Architectural and Harmonic language coordinates in “Sonata R6” by A. Soler

Abstract

We are interested in the coordinates of the formal analysis of Soler’s Sonata R6 and, in this respect, in the following we are analysing its particular aspects that are related to the polyphonic exposition, with imitative entries of the voices, the originality of the tonal level and the place of the dance interlude, placed between the bridge and the idea II, as a cadence-dancing appendix of the bridge. In a shape diagram, we are showing the correspondences made at the tonal level. From the point of view of the harmonic structure, we are dwelling on the explicit and implicit developments in this sonata and the structure of the cadence. To conclude, the harpsichord manner is evident in the instrumental language used by Padre Antonio Soler in the construction of this musical piece.