Lesson 6 Part 3 - Analysis: Mozart's K. 331

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Escreva Como Mozart: Uma Introdução à Composição de Música Clássica

228 classificações

National University of Singapore

Escreva Como Mozart: Uma Introdução à Composição de Música Clássica

228 classificações

Este curso apresenta aos estudantes estratégias para compor ao estilo de música europeia. As questões relativas à progressão harmônica, voice leading e textura são tratadas além de conceitos relevantes de composição tais como repetição, variação e elaboração. O curso tem o objetivo de oferecer um espaço criativo mesmo dentro das restrições da emulação estilística.

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Module Six

This final module starts with an introduction to what I call “progressions within progressions”. Often a composer uses V-I progressions that are in keys related to the original key but not actually in it. So in the key of C major, for instance, it is quite common to see a progression that has a D major chord going to a G major chord. Well, up to now, we haven’t seen this and we wouldn’t have a way to describe it. That D major chord isn’t in the key of C, it’s not a Neapolitan or Augmented 6. It’s not a borrowed chord because neither C major nor c minor has a D major as the chord on the second scale degree. However, this D major is a fifth above the G major chord, which means that there is a dominant-tonic relationship between the D major chord that’s not in the key and the G major chord that is. This sounds more confusing than it is, so I won’t continue to describe it here. Instead, I encourage you to check out the videos on this concept, which I think make it quite clear what these are and how to use them. For those who have studied harmony before, you might be familiar with the much more common term “secondary dominant”. That’s what these progressions within progressions are. We will also look at a technique that is crucial to the musical style under examination in this course: the Alberti bass. This is the familiar arpeggiated chordal pattern that you frequently encounter in music from this era. They are easy to write, but there are a few things that need to be kept in mind when composing them. There are also some videos that aim to bring course concepts together for you. The first is a video on elaborating progressions. While the basic progressions presented in the first week aren’t extensive, we learned how to significantly alter them via chord inversion and diatonic and/or chromatic substitution. But we haven’t looked too much at how to take all of these strategies and put them together to create a unique progression. This video aims to offer that. Finally, we take a close look at a theme from one of Mozart’s very famous theme and variations, part of the K. 331 piano sonata. This is important not simply because it brings together the concepts presented in this class. More importantly, the work can function as a model for you in composing your final project. It is an excellent example of rounded binary form - the form you need to use for the final project composition.

Lesson 6 Part 1 - Analysis: Mozart's K. 33111:45

Lesson 6 Part 2 - Analysis: Mozart's K. 331 12:51

Lesson 6 Part 3 - Analysis: Mozart's K. 3314:42

Conheça os instrutores

Peter Edwards
Associate Professor
Yong Siew Toh Conservatory of Music

The last thing I want to mention is,

I want to talk a little bit about how this B section is a B section.

We talk a, you know, we can say, oh it's, there's an A and a B.

And you might say, that well the B is caused by a new melody.

Well, that's sort of true. But we see how much similarity there is in

terms of rhythm between the, the A, the A here and the B.

So is it really bad?

Is it just melody? Well it's certainly not.

So what is it?

Well to be honest it's a lot of things. One of the things that it's not

really, is rhythm, because rhythm is used to create a kind of consistency.

One thing that is used though is that we get a new melodic shape.

For certain there's, that's a new element here.

What else though?

Well we get a new harmonic progression. That's another dimension of it.

But even perhaps more importantly what we find in these

few bars, and it's a very short contrast that exists

here, but in these few bars that we have is

that Mozart actually changes the texture to a small degree.

Here we have harmophony.

Sorry, here we have homorhythmic homophony.

Here we have homophony as well, but look at the new relationships.

This isn't about chords anymore.

This is about an arpeggiated bass part that

could very easily be played by say a viola.

Even violin.

And a melodic line. Here we had a melodic line.

But chord accompaniment with it.

Here we have three voices.

If one was to transcribe this for an ensemble, clearly

you'd immediately see that you've got three voices going on here.

A melody here.

This E that you have held and this lower voice.

Contrast that, at least for these first two bars.

Into a

setting that really would be appropriate for two voices or two instruments.

We have a melodic instrument and we have an arpeggiated, figure

in the other instrument that's providing the, the harmony and accompaniment.

Of course, we go back to something similar to

the A section when we get to this bar here.

So, the idea of contrast is not just melodic contrast, or a new melodic idea.

It also comes down to the harmony

that you're using, the texture that you're using.

The relationship between instruments that you're using.

Even, it can even come down to the register in which instruments are placed.

So now you see that these

different texture types that we learn, well, they're not just being learned

so that you understand the different texture types that are used in music.

You know, instead, they become resources for composition.

That, in fact, one needs to know how to

do homorhythmic homophony, and one needs to know how

to do counterpoint, and one needs to know how

to do melody in accompaniment, and create an accompaniment passage

for an instrument and elaborate a melody. Because, those are now tools

for composition, and a form is articulated

fundamentally by either similarity or contrast.

Repetition with some difference, which is really

similarity, or exact repetition, that's also a possibility.

Or contrast, but when we want to make something contrasting, we

need to have the tools to create something contrasting, if

we only knew how to do homorhythmic, homorhythmic homophony, our

toolbox would be too empty for us to create rich music.

So, in the assignment for this week, please keep this in mind.

Review your toolbox. See what you have there.

And remember, go through your toolbox when you're putting

together your own rounded binary work, go through your toolbox.

Remind yourself of what's there, that is available to you

to shape and craft the kind of music and musical experiences that you're after.

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