mozart piano sonata in b flat major k 333 analysis

If you have come across techniques of analysing music before, these may well have been either what is termed ‘chord-function’ analysis (for example, ‘here is a iib-Ic-V-I progression’), or what is termed ‘motivic’ analysis (for example, ‘here motive X is inverted and appears in the bass under a new theme, Y’). Although the primary aim is to introduce the theoretical mechanisms as a means to an end (that is, as a tool for the analysis of Mozart's style), the analytical methods introduced here are useful when considering any music from the ‘tonal’ period (roughly 1700–1900). It is quite likely that you will be unfamiliar with this phrase, and it will be defined below in more detail. The approach taken throughout this set of courses will be that of ‘voice-leading analysis’. The relationship between the foreground structure and larger levels will be explored in the other courses that make up this series, first in Voice-leading analysis of music 2: the middleground, and then in Voice-leading analysis of music 3: the background. You may find this emphasis on microscopic detail rather different from approaches that analyse extended forms such as sonata form by looking at key-schemes and thematic groups. This is what is called analysing the foreground, or musical surface, of the music. The aim of this course is to analyse the character of Mozart's harmony at a chord-by-chord or bar-by-bar level.

Its first movement is in variation form, and its second movement is a Minuet and Trio in place of a ‘true’ slow movement. There are exceptions to this layout: for instance, the A major sonata, K331, is something of a curiosity. Most of them are in three movements (whereas Haydn experimented freely with two-, three- and four-movement plans), with a first movement in what we now call ‘sonata form’, a slow movement, and a finale, often in rondo form.

They are more homogeneous stylistically than the piano sonatas of Haydn and less radical structurally than those of Beethoven. Although they are less frequently performed than the late piano concertos, they still form an impressive body of work. Mozart wrote nineteen compositions with the title ‘Sonata’ for the fortepiano, works spanning from his teenage years (the Sonata in C, K279, was written at the age of fifteen) to two years before his death (the Sonata in D, K576, dates from 1789). 1 Introduction: Mozart's piano sonatas 1.1 Overview of Mozart's sonatas

Mozart piano sonata in b flat major k 333 analysis