'K. 332 First Movement Analysis\r'

'Mozart Sonata No. 12 in F major K. 332 First Movement Rachel Gilmore MTC 461. 001 November 26, 2012 The startle forepart of Mozart’s pia noSonata No. 12 in F Major is written sanely emblematicly in the in truth(prenominal) grammatical constructiond sonata form. Historically is follows the chief(prenominal) guidelines that were understood for the form. Harmonically, is progresses like expected. There are a hardly a(prenominal) surprises here and on that point, precisely they are representative for Mozart’s compositions, especially his sonatas of the 18th hundred. In all, it makes a very raise piece of work, especially with so much contrast inside it.The formal body structure of the scratch line movement is sonata form. Not only is this unembellished in the title but it is very plunder after an analysis of the piece has been done. Sonata form is fabulously structured and has specific regions and parts that must be present in order for it to be a true so nata. These discussion dents are split relating to mainstay mostly. every last(predicate) of the waitd parts are present in this work with the expected attain changes, deeming it sonata form. The piece starts with the definition, excluding the ex gratia introduction that can be added if a composer so chooses.This interpretation is the scratch line ninety-three measure of the movement. The rarity is marked with a repeat sign. In the sonata, the exposition is repeated, so this follows conventionalism sonata coifting. All parts of the exposition are included in this sonata; group 1, a passage focusing, theme 2, a bridge, a closing theme, and a codetta are all present. These sections within the exposition spiel just as they are supposed to, save showing that this piece is in sonata form. The counterbalance theme is in the merry key of F Major. The handing over modulates from the tonic key to the preponderant key, C Major, which is usual for a transition.Theme 2 sta ys in the superior key, as does the bridge, closing theme, and codetta. The adjacent section of medicine is the maturement. It is not very long in equality to the exposition and the coming exploitation, lasting only 39 measures. It behaves just like a normal development should. It modulates a few clock and does so very often and quite a quickly. In this development, Mozart chose to procedure a sequence of new material, repeating it at incompatible pitch levels to change keys. Some material from the jump theme group and the bridge is overly apply.There is no infatuated return of the first theme group, but this is most likely because the development was so forgetful in comparison. But, the material developed from the bridge in the exposition is used to transition the annul of the development into the recapitulation. The recapitulation is besides standard of sonata form. Every section of the exposition should return, only with no modulations. The Recapitulation should die hard entirely in the original tonic key that should have been set up by the development. The first theme group returns in the tonic key of F Major.The transition in any case returns and stays in the tonic key. The second theme group also comes back, staying in the tonic key as well. The self similar(prenominal) is true of the bridge, returning in F Major only. Next, the closing theme group returns also in the original key. And lastly, the codetta returns, continuing to stay in the tonic key. The form of this sonata by Mozart matches what was typical of the sonata form in the 18th century. There was a specific way what sonatas were to be composed, one that helps analysts of the present study this classical form.But, there are some things that Mozart included that were ripe and surprising for the times. These include harmonies that differ slightly from what were common, and motivic sequences that were quite originative. The motivic sequences otherwise composers included in t heir sonatas during this time were reasonably simple. Listeners liked to hear something they could good remember, something that could get stuck in their heads, that they could hum for days or weeks after they first heard it. This usually resulted in melody that contained few mellifluous ideas that were played with and developed.Mozart, however, began to make a burn in the later part of the 18th century of having several(prenominal) tuneful sequences through with(predicate)out his sonatas. The No. 12 F Major sonata is a great recitation. The first movement in itself has s thus far different melodic devices. The harmony t stops to stay within the realm of normal for the 1700’s. There are places, though, where Mozart again drifts from common practices. Mozart was fairly well known for his inventive bridge sections during the expositions of his sonatas. In these bridge sections, Mozart would begin a theme on v ( baby bird), ? cardinal, III, VI, or V that eventually create s the false sense of having transposed to the dominant V key. practically Mozart would proceed to the tonic sounding V with an augment one- 6th chord. He does just this in Sonata offspring 12, as shown in the example on the twitch of the next page in measures sixty-four through sixty-seven. VI7 ii7 V7 Ger+6 V Mozart begins a harmony on a Major sixth chord and leads into a V with a seventh chord, swelled a dominant to tonic feel.He further gives this effect by leading into another V with the augment sixth German chord that has been filled out with a perfect fifth and a major ternary above the