In preparation for my next upload, K331, Mozarts Sonata No. 11, Movement III: Rondo Alla Turca, AKA the Turkish March (or Turkish Rondo), I have written a write-up. Let me know what you think; I may do this more often. Beginning with grace-note filled melodic sequences, Mozarts Rondo Alla Turca begins with broken A-minor triads in its left-hand. With the left-hand evolving into broken E-major power chords, a triple grace-note is used in the right-hands melody, finishing with two broken B octaves on the left; supporting an E-minor chord and B-major chord respectively. After a repeat of section A, section B commences with ascending thirds in C-major before descending to the dominant G, a process used twice. A relative switch follows, and the same process is repeated twice in A-minor; again ending on the dominant, this time E-major. The tonic to dominant changes are a theme throughout the movement. Now, the opening melodies are used again; this time with the culmination on C supported by broken D7 chords. The section is finished with a broken A-minor power chord, a diminished D7 chord, an inverted A-minor triad, and D7 diminished again, before dyads in A-minor and its dominant E-major top off the section. The grace-note theme is seen again in section B, but mainly in the left-hand. After two diatonic A-major steps, the powerful crescendo-esque triple grace-note supports the A-major notes on the left-hand, and is matched with its mediant C#. The octaves descend to F#, where D-major is used to support its mediant, before diatonically ascending back to A; this time supported with a diminished D chord before E-major concludes the section. Section C sees many 16th notes in the right-hand and a similar left-hand pattern to the opening sequences--a broken chord with the tonic played on its own and the remaining dyad played 3 times in each measure. Again Mozart is going to the dominant, with E7 chords supporting the melody. A-major and E-major arpeggios are used to end the E-major section, and the 16th note pattern starting on C# repeats again, this time using B-major power chords proceeded by F# minor and C#7. Afterwards, the octaves start again, a repeat of section B. After an abridged repeat of section A, the penultimate section starts; a mimic of section B; however, this time with broken octaves on the right hand. The grace-notes presence throughout the piece is continued in the coda. The arpeggiated A-major inversion is matched with triple grace-notes supporting the tonic on the left-hand, much like the B sections grace-notes. After going into D-major and back to A, the coda meets the dominant of E along with its broken power chords, echoing section A. After a repeat of this pattern, the Alberti bass is used, a technique well-known for its use in another Mozart sonata, the “Sonata Facile.” (My playing of its first movement seen here—https://youtube/watch?v=vMlJ8OqiBq8&list=UUiw4O0CxZ6PgXHOuYFzcaNA.) The grace-note theme is used again, now on the right-hand, complementing the technique popularized by Domenico Alberti on the left. The piece ends with two A-major triads.
Posted on: Sun, 20 Jul 2014 18:47:00 +0000
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