What is it that brings a dance-like character in this Mozart rondo?
So, while listening to the rondo movements of Mozart's piano sonatas, I found one that has a dance-like character to it, despite its development. That would be the rondo from Piano Sonata in Bb K 333. Here is what I know formally from listening to it a bunch of times with the score:
Bars 1-16 - A theme stated first quietly and then loudly as it arpeggiates to a cadence in Bb
Bars 16-40 - B theme with some of the motives from the A theme like for example the arpeggio motive at the beginning of the A theme
Bars 41-56 - A theme stated again
Bars 56-75 - Development of the B theme
Bars 76-84 - C theme, an example of important and new formal material in the development section before Beethoven(had this not had that C theme, it wouldn't feel as much like a rondo)
Bars 85-105 - Development of the A theme
106-111 - B theme used to retransition
Bars 112-127 - A theme again
Bars 127-163 - B theme that then twists around, leading to a cadenza
Bars 164-170 - End of B theme, sounds like A theme is going to come next
Bars 171-198 - Cadenza with some material from both the A and B themes, when is A going to arrive?
199-206 - Finally, at last the A theme, but this time it has the middle section of the theme cut out of it.
Bars 206-224 - Coda
So, basically, it is a rondo, but with the last B section so embellished that it sounds like it was split in half by a cadenza-like melody and with the Mozartian twist of not having the A section arrive when it sounds like it will.
Now why am I asking what it is about this rondo that gives it a dance-like character that other rondos I have listened to like for example Rondo in A minor K 511 or Rondo Alla Turka don't have? Well, it is because I had the idea to compose a Dance in Rondo, in other words a piece that on the one hand could be viewed as a dance and on the other hand is in rondo form. Most dances are in binary or ternary form. I know that I can't use just that single rondo to see how to go about writing my Dance in Rondo, I have to find at least a couple more rondos and compare them to dances like the Minuet and the Waltz and see where the similarities lie harmonically, rhythmically, and melodically and then apply those similarities to my own rondo themes. But, this rondo was the first that I found to have that dance like character.
Here is the video I kept listening to as well as the score(Rondo starts on page 13 of the PDF):
imslp.eu/files/imglnks/euimg/9/90/IMSLP456595-PMLP01849-Mozart,_Wofgang_Amadeus-NMA_09_25_2_04_KV_333_scan.pdf
So what is it about that Bb major rondo that I found that makes it have a dance like character despite all the development that occurs? Is it the bass not starting until the second beat, making the first beat sound like an anacrusis? Is it the rhythm? Harmonic rhythm? Melodic shape?
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Is it the bass not starting until the second beat, making the first beat sound like an anacrusis?
There is an anacrusis, but it's in the bass. There is also an elision. Beats 2-4 in bar 1, the bass, are the anacrusis. When that line continues to beat 1 of bar 3, it forms an elision...
...blue highlights elisions. First and second phrases in green and red.
I put a rest above beat 1 of bar 3 to show the elision is both the phrase ending F2 and a sort of implied rest beginning a second anacrusis phrase in the bass.
Is it the rhythm?
Yes. The phrasing is all about metrical placement which is an aspect of rhythm.
Harmonic rhythm?
I think is a factor. The harmonic rhythm - at least with the opening phrases - is one or two chords per bar. That's fairly lively.
Melodic shape?
I think contour alone doesn't matter. But if you think of the basic 2 bar phrase length as a short of shape aspect (small shapes, short lines) I think this adds to the lively feel.
You might also consider the anacrusis/elision/feminine endings elements part of shape. If you compared this to carpentry and wood joining, you have flush squared off endings complimented with overhanding edges. That's like shape, but not so much melodic contour.
So, short phrase lengths combined with skillful use of anacrusis and elision to reinforce the meter, with uncomplicated rhythmic figuration at a moderately fast tempo is probably what creates the dance quality you feel.
...other rondos I have listened to like for example Rondo in A minor K 511 or Rondo Alla Turka don't have
Personally, I think those other pieces have dance qualities, but different characters that K333. Those difference strike me first as a matter of tempo, and mode.
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