AS Music 2014/15

Mozart: Piano Sonata in Bb, Kv. 333, first movement

1. Date and place of composition:

2. Genre:

3. Instrumentation:

4. First performance:

Structure
Rounded Binary Form
A

A1

Tonic with modulation to

related key at end of section
(dominant)

Starts in dominant key but

passes through several keys
before the return of A.

Tonic

Exposition

Development

Recapitulation

Tonic with modulation to

related key at end of section
(dominant)

Commences in dominant
but passes through several
keys before the
recapitulation

Tonic

Early Sonata Form

Sonata Form
Exposition

1st subject

Transition

2nd subject Codetta

tonic

modulation
to related
key

dominant
or relative
major

Transition is an alternative term for bridge.

AS Music 2014/15

Development

Recapitulation

Commences in a related key but

passes through several keys before
preparing for a return to the tonic
for the recapitulation

1st subject

Tonic

Transition

2nd subject

Coda (tonic)

Tonic

Tonic

The transition in the recapitulation is also tonally unstable,

but returns to the tonic.

Mozart: Piano Sonata in Bb, Kv. 333, first movement

1. Date and place of composition:

2. Genre:

3. Instrumentation:

4. First performance:

Structure
Rounded Binary Form

Early Sonata Form

Sonata Form

Transition is an alternative term for bridge.

The transition in the recapitulation is also tonally unstable,

but returns to the tonic.

AS Music 2014/15
Mozart: Piano Sonata in Bb, Kv. 333, first movement

Exposition
(bars 1-63)

Development
(bars 634-933)

Recapitulation
(bars 934 end)

In this section the composer exposes or presents his musical material. The main ideas
are called subjects though each of these may consist of a group of ideas, rather than a
single melody. The two subjects are contrasted in key, and usually in mood and
character.
1st subject
The first theme (or group of themes) in a Bars 1-103. The first subject
sonata form piece, appearing first in the consists of 5 x 2-bar
exposition in the tonic key.
phrases.
Transition
A section of music, found between the
Bars 104 23. Notice how
first and second subjects in a sonata
the number of E naturals
form piece, which dislodges the tonic key gradually increases during
of the first subject and modulates to the these bars. The transition
key of the second subject (usually the
ends on chord V of the new
dominant or the relative major/minor).
key, F major.
2nd subject
The second theme (or group of themes)
Bars 23 49. Two themes:
in a sonata form piece. The second
theme 1 (bars 23-38) and
subject or subject group is usually in a
theme 2 (bars 39-49). The
contrasting key to the first subject, such
first theme consists of two
as the dominant.
equally balanced phrases.
The question phrase
(antecedent) starts at 23
and ends on chord V in bar
30. The answer phrase
(consequent) ends in bar 38
on chord I.
Codetta
A little coda. The final section or part of
Bars 50 - 633
a movement, like an exposition. Its
F major key is confirmed
purpose is to assert the key of the
through 3 perfect cadences
second subject through the use of pedal (actually 3 cadential 6/4s)
points and perfect cadences.
in bars 53-54, 57-59 and
623 631.
The central section in sonata form in which motifs from the first and second subjects are
developed and a wider range of keys are used (F minor (where there is a very good
example of an Alberti bass), C minor and G minor, before arriving at
Dominant preparation A section of music, found at the
Bars 87-933.
end of the development, that
This section features chord
emphasises the dominant chord
V7 of Bb.
(often by the use of a dominant
pedal) in preparation for the
return of the tonic key at the
beginning of the recapitulation.
The final section in sonata form, in which the first and second subjects are heard again
in the tonic key.
Coda
The final section of a movement Bar 152 end.
that confirms the tonic key of the The Coda confirms the
piece.
tonic key of Bb.

AS Music 2014/15
Mozart: Piano Sonata in Bb, Kv. 333, first movement
Key:
Structure:
Exposition

Development
Recapitulation

Bars 1-63
First subject
Bridge (transition)
Second subject
Closing section
Codetta
Bars 64-93
Bars 934-165
First subject
Bridge (transition)
Second subject
Closing section
Coda

1-103
104-223
224-49
50-591
591-63

Bb
Modulates
F
F
F
Modulates

934-1033
1034-119
119-1521
1521-1601
1611-165

Bb
(modulates)
Bb
Bb
Bb

Exposition: First Subject (bars 1-10)

1. Describe the texture: ..
..
2. Which hand is the melody mostly in:
3. There are no dynamic markings in the first 38 bars of the piece but what sort of dynamic does the music
suggest? .
4. Many different types of melodic decoration are used. In the first 8 bars identify the following:
a. Appoggiatura
b. Accented passing note
c. Feminine perfect cadence (resolution occurs on a weak beat)
d. Passing chromaticism (music has not modulated but you can see an accidental)
e. Suspension created by syncopation
Now mark these on your score.
5. The bass line can be described as an bass.
6. The music of bars 6-7 is a varied repeat of bars .. .

