mozart analysis piano sonata

8/9/2019 Mozart Analysis piano sonata

1/12

AS Music 2014/15

Mozart: Piano Sonata in Bb, Kv. 333, first movement

1. Date and place of composition:

2. Genre: .

3. Instrumentation: .

4. First performance:

Structure

Rounded Binary Form

A B A1

Tonic with modulation to

related key at end of section

(dominant)

Starts in dominant key but

passes through several keys

before the return of A.

Tonic

Early Sonata Form

Exposition Development Recapitulation

Tonic with modulation to

related key at end of section

(dominant)

Commences in dominant

but passes through several

keys before the

recapitulation

Tonic

Sonata Form

Exposition Development Recapitulation

1stsubject

tonic

Transition

modulation

to related

key

2nd

subject

dominant

or relative

major

Codetta Commences in a related key but

passes through several keys before

preparing for a return to the tonic

for the recapitulation

1stsubject

Tonic

Transition 2nd

subject

Tonic

Coda (tonic)

Tonic

AS Music 2014/15

Transition is an alternative term for bridge.The transition in the recapitulation is also tonally unstable,but returns to the tonic.


2/12


1. Date and place of composition:

2. Genre: .

3. Instrumentation: .

4. First performance:

Structure

Rounded Binary Form

Early Sonata Form

Sonata Form

Transition is an alternative term for bridge.

The transition in the recapitulation is also tonally unstable,

but returns to the tonic.


3/12

AS Music 2014/15


Exposition

(bars 1-63)

In this section the composer exposes or presents his musical material. The main ideas

are called subjectsthough each of these may consist of a group of ideas, rather than a

single melody. The two subjects are contrasted in key, and usually in mood and

character.

1st

subject The first theme (or group of themes) in a

sonata form piece, appearing first in the

exposition in the tonic key.

Bars 1-103. The first subject

consists of 5 x 2-bar

phrases.

Transition A section of music, found between the

first and second subjects in a sonata

form piece, which dislodges the tonic key

of the first subject and modulates to the

key of the second subject (usually the

dominant or the relative major/minor).

Bars 10423. Notice how

the number of E naturals

gradually increases during

these bars. The transition

ends on chord V of the new

key, F major.

2nd

subject The second theme (or group of themes)

in a sonata form piece. The second

subject or subject group is usually in a

contrasting key to the first subject, such

as the dominant.

Bars 2349. Two themes:

theme 1 (bars 23-38) and

theme 2 (bars 39-49). The

first theme consists of two

equally balanced phrases.

The question phrase

(antecedent) starts at 23

and ends on chord V in bar

30. The answer phrase

(consequent) ends in bar 38

on chord I.

Codetta A little coda. The final section or part of

a movement, like an exposition. Its

purpose is to assert the key of the

second subject through the use of pedal

points and perfect cadences.

Bars 50 - 633

F major key is confirmed

through 3 perfect cadences

(actually 3 cadential 6/4s)

in bars 53-54, 57-59 and

62363

1.

Development

(bars 634-93

3)

The central section in sonata form in which motifs from the first and second subjects are

developed and a wider range of keys are used (F minor (where there is a very good

example of an Alberti bass), C minor and G minor, before arriving at

Dominant preparation A section of music, found at the

end of the development, that

emphasises the dominant chord

(often by the use of a dominant

pedal) in preparation for the

return of the tonic key at the

beginning of the recapitulation.

Bars 87-933.

This section features chord

V7of Bb.

Recapitulation

(bars 934end)

The final section in sonata form, in which the first and second subjects are heard again

in the tonic key.

Coda The final section of a movement

that confirms the tonic key of the

piece.

Bar 152end.

The Coda confirms the

tonic key of Bb.


4/12

Points to note

Clear harmonic progressions with

regular and frequent cadences define

the tonality (key) in the classical era.

The phrasing is regular and can be

described as periodic.

The thin, two-part texture is typical of

piano writing of the 1760s-1790s.

