Mozart's Clarinet Concerto in A major: An Examination of Musical Elements, Exams of Nursing

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Clarinet Concerto in A major exam

Section A - melody - The main theme features two balanced phrases that are mainly conjunct with some chromatic movement and some use of sequence. The solo clarinet passages make much use of conjunct and triadic movement. The solo clarinet passages also cover a very wide melodic range and was written to exploit the capabilities of the clarinet and to demonstrate the virtuosity of the soloist. Section B - melody - The melody in the first part of section B features conjunct, triadic and ascending and descending arpeggio figures this theme also features acciaccaturas and some passing chromaticism. Section B also covers a wide melodic range to demonstrate the versatility of the clarinet.. Section C - melody - The main melody in Section C is mainly triadic with some conjunct movement at the end of each 4-bar phrase. The melody features descending and ascending scalic figures and some disjunct and angular leaps. The range of the clarinet melody in this section spans almost 3 octaves. The most of all sections which demonstrate the versatility of the instrument. Coda - melody - *The section begins with the clarinet playing ascending and descending arpeggio figures, after which, it plays a mainly conjunct melody, with some angular figures. There is also some development of the main theme. ending

Clarinet Concerto in A major exam

with the solo clarinet concluding the movement with a cadential phrase that is mainly triadic. Section A - harmony - The main theme uses a perfect cadence (bar 2), an imperfect cadence (bar 4), an interrupted cadence (bar 6) and a perfect cadence (bars 7-8). The harmony is diatonic and functional. and The section ends with a perfect cadence. A tonic pedal is also played by the violas, cellos and double basses in bars 33-35. Section B - harmony - Section B is mainly diatonic, although there is some use of chromatic harmony (e.g. diminished 7th and augmented 6th chords, with the lower string instruments playing tonic and dominant pedal notes. Section B ends on a dominant chord, which helps to prepare the return of the Rondo theme in A major. Section C - harmony - The harmony is mostly diatonic, with some chromatic harmony (e.g. diminished 7th and augmented 6th chords). Mozart uses a circle of fifths harmonic progression (D-G-C#dim- F#m-Bm-Em-A7-D). ending on a prolonged A7 chord instead of a D major to pivot it into D major.

Clarinet Concerto in A major exam

Coda - harmony - The harmony is diatonic and functional. The main theme uses a perfect cadence, an imperfect cadence, an interrupted cadence and a perfect cadence. A tonic pedal is played by the cellos and double basses. The section ends with a perfect cadence. Section A - Tonality - A major (with passing modulation to E major) Section A1 - Tonality - A major to F# minor Section A2 - Tonality - D major to A major Section A3 - Tonality - A major (with passing modulation to E major) Section B - Tonality - A major (with passing modulation to E major), then E minor, then E major, then A minor. Section B1 - Tonality - A major, then A minor Section C - Tonality - A major (with passing modulation to E major)

Clarinet Concerto in A major exam

Coda - Tonality - A major Section A - Structure - The movement is in rondo form: Section A (bars 1-56) Section A1 - Structure - The movement is in rondo form: Section A1 (bars 114-137) Section A2 - Structure - The movement is in rondo form: Section A2 (bars 178-187) Section B - Structure - The movement is in rondo form: Section B (bars 57-113) Section B1 - Structure - The movement is in rondo form: Section B1 (bars 188-246)

Clarinet Concerto in A major exam

Section C - Structure - The movement is in rondo form: Section C (bars 138-178) Coda - Structure - The movement is in rondo form: Coda (bars 301-353). Timbre - Sonority - This concerto is scored for a reduced classical orchestra, including 2 flutes, 2 bassoons, 2 horns in A, solo clarinet, 1st violins, 2nd violins, violas and cellos and double basses. Transposing instruments - Sonority (timbre/instrumentation) - The horns and clarinet are 'in A', meaning that when the written pitch is 'C', the sounding pitch is 'A' As a result, the horns and clarinet sound a minor 3rd lower than what is written. They have a different key signature. The horns and clarinet have a key signature of C major, even though the tonality is A major). Role of the woodwind instruments - Sonority (timbre/instrumentation) - The clarinet is the soloist of the concerto and plays the melody. Mozart writes difficult melodies for the clarinet. Mozart's writing for the clarinet uses all three registers - low/chalumeau, middle/clarino and high/altissimo. The flutes are often used to fill out the harmonies. The flutes sometimes play or double the melody. The

