Mozart

• overall structure

  • ABACABA
  • Rondo.
  • A = main theme
• Structure of section A

  • heard 4 times when Movement returns to main theme
  • Start, 114, 178, end
  • when theme returns it isn't played in full and there are changes in articulation e.g. staccato phrases no longer staccato
• Structure of section B

  • played twise
  • returns in bar 188 with differences
  • Change 1 = slight variation in orchestration. violin phrases from bar 73-76 appears on cello in 214-217
  • Change 2 = Modulations starting on bar 196 including to minor keys for a sombre feel
  • Change 3= pauses in bar 219-221
• Tonality:

  loads of modulations, starts A major

  • B1 -A major to E major
  • A2 -A major to F#minor
  • C -F# minor to D major
  • A3 -D major to A major
  • A major throughout the rest
• What sections include modulations?

  • B1
  • A2
  • C
  • A3
• Texture:

  A: melody and accompaniment

  B: texture is thinner
• Melody:

  • A: mainly disjunct, rise and fall, anacrusis, call and response
  • C: wide leaps, jumps of more than two octaves, anacrusis
• Articulation:

  • A: lots of staccato for fast, light and playful feel. When piece returns to main theme it's not always staccato
  • B: dotted crotchets to make tempo seem slower without changing it.
• Rhythm:

  • A: main theme based around the runs of seriquavers
  • B: pauses in bars 219 and 221 where the music has a short rest before it continues creating a moment of silence where everything stops. It starts with longer notes not semi-quavers 
  • C: alternating crotchet- quaver rhythm provides contrast to runs in main theme and Episode B
• Dynamics:

  A: contrasting dynamics, clarinet is mainly piano but when orchestra come in it crescendoes to forte 

  B: generally Piano

  C: Piano with bursts of forte from the orchestra
• Meter

  6/8

  In bar 131 hemiola used to make music feel like it has shifted to 3/4
• Tonality:

  viola and bass move chromatically from episode B to first repeat
• Harmony:

  pedal notes in bar 301 and 306