AS Music 2014/15


Key:

Structure:

Exposition Bars 1-63

First subjectBridge (transition)

Second subject

Closing section

Codetta

1-103

104-22

3

224-49

50-591

591-63

BbModulates

F

F

F

Development Bars 64-93 Modulates

Recapitulation Bars 934-165

First subject

Bridge (transition)

Second subject

Closing section

Coda

934-103

3

1034-119

119-1521

1521-160

1

1611-165

Bb

(modulates)

Bb

Bb

Bb

Exposition: First Subject (bars 1-10)

1.

Describe the texture: ..

..

2.

Which hand is the melody mostly in:

3.

There are no dynamic markings in the first 38 bars of the piece but what sort of dynamic does the musicsuggest? .

4. Many different types of melodic decoration are used. In the first 8 bars identify the following:

a. Appoggiatura

b.

Accented passing note

c. Feminine perfect cadence (resolution occurs on a weak beat)

d. Passing chromaticism (music has not modulated but you can see an accidental)

e. Suspension created by syncopation

Now mark these on your score.

5. The bass line can be described as an bass.

6.

The music of bars 6-7 is a varied repeat of bars .. .

7.

The expressive character of the music is created principally by the

use of dissonance. The three melodic devices used to create this

dissonance are:

a.

b.

c.

8. The notes before bar 1 are called the .. .


5/12

AS Music 2014/15


Bridge 104-22

9. This opens with a variation of which theme? ..

10.Which key does the music modulate to?

11.Which accidental occurs with increasing frequency? .

12.

Label the cadence at bars 15-16 using roman numerals. Be sure to include any inversions.

13.What sort of cadence happens at bar 23? ..

Second Subject (Bars 224-501)

Listen to the second subject.

1. How does the second subject contrast with the first subject?

..

..

2. What musical device is used to extend the melody in bars 27-28?

3. How is more energy injected into the music from bar 35? ..

..

The second subject can be divided up into several clear sections:

Bars 23-39are more lyrical and consist of two balanced 8-bar phrasesantecedent and consequent.

Bars 39-50is a more energetic section.

Antecedent Consequent

23-26 27-30

31-34 35-38

The second subject starts with an F major chord followed by a falling scale motif clearly derived from bar 1.

Note the chromatic inflectionin bar 27 and passing chromaticism in bar 34.

Note the appoggiaturafigure in bar 37 (derived from bar 1) and the cadential trill.

At bar 25 there is an example of a secondary dominant(a chord of G leading to C in

the context of F major)


6/12

AS Music 2014/15


Closing section (Bars 50-59)

The closing section marks the point when the energy and forward motion picks up againthere is a sense of drive

towards the major cadence point at the end of this exposition.

1. The cadential progression IcV7Ioccurs at the end of the closing section. Mark this on your score.

2. Give the bar number of an example of chromatic inflection. .

3.

The highest note of Mozarts piano is played in the closing section. Circle the highest note on your score.

4.

Label the cadential trill.

Codetta (Bars 59-63)

The exposition could have easily ended in bar 59 following the extended cadential trill. However to balance the more

lyrical opening, Mozart extends the music with two further phrases, ending the exposition quietly and with a feminine

(delayed) perfect cadence.

Mozart uses accented dissonances where the upper note of the RH is an appoggiaturaand lower note is a suspension

(bar 63).

1.

Give the bar number where you see an inverted turn. . .

2. What textural device is used between the hands in bar 59 and bar 61? .

The exposition is repeated, as is the norm in 18th

century sonata form, displaying the link with the precursor of the

sonata form, the rounded binary form.


7/12


8/12

AS Music 2014/15


Development (634-93

3)

1. Name the key at the beginning of the development .. .

2. Which material does it vary? . .

3. What musical device is used in the melodic line? . .

4. What dissonant sounding chord is used at bar 67 and bar 69? . .

5. Write on your score where the cadence IcV - i appears (somewhere between bars 63-71).

6. Name the key at bar 71. .. .

7. How is more movement created from bar 71? .

Bars 71-86

8. Describe the pattern in the LH at bar 71 .. .

9. Describe the RH part at bars 73-74 (think about rhythm and melodic direction)

.