Points to note

7. The expressive character of the music is created principally by the

use of dissonance. The three melodic devices used to create this
dissonance are:

a.
b.
c.
8. The notes before bar 1 are called the .. .

Clear harmonic progressions with

regular and frequent cadences define
the tonality (key) in the classical era.
The phrasing is regular and can be
described as periodic.
The thin, two-part texture is typical of
piano writing of the 1760s-1790s.

AS Music 2014/15
Mozart: Piano Sonata in Bb, Kv. 333, first movement
Bridge 104-22
9. This opens with a variation of which theme? ..
10. Which key does the music modulate to?
11. Which accidental occurs with increasing frequency? .
12. Label the cadence at bars 15-16 using roman numerals. Be sure to include any inversions.
13. What sort of cadence happens at bar 23? ..

Second Subject (Bars 224-501)

Listen to the second subject.
1. How does the second subject contrast with the first subject?
..
..
2. What musical device is used to extend the melody in bars 27-28?
3. How is more energy injected into the music from bar 35? ..
..

The second subject can be divided up into several clear sections:

Bars 23-39 are more lyrical and consist of two balanced 8-bar phrases antecedent and consequent.
Bars 39-50 is a more energetic section.

Antecedent
23-26
31-34

Consequent
27-30
35-38

The second subject starts with an F major chord followed by a falling scale motif clearly derived from bar 1.

Note the chromatic inflection in bar 27 and passing chromaticism in bar 34.
Note the appoggiatura figure in bar 37 (derived from bar 1) and the cadential trill.
At bar 25 there is an example of a secondary dominant (a chord of G leading to C in
the context of F major)

AS Music 2014/15
Mozart: Piano Sonata in Bb, Kv. 333, first movement

Closing section (Bars 50-59)

The closing section marks the point when the energy and forward motion picks up again there is a sense of drive
towards the major cadence point at the end of this exposition.

1. The cadential progression Ic V7 I occurs at the end of the closing section. Mark this on your score.
2. Give the bar number of an example of chromatic inflection. .
3. The highest note of Mozarts piano is played in the closing section. Circle the highest note on your score.
4. Label the cadential trill.

Codetta (Bars 59-63)

The exposition could have easily ended in bar 59 following the extended cadential trill. However to balance the more
lyrical opening, Mozart extends the music with two further phrases, ending the exposition quietly and with a feminine
(delayed) perfect cadence.
Mozart uses accented dissonances where the upper note of the RH is an appoggiatura and lower note is a suspension
(bar 63).

1. Give the bar number where you see an inverted turn. . .

2. What textural device is used between the hands in bar 59 and bar 61? .

The exposition is repeated, as is the norm in 18th century sonata form, displaying the link with the precursor of the
sonata form, the rounded binary form.

AS Music 2014/15
Mozart: Piano Sonata in Bb, Kv. 333, first movement
Consolidation Questions 1
1. What is the structure of the movement? Name the three principal sections of the movement.
2. Giving bar numbers, what are the main structural features of the exposition?
3. What is the principal way in which the recapitulation differs from the exposition? (Compare bars 23-34 and
bars 119-130, giving reasons for the main difference)
4. Name the key and its relationship to Bb at the following points.
Bar
10
38
64
71
80
94

Key

Relationship to Bb major

AS Music 2014/15
Mozart: Piano Sonata in Bb, Kv. 333, first movement
Development (634-933)
1. Name the key at the beginning of the development .. .
2. Which material does it vary? . .
3. What musical device is used in the melodic line? . .
4. What dissonant sounding chord is used at bar 67 and bar 69? . .
5. Write on your score where the cadence Ic V - i appears (somewhere between bars 63-71).
6. Name the key at bar 71. .. .
7. How is more movement created from bar 71? .
Such dramatic twists of harmony were very rare in Baroque music but much more common in the Classical
period. They are a feature associated with the Sturm und Drang movement.

