2013 SCHOOLS NOTES. MOZART CLARINET CONCERTO Victoria. Image: Mats Bäcker

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1 2013 SCHOOLS NOTES MOZART CLARINET CONCERTO Victoria Image: Mats Bäcker

2 MOZART CLARINET CONCERTO Possible Toics/Units o Study: The Classical Period and It s Inluences; Music or Small Ensembles/ Large Ensembles; Structure; Reertoire: Clarinet Concerto in A K622 by W.A. Mozart (1791) Symhony No.21 in A K134 by W.A. Mozart (1772) VOCABULARY: Concerto, Symhony, Allegro, Adagio, Rondo, Tutti, Solo, Trill, Slur, Tie, Staccato, Areggio, Minuetto / Minuet, Trio, Da Cao, trilet, Common time WEB LINKS: Mozart Bio. True story - htt:// Great video or a comrehension worksheet (literacy) Enchanted Learning - htt:// Wikiedia Symhony 21 - htt://en.wikiedia.org/wiki/symhony_no._21_(mozart) Wikiedia K622 - htt://en.wikiedia.org/wiki/clarinet_concerto_(mozart) Concerto K622 - htt://musicologicus.blogsot.com.au/2011/03/mozarts-concerto-k-622-andquintet-k.html Chicago Symh. Program notes (K622) - htt://cso.org/uloadedfiles/1_tickets_and_events/program_notes/ ProgramNotes_Mozart_ClarinetConcerto.d Australian Chamber Orchestra 2013 Schools Notes VIC Mozart Clarinet Concerto Notes Kathleen Beazley 2013

3 IDEAS/THEMES TO EXPLORE IN LESSONS: STRUCTURE These two works are great or looking at Structure in all sorts o ways: Large structures Symhony, Concerto. Musical orm Rondo, Minuet & Trio, Binary, Ternary, etc. Smaller sections Phrasing, reetition. Looking at the structural building blocks in these works has great advantages or teaching creativity and in articular COMPOSITION. TEACHING IDEAS: These ideas do not need to run in sequence. Each idea is not necessarily to be comleted in one lesson. The erorming and comosition activities in articular may take a number o lessons in order to maximise the learning exeriences or the students. These activities are also designed to be temlates or launch ads to generate ideas and activities o your own to broaden your reertoire o resources. There are some re-reared worksheets you can use or model other worksheets on. SYLLABUS ALIGNMENT Ideas can be alied to cover levels 5, 6 and VCE IDEA 1 Creating and Making - Levels 5, 6 and VCE Rondo Game: Students use imrovisation and grou devised ideas to create a class rondo. This hels students understand this musical orm and to ractise erormance skills as well as imrovisation. IDEA 1 Teacher Notes You may also want to comlete this online odcast with quiz to reinorce Rondo orm AND Mozart htt:// IDEA 2 Exloring and Resonding - Levels 5, 6 and VCE Students listen to the irst 31 bars o the third movement o the Clarinet Concerto and comlete the Rondo worksheet. Worksheet 1 IDEA 3 Exloring and Resonding - Levels 5, 6 and VCE Students comlete a listening and score analysis worksheet ocusing on the Minuet and Trio in the Symhony. It is good to do this activity beore branching into IDEA 4 s comosition activity. Worksheet 2 Australian Chamber Orchestra 2013 Schools Notes VIC Mozart Clarinet Concerto Notes Kathleen Beazley 2013

4 IDEA 4 Creating and Making - Levels 5, 6 and VCE Students will use what they have learnt in IDEA 3 to comose either (i) a Minuet & Trio iece (Stg 6) or (ii) a Minuet structure iece. Use the comosition guide to hel comlete this activity. Worksheet 3 IDEA 5 Creating and Making A class arrangement o the Trio in the Minuet and Trio rom the Symhony. This is a lovely taste o the eel o a iece. The corni in A has been relaced with a clarinet or the class arrangement. ARR_Symh-Trio Australian Chamber Orchestra 2013 Schools Notes VIC Mozart Clarinet Concerto Notes Kathleen Beazley 2013

