Purcell Trumpet Concerto, Movement 3

Question 1

What is the tempo marking of the 3rd movement?

Answer 1

Allegro ma non troppo

Question 2

How can the first two movements be described?

Answer 2

Serious and regal

Question 3

What type of dance is the final movement reminiscent of?

Answer 3

Gigue

Question 4

How many bars does the 3rd movement have?

Answer 4

80 bars

Question 5

What is the typical performance duration for the 3rd movement?

Answer 5

Less than one and a half minutes

Question 6

What are the features of a Gigue? List three.

Answer 6

• Fast tempo
• 3/8 metre
• D major key typical of folk music

Question 7

What type of melody is characteristic of a Gigue?

Answer 7

Easily memorable, conjunct melody

Question 8

What texture is featured in the 3rd movement?

Answer 8

Imitative texture

Question 9

What is the structure of the 3rd movement?

Answer 9

Binary structure

Question 10

What happens to the theme in the second half of the 3rd movement?

Answer 10

The theme is inverted

Question 11

How many bars are in each section of the 3rd movement?

Answer 11

32-bar sections

Question 12

What character does the texture of the 3rd movement have?

Answer 12

Fugal in character

Question 13

Which instruments share principal melody writing for the first time in the 3rd movement?

Answer 13

2nd violins and violas

Question 14

What does the absence of significant modulation allow in the 3rd movement?

Answer 14

Full access to all the musical material for the trumpet

Question 16

What is the rhythmic pattern of the four-bar ‘subject’ stated in the first violins?

Answer 16

Regular rhythmical pattern emphasising the strong beats of the bar

Question 17

Which pitches of the tonic scale are utilized in the subject?

Answer 17

Five pitches in descent from the dominant and then rising sequentially to finish on the third

Question 18

What are the harmonic implications of the subject?

Answer 18

I - I - V - I

Question 19

How often does the harmonic rhythm change chord in the first section?

Answer 19

Once every bar

Question 20

In which bar do the violas imitate the subject?

Answer 20

Bar 3

Question 21

What is the interval of the imitation by the second violins in bar 5?

Answer 21

A 5th higher than the violas

Question 22

Does the subject imply modulation to the dominant key?

Answer 22

No, there are no leading notes in the subject

Question 23

How many voices are present in the texture after the basses enter with the subject?

Answer 23

Three voices

Question 24

What thematic reference do the first violins make during the transformation?

Answer 24

Falling appoggiaturas of the previous movement

Question 25

When does the trumpet make its entry with the final statement of the subject?

Answer 25

Bar 13

Question 26

How does the bass rise in bar 9?

Answer 26

By step from A to top D over a complete octave

Question 27

What happens to the harmonic rhythm in bars 16-33?

Answer 27

Slows to a chord change every two bars

Question 28

What rhythmic feature is introduced by the strings in this section?

Answer 28

Greater rhythmic vitality and energy with five rapidly repeating chords

Question 29

What does the trumpet do to the opening subject motif?

Answer 29

Parses it down into a three-note descending triadic figure

Question 30

What type of dialogue is created between the two ideas after ten bars?

Answer 30

Antiphonal dialogue

Question 31

Which chord does the harmony reach after ten bars of new material?

Answer 31

Chord VI

Question 32

What cadence arrives with the distinctive hemiola pattern?

Answer 32

II - V - I cadence

Question 33

How is the strength of the dominant chord in bar 26 emphasized?

Answer 33

By a trill

Question 34

What is restored at bar 27?

Answer 34

One-in-a-bar harmonic rhythm

Question 35

What follows the short descending sequence at the end of the section?

Answer 35

Another hemiola heralding the perfect cadence

Question 37

What begins the second half of the movement?

Answer 37

A return of the opening subject, inverted with the second entry in the second violins entering after a single bar.

Question 38

What is unique about the modulation in bars 33-46?

Answer 38

The music modulates for the only time in the movement, four bars of the relative minor.

Question 39

Which instrument returns in bars 47-64 to state the inverted shape of the subject?

Answer 39

The trumpet.

Question 40

What significant cadence occurs at bar 51?

Answer 40

The first imperfect cadence in this movement.

Question 41

What characterizes the new material presented in bars 47-64?

Answer 41

Intervals of the rising 4th and falling 3rd in an antiphonal exchange.

Question 42

What unexpected relation is noted in bars 54-55?

Answer 42

An unexpected false relation between the bass C♮ and treble C#.

Question 43

When does the final statement of the subject in its original descending form start?

Answer 43

At bar 59.

Question 44

What rhythmic device is used at bar 64 to bring the movement to a close?

Answer 44

Another hemiola and perfect cadence.

Question 45

What returns in the codetta (bars 64-80)?

Answer 45

The fanfare figure of repeating chords.

Question 46

What is notable about the trumpet's notes in the codetta?

Answer 46

The trumpet plays bottom D and F#, adding extra authority.

Question 47

How many bars of tonic harmony are in the codetta?

Answer 47

11 bars.

Question 48

What cadence figure from bar 32 returns in the codetta?

Answer 48

The cadence figure is repeated with the same phrase by the trumpet.

Question 49

What happens at the end of the codetta?

Answer 49

Two more tonic chords for the curtsey to bring the dance to a close.