Mozart Analysis free essay sample

Vienna while Mozart was there for a period. He wrote this In his early phase while he was In Vienna. This sonata was not really written Into a group of sonatas, but could be grouped with the other nine sonatas that were written in this early phase in Vienna. All of these ten sonatas were written and published between 1783 and 1785 in Vienna. However, these sonatas were not written as a group (Kirby 101).My paper covers the analysis of the first movement of Mozart K 333. Mozart K 333 Sonata In B-flat Major Is a fairly standard piece. This Is a great sonata. Mozart K 333 Is Interesting, and follows all the steps of a normal sonata. He used DOD patterns of keys and good rhythms. It was an interesting sonata to analyze. The flirts movement is very difficult and incredibly fast. The exposition section Is developed into the standard primary, transitional, secondary, and closing pieces. We will write a custom essay sample on Mozart Analysis or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The expositions P section begins at measure 1 and ends at measure 9, beat 2. This is further divided into measures 1 through 5 being Pa. ND measures 6 through 9, beat 2 being BP. The Pa section is comprised of mostly descending scale patterns and a cool, easy-going feel. The BP section is comprised of very fast 16th and 8th note runs. At measure 9. Beat 2, the strong transition begins. This translator brings us from B- flat Major to the key of F Major. The strong transition chords are found at measure 12 (V chords measure 17 (VAN), and measure 19 (V chord).It ends at measure 23, beat 2. It can be divided into Ta at measures 9, beat 2 to measure 14, beat 3. The Tab section can be found at measure 14, beat 4 and goes until measure 18. The Etc section of the transition Is found between measures 19 to 23, beat 2. Next, the secondary, or S section begins. It begins at measure 23, beat 2, and goes until measure 49. This is probably the most interesting section in the exposition, as it is longer and has little pieces of prior themes thrown in.The S section can be further subdivided into As (measure 23, beat 2 to measure 30), Sub (measure 31 to measure 4), Sc (measure 31 to measure 38), and Sd (measure 39 to measure 49). As you can see, there are several different themes In this S section. The closing, or K section is found from measure 50 to the end of the exposition, measure 63. This section only has two different themes. The Aka theme is from measure 50 to measure 56. The KGB theme is from measure 57 to measure 63. K obviously this is sonata form. We start out with group one, there Is no intro.Group parallel period with the first phrase ending on a PACE. The second phrase or section leaves the original key (new E naturals) and ends on a HCI (Camera) of the key F. At measure 23 we return to the original material introduced in the beginning and finally end the exposition at 38 in the Dominant. 38 also transitions the piece into group two of the exposition. This could be totally wrong, but I only hear group two lasting until 50, after that it seems like a huge accidental extension up to 63. Blah blah all this gets repeated and then we move on to development. Mozart Analysis free essay sample First Movement Classical composer Wolfgang Amadeus Mozart was born to Leopold and Anna Maria Mozart In 1 756 In Salisbury, Austria (then the Holy Roman Empire of the German Nation). Mozart showed promise in music from an early age, prompting his father to assume the role as his instructor. His father described his son as a gift from God, and Leopold nurtured Wolfgang talents as such. Mozart would eventually travel throughout Europe with his musical family; however, it was in Salisbury that he would compose three piano sonatas in 1783. These pieces were most likely composed for Mozart pupils In Vienna, who were a significant source of Income for him at the time. This paper concerns the second of the three: Sonata In A major, K. 331, specifically the first movement. The following explores the basic form of the piece, melodic and harmonic structure, as well as examination of methods used to vary the theme. We will write a custom essay sample on Mozart Analysis or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The overall form of this movement is theme and variation. This form is characteristic of many solo sonatas; however, it is atypical for a first movement of a classical sonata. More frequently, the first movement would be In sonata form. This movement presents the theme In the first 18 measures as seen In Fig. I(peg. 2). There are two 4- bar phrases, the first ending on a half cadence and the second on a perfect authentic cadence, that repeat. This forms what is called a period, where we have two similar