5 Worksheets

6 IDEA 1 TEACHER NOTES The Rondo Game What's a Rondo? Rondo is an Italian word that means round. A rondo is an instrumental orm with a rerain that kees coming back. Unlike the verses o a song, though, the music in a rondo changes between each reetition o the rerain. Let s exlore this musical orm through an imrovisation game: 1. In order to better understand rondo orm we are going to use some rhythm atterns to create our own Rhythm Rondo. The irst thing we need to do is work out what will be our A section it should be a attern that we can all lay. Students may wish to make u a attern (more able) or you might just give the class this simle one (below). Higher year level students can work with dierent time signatures or longer hrases. Younger year levels may simly work in time and have a one bar attern. SUGGESTED PATTERN - Q Q QAZ Q 2. Now that we have our A section attern let s ractise it a ew times so that we are conident. Count to 4 and lay the A section attern at least 4 times with the whole class. I they need some time in between each laying then count to 4 each time BUT DON T BREAK THE PULSE. 3. Now it s your turn to be creative. We are going to go around the class and in between each A section you are going to make u your own attern that is the same length as the A section. Our goal is to get all the way around the class without stoing so..count careully, listen and HAVE FUN!! Younger year levels may need you to do the irst one to model what you want. Older year levels should be ine with this. NB:- Once you have done this game once you can use it later as a warm u game to ocus students beore starting other activities. Australian Chamber Orchestra 2013 Schools Notes Mozart Clarinet Concerto Notes Kathleen Beazley 2013

CONCEPT ANALYSIS: EXCERPT Clarinet Concerto K622, 3 rd Mvt ( b1-31) Comoser Mozart WORKSHEET ONE We will be looking at an excert o the third movement rondo rom Mozart s Clarinet Concerto to examine

7 CONCEPT ANALYSIS: EXCERPT Clarinet Concerto K622, 3 rd Mvt ( b1-31) Comoser Mozart WORKSHEET ONE We will be looking at an excert o the third movement rondo rom Mozart s Clarinet Concerto to examine how the dierent sections work in this musical structure. Use the table below to take notes about how the Concets o Music (CoM) are used in each o the sections to create asects o unity and contrast. RONDO MAIN THEME A b1-8, 9-16 THEME The theme is irst layed by the Clarinet solo and then reeated by..? Reer to as many o the CoM as you can to describe what is haening in this section. B b17-23 EPISODE This section allows the solo instrument to have some un. Reer to as many o the CoM as you can to describe what is haening in this section. A b24-31 THEME Sometimes the theme can be altered just a little or the accomanying arts can have some variation. Reer to as many o the CoM as you can to describe what is haening in this section. Australian Chamber Orchestra 2013 Schools Notes Mozart Clarinet Concerto Notes Kathleen Beazley 2013

8 EXTENSION: Use the excert or the ull score/movement to comlete these samle examination questions. WORKSHEET ONE 1. How does the comoser utilise thematic material to create interest in this iece? Reer to the concets o music in your answer. 2. With reerence to the concets o music, how is unity achieved in this iece? 3. How does the comoser develo musical ideas through use o the concets o music in this iece? 4. Select two o the concets o music (itch, duration, tone colour, structure, texture, dynamics & ex techs) and comment on their use/role within this iece: Australian Chamber Orchestra 2013 Schools Notes Mozart Clarinet Concerto Notes Kathleen Beazley 2013

The Minuet and Trio Mozart Symhony No.21 in A major WORKSHEET TWO The Minuet (menuet) was originally a French dance. The Minuet and Trio is a common orm used in classical music comosition.

9 The Minuet and Trio Mozart Symhony No.21 in A major WORKSHEET TWO The Minuet (menuet) was originally a French dance. The Minuet and Trio is a common orm used in classical music comosition. It turns u oten as the third movement o symhonies and string quartets, and has also been used extensively in the iano works o Mozart and Beethoven, among others. Just like in sonata orm, there are certain rules that need to be adhered to in this musical orm. The lacement o the minuet and trio as the third movement in larger works means that it's easily recognisable too, which hels listeners make sense o the music more readily. Here's a simle guide that will hel you understand and identiy a minuet and trio the next time you hear it. You will be using the minuet and trio rom Mozart s Symhony No.21 in A major to exlore some o the imortant characteristics o this musical structure. The Minuet and Trio Structure The minuet came irst, and the trio was added later. Minuets were initially written to be danced to. When the dance craze died out, comosers continued to write ieces using the minuet style, exanding and modiying it to kee u with changing times. A minuet has three beats in a bar and generally moves along at a leisurely ace. Comosers as ar back as Jean-Batiste Lully ( ) wrote them or the courts o royalty. By the time o J.S. Bach ( ) the minuet became a musical orm in its own right. The trio element evolved as a technique to make the minuet last longer and is simly another minuet stuck in the middle. Comosers heled audiences identiy the trio by scoring it or three instruments only - and that's where the name "trio" comes rom. As time rogressed though, comosers oten deviated away rom this convention. Here's a icture o the basic broad structure o the minuet and trio orm: Minuet Trio Minuet Bar number - How many bars in the section (excluding reeats)? - Bar number - How many bars in the section (excluding reeats)? - Bar number - How many bars in the section (excluding reeats)? - The minuet and trio ollows the ABA attern, which is also called ternary orm. QUESTIONS: (Write your answers in the table above) 1. Looking at the score o the minuet and trio see i you can identiy what bar numbers each o the three sections begins at. HINT The inal Minuet is VERY CLOSELY related to the irst section. The instruction Minuetto da cao is a clue. 2. Now try to work out how many bars there are in each o the sections. Australian Chamber Orchestra 2013 Schools Notes Mozart Clarinet Concerto Notes Kathleen Beazley 2013

