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JUNE 2009 YEAR: 2 VOL: 2 NO: 3
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ur is Jou Journa rna Music Music E ucat ucation ion The Refereed Scholarly journal of the
NE 2 9 YE Y EAR: 2 V L ME: 2 N :
TThe he Refereed e er er Scholarly ho r journal n l of of the he
Fatih YAYLA, YAYLA, Editor Ayşegül ATAK YAYLA, Copy Editor Mehmet TOZLUTEPE, Layout Editor Süleyman TARMAN, Proofreader, Publishing Editor
Electronic Article
The SONA SON ATA: ANALYSIS ANALYSIS of o f MOZART MOZA RT SONAT SON ATA A in G (KV 283) Metin MUNZUR ©2008 All rights reserved. The content artical is the sole responsibity of the autpor. The TJME, TJME, is not liable for any legal actions that may aribe involving the article’s article’s content, including bun not limited to, copyright in ringament ringament.. ISSN: 1307-3389 This article is part of an issue of online journal TJME (Turkish Journal of Music Education) www.t me.n me.net et üzi Eğit Eğitimi imi Yayın arı www.m www.muzi uzi egit egitimi. imi.net net
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The SONATA: ANALYSIS of MOZART SONATA in G (KV 283) Metin MUNZUR
Abstract: The purpose of this study is to understand the form of “Sonata Allegro”, which is counted as the first movement of classicial sonatas. In this contest, it aims to comprehend the formal and the harmonic srtucture of the first movement of W.A. Mozart’s Piano Sonata; Nr. 5 in G Major(KV282) by detailed analysis. Pianists would be able to ponder more contiously on the formal structure by examining the structure. This would enable them to add much more frear soul to their interpretations. In this study the “Sonata Allegro” form and its schematic diagram were explained. Next, the first movement of the Piano Sonata; Nr. 5 in G Major(KV282) by W. A. Mozart was analysed in details.
Özet: Bu çalışmanın amacı, klasik sontaların birinci bölümü olan “Sonat Allegrosu” formunu kavramak ve bu bağlamda W.A.Mozart’ın, Sol majör (KV. 283) 5 numaralı sonatının birinci bölümünün formal ve armonik kurgusunu, yapılan analizler doğrultusunda daha iyi anlayabilmektir. Örneklerde gösterilen detaylar, piyanistlerin eserin formal yapısı üzerinde daha bilinçli düşünmelerini
ve yorumlarına daha özgün ifadeler katmalarına olanak
sağlayacaktır. Çalışmada öncelikle “Sonat Allegrosu” formu anlatılmış ve şematik kurgusu verilmiştir. Sonrasında ise Sol majör (KV. 283) 5 numaralı sonatının birinci bölümü detaylı olarak analiz edilmiştir.
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T e sonata is a ig y expressive instrumenta work written or one or two instruments, composed of three or four successive movements with various characteristics. (CANGAL, 2004). This term, which is derived rom the word sonus, Latin or sound and tone, is sonata in Ita ian an sonate in German an Frenc . It entere t e Tur is voca u ary as sona w t t e Frenc pronunciation. T e sonata an t e sonata-a egro are two concepts that should not be con used. The sonata is not a orm but a mixed genre like the symp ony, quartet, suite, etc… W ereas t e sonata-a egro is ca e t us ecause it is usua y encountered in the rst allegro movement o wor s suc as t e sonata; t e sonata-a egro is a orm and structure and urthermore, it can be use in wor s ot er t an t e sonata, in every sort o movement, ast or slow (USMANBAŞ 1974). In t e c assica sense, a sonata is genera y composed o three or our movements: Movement: In sonata-allegro form and with a quick tempo. t
Movement: S ow tempo, usua y in t e lie form. nd
Movement: A minuet in exten e ThreePart Song-Form. After Beethoven this movement ecame a sc erzo. r
Movement: This movement, which has a lively character, is generally in rondo form. th
SONATA ALLEGRO A classical sonata-allegro form is as follows: EXPOSITION
e m e h T e n g i i a d r M B
e m e h T y r a d t n t o e c d e o S C
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DEVELOPMENT
n e m p o e v e
e g i r
RECAPITULATION
e m e T n i a M
e g a s s a P a n o i t i s n a r
c i n o t n i ( e m e h T y r a d n o c e
A D C
t t e o C
The Exposition 1. This is a musical idea that can be expressed in various ways and can be long or short according to the length of the theme. It generally has two parts but its main quality is that it has a speci c air suitable or multiple treatments urther on in t e piece. 2. Transition to t e t eme can e one in two ways: -
Wit an origina transitiona p rase,
With the last phrase o the main theme ea ing into t e ri ge -
The secondary theme is in a di erent key and in mar e contrast to t e main t eme, w ic at the same time is consistent with it. It is ollowe y t e co etta. The Exposition ends on a perfect cadence.
