Follow these activities and complete what you don't get done in class for homework.
Get the score here.
1. Read your textbook and research the piece on the web. What genre is it? What is it scored for? Where, when and for whom would it most likely have been heard? What does the title mean?
2. Use the web to find definitions and usual characteristics of the following subsections of the sonata-allegro form, and what usually happens in that section (in terms of melody, tonality, modulations, texture, mood etc):
Exposition:
First subject group (first theme)
Transition
Second group
Closing theme/codetta
Development:
Development
Retransition
Recapitulation - (which parts are different from the exposition? how?)
First subject group (first theme)
Transition
Second group
Closing theme/codetta
Coda
3. Log in to the Enjoyment of Music site and view the graphic explanation of Sonata Form in Eine Kleine Nachtmusik. Label each of the above sections in your score of movement 1.
4. Divide the piece into 6 (Annabelle: First subject; Emma: transition; Indiana: second group/codetta; Jordan: development (1st part); Lucy: retransition; and Sabrina: recapitulation) in a couple of paragraphs, compare your section with the usual features of that section within sonata form. Look at Mozart's use of tonality, contrast, development techniques, melodic structure and texture, and the character of the melody.
Type your answers up so we can cut and paste them straight into the blog here for all of you to refer to later.
Transition - Emma
Mozart's use of tonality, contrast, development techniques, melodic structure and texture, and the character of the melody.
Overall the transition in Eine Kleine Nachtmusik is very typical of that within a usual sonata form. The transition uses a very direct modulation. It explores new chords (such as C# diminished, B minor…) and introduces some new material to create a brief developmental section but mainly alters between A7 and D. The C#’s prepare us for the new key change to the dominant key. The transition goes on for 10 bars where the modulation is extremely abrupt. Thick texture is created through the use of repeated quavers/semi-quavers and double stops (eg. In violia part from bar 22). The sudden bursts of sforzandos and the overall crescendo of the transition heighten the intensity and indicate that change is about to happen. These features are all characteristic of a typical transition section within a sonata form.
Development section - Lucy
Tonality:
The development starts in the same key as the exposition ended however The sense of key is destabilised through the use of keys less closely related to the tonic with the use of chromatic notes and also by passing through keys quickly rather than settling in them. The section typically ends by dwelling on a dominant chord of the original tonic key.
Contrast:
Whole piece:
Contrast is seen through the snippets of the different themes taken from the exposition – first subject and the codetta from the exposition are developed. Also, the relatively fast key changes create a different sound to the piece that the listener has not experienced yet.
Within the development:
Dynamic changes and mood changes are contrasting features i.e. from loud and triadic to soft, light and melody in steps.
Development techniques:
Motifs of themes from exposition being developed as well as in Eine Kleine, the descending sequences with chromatic notes
Melodic Structure:
The development starts with thematic material from the first subject of the exposition, in this piece; the codetta theme is also used and developed. During the development of the codetta theme, we reach the retransition (the chromatic ascend and sustained high note in violins with the sequenced descend of the middle range strings, an overall contrary motion feel), which will ultimately take us to the recapitulation.
The texture of the development in this piece changes due to the different themes. For example, the first subject is explored first. This triadic moving theme is pompous and heavy but very thick in texture in comparison to the codetta subject, which is second. The codetta subject is softer in dynamics and with the use of more notes (no rests) the texture is still visibly thick, but audibly, it is much thinner than the first subjects theme.
Character of melody:
As mentioned in previous paragraphs, the development consists of the first subjects theme and the codetta theme. These two thematic ideas are very different to each other, hence the character of the melody contrasting.
In the firs subject theme, the melodic character is more of a strong, confident sound, whereas the codetta theme character is more ‘fairy’ like and graceful.
5. Apart from the use of sonata form, what musical features make Eine Kleine Nachtmusik representative of the Classical Period? List at least 10 points across all concepts.
Why is Eine Kleine Nachtmusik part of the classical period? - according to Lucy
1. Contrasts in moods
2. Different, more flexible rhythms i.e. use of syncopation bar 24-25
3. Melodies are tuneful and easy to remember, more thematic
4. Gradual dynamic changes are used i.e. crescendos and decrescendos
5. No basso continuo
6. Instrumentation – typical string orchestra
7. Homophonic texture
8. Predominantly triadic chord structures with occasional sevenths
9. Clearly defined musical phrases with contrasting themes
10. Diatonic harmony was more typical than chromatic harmony
according to Emma
• Diatonic and simple melodies
• Use of consistent rhythms
• Triadic harmony
• There is no basso continuo
• Homophonic texture
• Use of scalic patterns
• Use of gradual dynamics (crescendos, diminuendos, swells)
• String quintet typical of Classical Period
• Fexible pulse
• Contrast of mood and themes
according to Emma
• Diatonic and simple melodies
• Use of consistent rhythms
• Triadic harmony
• There is no basso continuo
• Homophonic texture
• Use of scalic patterns
• Use of gradual dynamics (crescendos, diminuendos, swells)
• String quintet typical of Classical Period
• Fexible pulse
• Contrast of mood and themes