Bars 71-86
8. Describe the pattern in the LH at bar 71 .. .
9. Describe the RH part at bars 73-74 (think about rhythm and melodic direction)
.
10. What key does the music cadence in at bar 751? .. .
11. On 752 the key of the music is .. .
12. Name the chord at bar 76 . .
13. At bars 752 783 what harmonic device is used (it occurs in the LH)? .
14. From bars 75-77 describe the movement of the first note of each bar of the LH part .
.
15. What key has the music modulated to at bar 801? .. .
16. Describe the chord at bar 804 .. .
17. Name the chords at bar 82, and bar 844. .. .

Bar 804 - 811 is an example of a Phrygian cadence. This is when the bass line falls a semitone.
The chord progression is ivb-v.

AS Music 2014/15
Mozart: Piano Sonata in Bb, Kv. 333, first movement
Development (continued)
The dominant preparation (bars 87-93)
The dominant preparation section prepares for the re-establishment of the home key.

18. What chord is used in preparation for the return of Bb major? .

19. Which note increases the tension in the LH part (a chromatic inflection) .. .

There is also chromatic ornamentation in the RH which increases the tension.

20. Every bar between 86 and 92 commences with which chord? .. .

21. This creates what sort of harmonic device? .

AS Music 2014/15
Mozart: Piano Sonata in Bb, Kv. 333, first movement
Consolidation Questions 2

1. Describe the various ways that Mozart makes the opening melody so expressive.
2. Referring to the music, explain the following terms:

Appoggiatura
Inverted turn
Cadential trill
Suspension

3. What is periodic structure? (Refer to the music)

4. Identify three sequences in the music.
5. Where does Mozart use an Alberti bass in the exposition?
6. What do you understand by the term dominant preparation?
7. Identify the harmonic progression in bars 159-1611.
8. Explain what a chord of the augmented 6th is. (Refer to the music)
9. Mozart modifies the sense of momentum by changing the harmonic pulse. What is harmonic pulse?
10. Discuss Mozarts use of dynamics in this movement.

AS Music 2014/15
Mozart: Piano Sonata in Bb, Kv. 333, first movement
Recapitulation
Bars 934-1033 First Subject Bb major
1. These bars are a repeat of bars without change.

Bars 1034-118 Bridge Passage / transition

The bridge passage commences with a similar take on the opening motif, but the music quickly changes as the music
of bars 104-105 is extended until bar 110.

Bars 119-1521 Second Subject Bb major

Except for the key, this is the same as the second subject in the exposition.
2. There is variation of the tessitura (pitch level) for the second 8-bar phrase. This is transposed
.
3. Look at the music of bars 137-138 and compare it with the same passage in the exposition (bars 41-42). What
is different apart from the key? . .
4. What musical device is used from bars 144-146? .. .

The material in bars 147-148 is new.

5. What happens at bars 151-152? . .

Bars 152-1611 Closing Section

Apart from the key and some 8ve transpositions, this is identical to the closing section at the end of the exposition.

Bars 161-end Coda

Apart from the key this is identical to the codetta at the end of the exposition

AS Music 2014/15
Mozart: Piano Sonata in Bb, Kv. 333, first movement
The chief characteristics of music composed circa 1778-1790

The importance of elegance and refinement

Triadic themes
Passing chromaticism (often as chromatic scales and in chromatic appogiaturas)
Many contrasting themes
Balanced phrases periodic structure/phrasing antecedentconsequent phrasing
I-V, V-I opening phrases
Clear harmonic progressions
Many cadences (that define keys)
Cadences often on weak beat (feminine or sighing cadence)
Cadential trills, particularly at the end of a cadenza
Relatively slow harmonic rhythm
Melody dominated homophony homophonic texture is most prevalent (in piano music the crystal-clear
textures are created by a 2-part texture with just one note played at a time in each hand)
Broken-chord accompaniments the Alberti bass in keyboard music (and repeated-note accompaniments in
strings called Trommelbass)
Tension varying in the course of a movement
Ornamentation, mainly trill, turn and leaning notes (appoggiatura- both diatonic and chromatic)
Sonata form the 4 movement sonata plan
The piano as a solo and accompanying instrument