-
Armide
- Jean-Baptiste Lully
- Tragedie lyrique
- 1686 - Paris
- a. Overture
- 1. Homophonic
- 2. Rounded Binary Form
- 3. Dotted Rhythms Pervade
- b. Enfin
- 1. Marchlike Duple Meter
- 2. Dotted rhythms
-
Dido and Aeneas
- Henry Purcell
- Opera
- 1689 - England
- a. Recitative: Thy Hand, Belinda
- 1. Text driven rhythms
- 2. In English
- 3. Recitative
- b. Lament: When I am Laid
- 1. Descending phrygian tetrachord
- 2. Ground Bass
- 3. Aria
-
Trio Sonata Op. 3 No. 2
- Arcangelo Corelli
- Trio Sonota
- 1680's - Rome
- a. Grave
- 1. Walking bass
- 2. Suspenions on down beats
- 3. Tonal
- b. Allegro
- 1. Imitation
- 2. Tonal
- 3. Short rhythms
- c. Adagio
- 1. Imitation
- 2. Sequence
- 3. Minor Key
- d. Allegro
- 1. Binary
- 2. Sequence
- 3. Tonal
-
Concerto for Violin and Orchestra in A minor, Op.3 No. 6
- Antonio Vivaldi
- Violin Concerto
- 1710 - Venice
- a. Allegro
- 1. Sequence
- 2. Ritornello
- 3. Clear cadence to close section
- b. Largo
- 1.
-
Giulio Cesare
- George Frederic Handel
- Opera
- 1724
- a. Eseguisti
- 1. Secco recitative
- 2. Tonal
- 3. Continuo
- b. V' adoro, pupille
- 1. Da Capo Aria
- 2. Legatto, belcanto melody
- 3. Sequence
-
Saul
- George Frederic Handel
- Oratorio
- 1738 -
- a. The Time at length has come
- 1. Use of Chorus
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