Like all the first eight concertos from Corelli's Op. 6 collection, the seventh falls into the concerto da chiesa, or church concerto, category. The movements, alternating slow and fast, are abstract rather than stylized dances, and the fast ones have fugal tendencies.

It begins with a brief introduction marked Vivace, moving forward with stately pauses. From this base launches the main Allegro, a generally but not strictly fugal section with solo violin firing off ascending arpeggios. This leads straight into a brief Adagio section, essentially a slower version of material hinted at in the Vivace opening.

The ensuing Allegro brings on the full orchestra with music coursing over a rapid bass line that rushes up and down in stairstep motion. This movement becomes a series of contrasts between soloists and the larger ensemble. Next comes a substantial Andante largo, essentially a trio sonata movement for the concertino group, with the full orchestra doing little more than punctuating phrase endings and providing the occasional pizzicato commentary. A slow, unresolved cadence paves the way for the next Allegro, with the first violin leading the players into the little fugue. Finally comes another Vivace movement, light and skipping, with several episodes of ornate figuration from the solo group.

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