HOMEWORK DUE AT THE START OF CLASS ON MONDAY, MAR 12

1. Print out the following score of Eine kleine Nachtmusik, mvt 1, put your name on the page, and label the specific sections directly into this score, as well as into the score of your MUS 1700 RESOURCE GUIDE, pp. 92-93 [you can also label them in your Resource Guide first, and then just make a photocopy of those labeled pages from the Resource Guide to turn in on Monday].

This looks like a lot, but it will only take you a few minutes to mark this red-highlighted information into your score (please read the rest of the comments as well, even if they are not in red). Since so many of you have never analyzed a sonata form before, you will learn a lot by doing this.

2. After you have labeled the items below in the score, listen to the movement as you follow your labeled score (see if you can HEAR the sections, and their dramatic turns of events):
http://www.youtube.com/watch?v=wKhH2hRa-WQ

Things to label and consider in a Sonata Form: This is a harmonic-key debate between two opposing key centers. Sonata Form is a DRAMATIC form, and it is a TONAL form.

The main points of structure are labeled as follows:

-----

EXPOSITION: (in a Classic sonata form, the first set of repeat marks help you find where this section begins and ends)

- "Theme 1" (It is called "Theme 1," but you are really marking the MAIN KEY area here, so in labeling the Eine kleine Nachtmusik mvt. 1 score, put "Theme1/G major"--mm. 1-10)

- "Transition" (the section where you can verify that the tonal stability of the "Theme 1" key area is erased by destroying its subdominant, and preparing the ear for the move to the new opposing key). In labeling the Eine kleine Nachtmusik mvt. 1 score, put "Transition to D major"--mm. 11-27)

- "Theme 2" (It is called "Theme 2" although you are really marking the establishment of the opposing KEY as a NEW TONIC in the piece). In Classic expositions, the "opposing key area" often has TWO separate themes, but BOTH of these themes are in the same opposing key. The first of these is labeled "Theme 2" and the other is labeled "Closing Theme." In labeling the Eine kleine Nachtmusik mvt. 1 score, put "Theme2/D major"--mm. 28-35, and put "Closing Theme/D major"--mm.43-55)
- In most early Classic sonata-form models, the exposition is repeated.
- Mozart, being a dramatist and opera composer at heart, accentuates his opposing key centers with musical themes that have opposing characters. He also usually provides clear cadences to mark the points in the score where his primary changes of key/theme occur (see Eine kleine Nachtmusik, mvt 1, the end of m. 27--where the quarter rest makes a clear break before the entrance of the "Theme 2" key area [D major]; and the rests and change of accompaniment figures at m. 43 to mark the "Closing Theme."

-----

DEVELOPMENT (in a Classic sonata form, the 2nd set of repeat marks help you find where this section begins)
In labeling the Eine kleine Nachtmusik mvt. 1 score, put "Development"--mm. 56-75.

- When looking at a development section, your main goals are to identify what "Theme" material is being presented or fragmented, and MOST IMPORTANTLY to figure out what specific keys are being implied and think about how distant they are from the home key (because that sets up the greater dramatic challenge of getting back home, right?--just like Apollo 13). Keep in mind that in a development section, the material will not actually cadence in any of the implied keys--you will often only see ii- V7 progressions that do not lead to their expected "I". In labeling the Eine kleine Nachtmusik mvt. 1 score, put "D" at mm. 56-57; "B7" at mm. 58-59; "C" at mm. 60-63, "E7 - Ami" at mm. 65-66.

This series of ever-modulating harmonic expectations does not stabilize until the so-called moment of "retransition" (the prolonged "V7" harmony that happens just before the "recapitulation" to set up the triumphant return of the home key. In labeling the Eine kleine Nachtmusik mvt. 1 score, put "Retransition [prolonged D7 chord]"--mm.67-75). In review, the short development section in this movement goes from D - B7 - C (!) - [E7 - Ami] - D7 (with some colorful harmonies added to prolong the D7 for several measures before the Recap).

RECAPITULATION
In labeling the Eine kleine Nachtmusik mvt. 1 score, put "Recapitulation"--mm. 76-130.
- "Theme 1" returns in the home key. In labeling the Eine kleine Nachtmusik mvt. 1 score, put "Theme1 returns/G major"--mm. 76-85

- "Transition": THIS MATERIAL HAS TO CHANGE BECAUSE IT IS STAYING IN THE HOME KEY INSTEAD OF DESTROYING IT (look carefully at the score and note the exact changes that the composer makes to transform this material--the fewer changes a composer makes, the more amazing the accomplishment. Sometimes it is just one note, or adding an additional measure). In labeling the Eine kleine Nachtmusik mvt. 1 score, note that "mm. 86-98 are EXACTLY THE SAME as mm. 11-23", and that to accomplish the necessary transformation to stay in the home key, Mozart eliminates mm. 24-25, and then slightly adjusts mm.26-27 into mm. 99-100.

- "Theme 2" returns IN THE HOME KEY. THIS IS THE MOST DRAMATIC AND IMPORTANT MOMENT IN THE STRUCTURE, and without it, you do not have a sonata form! In labeling the Eine kleine Nachtmusik, mvt. 1 score, put "Theme2/G major"--mm. 101-116, and put "Closing Theme/G major"--mm.116-131.)

CODA (a concluding "tail" section added to finalize the end of a movement)
In labeling the Eine kleine Nachtmusik mvt. 1 score, mark "Coda"--mm. 131-137. Note that Mozart extends the 2-meaure short transition material that was at the end of the Exposition into a 7-measure Coda to end the piece.

-----