Answers

After listening with the score I realised it is not having other tonality than a moll. It`s touching many
tonalities and it`s rich in modulations but it`s never settling down enough to say we have a new
tonality for example in bar 19 we get a g major noema like in the beginning but in the last beat he
adds the 7th, making it dominant chord. This happens so fast that there is no moment to enjoy a new
tonality so it feels like the modulation is just part of a bigger cadenza. The whole Toccata is around a
moll with a really colored way to modulate away and come back. Here are some characteristics of
the a moll according to the following

„G.Diruta : Äolisch allegro-soave sonoro, Hypoäolisch: mesto

J.Mattheson : etwas klagend, elvbar + gelassen zum schlafeinladend nicht unangenehm, gelinde +

Süss, auch schmeichelnd zu allerhand Gemütsbewegungen

F. Schubert : Fromme Weiblichkeit, Weichheit des Charakters“

Musicians at the time had the risk to misunderstand tempo markings, and the solutions were a bit
different from country to country

17.th century Italy- They used already tempo indications and made it logic in a way but it was still
not measurable For example: adagio assai - adagio cantabile – allegretto and from left to right it gets
faster but it was still not accurate enough. R.Bremner later used seconds to describe the pulse,
which gave musicians later the possibility after having the metronome to get the approximative
tempo range the composer wants in order to help the performer finding the right pulse and
character.

For example: Vivace ¾ 3 long ½ seconds in a bar ( aprox 90-100)

18.th century France – They started to work on a device to mesure tempo in music, and they started
expressing tempos for dances in numbers for example: gavotte 97-128 for ½ which was a huge step
in the evolution of the tempo and it was foreshadowing the metronome we know.

Until middle of the 18.th century tempo rubato was giving more freedom for the performer to
improvise in terms of ornaments. In many cases the ornaments the composer used, got transcribed
and preserved to help the next generations of musicians.
B

American influence had a big influence on music, tempowise it became a bit more stiff compared to
the baroque where everything was flowing and improvised. Instead of having the overflow of the
brilliance and freedom to play with the tempo and take some time for the ornaments when needed
we got into bringing the center of gravity of a phrase and slight tempo changes would appear with
bigger character changes. Bartok took it even further, he wrote the bpm for every tempo change and
also in the end of the structural part he wrote the exact lenght he wants.

D.G Türk in his piano school from 1789 he suggested to use the C instead of the simple 2/4 or ¾ by
introducing the main and the supplementary accents, with exceptions of course but those are
marked in the score. (according to the information on the handout 25)

After comparing the two examples I would say in Handel there are not many indications about the
ornaments, it`s mostly thrills and mordents. This means the performer has to improvise the
ornaments. In the other hand in the score of the Corelli we have the original version and the
ornaments he was using as well. This is giving the performer a perfect vision about how the
composer imagined them but also the freedom to play with the text and find other ways.\

There are the two types of verzierungen( I didn’t find the english word for it) wesentliche and
willkürliche.

Wesentliche s chosen notes which get ornaments, giving the main notes a dissonant highlight

WIlkürliche is a big interval which is filled up by shorter notes to reduce the leap.

In the two examples we got, I used basic melody line as reference. When is the same note repeating
or just a small interval 2nd or 3rd I considered it wesentlich, and in case of bigger intervals I considered
it Willkürlich.