e may be responsible. There are features of his later music that might be regarded as Spanish, in particular the tendency to expand by direct repetition and the use of repeated syncopated notes and certain rhythmic tags characteristics of Spanish dances; though much of the repetition and syncopation can be found in his earlier music too. The most obvious characteristics of his melodic style are the repetition of short phrases, the use of triadic or scale figuration, the symmetry of rhythmic structure, and above all, the delicate, with finely molded lines much elaborated with trills, appoggiaturas, flourishes and other kinds of musical ornamentation. To accommodate such florid writing, "Boccherini's harmony is apt to be static during the presentation of such melodic material" (Pincherle 20). But his harmonic range was wide for a composer of his time; he was well capable of using sudden shifts of harmony for a dramatic purpose, and in general his development sections are harmonically faster moving than his expositions. The Concerto is D Major for Flute and Orchestra, was written in 1780. The concerto starts out with Allegro Moderato and goes into the solo flute section. Boccherini's work might imagine him to have known no music but his own. In the concerto you will see in (Example 1) that there is use of repeated syncopated notes. Boccherini's individual manner of phrasing, with slurs from a weak beat to a strong beat which by depriving a line of direct accentuation leads to a certain softness and charm to its melodic contours. In Example 2 Boccherini show the kind of effect he was aiming for by demonstrating the direction of soave, congrazia and dolce. However later in the piece Boccherini exploded this gentleness of music with fortissimo passages (Example 3). These last few examples that I have given were from Boccherini's String Quartet in C. The form that Boccherini used in the Concerto in D for Flute and Orchestra in binary. You can ...