The Development The middle Division of the sonata allegro is ca e t e Deve opment. Here, previous y exhibited thematic motifs are freely treated, elaborated, and developed. Some of the requirements of the Exposition do not apply here: The choice, sequence and form of the material to e treate are not su ject to any ru es. Due to these characteristics, this Division presents a erfect contrast between the Exposition and the Recapitu ation.
The Recapitulation Here, the Exposition is repeated in a slightly enlarged and altered form. In sonatas in which the Exposition is prolonged the main theme may be shortened. Here the transitional passage to the secondary theme is modified. Furthermore, the secondary theme generally enters in the key of the main theme. The codetta is preserved unchanged enabling the transition to the CODA.
The CODA The general purpose of codas is to conclude the entire movement, secure balance between
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the movements and perhaps reach a second climax, and achieve a bright ending. Still, it revolves around a main tone and there is an attempt to reinforce the feeling of tonality. In some instances the CODA may act as a second development due to these characteristics, and can, in these cases, more or less follow the first development. This is usually the case when the sonata allegro is especially long. (Usman aş, 1974). EFEREN E CANGAL, Nurhan: “Müzik Formları”, Arkadaş Yayınevi, Ankara 200
USMANBAŞ, İlhan: “Müzikte Biçimler”, Milli Eğitim Yayınları, Istanbul 197
SAY, Ahmet: “Müzik Sözlüğü”, Müzik Ansiklopedisi Yayınları, Ankara 2002
W.A. MOZART ANALYSIS of PIANO SONATA No.5 in G Major (KV 283 Mozart composed this sonata in 1775 in Munich. The sonata is in the key o G major. Looking at the general outline o this sonata, which begins with a short measure, the characteristic gure that stan s out is the dotted eighth and the sixteenth note.
This gurative structure is rhythmically repeated at speci c points o the work. The first group of themes ends with a cadence o s xteen measures and in the key of G major.
The main theme is periodic in nature and is composed of two parts. The second Part, consisting of six measures, is repeated after the cadence but starting an octave lower. T e ri ge commences wit sixteent -note mot on on the second eighth o the second beat o the measure with which the Principal theme ends. Though this bridge seems to be derived from the sixteenth notes in the first group of themes, it actually has a different characteristic form of its own.
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transition (in the dominant key) from the first group of themes to the second. This bridge has been used again in ull without modi cations in the Recapitu ation. The second group o themes is syncopated and is in the dominant key (D major . This theme is perio ic as we , an in its secon p rase t e same structure as een treate in sixteent notes.
Like the Principal theme, the Subordinate theme is also composed of two sections. The first section is the theme beginning with syncopation and ollowed by sixteenth notes, and the second section is the theme which begins by reinforcing the tonality, followed by repeated motifs. The succession o eighths in the second section o the Principal theme orms a contrast to the use o eighths predominating the Principal theme. The subordinate theme is longer than to the Principal theme. The Subordinate theme, consisting of twenty two measures, leads into the closing group with a brie connecting passage o two measures.
When this structure is simplified and the ornamentation is removed, the following composition emerges: ISSN: 13073389
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in t e rig t an is imitate between A and D in the left hand. The same measure is repeated once more, thus reinforcing the tonic-dominant effect before leading into the closing group. We had encountered a similar use in the le t hand part o the main bridge between the main and secondary themes. The material of the main bridge, which functions via sequences, is used in the second brie connecting passage as well. to
Above is the le t hand’s ascent through eighth notes. The actual material of the closing group is the Subordinate theme and is derived from the secon ary t eme, to w ic it is ig y simi ar wit in t is context ue to its syncopate structure.
