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549:. It starts with a forte chord and is followed by a passage of fast 16th notes in the right hand. This is directly followed by parallel sixths between the left hand and right hand lower voice, creating a harmony contrasting to the opening single 16th-note passage. There is a change of character in measure 16 where the music is marked
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major beginning at measure 112. The second half of the development section (starting at measure 112) presents a new melodic theme, followed by several broken chords before finally arriving at a dominant chord at measure 139. It is implied that the music is 'standing on the dominant' from measure 139
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The development section begins at measure 91, restating the theme from the exposition, but in C minor. The first half of the development uses the model sequence technique, repeating a 4-measure idea of continuous 16th notes constructed of a descending scale, followed by parallel sixths between the
562:
and the right hand has a simple melody embellished with ornamentation and back-and-forth contrasting legato to staccato articulations. Measure 22 displays yet another character change, where both hands are playing in unison (one octave apart) forte and staccato while moving in an ascending sixth
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The recapitulation presents the first theme unaltered until measure 169. The remaining recapitulation presents the same thematic ideas as the exposition, just in slightly altered versions. It concludes with a pianissimo cadence, strikingly different in comparison to the opening of the movement.
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The development section begins at measure 94 with a new melody, focusing on the transitional passage between the second and closing themes in the exposition. As in the exposition, the development includes strikingly similar musical characteristics such as the contrasting forte piano dynamics,
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form. At the beginning, there is a melody accompanied by an
Alberti bass figure in the left hand. The next phrase is the same, except the key immediately changes to the parallel minor,
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571:(measures 50–64), before coming back to C major at measure 65 and staying in the dominant key through the end of the exposition. Throughout the entire exposition, Mozart uses the
157:, K. 331. Mozart wrote these sonatas either while visiting Munich in 1781, or during his first two years in Vienna. Some believe, however that Mozart wrote this and the other
348:, this sonata is the one Gumbril thinks of every time he imagines Emily's body; from his description of the key sequence, he is thinking specifically of the first movement.
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431:. A lyrical passage with a minor descending scale ends with the dominant key. The music then turns happy and joyful, until the end, when the phrases end with a
300:. Immediately following thereafter is parallel motion in both hands in very similar rhythm. A sudden change follows, with the F major key changing into the
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324:, parallel thirds in the right hand, trills in the right hand, and left hand octaves and broken chords. The exposition ends at measure 93 in C major.
331:
The first movement concludes with the recapitulation starting at measure 133, where the first thematic area returns unchanged, the transition
320:, is in galant style, and is immediately restated in varied form (m. 49). The remainder of the exposition includes many forte piano dynamics,
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left and right hand lower voice, followed by a broken dominant seventh chord. This section goes through modulations from C minor, to
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figure. Next, there is a short melody with the left hand echoing it, while the right hand plays a two-part phrase that includes a
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to distant harmonies yet closes on the tonic, and the remainder of the exposition returns, transposed into the tonic.
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through octaves and broken chord patterns. This is then followed by C major (measures 41–49), and then
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268:. There are two basic characteristics exemplified in the first movement: the song-like
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during a summer 1783 visit to
Salzburg made for the purpose of introducing his wife,
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The first theme of the exposition begins with a right hand melody over a left hand
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and takes approximately 18 minutes to perform (25 minutes with repeats).
169:. All three sonatas were published in Vienna in 1784 as Mozart's Op. 6.
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hemiolas, left hand octaves, and parallel thirds in the right hand.
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and the combination of styles. Mozart uses diverse styles including
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until the recapitulation returns at measure 148, ending on a
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1130:
List of solo piano compositions by
Wolfgang Amadeus Mozart
472:
Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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The last movement is a rollicking virtuoso movement in
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is heard playing this piece during a piano lesson with
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563:sequential pattern. The music briefly modulates to
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1119:Sonata in C major for keyboard four-hands, K. 19d
780:(interactive score) on Verovio Humdrum Viewer (
587:, C major again, F major, and then finally to B
1076:Sonata in C major for piano four-hands, K. 521
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8:
627:. Belmont, California: Wadsworth. pp.
312:23. The second theme (m. 41) begins in the
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792:International Music Score Library Project
435:of B-flat major, which resolves into the
1171:Piano sonatas by Wolfgang Amadeus Mozart
1060:Sonata for Two Pianos in D major, K. 448
676:(7th ed.). New York: W. W. Norton.
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704:. New York: W. W. Norton. p. 357.
