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GCSE Music

Mozart Clarinet Concerto - Melody and Harmony

QuestionAnswer
Section A - melody The main theme features two balanced phrases that are mainly conjunct with some chromatic movement and some use of sequence.
Section A - Solo Clarinet The solo clarinet passages make much use of conjunct and triadic movement. The solo clarinet passages also cover a very wide melodic range and was written to exploit the capabilities of the clarinet and to demonstrate the virtuosity of the soloist.
Section B - melody The melody in the first part of section B features conjunct, triadic and ascending and descending arpeggio figures this theme also features acciaccaturas and some passing chromaticism.
Section B - Solo Clarinet Section B also covers a wide melodic range to demonstrate the versatility of the clarinet..
Section C - melody The main melody in Section C is mainly triadic with some conjunct movement at the end of each 4-bar phrase. The melody features descending and ascending scalic figures and some disjunct and angular leaps.
Section C - Solo Clarinet The range of the clarinet melody in this section spans almost 3 octaves. The most of all sections which demonstrate the versatility of the instrument.
Coda - melody The section starts with clarinet playing ascending and descending arpeggio figures, after, it plays a mainly conjunct melody, with some angular figures. There is also some development of the main theme.
Coda - Solo Clarinet Ending with the solo clarinet concluding the movement with a cadential phrase that is mainly triadic.
Section A - harmony The main theme = perfect cadence (bar 2), imperfect cadence (bar 4), interrupted cadence (bar 6), perfect cadence (bars 7-8). The harmony is diatonic and functional. Ends with a perfect cadence. A tonic pedal is also played by the strings in bars 33-35.
Section B - harmony Section B is mainly diatonic, although there is some use of chromatic harmony (e.g. diminished 7th and augmented 6th chords, with the lower string instruments playing tonic and dominant pedal notes. Section B ends on a dominant chord,
Section C - harmony The harmony is mostly diatonic, with some chromatic (e.g. diminished 7th and augmented 6th chords). Mozart uses a circle of fifths harmonic progression (D-G-C#dim- F#m-Bm-Em-A7-D). ending on a prolonged A7 chord instead of a D major to pivot to it
Coda - harmony The harmony is diatonic and functional. The main theme uses a perfect cadence, an imperfect cadence, an interrupted cadence and a perfect cadence. A tonic pedal is played by the cellos and double basses. The section ends with a perfect cadence.
Created by: JAM10
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