10. What key does the music cadence in at bar 751? .. .

11. On 752

the key of the music is .. .

12. Name the chord at bar 76 . .

13. At bars 75278

3what harmonic device is used (it occurs in the LH)? .

14. From bars 75-77 describe the movement of the first note of each bar of the LH part .

.

15. What key has the music modulated to at bar 801? .. .

16. Describe the chord at bar 804.. .

17. Name the chords at bar 82, and bar 844. .. .

Such dramatic twists of harmony were very rare in Baroque music but much more common in the Classicalperiod. They are a feature associated with the Sturm und Drangmovement.

Bar 804

- 811is an example of a Phrygian cadence. This is when the bass line falls a semitone.

The chord progression is ivb-v.


9/12

AS Music 2014/15


Development (continued)

The dominant preparation (bars 87-93)

18. What chord is used in preparation for the return of Bb major? .

19. Which note increases the tension in the LH part (a chromatic inflection) .. .

There is also chromatic ornamentationin the RH which increases the tension.

20. Every bar between 86 and 92 commences with which chord? .. .

21. This creates what sort of harmonic device? .

The dominant preparation section prepares for the re-establishment of the home key.


10/12

AS Music 2014/15


Consolidation Questions 2

1. Describe the various ways that Mozart makes the opening melody so expressive.

2. Referring to the music, explain the following terms:

Appoggiatura

Inverted turn

Cadential trill

Suspension

3. What is periodic structure? (Refer to the music)

4. Identify three sequences in the music.

5. Where does Mozart use an Alberti bass in the exposition?

6. What do you understand by the term dominant preparation?

7. Identify the harmonic progression in bars 159-1611.

8. Explain what a chord of the augmented 6th

is. (Refer to the music)

9. Mozart modifies the sense of momentum by changing the harmonic pulse. What is harmonic pulse?

10. Discuss Mozarts use of dynamics in this movement.


11/12

AS Music 2014/15


Recapitulation

Bars 934-103

3First Subject Bb major

1.

These bars are a repeat of bars without change.

Bars 1034-118Bridge Passage / transition

The bridge passage commences with a similar take on the opening motif, but the music quickly changes as the music

of bars 104-105 is extended until bar 110.

Bars 119-1521Second Subject Bb major

Except for the key, this is the same as the second subject in the exposition.

2. There is variation of the tessitura (pitch level) for the second 8-bar phrase. This is transposed

.

3. Look at the music of bars 137-138 and compare it with the same passage in the exposition (bars 41-42). What

is different apart from the key? . .

4. What musical device is used from bars 144-146? .. .

The material in bars 147-148 is new.

5.

What happens at bars 151-152? . .

Bars 152-1611 Closing Section

Apart from the key and some 8ve transpositions, this is identical to the closing section at the end of the exposition.

Bars 161-end Coda

Apart from the key this is identical to the codetta at the end of the exposition


12/12

AS Music 2014/15


The chief characteristics of music composed circa 1778-1790

The importance of elegance and refinement

Triadic themes

Passing chromaticism (often as chromatic scales and in chromatic appogiaturas)

Many contrasting themes

Balanced phrasesperiodic structure/phrasingantecedentconsequent phrasing

I-V, V-I opening phrases

Clear harmonic progressions

Many cadences (that define keys)

Cadences often on weak beat (feminine or sighing cadence)

Cadential trills, particularly at the end of a cadenza

Relatively slow harmonic rhythm Melody dominated homophonyhomophonic texture is most prevalent (in piano music the crystal-clear

textures are created by a 2-part texture with just one note played at a time in each hand)

Broken-chord accompanimentsthe Alberti bass in keyboard music (and repeated-note accompaniments in

strings called Trommelbass)

Tension varying in the course of a movement

Ornamentation, mainly trill, turn and leaning notes (appoggiatura- both diatonic and chromatic)

Sonata formthe 4 movement sonata plan

The piano as a solo and accompanying instrument

mozart analysis piano sonata

Documents