So continuing yesterdays talk on
I hope you’ve spent some time watching Thomas Goss’ video on natural brass, since natural brass was what was available at Mozart’s time. If you take a look at the first 5 bars that we discussed yesterday, observe how with only two different notes (sounding D and A) the brass accompanies the melody homo-rhythmically.
Moving on to bars 7 and 9, try to condense the voicing of all the accompanying parts and see how Mozart leaves space for the suspending notes in the melody of the first violins.
Next page begins with bar 13 and the following 6 bars deserves more attention than I can fit in to this, so if you’re keen on score-reading Mozart, this spot is the place!
What you probably will notice at first is that clarinets and bassoons start the same melody as opened the piece – great! Who else is playing exactly the same?
What you’ll notice in this piece is that cellos and basses are doubling verbatim – a typical of classical music – with bassoons doubling verbatim 98% of the time. Keep an eye on when the bassoons differ!
Now we have 6 systems playing the same melody from 13 to 18. Look what happens with the viola! They crash in to the party half-way through 13 to keep up with the others. A way to rhythmically push the pace of the melodic entrance without actually making a new melodic entrance.