• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Study three of Mozart's well known minuets.

Extracts from this document...


I have chosen to study three of Mozart's well known minuets. These are a selection from his divertimento suites 2 and 3. (Divertimento no.2 minuet no. and Divertimento no.3 minuets 2 and 3.) These pieces are typical of Mozart's style, all three minuets all have similarities in the way that they are all based on scales, have incorporated scale runs, peaks and troughs and also have triplets. I have chosen to perform Minuet in trio 2 f4rom divertimento number 3. The piece has a middle easy range for clarinet during the minuet but tends to reach higher notes in the trio which include fork fingerings which are easy to get wrong and extremely easy to squeak. The minuet is mainly disjunct but the trio is conjunct as it is basically composed of scale runs. The whole of the piece is controlled by dynamics. Without the dynamics the piece does not flow and wouldn't have the characteristics of a Mozart piece. ...read more.


This piece is made difficult by the fingerings and general ornamentation. The abnormal crossed fingerings that some players may use (including me) prove difficult to use so alternative fingerings should be used. There are many dynamic changes which are mostly through crescendos but there are occasional sudden dynamic changes such as in bars 12, 13,32,33,35 and 36. These are followed by a breath and two crochets making it easy to play. Due to the design of the clarinet there is a a void which is referred to as the break where the notes change from the top of the clarinet to the bottom this can prove difficult for younger or less experienced to play, the octave that the notes are in pose no problem then because they are basically all; over the break. The tonguing in this piece is fairly straight forward but after playing a long legato phrase it is easy to forget to tongue. ...read more.


I think I performed this piece to the best of my ability and used the music as an accurate guide as to what to do. I felt that by filling the sound and used the clarinet to its best potential. I found some parts of the piece difficult as there are some awkward notes due to crossed fingerings . I think I emphasised all the dynamics but could have made more of an emphasis on crescendos and diminuendos. The clarinet part weaves in with the piano part which makes it extremely easy to come in, in the wrong place. I think that I have performed this piece to the best of my ability and created a good performance. I only squeaked once but managed to maintain composure and continue the piece. I was worried that I would play a scale run to fast which would throw me totally of course and I would have made critical errors. Overall I think I have created a good performance for a beautiful piece. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Music section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Music essays

  1. Performance Investigation: Bolling Suite for Flute and Jazz Piano Trio: Baroque and Blue

    complete lack of any sound other than that which is clearly specified within the piece. It can be seen that these two are very different recordings. They are successful in different ways, and represent a shift in musical traditions over 30 years.

  2. 'Danzon for Piano trio' by Paquito D'Rivera.

    Motif at beginning of Section B of Danzon: Motif at beginning of Campina: * After the harmonic progression is established through this introduction, it is built upon by the violin, accompanied by the piano, with four bars of an almost improvisatory melody which then leads back into the four bar dance motif.

  1. An investigation into the Mozart Effect.

    Rationale This experiment will show if there is a relationship between music present during studying and test scores. It will also exhibit if there is a correlation between studying with environmental cues and having the same cues present during recall.

  2. In the Performance Studies course we have been learning about the processes of improvising ...

    As individuals we made sure to perfect our own parts initially before integrating them with the pair and group work. The same process of rehearsing was effectively used in the pair and group work, that is we perfected the pair work before progressing to the group.

  1. My three part coursework involving a performance of three selected songs, writing about the ...

    The intervals within the songs are never more than 5 notes apart in pitch. The harmony is put together nicely in this song. The concordant chords create a pleasant sound making it more enjoyable to listen to. An arrangement has been made to suit the method in which the instrument specified can play the song.

  2. Learning to play the Dhol - Diary/Write Up

    As far as we know, a drum was used to communicate the sound/threat of an approaching Army to a village, through a particular beat. Although the drum used to do this was called a Nagara it is however, a relative of the Dhol.

  1. An account of the life and works of W.A. Mozart

    Eventually, his quarreling with the higher echelons resulted in the loss of his job. Luckily, he had noticed good opportunities to earn in Vienna and so decided to settle and develop his own freelance career. He began as a pianist, and according to the New Grove, he soon 'had established himself as the finest keyboard player in the city.'

  2. Performance 1 - I have chosen to study Evanescence - Hello, All About Eve ...

    The melody is powerful and well delivered through the, occasionally gritty, vocals of Julianne Regan. The guitar riff in Scarlet is shaped around the chords and can be put across successfully on an acoustic guitar. The chords used are mostly in standard shape with very few power chords.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work