pptx, 3.66 MB
pptx, 3.66 MB
pptx, 6.09 MB
pptx, 6.09 MB

A full walk-through of the new AQA set work (Mozart Clarinet Concerto 3rd movement rondo) with clear, animated score analysis with a mixture of analysis questions for students and some teacher-led analysis.

Contextual overview and consolidation questions included. Colour-coded annotations according to musical element. Split into two PowerPoints because it’s such a big file (sorry!).

Would recommend combining with a glossary of analytical terms for students with weaker theory knowledge, and a blank score.

Reviews

3.5

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mckelvey

4 years ago
4

Just downloaded - a bargain at £1.50. Thanks for all your efforts to do this - it's a great resource. <br /> AQA have their terminology wrong... the chord at bar 110 is an Augmented 6th not a Neapolitan.

MozartArticle

4 years ago
3

Thank you for a well presented and pupil friendly PowerPoint resource with many valuable points. The analysis of the structure of this movement is however perhaps a little shaky as it isn't actually a rondo but uses instead Mozart's rather unusual version of sonata rondo which he incorporated into many of his late concertos: A B (exposition) A C (development) B A (recapitulation) Coda. The structure of the movement is therefore probably best analysed as follows : Bar 1 first subject group (refrain); Bar 57 first episode; Bar 114 first subject group (refrain); Bar 137 second episode and some development; Bar 188 third episode ... reprise of the first episode; Bar 247 first subject group (refrain); Bar 301 coda. Oh and the first movement of the concerto is also a hybrid structure, again favoured by Mozart in his later concertos. So, it's a mixture of the Baroque ritornello approach and Classical sonata form. Bar 1 orchestral ritornello; Bar 57 solo exposition; Bar 154 orchestral ritornello; Bar 172 development; Bar 227 orchestral ritornello; Bar 251 recapitulation; Bar 343 orchestral ritornello. Perhaps more than most Classical and early Romantic composers, Mozart regarded the concerto as a distinctive genre, and he generally approached it quite differently to his symphonic work.

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