mozart
The Rondo is a musical form characterized by the repetition of a melody interspersed with several other less prominent parts, often used in the final movements in sonatas, symphonies, and quartets. Formally, the main theme is labeled A, and parts labeled B, and C alternate with it to create the rondo form: ABACA. In the Rondo, the main theme must be repeated at least three times, thus at least two episodes of new material are required.
The Rondo indie works can also be added to the overture, intermediate transition, ending, etc., but the main part is the Rondo. The rondo is divided into two categories, one is a single revolving piece in each part, and the other is a compound rondo in each part. The rondo has a lively and enthusiastic character, which is suitable for a happy atmosphere and is mostly used for dance music. It can also be used as one of the major pieces of a large-scale work, and the last part of the general concerto uses a rondo.
This excerpt is Mozart Rondo in A minor K. 511
The melody in the Galant style interrupts the preceding melodic tendency with a sequence of short, well-defined phrases of two to four measures in length. These phrases establish a period and a melodic style that is characterized by frequent cadences. The melody from the beginning of Mozart Flute Concerto in G (K.313) is an example of the characteristics of the melody in the Galant style.
A selection from the third movement of Mozart's Piano Sonata in D Major, K. 284 (Var. VII)
The selection contains an Italian augmented sixth chord (at 0:05), followed shortly after by a German augmented sixth chord (at 0:10). Augmented sixth chords were often used in the eighteenth century to add drama and tension to a piece.
This timpani excerpt is from Mozart’s Symphony No. 39. Mozart was one of the first composers to use timpani in a symphony. This excerpt is an example of how timpani was used in the classical period and is considered easy by modern standards. It outlines and emphasizes the dominant to the tonic relationship (or sometimes the perfect authentic cadence at the end). According to “The Double, Double, Double Beat of the Thundering Drum: The Timpani in Early Music” by music historian Edmund A. Bowles, the timpani around 1788 (the year Mozart’s Symphony No. 39 was written) is different from what we see in orchestras today. A set of timpani back then included two drums (18-20 inches each) instead of four (20-32 inches each). The tuning system utilized during this time period (a set of 6 or more lugs that had to be individually tuned, rather than the pedal mechanic used today) made it hard to tune in a short time. That is why most timpani parts from this period are only for two pitches that do not change during a movement.
Sound recording of Joe Provenzano playing Concerto No. 3 in Eb Major by Mozart on a french horn Recorded on an iPhone 4