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In performances today, the keyboard sometimes plays all the parts of the basso continuo. In this performance, how many musicians are playing onstage? Do you hear a piano or a harpsichord playing the keyboard part? Is the keyboard playing alone or do you also hear a bass line performed by a cello or bass? Do you hear the solo violin playing above the accompanying continuo? Contrast as a dramatic element was an important feature of Baroque music.

Where do you hear contrasts of tempo slow, fast, slow, fast and contrasts of dynamics in this work? A single mood or expressive idea is often associated with Baroque music.

PROKOFIEV: Violin Concertos Nos. 1 and 2 / Sonata in D Major -

Can you identify a particular mood for each movement? Which movements use mostly fast music? Which movement uses mostly slow music? How does the tempo affect the mood of the work? Was the music played at all the same volume dynamics? When do you hear music played loudly?


What dynamic level is mostly used for the slow second movement? When do the dynamics change and what effect does that create?

Can you hear places where the violin plays the same or similar phrase a second time but either louder or softer in an echo effect? Do you hear musical sounds that are short sounding staccato or very smooth sounding legato? Handel also adds expressive qualities to this sonata by the use of ornamentation. Ornamentation was common in the Baroque period and performers would often add certain musical flourishes or decorations to their parts.

Ornamentation was also written into parts, as for example, when Handel decorates the melody notes by adding trills. In the opening of the first movement, can you hear short, decorative trills in the violin part? Do you hear sections that have a steady rhythm or beat that you could tap to?

The underlying steady pulse heard throughout the sonata is a feature of Baroque music. Handel uses dotted notes long-short sounds at various points in this sonata. Can you hear long-short-long-short sounds in the opening of the first movement and throughout this section? Can you hear these dotted rhythms again in the third, slow movement and at the opening of the fourth movement?

Violin Sonata No. 1 in D major (Schubert)

Can you hear notes of longer duration in the first and third movements of this sonata? Can you hear how the rhythmic patterns change in the second and fourth movements? Can you hear where the violin plays rapid rhythmic passages in the fourth movement? The quick sixteenth note runs together with the dotted notes give this movement a sense of lively, positive energy. Can you hear the upward skipping melodic outline of the first movement of the main theme?

The violin begins with a melody that outlines an upward broken triad that then unexpectedly leaps up a fifth instead of the more expected sounding fourth to complete the notes of the opening chord. This creates a surprising and dramatic sounding opening to the sonata. A similar figure of skips and leaps is heard throughout the first movement balanced with a downwards stepwise, dotted rhythm, melodic pattern. Can you draw the shape of these melodies in the air to show when sounds are going up or down?

In the second movement can you hear that the melodic contour of the solo violin is often made up of back and forth alternating notes? Can you identify melodic patterns in the third and fourth movements? Handel often borrowed melodies from one of his works to use in another. Musical texture refers to the layers of sound that are heard in the music.

Can you hear where the texture of this sonata features independent lines or voices played by the solo musician and in the accompaniment?

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Two or more voices played simultaneously each with their own independent melody is known as polyphonic texture. No two performances of a Corelli sonata would sound alike. The same is true of the basso continuo that accompanies the violin. Composers did not indicate instrumentation, because it too would be adapted to expressive aims, forces, and venues.

Instruments used included keyboards harpsichord, organ , plucked strings lute, theorbo, guitar, harp , and bowed strings bass viol, violoncello.

BEETHOVEN Violin Sonata No. 1 in D Major, Op. 12, No. 1

Andrew Manze Sigiswald Kuijken. How does what you heard in the recordings compare to what you imagined when looking at the score? How much information do you as a performer expect to see in a score? Kuijken plays an edition of the Sonata in D Major, Op. Why or why not? What can a performer do to develop the ability to improvise as Manze does?

How might using a baroque bow or a baroque instrument help? Click for answer.

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Since we know that period performers improvised, should modern performers do so too? Facebook Twitter Instagram YouTube. Skip to main content. Lawrence University.