* where there are gaps there was pictures with examples
Mozart’s sonata in A major K331 first movement
Mozart’s Piano sonata K133 is written in the key of A major the first movement is set out as theme and variations, in this case having 6 variations. This analysis is going to look at how musical elements are changed and manipulated in each variation to change the mood of the piece; it will also point out ways in which the composer connects the theme to each variation.
There are some characteristics a good theme should have such as; it should be short, simple, homophonic and easy to remember. This theme fits all these requirements. It is written in 6/8 timing (compound duple), the form is rounded binary and is written to be played andante grazioso meaning moderately slow and graceful. The rhythm is made up of quavers, semi quavers, crotchets, and dotted quavers.
The accompaniment from bars 1-8 is simple and based around the primary chords the chord progression being, A (tonic), E 2nd inversion (dominant), A (this bar finishes in A, however there is a lead into it using the leading note), I – V64 – I. The simple accompaniment based around the primary triads keeps the theme simple and easy to remember.
There are slurs at the beginning of nearly every bar during the theme which helps to keep it calm. In bars 1-2, 5-6 and 13-14 there is use of sequences as shown below. This helps to make the theme easy to remember which as mentioned before one of the characteristics of a good theme is.
The mood of the theme is peaceful and calm. This is made clear to us by the use of a number of different things, the slow tempo marking. The themes dynamic marking is piano nearly the whole way through with only two bars of forte at the end leading into the first variation. The melody is mainly step wise and any leaps are only small. Keeping it stepwise keeps it flowing and therefore more peaceful. It has descending A major triads in bars 11 and 12.
This is a very effective theme as it fits the prerequisites very well. The peacefulness is created by a mixture of, small slurs, sequences, simple accompaniment, chord progressions and soft dynamics.
In the first variation the mood becomes agitated, there is a lot of use of chromatic auxiliary and passing notes we see these in bars 19-24, 27-28 and 31-34 (which naturally creates aggravation and agitation as they involve semi tones.) At the beginning of this variation the right and left hand play separately which resulted in the stress/chords being played on off beats and once again creating agitation.
The rhythm has changed to nearly all semi quavers. In bars 23-26 the accompaniment consists of repeated staccato semi quavers and the dynamic become forte which greatly aids the shift in the mood. This also occurs in bars 35 and 36, As seen below.
Like the theme variation one has similar sequences in bars 19 to 21 and 30 to 33, this helps to keep the connection with the theme. The melody is all stepwise from bars19-29 and from bars 30-36 it’s a mixture of stepwise and broken chords. This also helps to keep the tune recognisable.
The use of lots of accidentals in the form chromatic auxiliary and passing notes, repeated staccato semiquavers and a change from piano to forte, makes variation one much more agitated than the theme however there is still connections between the two.
Variation two is light and bouncy and at the same time there is an aspect of business to it. It has a lot of ornamentation; there are trills in bars 37, 38, 39, 45, 46, 49, 50, 51 and 52. There are also acciaccaturas in bars 41, 42, 43, 44, 53 and 54. This obviously makes it very busy.
The accompaniment in bars 37-41 are step wise semi quavers. In bars 41-42 the accompaniment is octaves. The stepwise accompaniment creates business and the octaves make it light and bouncy.
This variation changes dynamics more than the theme and variation 1, bars 37-40 are piano then in bars 41-44 are forte then bars 45-52 it returns to piano then bars 53-54 return to forte. There is a crescendo in 48. This assists in creating a light and bouncy mood. In this variation the rhythm is also varied to help manipulate the mood, it changes from mostly semiquavers to a mixture of quavers, semi quavers and demi-semi quavers.
The majority of this variation is made up of sequences these keep it well connected to the theme. There is a fair bit of step wise melody which helps to keep the theme recognisable.
The demi-semi quavers, trills, acciaccaturas and the changing dynamics make this variation sound light and bouncy but at the same time very busy.
Variation 3 modulates from A major to A minor this moves the feeling of the piece from light and bouncy to sad and angry. In this variation the theme has become quite hard to hear.
The rhythm in both the accompaniment and the melody line are nearly all semiquavers (helps to make it sound angry). In bars 59-62 the melody is played in octaves. This also happens in bars 71 and 72 this helps simulate anger and gives the piece depth.
