Wolfgang Mozart Analysis

anathematized_one · 05-29-2013, 07:03 PM

Quote:

Originally Posted by d_clef

When you enjoy something enough, the analysis can bring a deeper enjoyment. It's the difference between knowing that you enjoy something, and knowing why you enjoy it. I'm a musician myself, and this kind of study can reveal profound observations - of course only if you study truly great works such as a symphony by Mozart - in lesser composers there might not be so much to discover, no matter how hard you try.

I agree, and it is especially important for a musician or composer. As you learn the theory, it becomes second nature and aids in expression, just like learning a language. Sure, you can communicate with very poor grammar and spelling, but you can communicate far easier, more fluidly and more accurately by knowing the rules, which do not always have to be followed strictly.I have studied music theory for many years and even took two courses of it at university.

I don't have time at the moment to help directly, but can offer advice.

In that time period, the "rules" were more clearly laid out. Before determining actual parts/themes, find ALL of the cadences. Themes and parts typically end with a stronger cadence than variations do (say, a perfew authentic or imperfect authentic at the end of a part and maybe a half or plagal between variations within a part).

Another thing to look for are key changes, which usually aren't written out-right (say a double bar line then the new time signature), but are usually done via modulation (chords like V7/iii → "iii" [of the new key]).

Then look at the actual progressions between cadences, ignoring ornamental things like non-chord tones, and see if any of them have the same pattern (say movement up by fourth, down by third, up by second, down by fifth).