phrases connected by a half cadence. In the second period, Mozart introduces new material, developing the long-short motive for four measures and continuing to a half cadence. After this he returns to the original melody for four bars, and ends the phrase on a root position Imperfect authentic cadence. Following Is a 2-measure extension, ending with a accidental 6/4 to give a strong perfect authentic cadence. Each movement follows the same structure except variation VI, in which the final repeat cadences and then continues to an 8-measure coda. Other than that, each movement follows the same binary form. Fig. 1: First Movement, mm. 1-18. The tender melody Mozart presents In these first 18 bars Is simple, with a lot of stepwise motion and small leaps. Adhering to classical style, he uses chords bull on diatonic pitches and resolves dissonances quickly.Pairing a simple homophobic melody with simple accompaniment makes it easier to manipulate the theme in the miming variations. In Fig. 1, youll notice that the middle voice barely moves at all. In fact, it isnt until measure 9 that we start seeing strong beats without an E in them. Also, the long-short (quarter-light/dotted eighth-sixteenth) motive remains constant until It too develops at measure 9. All of these techniques for a simple theme help Mozart develop his idea later. In the first variation, Mozart agitates the theme with the use of chromatic approaches and chromatic passing tones.Between the left and right hands, we hear an unrelenting series of sixteenth notes. Mozart also incorporates more use of Hyannis than he did in the theme, by composing contrasting piano and forte sections. This drastic dynamic change happens In the A section of the variation. Rhea melody in the right hand starts out very ornamented. Mozart then puts each melody note at the start of a flowing downward triplet arpeggio. The left hand emphasizes the strong beat throughout these triplets, and then the melody returns n the original ornamented character from the start of this variations A section. On the half cadences in this variation, we see a direct quote from the theme. Variation Ill brings the most drastic change yet. The key changes to the parallel minor (A minor). This movement features flowing sixteenth notes and phrase markings spanning up to three measures. It features many chromatic neighbor and passing tones, as well as use of the melodic minor scale: sharing scale degrees 6 Nee ascending, and keeping it within the key when descending. Scale degree 7 is rarely lowered, as it is usually bound by the major V chord quality.Variation V, back in A major, features a floating melody line above the staff that begins on beat 2, almost like an afterthought or reaction to the strong beat. It contains less dynamic contrast than the past variations, presenting the majority of he notes at piano. The light airy feeling given by the notes in the upper register provides a necessary contrast from the previous gloomy movement. In Variation V, the tempo is remarked: adagio. In the new slow tempo, 32nd notes in the left hand provide the accompaniment, while the right hand plays some intricate Scalia and chromatic passages.At this tempo, the right hand is playing such intricate passages, that the theme has been significantly blurred to the point where it is barely identifiable. The chromatics is still present, but it is scaled back a bit in this movement. We see a new character of sound emerge in the right hand with a happy staccato repetition on the tonic pitch. There are also a lot of contrasting dynamics to the point where they change back and forth mid-measure. In the final variation, the dynamic contrast resembles that of variation II; however the similarities, more or less, end there.The tempo changes to allegro and opens Ninth Jubilant eighth notes with contrasting articulations. This variation features mostly fast scales and arpeggios that outline the theme. As the B section concludes, a major scale rockets upward and leads into the coda. The coda basically alternates tonic and predominant chords until finally ending with two strong V-l progressions for a perfect authentic cadence to close out the movement. One thing that I find interesting about Mozart Sonata is that in every movement, there is a very steady pulse. This means that the movements are not only tied together by the melody and chords, but by the presence of a constant rhythmic pulse first presented in the theme. I really like what Mozart did with these variations. He Nas able to create very individual variations without distancing the music from the theme or from classical style. I wouldnt go as far as calling the work genius, but I think the quality of the work, and the way that he connected the variations was nearly perfect.