A ter a phrase o three measures, this structure, as in the second phrase o the secondary theme, is repeated using an ornamentation of sixteenth notes, forming a cadence in the dominant key ma or . s ca ence as een pro onge two measures us ng an ep ogue ca ence. s pro ongat on enhances the effect of the D ma or ey. The descent in parallel thirds between quarter notes in the right and left hands had previously been used in syncopation in the secondary theme, but was not as noticeable due to the syncopation. Reintroducing it on the same beats in the closing group highlights this structure.
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The section to follow the cadence in the dominant key is no doubt the Development . In most classical sonatas the Development has been conceived in the dominant key. In t is artic e, t e Deve opment as een ana yze in two sections, an B. T e Deve opment egins wit an ascent t at starts in the tonic in D major an en s n the dominant. T e r yt mic structure here forms a contrast to both the Principal and Subordinate themes. The fact that the measure o three quarter notes contains one quarter in its upper part and two quarters in its lower part produces a typical waltz-like e ect. In the Development the composer has created new ideas by modi ying rhythmic and harmonic elements taken rom the main or secondary themes. All o these ma e up t e Deve opment. T ese i eas are genera y perio ic in nature. T e composer as ept t e sonata’s Development brie and has used motivic materials quite economically. The rst eight measures, that is section , have a periodic structure. Functionally they resemble the I – V – I of the main theme. The second phrase of the second period is a version of the first phrase treated through variations. Structurally it is the same, but in the second phrase, the le t hand part enters an octave ower. Though it may be a remote comparison the way adjacent notes are used is also similar. Naturally these adjacent notes are used with di erent times and values.
Below is shown the functional structure and a detailed analysis of the Development:
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Section , t e secon section, uses a pe a note an , as can e unmista a y un erstoo in t e last our measures, it exhibits a structure that prepares t e Recapitu ation, i.e., t e re-exposition. In any case, the tonality o the Development provides the dominant chord or the main theme. n section B we encounter a triplet ornamentation which we had not met with previously.
This ornamentation is built around the D note and the same motion enters two measures later em e is ing t e C note. Another similarity is the use of descent between the left hand notes of the secondary theme, s own in circ es e ow, an t e ot er notes s own in circ es.
This use o escent is also similar to the syncopated descent o the secondary theme. In the last our measures o section , sounding the tone colors o the chord o the dominant seventh prepares the G major tonality, which is the main tonality, and by sounding the main theme, t e Recapitu ation egins. T e ornamentation in C s arp efore the note, which is the first point o t e Recapitu ation, reca s t e C s arp used in the triplets o the Development. In this Part what is rather used is the material o the main theme, and it is repeated with modulations. The characteristic moti o the main theme, which is a motion composed o the dotted eighth and the sixteenth note, reappears immediately afterward in the A minor tona ity. S i ting ater to C ma or it returns to G major via t e su ominant o t e main tona ity o t e wor . The bridge between the main and secondary themes is introduced with exactly the same structure it a in t e Exposition. Though the secondary theme entered the Exposition in the dominant tonality, in the Recapitulation it enters in the main tonality of the work, which is G major.
Just as in the Exposition, it is ollowed by ornamentation in sixteent notes.
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an octave higher. Below is shown, accompanied by a unctional analysis, the closing section o the development an ow it ea s into t e re-exposition:
The work’s Subordinate theme after the bridge and what follows after that is introduced with exactly the same structure as in the Exposition and this time the same cadence is reintroduced in the main tona ity G ma or . In conclusion, it has been observed that the Development in this sonata is not very long, and that the rhythmic and harmonic structure ormed by the Development consists o a group o new ideas comprising small moti s and ornamentations derived rom the Principal and Subordinate themes. Small modulations are performed in the Recapitulation, and subsequently the work ends with a cadence in the main tonality, in line with the sonata concept.
Score Writings: Metin Munzur, Fina e 2006 ISSN: 13073389
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