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Friday, February 01, 2008

Catherine's post

Blog – I. Brief Analysis, B

Chord Progression: m.25: I
m. 26: vii/ii ii vii7/ii ii6 vii I
m. 27: vii I I65
m. 28: iv V6 iv

This excerpt exposes Mozart’s ability to confuse the listener. Measures 25 through halfway through 27 are very similar. However, the second half of measure 27 changes direction, and the mixture chord gives the listener a sense of uncanny sounds. These couple of measures, however, prepare the listener for chromatic bass line measures 29 and 30. Measures 25-27 somewhat prepare the listener to the mixture chord because of the accidentals. But Mozart always tends to have a sense of quickness in his writing. Before the listener knows it, he or she is listening to a completely new and different phrase. Despite the length of the excerpt , Mozart still managed to place a sense of extreme emotion gliding through only a couple of measures.

1 comment:

Scott said...

(Mozart Sonata K. 284, third movement, variation XII)

Be more exact about inversions and qualities, so in measure 26 the third chord is viio43/ii and in measure 27 the first two chords are viio43 and I6. The last chord of measure 27 is a V65/IV, signaled by the C natural which creates the dominant seventh sonority.

How is the direction changed in m. 27? It can't be the mixture chords, since one happened at the beginning of m. 27 (viio43) before the change of direction, and the other mixture chord happens in m. 28 after the change in direction. Use facts like changes in dynamics, changes in melodic rhythm, and changes in articulation to support your claims.

The V65/IV leads us to a strong expectation of IV, so the Bb in m. 28 is somewhat shocking, if tempered by the Bb in the viio43 at the beginning of m. 27.

Take each of the claims you make in the essay and support them with specific facts and features of the music.