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Monday, May 09, 2005

Mozart k. 281 mvt. 3

It's sonata rondo time and time to count down the number of blogs left. Just 2 after this one!

The A section of this piece consists of an opening period which is eight measures and has a HC after four measures and a PAC in the eighth measure. This is followed by a five bar phrase that ends with a PAC and then a shortening fo this phrase that lasts only two bars with a PAC that seems to be repeated but the cadence is extended so it makes a four bar phrase ending with a PAC in our key of B flat.

The B section begins with a four measure phrase that is based on the arpeggios of I and V ending with a HC followed by another phrase that has similar triplet lines to the later parts of the A section and after four bars it hits a V-I but it doesn't sound cadential and ends up modulating to F major in the next measure ending in a HC. Now in the key of F there is a four bar phrase that ends with a HC then an extended phrase to seven bars and ends in a PAC. This is followed by four bars of trills that sound very transitory followed by a big dominant chord back in the original key of B flat and a long single line in the right hand that transitions back to A.

During this A section, the first period is exactly the same as it was during the opening but it moves from here straight to the C section.

The C section starts with a long eight measure phrase in the relative minor key of G minor that ends with a HC and is repeated. This is followed by an eight measure period with a HC after four bars and a PAC in the eighth bar. This section has many of the same feeling of turns and whatnot of the A section. A series of chords in three measures transition the music back the A section.

This time the A section is exactly the same as the first time except the little joke at the end with an grace notes into tones F and A flat after the PAC in B flat.

The next section is unique so I'll call it D and has three four measure phrases in the key of E flat major that end with a HC, IAC and PAC. The melody of this section harkens back to earlier sections. The next part takes transition feel with triplet lines and has a HC after four bars and an IAC back in F after five bars. This doesn't mean the transitory feeling goes away because the crazy triplet lines continue for four more bars ending with a HC.

We have the return of the A melody but the return doesn't seem complete becasue of the trills that accompany the melody with the other hand. There is an IAC after four bars then the hands switch and do the same thing for four bars ending with an IAC. This is followed by an eight bar phrase that first sounds like the B theme but then goes back to the ending parts of the A melody and ends with a PAC. This is followed by another transitory section with two six bar phrases that end with 2 HC's that go into the true A.

The true return of the A is the same as the original except there is a little cadential extension at the end that emphasized the V-I relationship a couple of more times for a tiny little coda.

8 comments:

Martin Buber said...

The other mozart seemed to have a D instead of a return to B as well. I definitely didn't run into that in the Beethoven I analyzed. Perhaps that's something mozart does? When you think about it...it's sonata, rondo, binary, and ternary all rolled into one...

jendpu said...

Pretty darn thorough i'd say. I'm very impressed that you incorporated the word "harkens" into your analysis. Bravo

John Styx said...

You and your crazy grasp on the English language. Very thorough, making me look bad yet again. Don't make me get out the switch boy...

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Anonymous said...

you just helped me on my theory final. thank you very much sir.

Anonymous said...

What is HC and PAC???

Anonymous said...

HC is half cadence and PAC is perfect authentic cadence

Anonymous said...

ummm what is IAC