Mozart - Piano Sonata in B flat, K.333: movement I

Unit 6: Further musical understanding revision cards for Mozart set work A2 Music

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  • Created by: Misha Mau
  • Created on: 09-05-12 08:53

Context/ Background information

  • composed in 1783 when he was getting recognition
  • Piano sonatas often made for pupils to play
  • small scale works like this were more likely to be printed than symphonies or concert
  • Published in a set of 3 pieces = 2 solo piano and 1 for violin + piano
  • K333 reference to chronological catalouge of works - exact date is sometimes doubted. 
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Instrumentation

  • Mozart was virtuoso (child prodigy at keyboard)
  • his income was provided by teaching daughters of rich Viennese
  • wrote for forte piano and had ability to play softly or loudly depending on player's touch.
  • Dynamics subtle fortepiano used but no pianissismo or fortissimo
  • forte piano provided softer left hand accompaniment making appogiatura's emphasised 
  • Alberti bass 
  • pitch range confined - music reaches to top F bar 73 
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Texture

  • 2 part at beginning 
  • alberti bass texture b71
  • dominant pedal end of exposition b57
  • monophonic music + scalic writing b8
  • fuller chords eg. 6 note chord b23
  • 3 part texture b45-6
  • passage in 6ths b102
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Structure

Sonata form

  • Exposition
    • 1st subject
    • transition
    • 2nd subject
    • codetta
  • Development
  • Recapitualtion
    • 1st subject
    • transition
    • 2nd subject
    • Coda 
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Tonality

  • functional tonality, modulating to closely related keys
  • begins in B flat major
  • second subject is in F major (dom)
  • Developing section moves through keys (G minor, F minor, C minor)
  • Dominant preparation b87-92 leads back to recapitulation
  • perfect cadences reinforce tonality
  • dominant pedals add strength to cadences. 
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Harmony

  • functional based on standard tonal progressions
  • imperfect cadence b21, interrupted cadence b83
  • dominant 7th harmonies b3
  • some 2nd inversion chords b75 2nd beat
  • end of exposition b63 double appogiatura cadence
  • chromatic chords eg augmented 6ths common Italian 6th in left hand b80
  • diminished 7th b69
  • circle of 5ths b143-6
  • chromatic appogiatura b35
  • Dominant preparation - frequently repeated chord of dominant/7th
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Melody

  • 4 melodic ideas in 2nd subject group
  • balanced phrases but not a feature
  • appoggiaturas and accented passing notes
  • chromatic notes 3rd beat b6
  • conjunct, large leaps are rare
  • scalic passages b8
  • broken chords b22
  • music ornamental b18 succession of mordents and occasional trills 
  • turn at end of exposition b62
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