Music Practical IV and V

Music Analysis Of the piece Rondo Alla Turca:

Rondo Alla Turca is the 3rd and final movement of Mozart’s Piano
Sonata No. 11. It is one of Mozart’s best known piano pieces. This piece
(as most Classical Music is) has a very light, clear texture. Alla Turca is
a Rondo, which means that it has a tuneful main theme which returns in
alternation with contrasting themes. It follows the pattern of
ABCDECABC, coda. The song begins with the main theme (the Rondo)
which is repeated throughout the piece. After the first time the theme is
played all the way through, is when we hear the sequencing. It seems as
though in the main theme that repeats throughout the song, the higher
keys that he plays are higher, then there is a change in dynamics and he
plays the lower keys a bit softer. Mozart clearly displays crescendo and
diminuendo in Rondo Alla Turca. There is a variety of keys, melodies,
rhythms, and dynamics.
Commonly known as the ‘Turkish march’ this piece is the 3rd
movement of Mozart’s Piano Sonata in A major. He composed this
Sonata in the early 1780s when he was in his mid 20s. The term ‘Alla
Turca’ means in the Turkish manner. More specifically it means, in the
style of the Turkish military band. This composition starts in the key of
A minor but it ends in the key of A major. The time signature of this
piece is in 2/4 with 2 beats in each measure and the basic rhythmic value
of quarter note. But the piece begins with an incomplete measure with
only 1 beat in it. The dynamic level at the beginning is piano meaning
soft. The musical structure of this composition is Rondo form in which a
main theme alternates with other themes. The word ‘theme’ here refers
to a melody that functions as the basis for a composition. There are three
themes in this piece, which will be label with the letter names A, B and
C. The starting melody in the opening is theme A, and the section
containing theme A from the beginning which is in the key of a minor
will be called Section A. This theme will appear one more time in this
piece. In terms of structure, Section A consists of three phrases
organized into two parts. Each phrase is eight measures long and the first
part contains the first phrase. The first part is repeated in this piece. It is
interesting that the first phrase is built on a four note motif. This motif
consisting of the four notes restated in the following measures starts at
higher pitches, for e.g. D in measure 1, F in measure 2 and B in measure
3 but an octave higher than the beginning. So, the melody continuously
climbs to the higher pitches, building excitement. In measure 3 the motif
is repeated immediately, which quickens the pace and creates energy to
propel the melody to the pitch C in measure 4. In measure 5 to 7 there is
an interesting effect played through right hand with grace notes. The
grace notes function to push the melody forward and accentuate the
following note. The second part of Section A contains two phrases and it
is twice as long as the first part. The second phrase starting in measure 8
has simple melody with the percussive feel. Interestingly, this phrase is
built on 2 measure units. The melody starts in C major in measure 8 to
11 immediately gets repeated without the last note. And in measure 12
the same melody is heard again but in a different key of A minor, which
is also immediately repeated without the last note. The 3 rd phrase in
measure 16 starts just like the first phrase. But it is change to make it
sound more conclusive, ending with the note A in measure 24. The
letters tr in measure 23 stands for a trill, an ornament that involve
alternating two notes B and C before the ending note in measure 24. The
structure of Section A is in two part or binary form; more specifically it
is rounded binary form that the melody of the first part comes back in
the second part. Theme B is a short melody of 8 measures. It provides
sharp contrast with a big sort of energy and excitement. It is in A major,
as the key signature indicates with three sharps in this piece and the
dynamic level is forte, meaning loud. In this section, the left hand side is
played with loud percussive style. The percussive effect comes from the
repeated note which sounds like a drum beat. And it’s proceeded with
fast moving grace notes. These grace notes function like a catapult,
pushing the music forward and accentuating the following note. Over the
percussive left hand, the right hand melody is infatuatedly played in
octave which sounds like loud wind instrument. The overall effect of
this section is energetic, bright and colorful. This theme comes back two
more times later in this piece. Theme C or Section that starts in F# minor
is similar in level ways like in Section A. the dynamic level is back to
piano and the left hand accompaniment is similar. This section is also
based on four note motif which is related to the four note motif in
Section A, but with inverted shape but he notes are different compared
to Section A but played in a similar way. Like Section A the Section C
also contains three 8 measure phrases that are organized in rounded
binary form, in which the second phrase in measure 40 starts in a major
key with a different melody. Then the beginning of the theme is brought
back in measure 48 with a more conclusive ending. The percussive style
playing of theme B returns in measure 56. This section is same as
previous B section. After that the opening theme A returns in measure
64, this section is same as previous A Section. In measure 88, theme B
returns for the last time but the right hand melody altered. The eight
notes in octaves are now sub-divided into sixteen notes, which created a
more active and busier sound. Then it is directly followed by a ‘coda’,
which means a concluding section. This coda is an extension of a Theme
B, featuring the percussive effect of left hand that sounds like drum beat.
The right hand also produces percussive sound with repeated chords,
preceded by grace notes in measure 101 and measure 108. In measure
109 the dynamic level suddenly drops to piano. This is a tone down
version of the melody of the coda, without the percussive elements and
loud chord. In measure 116, a soft and light phrase provides a sharp
contrast to the big finish. The overall structure of this piece can be
outlined by using the letter name of the theme in the order of: which is
A, B, C, D, E, C, A, B prime, C and Coda with each section being
repeated except coda. We can see that the percussive style of B theme
functions as a refrain. In alternating with the other themes, Theme B
stands out with its percussive nature, loud dynamics and major key.
What makes this piece so beautiful to me is the light, cheerful, upbeat
melody that is repeated throughout the piece. It just makes us feel happy.
It puts the picture in my mind of little children running around playing
together. It sounds so sweet and innocent and there isn’t one part of this
piece that sounds dreary. It is sure to put whoever listens to it in a
positive mood.