A? bass. Though the augmented sixth chord is voiced unorthodoxly, it gives the same effect. The chord structure of this work is very functional. Cadence points are fairly clear and the joints are usually of a typical length. Most of the phrases are four measures long. A few exceptions to this rule exist in the work. They show up in a few different ways including elided ms and extended h armony.Some of the phrases elide into each other giving the effect that they are in some cases drawn-out than four measures and in other cases, shorter. An example of this is in measures fifty-five through fifty-seven, shown at the top of the next page. The first measure shown harmonizes a V7 chord in the key of C Major. The next measure harmonizes the I chord that finishes the imperfect authentic cadence begun in the phrase. But this tonic chord also acts as the beginning harmony for the next phrase go on in the last measureV7 I V7 shown in the example with a V7 chord, and also the beginning of the bridge. So this cadence point has been elided and includes the same measure in not only two separate phrases but also two separate parts of the exposition, theme 2 and the bridge. The same type of cadences happens several other times throughout the first movement. There are also several phrases that have been extended through the use of harmony. The second cadence point of the bridge, measure sixty-seven, is the end of a phrase that started in measure sixty.This phrase lasts so long because the harmony has been heavily and easily lengthened through the progressive use of alternate dominants and seventh chords. This is illustrated in the example below. i iv7V7/III V7/VI VI7 ii7 V7 Ger+6 V Some interesting harmony occurs at several of the phrase points within the exposition and the development. Half cadences end on the dominant V chord. But there are several cases in this sonata where a cadence point is reached, and there is another, weaker dominant in the place of the V chord.In the transition section of the exposition, there are two half(prenominal) cadences that occur one right after the other where a weaker dominant occurs. The first one uses a viio chord instead of a V. At the end of the next phrase, an augmented sixth chord is used, the German augmented sixth with an augmented fourth and minor third. Also, in the development, a III chord is used instead of the V during a harmonization the twin minor key. This is quite unorthodox, especially for the times, but has the same effect within the context of the music adjoin it as using the usual dominant V chord.Most interestingly, there is a lot of contrast in within the music. Mozart was something of an innovator of contrast within a musical comedy piece of his time. He played close to with contrasting the works as they were published (composing a fast and exciting piece just after having printed a slow one) and also with dynamics, melodies, rhythms, and other musical devices within the works themselves. Sonata No. 12 is no exception. Throughout the first movement, Mozart goes back and forth mingled with fast moving piano parts that require up and down motion on the measure to blocked chords in both hands.He also takes favour of contrasting dynamics. Sections will go immediately from being the dynamic of piano into a next section that is marked forte with no crescendo, and vice ver sa. He also used rhythmic contrast. One section might be quarters and eights squarely on the beat and then be promptly followed by a section that features dotted rhythms or triplets regularly. These contrasts were very interesting for the audiences of the 18th century to hear because it was orthogonal of what was expected. Below is an example of contrasting rhythmic sections.The first movement of this F Major sonata by Mozart follows the staple fibre sonata form. There are some discrepancies along the way, even concerning basic harmonic music theory, but the outlining format still remains. The contrast makes it an interesting piece of music to analyze and hear. And the harmony is, for the majority, what is expected of basic progressions. Bibliography Balthazar, Scott L. â€Å" fresh and Motivic Process in Mozart’s Expositions,” The Journal of Musicology 16, no. 4 (1998): 421-466, http://www. jstor. org. steenproxy. sfasu. edu:2048/ static/pdfplus/763978. pdf. Hepokos ki, James. Beyond the Sonata Principle,” Journal of the American musicological Society 55, no. 1 (2002): 91-154, http://www. jstor. org. steenproxy. sfasu. edu:2048/stable/pdfplus/10. 1525/jams. 2002. 55. 1. 91. pdf? acceptTC=true. Kamien, Roger and Wager, Nephtali. â€Å"Bridge Themes within a Chromaticized Voice commuting in Mozart Expositions,” Music Theory Spectrum 19, no. 1 (1997): 1-12, http://www. jstor. org. steenproxy. sfasu. edu:2048/stable/pdfplus/745996. pdf. King, A. Hyatt. Mozart in Retrospect: Studies in review and Bibliography. London: Oxford University Press, 1955. Landon, H. C.Robbins and Mitchell, Donald, eds. The Mozart Companion. refreshing York: W. W. Norton & Company, Inc. , 1956. Marshall, Robert L. , ed. Mozart Speaks: Views in Music, Musicians, and the World. novel York: Schirmer Books, 1991. Ratner, Leonard. â€Å"Harmonic Aspects of Classic Form,” Journal of the American Musicological Society 2, no. 3 (1949): 159-168, http://ww w. jstor. org. steenproxy. sfasu. edu:2048/stable/pdfplus/829717. pdf. Zaslaw, Neal and Cowdery, William, eds. The nail Mozart: A guide to the Musical Works of Wolfgang Amadeus Mozart. New York: W. W. Norton & Company, 1990.\r\n'