Sonata Form

A
Exposition Intro 1st subject Bridge 2nd subject Codetta

B
Development

A
Recapitulation Recap of 1st or second subjects or both Coda

Using 1st or second subject or both in dominant, sub-dominant or relative minor

Exposition First movement is molto allegro and 4/4 time No introduction First subject looks like this:

What else happens in this Mozart symphony?

It is accompanied by lots of quavers in the other string parts

 The first subject is made up of scales and a leap of a 6th The first subject is then repeated as a sequence (the same gap between notes but starting a note lower) After this there is a dominant pedal on strings (lots of Ds!)

Bridge bit First subject now in Bb major Oboes and bassoons fill in harmonies Horns come in for first time Big forte passage Descending sequences in the violins using 3rds

New Section for today 2nd Subject Bars 44 - 72

MUST be able to analyse the 2nd subject to Mozart 40 and discuss the features SHOULD be able to analyse the 2nd subject to Mozart 40 and discuss features using specific vocabulary COULD be able to discuss the 2nd subject using specific vocabulary and be able to compare and contrast with Handel Set-Work

Second Subject (bars 44-72)

New Theme (called the 2nd subject) in Bb major More relaxed Use of Semi-Tones Bb Major perfect cadence link String and Woodwind swap tune playing duties Theme extended , Dom 7 chord then use of cresc. And chromatic movement

In detail.....
BAR NUMBER 44 - 51 ANALYSIS Relative Major Key More use of semi-tones (chromatic music) Falling figures 44-45 and 48-51 the music is sighing! In Mozarts time, chromatic movement used to feature grief and sadness :-( Perfect Cadence in Bb The theme is extended by 1 bar sequences Harmony is the Dom 7th in Ab Major Music moves upwards chromatically and gets louder at the same time too Chords of Ic-V7-I in Bb Major at bars 64-66 A new 6 bar idea is heard in the unison violins its made up of chromatic ascending quavers. This then descends from Bars 70-72. The section ends with a Perfect Cadence in Bb Major (Bars 71-72)

50 - 51 58 66

66-72

Practical
Looking at the new theme for the Second Subject - see how the Woodwinds and the String section feed each other musical lines? In your groups, take a melodic line each and now work towards getting the different lines flowing in your group as they do in the actual performance. Take a note of the dynamics and articulation and make the performance authentic