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We managed to get there with the analysis of the development section of Mozart’s Piano Sonata in Bb, K. 333, first movement, but it is hard going, trying to picky your way through the tonality when it keeps modulating, isn’t it? You must know this information accurately for the exam, so it is important that you get a grasp on it.

We listened to three contrasting pieces – Vivaldi’s Violin Concerto Op. 9 No 4, which did a series of fairly predictable things using sequence, imitation and pedal, written in 1713. The Introit from Mozart’s Requiem caused a few more problems. Maybe it was the slow tempo that did it? Anyway, this grandiose piece was composed in 1791, and he didn’t quite finish it before he died later that year. Tchaickovsky’s Pathetique Symphony, no. 6 was also written in the final year of his life, 1893, and contains many typical Romantic characteristics, such as irregular phrase lengths, vividly contrasting dynamics, chromatic harmony and varied tonality. The score is also full of small details of phrasing and articulations too. Tom is providing us with our listening extracts next week, so it will be interesting to see what he comes up with.

This week’s chorale is still a perfect cadence, but you will need to work very hard to avoid parallels, doubling the wrong note, such as the leading note. Last week’s answer is here.

Finally, our compositions need a push now, so we crack on with them and build some momentum before Christmas. Here’s the homework, and have a good week.

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