10 3 Uon 3 Uon 3: Let s Delve Deeer WORKSHEET TWO The minuet at the beginning and the minuet at the end are the same. It might seem boring to us these days to reeat the whole irst art o the iece again, but you have to remember that eole in this era usually heard music one time only. They weren't able to lick on the radio, o a CD in their stereo or download it through itunes. Their only encounter with the music would be when they heard it erormed live at a dance or a concert. The only way they could get to hear it over and over again would be i they had the sheet music and the ability to lay it. Otherwise the tunes and harmonies would go in one ear and out the other. So comosers used reetition to make it easier to remember. You'll notice that the minuet and trio is a three-art structure. That's imortant, because each one o the three arts also contains three arts. So art A, the original minuet, ollows the ABA ormat, as does art B, the trio and the concluding minuet, art A. Here's what the structure looks like when it's broken down into its constituent arts: Bar numbers: A B A Minuet ABA Bar numbers: C D C Trio CDC Bar numbers: A B A Minuet ABA Each section o the minuet and trio has three arts. QUESTIONS: (Write your answers in the table above) 3. Looking at the score o the minuet and trio see i you can identiy which bar numbers each o the three sections WITHIN the 3 main sections begin at. Australian Chamber Orchestra 2013 Schools Notes Mozart Clarinet Concerto Notes Kathleen Beazley 2013

11 Reetition in the Minuet and Trio WORKSHEET TWO You'll notice that section B, the trio, uses dierent letters to identiy each o its three arts. That's because the music or the trio is unique. It might be based on what came beore it, i.e. the minuet, but it will be varied in some way, usually by a key change and oten with a dierent melody. So because the music is dierent, we use dierent letters to indicate that. QUESTIONS: 4. Looking at the trio section in your score the melody art is quite dierent to that o the minuet section. Identiy three ways that this melody is dierent rom the one at the beginning o the minuet Traditionally the trio section was set or only three instruments. Mozart has used how many instruments in this trio? Minuet and trio orm uses reetition extensively, as mentioned above. This is artly due to the act that the comosers want to amiliarize their listeners with the music as quickly as ossible, and artly due to the conventions o the genre. It's ossible or modern erormers to lay the ieces without reeating sections - it all deends on how strictly they want to adhere to the comoser's wishes. Here's the way a tyical minuet and trio would be layed with the reeats: Minuet A B A C Trio D C Minuet A B A You may have noticed in the Mozart Minuet and Trio this is how each o the sections is laid out. The return o the A and C sections is written into each o the larger sections in the movement. Another imortant convention to notice is that when you go back to lay the Minuet ater the Trio none o the reeats are erormed. This is why there are only double bar lines in this structure ma and NOT reeat signs in the inal Minuet. Australian Chamber Orchestra 2013 Schools Notes Mozart Clarinet Concerto Notes Kathleen Beazley 2013

12 WORKSHEET TWO Getting Variety into a Minuet and Trio With so much reetition you may be wondering how comosers kee listeners rom being bored. One way they can achieve this is by changing the endings o sections, or examle by using irst and second time bars. These subtle changes are enough to add variety to the music, throwing in a small twist that takes listeners by surrise and makes them take notice. Another trick they emloy is changing the music within a section. So, or examle, in the oening minuet which has an A B A structure, a comoser might choose to alter the inal A-section and give it a comletely unique ending, heling to make it stand out. Or they might indicate that the section be layed medium loud the irst time, and then very sot the second time. Pieces or orchestra can achieve dierentiation by varying the instrumentation. Small changes like this can have a tremendous imact, esecially in the hands o a master cratsman like Beethoven or Haydn. Key changes can also rovide relie. Tyically the trio is in a dierent key, or examle the relative minor or the dominant. This has two beneits or the listener: 1. It rovides a new tonal centre, something resh or the ear 2. When the original tune returns it brings a sense o amiliarity and recognition QUESTIONS: 6. Looking at the Minuet and Trio score, identiy and circle (or highlight) the ollowing oints o variety in each section: The 1 st and 2 nd time bars in each section. Three examles o trilets in the Minuet. The new key signature in the Trio. Three ties and three slurs used in the Trio. Three trills ( ) used in the Minuet. 7. What key does the Minuet start in? 8. What key does the Trio start in? Minuet and Trio at a Glance The most imortant thing to remember about the Minuet and Trio is that everything is in three's. Here's a quick summary to hel bring it all together. Each o the sections o the iece - minuet, trio, minuet - has three beats in a bar There are three sections in total, making an A B A orm, also called ternary (three arts) orm Each section is subdivided into three distinct arts A Minuet and Trio is usually the third movement o a sonata, concerto, symhony or string quartet Australian Chamber Orchestra 2013 Schools Notes Mozart Clarinet Concerto Notes Kathleen Beazley 2013

