaps in melody, the note following the leap lies within the interval of the leap (typical renaissance)
- 10, cornett part leaps a 4th and then descends within that interval
- Tierce De Picardie (4)(common renaissance)
- some use of modern tonality
- in G minor then modulates to Bb major (45)
- no time siganture (typical renaissance)
- TEXTURE
- imitation at beginning of sections
- trombone 3 imitates trombone 2 a minim later, starting a 5th below (1-5)
- extended passage of imitation for 4 bars (71)
- homorhythm (45)
- chordal homophonic texture (47-48)
- some homphonic sections have pronounced rhythmic drive (45-50)
- bass parts tend to be simpler and have more long notes
- individual lines heard together
- in 3rds (top two parts bar1)
- in 10ths (1st parts of each choir bar 28)
- imitation at beginning of sections
- PERFORMING FORCES
- cornetts and sacbutts used in church choral music to add strength to a vocal line or replace a singer
- STRUCTURE
- forte tutti section (26_31) begins and ends on C
- scalic idea in top parts and 5th trombone
- forte tutti section (26_31) begins and ends on C
- HARMONY
- second inversion chords appear only as a passing chord on weak crotchet beat (end of 53)
- suspensions are main form of dissonance
- 16, 7-6 suspension, A in trombone 4 clashes with B in bass before resolving on a G
- most common suspension 4-3 (20, violin F clashes with G in trombone 5 over a bass C)
- Unusual use of cadences
- VIIb-1 (4)
- II-I (47-48)
- MELODY
- octave leap in cornett part (67) to create drama for the tutti entry
- TONALITY
- II-I cadence (47-48)
- plagal cadence (48-49)
- final cadence plagal
- composers free to introduce a limited number of accidentals
- RHYTHM AND METRE
- two longer bars notated 3/2 (30 and 44)
- syncopation common
- weak beats emphasized with longer notes (cornett 8)
- syncopated noted made more appective by being approached by a leap
- dotted crotchet in A in trombone 2 at (11)
- dotted crotchets at beginning of phrases
- dotted minims (1 and 26)
- dotted crotchets (37-39)
- CONTEXT
- central antiphonal section (40-43)
- fluid tonality
- after each anitphonal section there is always music of 3-4 bars with the whole ensemble playing, usually different melodic material
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