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Monday, May 09, 2005

Mozart, Piano Sonata in B Flat Major K. 333, III

Only two more blogs to go! Whew...
This Sonata-Rondo form crap is confusing

The A section begins quietly, with a half cadence after 4 measures , and a PAC at bar 8 marking the first period. A parallel period follows, to conclude the A section on a strong PAC. A short transition section follows, leading us to the dominant key by measure 21. This the Primary section.
The Alternating Section, or the B section, lasts from about measure 21, all the way to measure 41, 20 bars later. Significantly more chromatic that the previous section, we see fewer obvious cadences and phrases. I hear an IAC at measure 23, but don't hear a definate cadence till measure 36, where there is a strong PAC. The sixteenth notes and light left hand accompaniment push the harmonic motion along, preventing harmonic rests and cadences. This is definately not periodic. I would call this sectional. After the cadence in measure 36, we have a short 4 bar transition section back to the dominant key and the Primary A section
Yay, the A section. It is an exact repeat of the A section, leading us to the developmental C section.
The C section is long, lasting from measure 64 to measure 112. We have modulated to the relative minor of the dominant key, d minor. This section opens loudly to a phrase ending 8 bars later on a picardy third PAC. I'm tired...Mozart plays with sequencing up dotted sixteenths, flirting with the tonic in bar 87. Blah. This section is very chromatic development section, that basically leads us to the A section and B flat major.
Another exact repeat of the A section.
This next section is different enough to be labeled D. It is similar to the b section as it uses many running sixteenths, but is longer and quotes other sections. Notice the triplet sections, and the dotted rhymic patterns. Mozart flirts with a return of the A section at 173, but it is a false return. A transitional section from 189 to 199 leads us back th the A section.
Yay, the end. The A section. It is very terminative. The end....help...blah...need sleep...asdflkjasdf.

14 comments:

Martin Buber said...

nice work. I wonder how different the "D" section is from the "B" since in our book, it doesn't really mention the possibility of ABACADA--but it could just be rare.

Mr. Luxury Yacht said...

Good job talking about the forms of development and whatnot. I'm still not sure on these either whether to call the last alternating section B or D. They could be seen as both developing the theme but have some big difference too.

katie said...

I wasn't sure to call it B or D either. It seems like it is different enough to be called D, but I dont see that option in the book. I called it D. We'll have to ask tomorrow.

John Styx said...

I would have said D is a developmental section of B, but I saw everyone else's answers and now I'm not so sure....here's to giving into peer pressure!

Kaberle said...

I think I wanted the "d" to be more of a b'...development of the b, because of begining material being so similar and then it later branching off into more dev. stuff..

Basket said...

Bon jour. Le temps amer que je vois.

Chercher le temps et quelques comment terrien ici.

Blog agréable.

Je devrai revenir plus tard.

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Anonymous said...

I'm sorry but I tried to use this to help me with my homework analysis, and it sucks. Sorry. It does. You don't even name where the retransition and closing are... You hardly go into any detail about key structure and you don't even talk about the second theme group. Perhaps I'm unfamiliar with your terms, but I feel that measures 64 through 112 is definitely not correct as to the development. The retransisition begins in measure 86...

Just look at the piece again.

Anonymous said...

Hahaha nevermind.... you're talking about III, I was talking about I. Whoops! Sorry!

J said...

I sure hope that this analysis was not for some type of "form and analysis" class, because the only thing discussed here are cadences. Cadences are hardly a marker of where form can start and stop. There isn't even a brief macro view of form, just talking about when you see what type of authentic cadence, lol. Thanks, but when I think cadences, I think HARMONIC analysis, not FORM.

Anonymous said...

Cadences are the beginning of seeing formal structure. When you start out, you need some clear things to hold onto...and cadences help. Later, these students can start looking at bigger picture stuff...this is a great analysis...just give em a minute.

Anonymous said...

in the development section, I cannnot understand it has modulated to d minor. BUT where?? Where can I find the trace of d minor?