There is a lot less ornamentation in this variation then the last one, there is only an acciaccatura in bar 66. This eliminates the business from the last variation and helps to change the mood.
The articulation in variation 3 is all slurs this give a sudden change from the bouncy light feeling earlier and helps to create the sadness.
The change to the minor key, the dynamics and the slurs make this a sad variation the octaves in the melody and the forte in bars 59-62 make that part of the variation sound angry as well as sad.
Variation four is much brighter than variation three; it creates a light bright and happy mood. It changes back to the original key of A major eradicating the sadness from the previous variation. In the majority of this variation the right hand plays the accompaniment as well as the melody with the left hand playing chords occasionally. The accompaniment being in the treble clef automatically creates a light happy atmosphere. The left hand is playing A (tonic) and E (dominant) octaves and the right hand accompaniment is playing step wise major thirds interrupted by a repeated E, this along with the chord progression consisting of primary chords gives the listener a happy and jolly feeling.
In the second part of this variation starting at bar 81 the left hand has more of the accompaniment which is broken chords. The chord progression is, A (tonic), D (subdominant) A (tonic), these are primary chords. At bar 84 it then repeats the beginning of the variation. These changes make it slightly more bold than light.
The use of the primary chords keeps a connection with the theme. From bars 81 to 83 there are scalic passages and sequences which are keeping the theme slightly recognisable.
The rhythm of this variation is mostly quavers and semiquavers with demi-semi quavers for the scalic passages. There are a lot of slurs in this variation. The dynamics are mostly forte through this section sforzandos followed instantly by a piano in bar 83 and a forte piano in bar 84.The high ranged accompaniment, the change back to the major key and semi quavers and demi semi quavers make this variation bright, light and happy.
In variation 5 the theme becomes unrecognisable. The speed changes to adagio meaning slowly and the mood returns to calm and peaceful (basically the only thing connecting it back to the theme.) however there are stabs of anger throughout. The rhythm is nearly all demi semi quavers. In bars 91 and 92 the accompaniment is broken chords. There is a lot more changing between forte and piano in this variation, the sudden changes to forte create sudden shocks or stabs of anger. There is a fair bit of ornamentation (which keeps it calm, peaceful and pretty.) In bars 98a, 98b, 103, 104, 106, and 107 there are appoggiaturas. There are also more staccatos, repeated notes and scalic passages in this variation, the scalic passages keep it flowing and peaceful.
In bars 95 and 96 it has repeated demi semi quavers which has an octave leap in the accompaniment, this is similar to the accompaniment we saw in variation to create anger and agitation one and gives the effects of stabs of anger.
This variation is calm and peaceful due to the new adagio speed and the flowing scalic passages. However it seems to have stabs of anger when it is forte and there are a group of repeated notes at the same time. In this variation the theme can hardly be found at all.
Variation Six is very light and jumpy, it is the final variation. In this variation the time signature changes to common time (simple quadruple.) In this variation you can hear the theme coming through it.
The tempo changes to allegro meaning fast and lively which perceptibly makes it light and jumpy. Bars 109-112 are piano, bars 113-116 are forte, then bars 117-124 return to piano and then bars125 and 126 are forte again From 127-129 are piano then finally 130-133 are forte ending the piece on forte the constant changes in dynamics help create the jumpiness. The rhythm is mostly quavers and semi quavers making it sound faster and therefore jumpier. In bars 113 and114 there are rolled chords in the accompaniment, making it light and pretty.
There are acciaccaturas in bars 109, 110, 112, 121, 122, 123, 124, 128, 129, and 130. These kinds of ornamentations naturally create a light jumpy feeling.
The accompaniment in bars 125-126b is arpeggios in ascending order going, A B C D E then the dominant and tonic, E A. This creates a jumpy atmosphere.
The piece ends on a perfect cadence (dominant [E] to tonic [A]).
This variation is very light and jumpy due to the change to allegro, the amount of acciaccaturas/ ornamentation, the ascending arpeggios and the constant change in dynamics. It is also more connected to the theme than the majority of the previous variations.
It is clear that by manipulating the elements of music such as tempo, dynamics, rhythm, melody, and harmony the composer can convincingly create and change the mood of a piece.
Bibliography
Piano sonatas, wiener urtext edition copy right 2003.
Music appreciation eighth edition roger kamien, Christopher feritag, copyright 2004.
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