13 MINUET AND TRIO - COMPOSITION TASK GUIDE SHEET WORKSHEET THREE STEP 1 Using the inormation learnt in the Minuet and Trio worksheet, ma out a structure or your own Minuet or Minuet and Trio comosition. Include as much detail as you can at this oint to make the rocess easier as your move through. STEP 2 Decide what instruments you would like to be writing or. Think about ideas o balance and interest with instrumentation. Selecting one instrument amily to concentrate on is always a good start. STEP 3 Now is the time to worksho some o your melodic ideas. It s always good to start with more than one idea so that i the irst one doesn t work out then there is at least another in reserve. Exlore the Concets o Music (CoM) when develoing your musical ideas (itch, duration, tone colour, texture, structure, dynamics & techniques). STEP 4 Always review your work. As you continue through the comosition rocess review what you have done and try to ma ahead so you have a clear direction. Examle o a structure ma: A* Minuet B Trio A Minuet A - 4 or 8 bars long. Think about what ideas you would like to ut into your oening section. C - 4 or 8 bars long. This section should be in a comlementing key Eg: dominant, subdominant, tonic minor, relative minor. A - 4 or 8 bars long. B - 4 or 8 bars long. B - 4 or 8 bars long. What ideas would comlement the oening section? D - 4 or 8 bars long. C - 4 or 8 bars long. A - 4 or 8 bars long. A reca o the oening section. You might like to alter the ending or variety. The remainder o this big section should be structured like a normal Minuet as the Trio is just like a second minuet slotted into overall structure. This section is essentially a reeat o the irst A section. You may wish to rework some o the accomaniment arts or added interest. * OPTION 1 Concentrate on just comosing the Minuet section. OPTION 2 Comlete the whole three tiered structure. A - 4 or 8 bars long. A reca o the oening section. You might like to alter the ending or variety. Use the above stes to guide you through the comosition rocess. The more you document your rocess the better your understanding will be. I in doubt try it out This is an excellent motto to use when comosing. You never know what gems you might come u with. Have un and good luck! Australian Chamber Orchestra 2013 Schools Notes Mozart Clarinet Concerto Notes Kathleen Beazley 2013

14 Mozart: Symh No.21-3rd Mvt Trio Flute Clarinet in Bb Violin 1 Violin 2 Violin 3 doubling viola Viola doubling violin3 Violoncello 3 & # # ?# 3 # 4 arr - K. Beazley B # # 3 4 Fl. 5 Cl. Vln. 1 Vln. 2 Vln. 3 doubling viola Vla. doubling violin3 B # # Vc.?# #

15 2 Fl. Cl. 9 Vln. 1 Vln. 2 Vln. 3 doubling viola Vla. doubling violin3 Vc. B # # izz. n izz. n?# # n n n Fl. 15 # # n n n Cl. Vln. 1 Vln. 2 n n # arco arco Vln. 3 doubling viola b # n n Vla. doubling violin3 B # # b # n n Vc.?# #

16 Fl Cl. Vln. 1 Vln. 2 Vln. 3 doubling viola Vla. doubling violin3 # B # ## Vc.?# # Fl. Cl Vln. 1 Vln. 2 Vln. 3 doubling viola Vla. doubling violin3 Vc. B # #?# #

17 Flute Mozart: Symh No.21-3rd Mvt Trio arr - K. Beazley 3 4 & # # 10 # # n n 19 n 2. & # # 25 1.

18 Clarinet in Bb 3 # # 4 Mozart: Symh No.21-3rd Mvt Trio # # 2 7 arr - K. Beazley 2.

19 Violin 1 Mozart: Symh No.21-3rd Mvt Trio arr - K. Beazley izz. n n n n 17 4 arco

20 Violin 2 Mozart: Symh No.21-3rd Mvt Trio arr - K. Beazley izz. n n n 17 4 arco #

21 Violin 3 doubling viola Mozart: Symh No.21-3rd Mvt Trio arr - K. Beazley b # n n 21 #

22 Viola doubling violin3 Mozart: Symh No.21-3rd Mvt Trio arr - K. Beazley 3 B # # 4 9 B # # 14 B # # b # n n 21 B # # # B # # 2.

23 Violoncello Mozart: Symh No.21-3rd Mvt Trio arr - K. Beazley?# # ?# # 23 1.?# # 2.

Musically Useful Scale Practice

Musically Useful Scale Practice Musically Useul Scale Practice by Jason Siord jiano@gmail.com The study o scales is one o the oundations o iano ractice. They rovide the ianist with a means to ractice coordination, imrove inger dexterity,