Mozart - Piano Sonata in Bb, K.333

Form, Melody, Harmony/Tonality, Texture, Rhythm and Instrumentation

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Harmony/Tonality

  • Functional, as evinced through use of perfect cadences: bar 9-10.
  • Harmony is used structurally, - 2nd subject begins in F major tonality (bar 23).
  • Dominant Preparation emphasises lead back to tonic: bar 87-92 highlighting Recapitulation section (bar 93).
  • Development section (bar 63) explores more related keys:
  • G minor (67)
  •    F minor (71)
  •    C minor (75)
  •    G minor (80)
  • Dominant pedal: bar 57.
  • Diminished 7th: bar 69.
  • Augmented 6th: bar 80
  • Chromatic secondary dominant (V7b of V): bar 121.
  • Chromatic Appoggiaturas: bar 35.
  • Diatonic Appoggiaturas: bar 2. 
  • Imperfect cadences bar: 21-22.
  • interrupted cadence: bar 83-84
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Texture

  • Predominantly 2-part texture: melody-dominated homophony with broken chord accompaniment = bar 1-4.
  • Alberti bass textures (typical of Classical era): bar 71.
  • Block chords: bar 45-49.
  • Six part chord: bar 23 - fuller, larger chords draw attention to beginnings and ends of sections, here introducing the 2nd subject. Thus, texture could be said to play a structural role also.
  • Dominant pedal bar 57.
  • passages in 6ths: bar 102.
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Melody

  • periodic phrasing
  • Uses the accented dissonance as an essential part of the melodic line: some are appoggiaturas (bar 2), accented passing notes (bar 3) and others suspensions (bar 4)
  • This motif appears no less than 10 times within the first subject
  • Chromatic appoggiatura: bar 6
  • conjunct/scalic writing
  • triadic/harmonically charged: bar 22
  • use of ornamentation such as trills: bar 58 (over dominant pedal)
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Rhythm

  • the motif of the accented dissonance is rhythmically diminished in bar 7
  • simple quadruple metre
  • short valued quavers and semiquavers make it lively
  • staccato: bar 85
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Instrumentation

probably would have been performed on a fortepiano.

unlike the harpsichord was capable of articulating dynamics, although these would have been subtle, there are a few dynamic markings but the range is relatively narrow.

Alberti bass is a typical technique used during the Classical era: bar 71

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Form

Exposition

1st subject: bar 1-10 (in tonic)

transition: bar 10-22 (modulating to dominant)

2nd subject: bar 23-50 (in dominant)

Codetta: bar 50-63 (confirms F major dominant tonality) 

Development

passes through various related keys such as G minor (67), F minor (71), C minor (75), G minor (80)

Recapitulation

1st subject: bar 93-103 (tonic)

transition: bar 103-118

2nd subject: bar 119-152

Coda = bar 152-end


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