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Mozart G

1. The big picture of harmony and rhythm in the second movement of the Mozart G is that fact that it is the andante, or singing tempo. That is consistent with the idea of establishing a melodic and harmonious line. That the movement is also in three-quarter time helps reinforce the dancing context. Melody and dance are both conducive to the movement of human beings, and humans in action are ipso facto consistent with the idea that classical music is dramatic.

The surface rhythm of the movement never leaves three-quarter time, which supports the concept of a harmonious musical environment that is connected to classical style. The rhythm of the second movement differs from that of the first movement, the allegro, in four-four, and from the third, the allegretto, which is in cut time. Yet within that scheme are notation variations and emphases that rely on the three basic beats of a measure without ever particularly using them. Not until measure 9 do the notes beat a standard 1-2-3 value for any instrument, and it is assigned to the French horn, lasting for exactly one measure. After that, a standard 1-2-3 value remains rare. The piano gets one at measure 16, and the second violin gets one at measures 74 and 80. At 108, the piano's bass line pounds out a 1-2-3 below a very active treble line. The importance of the beat, however, surfaces at measure 120, two measures before the cadenza begins, when the horns, piano, viola, and cello forcefully pound out a 1-2-3 measure. After that it is a matter of resolving the accretion of themes to the end of the movement with virtuoso note and finger work on measures whose value varies.

On the whole, the variation in notation value in the second movement tends toward lightness. Most of the score's notes have shorter values than the time signature. Where a quarter note is established, as in piano measure 90, it is followed by highly varied note values that suggest ornament, lightness, and flight.<...

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Mozart G. (1969, December 31). In Retrieved 19:06, June 02, 2020, from