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What are the 2 types of sonatas?

As with the cantata, in the mid-Baroque there was a tendency to divide trio sonatas into two categories: sontata da camera and sonata da chiesa. Although those names indicate music for court vs. music for church, the reality is that both types were often used as concert pieces.

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The Baroque period saw a flowering of instrumental music. While the church continued to be an important patron of the arts, many Baroque composers found employment in the service of a nobleman or noblewoman who wished his or her court to be a center of culture and music. Such courtly settings demanded much more instrumental music for entertainment and concerts. These performances generally did not take place in enormous concert halls, but in more modest-sized rooms or chambers in the palace. Music for these smaller settings is accordingly called “chamber music.” The sonata is one of the primary genres of chamber music in the Baroque. The name sonata comes from the Latin and Italian verb sonare, which can be literally translated as “to sound,” and refers to the fact that the music is sounded or played on instruments rather than sung by voices. The Latin and Italian word meaning “to sing” is cantare, which is where the name for one of the vocal genres you’ve already studied comes from, namely cantata. Although the sonata is an important genre, it is important to note that this was a period of great innovation and experimentation in instrumental music. The term sonata is applied to a wide variety of instrumental combinations and forms. The majority of Baroque sonatas featured three or four instruments, but many sonatas were for a solo instrument, most often with continuo though sometimes without. The most popular type of sonata in the Baroque was the trio sonata, so called because it was written with three lines: two melodic instruments (usually two violins) and a continuo. As the continuo line was performed by two instruments (usually cello and harpsichord), a trio sonata was generally performed by four instruments, though it is important to remember that in the Baroque it was very common to substitute one instrument for another or even leave out an instrumental part if it wasn’t available. That flexibility in instrumentation is far less common in later historical periods. As with the cantata, in the mid-Baroque there was a tendency to divide trio sonatas into two categories: sontata da camera and sonata da chiesa. Although those names indicate music for court vs. music for church, the reality is that both types were often used as concert pieces. We won’t concern ourselves with this distinction as it had largely disappeared by the late Baroque. However, it is important to note, as you’ll see those terms in the list of sample pieces presented below.

Trio sonata

The trio sonatas by Arcangelo Corelli (opus 1, 1681, opus 3, 1689) were of unparalleled influence during his lifetime and for a long time after, inspiring slavish imitation by composers whose numbers were legion (Talbot 2001). The melody instruments used are often both violins. A well-known exception is the trio sonata in Johann Sebastian Bach’s The Musical Offering, which is for violin and flute. Johann Sebastian Bach’s trio sonatas for organ (BWV 525–530) combine all three parts on one instrument. Typically the right hand, left hand and pedals will each take a different part thus creating the same texture as in a trio. A further innovation by Bach was the trio sonatas involving a concertante (obbligato) right-hand harpsichord part in addition to the bass line, plus one melodic instrument, thus for two players. Examples are the six sonatas for harpsichord and solo violin (BWV 1014–1019), three sonatas for harpsichord and viola da gamba (BWV 1027–1029), and three sonatas for harpsichord and flute (BWV 1030–1032).

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Level: Late-Intermediate to Advanced. It's not fast but there are some difficult chord changes and awkward parts (Grade 9). Here's a free sheet music edition of Beethoven's Moonlight Sonata for Guitar arranged by Francisco Tárrega's (1852–1909).

Beethoven’s Moonlight Sonata for Guitar (Free PDF)

Moonlight Sonata (Op. 27, No. 2) – Single Movement “Adagio sostenuto” or “Claro de Luna” by Ludwig van Beethoven (1770-1827). Free PDF sheet music or tab edition arranged for classical guitar by Francisco Tárrega (1852–1909). Level: Late-Intermediate to Advanced. It’s not fast but there are some difficult chord changes and awkward parts (Grade 9). Here’s a free sheet music edition of Beethoven’s Moonlight Sonata for Guitar arranged by Francisco Tárrega’s (1852–1909). I’m made some minimal revisions. It’s not the easiest arrangement but does sound nice. The awkwardness comes from the difficult chord changes rather than speed. Nevertheless, it’s a part of the history of period arranging on guitar. I’ve made a free copy to attract guitarists to the site and a tablature (tab) version for those who need it. You can also find the tab as a hardcopy in my Classical Guitar Tab book on Amazon.

My Free PDF Sheet Music Edition

My TAB Edition

Video Performance

I don’t have a video for this yet but here is an excellent performance by Russian guitarist Anton Baranov playing Tarrega’s arrangement of the Moonlight Sonata (Op. 27, No. 2) via his Youtube.

Video Lesson

Video Lesson Link.

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