![]() ![]() Creates tension, pulls to the dominant chord Harmonyĥ. Usually in root position, sometimes found in 1st inversion, such as at the end of the fugal movement. 7th chords Seen in the beginning of the 2nd movement. Uses a diminished 7th chord on the word 'Barrabus' HarmonyĤ. Adds harmonic interest and creates tension in the music Used in the Baroque period to convey a sense of anguish or passion. Dim 7th chords In the beginning of the 3rd movement. Use of the circle of 5ths in the 3rd mvt - Allegro Harmonyģ. Not only provides a stable harmonic progression, but adds interest to the melody, alternating between scales and large leaps. Used in the Allegro (fugal) section, first introduced by the cello and continuo. Contrasting - Vivaldi uses fully functional harmony. Marks the bridge between Renaissance and Baroque music, uses elements of modal music but with perfect cadences. Conventional Tonal Harmonies All free from modality, fully functional harmony. ![]() Adds variety and colour to the melodic lineĬello alternates between conjunct scalic figures and large leaps outlining chords. Conjunct and disjunct music Conjunct at the beginning of the fugue, followed by a series of disjunct leaps outlining the circle of fifths. Though each movement is in Dm, the chromaticism adds tonal colour to the melody, preventing it from becoming bland and repetitive. Occasional chromaticism In the virtuosic cello solo in the first movement, there is chromaticism, causing the melody to stray from the continuo.
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