BAROQUE SONATA Baroque Sonata By the time of Arcangelo Corelli, two polyphonic types of sonata were established: the sonata da chiesa (church sonata) and the sonata da camera ("ordinary" sonata, literally chamber sonata). The sonata da chiesa, generally for one or more violins and bass, consisted normally of a slow introduction, a loosely fugued allegro, a cantabile slow movement, and a lively finale in some binary form suggesting affinity with the dance-tunes of the suite. This scheme, however, was not very clearly defined, until the works of Johann Sebastian Bach and George Frideric Handel, when it became the essential sonata and persisted as a tradition of Italian violin music – even into the early 19th century, in the works of Boccherini. The sonata da camera consisted almost entirely of idealized dance-tunes, but by the time of Bach and Handel such a composition drew apart from the sonata, and came to be called a suite, a partita, an ordre, or, when it had a prelude in the form of a French operaoverture, an overture. On the other hand, the features of sonata da chiesa and sonata da camera then tended to be freely intermixed. Bach is also cited as being among the first composers to have the keyboard and solo instrument share a melodic line, whereas previously most sonatas for keyboard and instrument had kept the melody exclusively in the solo instrument. This are the examples of baroque sonata . . http://www.youtube.com/watch?v=GfOp-n5VvXg http://www.youtube.com/watch?v=8UPRQRCJx14 The early sonata had about six movements, which were often arranged as thus: 1) Adagio or Grave: a slow, short introduction, often with dotted rhythms called notés inegále (unequal notes) in the French overture style, which was not always indicated with dotted notation 2) Allegro: usually fast and fugal (imitative) in style 3) Adagio: slow, short and aria-like (free-form) 4) Dance: a fast, dance-like movement in triple meter 5) Adagio: another slow, short, contrasting section 6) Allegro: fast and fugal or dance-like, usually a gigue, but sometimes an allemande or gavotte click below for some sample.... http://en.wikipedia.org/wiki/File:Beethoven__Piano_Sonata_No._28_in_A_Major,_Op._101__I._Etwas_lebhaft,_und_mit_der_innigsten_Empfindung.ogg what is a dance suite? Because dances are often relatively short in length, composers before the 1700s used to group dance pieces together in sets. Composers like Bach composed sets of dances in a much more formal way and called these sets of dances dance suites. For a dance suite to be called a suite, it had to contain the four most popular dances: The allemande -- a slow dance, originally from Germany. The courante, which was a courtly dance from France. The sarabande, which was a slow, lilting dance from Spain. The gigue (or jig) which was a fast dance from England. click below for sample............. http://www.youtube.com/watch?v=i1nwvPN3INg Concerto grosso The concerto grosso (Italian for big concert(o), plural concerti grossi) is a form of baroque music in which the musical material is passed between a small group of soloists (the concertino) and full orchestra (the ripieno). Alessandro Stradella seems to have written the first music in which two groups of different sizes are combined in the characteristic way. The first major composer to use the term concerto grosso was Arcangelo Corelli. After Corelli's death, a collection of twelve of his concerti grossi was published; not long after, composers such as Francesco Geminiani and Giuseppe Torelli wrote concertos in the style of Corelli. He also had a strong influence on Antonio Vivaldi. Two distinct forms of the concerto grosso exist: Concerto da chiesa & concerto da camera The concerto da chiesa alternated slow and fast movements; the concerto da camera had the character of a suite, being introduced by a prelude and incorporating popular dance forms. These distinctions blurred over time. click this to hear some sample . . http://www.youtube.com/watch?v=Oqf9PU b8D3g http://www.youtube.com/results?search_qu ery=concerto+da+chiesa&search_type= thank you for listening. . . .enjoy your day . .