Loading presentation...

Present Remotely

Send the link below via email or IM


Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.


Expo Orchestral

No description

Amanda B

on 6 May 2014

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of Expo Orchestral

Mozarts Piano Concerto in A major, Movement 1, Allegro
Piano exposition
Bar 67: First subject A1 eight bar melody on piano with string accompaniment, LH has broken chord accompaniment ( alberti bass), sequence in bar 71-72 is a decorated version of original, imperfect cadence in A major

Bar 75: eight bar decorated version of melody on piano with string accompaniment, triadic and semiquaver movement, perfect cadence in A major.

Bar 83 : First subject ( transition theme)A2 A major- E major

Sixteen bars, the piano plays the final twelve bars with the orchestra. Scale and broken chord passages in sequence on RH piano, broken chord accompaniment on LH, descending acc and dominant pedal from bars 93-96, descending B major scale and chord of B ( V in E major), imperfect cadence.

Bar 99: Second subject B1 E major- Eight bar melody on piano, LH plays acc block harmony, imperfect cadence in E major in B 106

Bar 107: Eight bar melody repeated on flute, first bassoon and first violin, right hand plays descending semiquavers scales in broken 8ves, perfect cadence in E major in b 114

Bar 115: Second subject B2, the melody is now on the piano with orchestral accompaniment. extended. Alberti bass on LH, horns in A plays tonic pedal ( transposing instrument), dialogue between violins and piano, triplet chromatic scale, then rapid scales and broken chords, trill in bar 136 and perfect cadence.

Bar 137: Soloist stops and the orchestra continues with short Codetta using A2 material. Exposition appears to come to a close. Violins play a rising sequence of a descending scale, music ends abruptly on dominant chord B major.

Bar 143 Third subject C E major, a six bar melody on strings, first violin and viola play in 6ths after a two beat rest, Strong contrapuntal feel ( see rhythm)

Bar 149: the piano plays a series of scales flowing between both hands, contrapuntal effect between RH and LH, perfect cadence at B 155-156.
Bar 198: A1 – Orch A maj Melody - violin 1 with flutes & clarinets Accomp - tutti orch.

Bar 206: A1 - piano repeats Melody – RH piano develops and ornaments, similar motion two 8ve scale in second phrase Accomp - LH piano some Alberti bass supported by orch.

Bar 214: A2 - No modulation this time so it has a different ending, piano plays an ascending scale ending on chord of E major.

Bar 229: B1 - The B1 music of B99 is played on A major

Bar 237: The B1 music of B107 is played in A major with the compliment of the woodwind from the start

Bar 245: B2 -This repeats the B2 music of b 115-129 in A major. it is mostly the same with the acc slightly altered.

Abrupt ending from bars 141-142 used at bars 259-260

Bar 261: Third subject C - This statement of the third subject was not in either exposition....Six bars on piano first and then wind. Contrapuntal section, clarinets and bassoons take melody and piano plays semiquavers

Bar 272: a strong dominant preperation again with a pedal on low strings and horns.... Alberti bass LH ( E major) under rapid RH scales, ends similar to b 137

Bar 284: similar to codetta music at bar 137

Bar 290: Theme 3 played by the Orch, no piano
Extended a bar, stops on chord A major in 2nd inversion.

Cadenza + Coda
This cadenza was written by Mozart. Its purpose is to showcase the soloists skill. There is a connection to the music heard in the 1st mvt.

Cadenza b 297: rapid scale passages, triplets and chromatic movement, cadenza comes to an end with a long trill on a chord of E7, harmony of A with E in the bass resolves to A in b 299

Coda: 299-314 A major

No piano. This uses the B2 material

Dialogue between flute and first violoj. And between low strings and horns...... 2nd violins play a broken chord pattern

The last five chords A-E7-A-E7-A
( I-V7-I-V7-I)
Giving a strong final cadence to this Mvt.
Orchestral exposition
Bar 1-8: A1 Eight bar melody(4+4) on first violin. accompanied by remaining strings. Repeated tonic on low strings, violins play a rising sequence in parallel 3rds, imperfect cadence in b.8

Bar 9-18: eight bar melody repeated but extended by two bars, an octave higher with WW and horns acc. Horns in A play a tonic pedal, perfect cadence b17-18

A2 Bar 19-30: A major, links A1 to B1

Twelve bar melody on violins with upbeat of three repeated quavers, repeated notes on low strings and bassoons, syncopation ( dotted crotchet on 2nd beat) and repeated notes, imperfect cadence b29-30

Bar 31: B1, eight bar melody with upbeat,on first violin repeated by remaining strings. Dotted rhythm, repeated notes and. chromatic movement, Falling sequence in b31-34 and 35-36, imperfect cadence at B38

B39: eight bar melody repeated on first violin with first bassoon playing an 8ve lower and flute joining an 8ve higher, perfect cadence B45-46

Bar 47: B2 can be split into three parts , first a five bar melody with upbeat, on first violin and seconds joining in. Syncopation and repeated notes and arpeggio figure in melody, syncopation and repeated notes in acc.

Second part, a one bar dialogue on WW and first violins played three times, rising scale at B55

Third part, the opening syncopated and arpeggio figure returns b56-62, perfect cadence in A major at B61-62

The remaining four bars bring the orchestral exposition to an end.
We expect the development to use the related keys of A MAJOR- Dominat ( Emajor), Subdominant ( D major) and the three related minors, f#minor, c# minor and b minor, however Mozarts elects not to do this. There are subtle connections by using A minor instead of major and E minor
nstead of E major.

Bar 156: four bar phrase in E minor. Dialogue between clarinets, bassoon and horns answered by piano and strings.

Two bar contrapuntal idea ( C material) on winds and horns, answered by homphonic piano and strings ( repeated semitone motif), strings play staccato, harmonic emphasis is dominat- tonic

Bar 160: Repeats above idea in C major, flute joins other wind, horns are omitted

Bar 164: Repeats idea but this time extended in two bar groups. Key is now A minor. Piano continues with the contrapuntal wind music ending in F major, Strings then take this idea and end in D minor.

Part Two: C marterial C major- A major

Bar 170: The C material is again developed, first clarinet and flute play a motif in C theme in free canon at the 4th, clarinet leaps a 10th, flute imitates but extends interval to a 12th, Clarinte has 4 entries, RH plays scales and broken scales in semiquavers, LH plays double 8ves.

Bar 177: After an F major chords, the piece begins a long dominant preparation on E which brings the music back to home key of A major for Recapitulation.

Repeated E's on low strings and horns
Held E's in bars 180-181 and 184-185 on LH
right hand plays scales and broken chords ( turns and triplets)
rising chromatic scale bar 197
Full transcript