Clarinet Concerto in A major exam

bassoons are used to fill out the harmonies. The bassoons double the melody at certain points. Role of the brass instruments - Sonority (timbre/instrumentation) - The horns are used to fill out the harmonies. The horns sometimes play pedal notes. Due to the limitations of the instrument, the horn is limited to the notes of the harmonic series. As such, it can't play melodies easily. Role of the string instruments - Sonority (timbre/instrumentation) - The 1st violins play the melody, especially when the soloist isn't playing. At other times, they provide harmonic support and play accompaniment figures. The 1st violins sometimes play in thirds with the clarinet soloist or 2nd violins. The 2nd violins often provide harmonic support and mainly play the accompaniment. The 2nd violins sometimes play the melody instead of the 1st violins. The violas provide harmonic support and mainly play the accompaniment. The cellos and double basses provide harmonic support. The cellos and double basses sometimes play pedal notes. Texture as a whole - On the whole, the texture is melody and accompaniment. There are alternations between lighter/reduced texture and tutti orchestrations.

Clarinet Concerto in A major exam

Section A - Texture - The texture is melody and accompaniment. Mozart occasionally uses parallel 3rds (e.g. between 1st and 2nd violins). Section B - Texture - Overall, the texture is melody and accompaniment. The texture at the start of Section B is much lighter than end of previous section. Mozart creates textural variety with some subtle use of polyphony. E.g. the clarinet melody is imitated in the violins. Section C - Texture - *The texture is melody and accompaniment. This section features antiphony between (low register) clarinet and strings. Coda - Texture - The texture is melody and accompaniment. Mozart occasionally uses parallel 3rds (e.g. between clarinet and 1st violins). Tempo, metre and rhythm as a whole - The tempo is 'allegro' (lively or fast). There are no tempo changes. The metre is 6/8 (compound duple time) throughout the section. Section A - Tempo, metre and rhythm - Rhythmic features include the use of anacrusis, semiquaver movement and some use of syncopation.

Clarinet Concerto in A major exam

Section B - Tempo, metre and rhythm - Rhythmic features include persistent semiquaver writing in the clarinet melody. Section C - Tempo, metre and rhythm - The rhythm of section C is based on a repeated crotchet-quaver (trochaic) figure, providing contrast to the persistent semiquavers of the main theme. Other rhythmic features include the use of anacrusis and mostly quaver movement. Coda - Tempo, metre and rhythm - Rhythmic features include the use of anacrusis and semiquaver movement. Section A - Dinamics and articulation - The movement begins with a dynamic marking of piano (soft). When the strings play the main theme, each 4-bar phrase starts piano (soft), crescendos to forte (loud) and ends piano (soft). The remainder of the section alternates between piano (soft) for the solo clarinet passages and forte (loud) for the tutti passages. Articulation markings alternate between legato (smooth) and staccato (short and detached). Quaver movement is often marked staccato and semiquaver movement is often marked legato.

Clarinet Concerto in A major exam

Section B - Dinamics and articulation - The dynamics are more expressive in this section. Moments of harmonic tension are emphasised by sfp (sforzando piano). Articulation markings alternate between legato (smooth) and staccato (short and detached). Quaver movement is often marked staccato and semiquaver movement is often marked legato. Section C - Dinamics and articulation - The section begins and mostly remains piano (soft) with one short and abrupt explosion of forte (loud). The clarinet melody is marked legato. There is some use of staccato articulation in the strings accompaniment. Coda - Dinamics and articulation - The section begins with a dynamic marking of piano (soft). The remainder of the section alternates between piano (soft) and forte (loud). The movement ends with a forte (loud) dynamic marking. Articulation markings alternate between legato (smooth) and staccato (short and detached). Quaver movement is often marked staccato and semiquaver movement is often marked legato.