Mozart Jupiter Symphony

Topics: Key signature, Chord, Major chord Pages: 6 (1715 words) Published: May 1, 2013
Symphony Analysis
Bars 1-16
In this essay I will be writing about the opening first 16 bars of the Mozart Symphony Jupiter (K551), starting off in C major, common time. [1] The opening bar introduces the first Antecedent idea, consisting of an octave C in all instruments. This is then followed by ascending semiquaver triplet runs, in the strings and woodwind, from G to C which have a decoration-like affect. This is juxtaposed against the timpani and the brass still carry on with octave C’s. This first idea is in a forte dynamic.


[2] The consequent idea, only involving the strings and no contrabass, starts in bar 3 with the anacrusis from the first violin in bar 2. This second idea contrasts with the first idea shown in bar one with its piano dynamic and homophonic texture. What is uncommon about this bar is that the viola is above the 2nd violin in pitch. This creates warmth to the chord as the notes are very close together and this also emphasises the resolutions in the chord.


[3]The first 2 beats of bar 3 contains G major 7th chord with a suspended 4th. The last two beats of bar 3 is a C major suspended 9th chord. Throughout these two chords the violoncello and the 2nd violin are moving in 3rds and the 1st violin providing both the melody and the suspensions. The viola is sustaining a pedal note of G which allows the chords flow nicely from one to the other as the note G is a note that all the chords have in common. These two ideas in the first subject make up the periodic phrase.


[4] The fifth bar imitates the idea shown in bar one except it has been transposed down a forth. The F sharp is misleading making you think that this has modulated into the key of G major however this is just an accidental to make a semitone interval between F sharp and G and to preserve the character of the phrase. In bar 7 the second idea has been brought back however this time using chords C major with a suspended 9th, G major 7 followed by a plagal Cadencial 6-4 cadence in the key of C. This also is a slight change in the shape of the melody allowing the audience to recognise the melody from earlier but not to making the melody seem repetitive.


Bars 9-16 are a tutti fanfare section. Violin 2 and the viola have an inversion of the ascending triplet however this time there is an added note.

Throughout these bars also there is a fanfare rhythm in the brass, woodwind and percussion. [pic]
From bars 9-11 its moves through the chords of C, F and G7 all of which have C in the bass. The use of C’s in the bass act as a pedal note, making sure that the sense of C in the key remains. Violin 1, the cello and the contrabass all play on beats 1 and 4 from bars 9 onwards. This creates and up beat effect physiologically making the piece feel as though it is speeding up. [pic]

From bars 12-14 it moves through the chords of C, F and G with added accidentals to maintain character of the idea. From bars 15 to 16 the rate of harmonic change increases switching between C and G chords. These first 16 bars have developed 2 main ideas of the period phrase.

Jupiter symphony analysis

Bars 17-120

Bar 17 is made up of a C major chord with different inversions of the chord on each beat. The first beat of the bar, 1st violins double stop the first beat [1] this ensures all 3 notes are played. Bar 18 consists of a descending C major arpeggio played in octaves [1].

Figure [1]

Bar 19 and 20 have a two part texture. The horns are working with the woodwind, playing on beats 1, 2 and 4 in bar 19 and playing on beats 2 and 4 in bar 20 [2]. This makes up on part of the texture. The other half is played by the strings. The strings play a rhythm that is against the woodwind rhythm [3]. Using an upbeat rhythm gives a majestic feel to the piece. The chords...
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