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27:Piano sonata by Wolfgang Amadeus Mozart
517:
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778:Piano sonata in F major, K. 332(300k)
660:
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252:The first movement is in a classical
149:was published in 1784 along with the
7:
25:
1040:Sonata movements included in the
674:Norton Anthology of Western Music
1148:
836:Sonata No. 14 in C minor, K. 457
702:Concise History of Western Music
623:Five Centuries of Keyboard Music
518:Problems playing this file? See
500:
410:Problems playing this file? See
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243:Problems playing this file? See
225:
812:Isabella Stewart Gardner Museum
982:No. 12 in F major, K. 332/300k
977:No. 11 in A major, K. 331/300i
972:No. 10 in C major, K. 330/300h
151:Piano Sonata No. 10 in C major
1:
1003:No. 15 in F major, K. 533/494
967:No. 9 in D major, K. 311/284c
962:No. 8 in A minor, K. 310/300d
957:No. 7 in C major, K. 309/284b
952:No. 6 in D major, K. 284/205b
947:No. 5 in G major, K. 283/189h
920:No. 2 in F major, K. 280/189e
915:No. 1 in C major, K. 279/189d
423:in an elaborately ornamented
177:The sonata consists of three
1092:"No. 19" in F major, K. 547a
469:
361:
194:
832:Fantasia in C minor, K. 475
734:"Mozart's 18 Piano Sonatas"
1197:
510:performed by Bernd Krueger
419:The second movement is in
402:performed by Bernd Krueger
235:performed by Bernd Krueger
1127:
1024:No. 18 in D major, K. 576
1008:No. 16 in C major, K. 545
998:No. 14 in C minor, K. 457
596:perfect authentic cadence
45:
37:
698:Hanning, Barbara Russano
619:Gillespie, John (1965).
573:model sequence technique
1181:Compositions in F major
899:Wolfgang Amadeus Mozart
474:download the audio file
366:download the audio file
283:, and even the intense
256:, with repeats for the
199:download the audio file
147:Wolfgang Amadeus Mozart
489:
433:dominant seventh chord
381:
214:
488:
380:
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666:Burkholder, J. Peter
454:Ludwig van Beethoven
450:Giulietta Guicciardi
788:Piano Sonata No. 12
782:Alte Mozart-Ausgabe
772:Neue Mozart-Ausgabe
155:Piano Sonata No. 11
135:Piano Sonata No. 12
33:Piano Sonata No. 12
993:major, K. 333/315c
942:major, K. 282/189g
931:major, K. 281/189f
755:Sonate in F KV 332
730:Badura-Skoda, Paul
670:Palisca, Claude V.
496:III. Assai allegro
490:
382:
338:In the 1923 novel
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1176:1783 compositions
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1042:London Sketchbook
856:Salzburg Festival
801:Paavali Jumppanen
726:Badura-Skoda, Eva
711:978-0-393-92066-6
683:978-0-393-92162-5
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442:In the 1994 film
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16:(Redirected from
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790:: Scores at the
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83:Classical period
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165:to his father,
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847:Animated score
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842:, Munich, 1990
830:, followed by
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745:External links
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545:in the key of
543:time signature
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302:relative minor
266:recapitulation
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145:332 (300k) by
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1097:"No. 20" in B
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893:Piano sonatas
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823:Video: K. 332
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462:Allegro assai
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437:first degree
429:B-flat minor
421:B-flat major
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314:dominant key
294:Alberti bass
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281:counterpoint
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40:W. A. Mozart
1044:, K.15 a–ss
1013:No. 17 in B
987:No. 13 in B
804: [
797:Performance
767:(in German)
262:development
254:sonata form
1165:Categories
1053:Two pianos
936:No. 4 in E
925:No. 3 in B
908:Piano solo
606:References
520:media help
412:media help
388:II. Adagio
279:, learned
258:exposition
245:media help
221:I. Allegro
74:332 / 300k
810:from the
341:Antic Hay
333:modulates
277:homophony
179:movements
173:Movements
163:Constanze
112:Movements
104:Published
68:Catalogue
52:Beginning
1112:Doubtful
1100:♭
1085:Spurious
1016:♭
990:♭
939:♭
928:♭
784:version)
700:(2014).
672:(2014).
590:♭
425:sonatina
322:hemiolas
89:Composed
828:YouTube
769:in the
629:172–173
585:G major
581:D major
569:C minor
565:D minor
547:F major
318:C major
310:measure
306:D minor
298:Mordent
289:style.
187:Allegro
167:Leopold
159:sonatas
139:F major
117:Allegro
115:Three (
94: (
62:F major
18:K. 300k
1141:Portal
858:, 2008
834:, and
818:format
752:
708:
680:
635:
354:Adagio
274:galant
270:themes
260:, the
121:Adagio
1033:Early
808:]
760:Score
560:dolce
460:III.
304:key,
79:Style
762:and
706:ISBN
678:ISBN
633:ISBN
352:II.
264:and
133:The
107:1784
96:1783
92:1783
895:by
826:on
816:MP3
814:in
799:by
344:by
316:of
308:at
185:I.
137:in
58:Key
38:by
1167::
854:,
838:;
806:fi
758::
732:.
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668:;
647:^
631:.
598:.
583:,
456:.
448:,
439:.
143:K.
141:,
123:,
119:,
72:K.
1143::
885:e
878:t
871:v
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714:.
686:.
641:.
554:p
535:8
522:.
476:.
414:.
368:.
247:.
201:.
127:)
98:)
20:)
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