Loading presentation...

Present Remotely

Send the link below via email or IM

Copy

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.

DeleteCancel

TMU131H Music Theory II: Mozart K545

No description
by

John Kruspe

on 8 January 2017

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of TMU131H Music Theory II: Mozart K545

ground
take flight
--------------------------------------------------------expanding/prolonging tonic harmony-----------------------------------------
A G F E
A G F E
D has been avoided thus far, so its entrance is significant:
it signals the move to dominant harmony (it's the 5th of the G+ triad)
important chromatic passing note
between F and G (fa-fi-soh)
introduces the leading note of the new key of G+
Mozart?
1 4 7 3 6 2
5 1
G major: 1-473-6251
*
* Memorize this 'phone number':
the pattern of the root movements
in a descending 5th sequence

G minor
Development:
D minor
A minor
* This pattern is NOT a sequence of descending 5ths; what is it, and why has Mozart chosen to use it here?
Second (subordinate) theme in G major
Recapitulation? *
* Not your usual choice of key for a recapitulation!
Second theme restated in the tonic key. *
* The usual choice!
(This V4/3 is secondary
in importance to I)
equals
Next:
expanding the
A-G-F-E
A
F
and so on...
m.6 = G (bass E)
m.7 = F (bass D)
m.8 = E (bass C)
until...
WHAM!!!
Fa
Fi
How important is D?
- it's given 2 full bars
- it's given its own 'tonality'
(D minor scale, complete with
the first accidental we've seen)
Re
Fa
Re
Doh
Ti
Doh
Ti
Soh
2nd theme begins with
an inversion of the
original C-E-G tonic triad!
G-B-D
C-E-G
F#-A-C
B-D-F#
E-G-B
A-C-E
D-F#-A
G-B-D
ii6
cadential 6/4
V7
I
in G:
Why? Because one goal of the composer
in the Development section is to
get rid of the 'intruder' key (G+ here)
so moving in the opposite direction
from what is 'normal' i.e. ascending 5ths
(or think of it also as descending 4ths)
creates a feeling of aimlessness - by the
time A minor arrives here our memory of
G major as the 'centre of the universe'
has gone completely out the window.

Fa
Fi
Soh
One reason for his decision
might be that F could be
interpreted as the beginning
of G's descent (see m.1)
to the final C.

Re
Doh
(landing)
(terra firma)
A
G
F
E
(with the left hand
supporting the descent
in parallel 10ths)
MI
RE
DOH
End of the Exposition
Mi
viio7 of V
D-C-B-A
! This D-C-B-A (descending 5th/"D2") pattern
we've heard before - in the A-G-F-E of the opening theme!
compound melody
repeat 2-measure basic idea
G major:
(there's also that descending 4th pattern again, this time F-E-D-C)
(In a movement in sonata form, expect the 2nd theme to be in the tonic key)
Full transcript