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Type-2: Variations.  With Sheet Music and Sound Clips.

 

 B1.  K.331/K.300i - Sonata in A for Piano. 

      Allegretto (Rondo Alla Turca).

      From Presser’s edition, edited by Nathan Broder, 1956.

      Key of A minor.

      There are 2 occurrences of a Trademark Phrase Variation.  

      They begin at:    

      1. Measure 20, Beat 1.

      2. Measure 84, Beat 1.

 

      Measure 20 Variation:

         First chord: 20.1    Second chord: 21.1 

 

 

     20*     21*      22      23       24 

                        Variation: K.331 - Allegretto

               Measures 20 and 21 contain the Variation. 

 

                            K331

              Click to hear sound clip of measures 20-24

 

      Both chords contain an upper C, and in the 2nd chord at measure 21,

      "A" is used instead of "Ab". (The C is not part of the trademark phrase, 

      but influences the resolution. The second C precedes the resolution by

      half a beat).

      Therefore, this is not a standard trademark phrase.

      However, it is so similar it can probably be ranked as a variation.

      In this case, the upper C keeps the phrase anchored in A minor, rather

      than progressing to E major as E-Ab-(B)-E.

 

      The "Variation" Notes are a trimmed version of the "As Written" Notes.   

      Variation Notes: 2nd chord only. "A" instead of A-flat.

      

      Chord locs:    20.1, 21.1

    As Written:  F-----A-----D#---C -->  E-----A-----E-(--C)

    Variation:   F-----A-----D#     -->  E-----A-----E

                        20.1                             21.1   minor

 

                    

      If the standard trademark phrase had been used, it would read:

                 F-----A-----D#     -->  E----Ab-----E

                        20.1                             21.1   major

 

 

                          

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 B2.  K.620 - The Magic Flute - The Queen of the Night Aria (Act 2, Nr 14).

   From Dover’s full score, 1985.

   Key of D minor.

   Variation: Beginning at Measure 3rd from last, last beat, orchestra only.

 

 

      Variation: K.620 - Act 2, Number 14, Queen of the Night Aria.

                         (Orchestral Score)

 

                              K620

         Click to hear sound clip from "hört der Mutter Schwur!"

                      6 Measures from the end.

 

   This is very close, but a Bb is changed to a B-natural at the

   last minute on the last beat when the G and G# are added, and

   continues in D minor in the next chord. In a trademark phrase,

   the first chord would contain a Bb, and the key would progress

   to A major.

   This aria would never progress to A-major or end in A-major

   anyway, since it's entirely about "rage, and doom and gloom".

 

   In other words, after the soprano's final notes, it progresses

   from minor to major (with the B natural) to minor, from the 3rd

   measure from the end, to the 2nd measure from the end.

   If this had been a trademark phrase, the key would have progressed

   from D minor to A major, then back to D minor.

 

   The 2 differences from the trademark phrase are:

   1. The augmented 6th never materializes, and is converted to

      something else at the last second (with the B-natural in the

      first chord, instead of a B-flat).

   2. The 2nd chord of the phrase is minor, rather than major (with

      the D-F notes, instead of C-sharp).

     

   Chord locs: Beginning at the 3rd measure from the end.

 

  Variation:            1st               2nd   

      Bb----D  -->   Bnat--D--G#  -->   A-D-F---A

                                         minor

                       

 

   If the standard trademark phrase had been used, it would read:

                                  1st               2nd      

                     Bb—---D-—G#  -->   A-C#----A  

                       aug-6th           major

 

 

   The notes in the ending of this Aria are very similar to the Trademark Phrase,

   but slightly different, making it a Variation.

   The Buzzing Queen Bee not only gets a different "2nd chord" (minor, instead of

   major), but she doesn't even get a Standard First chord, since it's slightly

   different, crippled with the B-natural as the low note, instead of a B-flat.  

   The Queen of the Night is not happy, and the orchestra picks up where she left

   off, finishing that phrase with a Minor chord, then ends the Aria in the next

   measure, also with a Minor chord.

 

 

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 B3.  K.626 - Requiem in D Minor - Confutatis (Nr. 5).

   From Kunzelmann’s piano/vocal score edited by Franz Beyer, 1983.

   Key of A minor.

   Beginning at Measure 5, Beat 4.3..

 

       5*                              6*              7 

                       Variation: K.626 - Confutatis.

                         Measures 5-7.                             

                   Measures 5 and 6 contain the Variation.

 

                           K626

                          Click to hear sound clip

 

   This variation in the Confutatis precedes the standard trademark

   phrase which can be found in measure 15 of the Confutatis, listed

   earlier.  However, instead of starting with F-A-D# as does the other

   phrase at measure 15, this variation starts with E-A-D# (E-A-E-D#)

   using an E rather than an F as its lowest note.

     

   Thus, we see in the Confutatis, 2 usages of the trademark phrase

   using the same words (flammis acribus adictis).

   1. The first is a slightly dissonant variation of the phrase (mm 5.4/6.1).

   2. The second is a more harmonic, standard trademark phrase 10 measures

      later (mm 15.4/16.1).

 

   As with the rest of the development of this number, we proceed from a

   musical state of "confusion/confounding" ("confutatis") with the first

   phrase, to a state of less confusion with the second phrase, followed

   by clarity, focus, and peace.

 

   This logical musical development is probably why Mozart used the variation

   first, followed by the standard phrase.

 

   1. Measure 5  Confutatis: Variation. Confusion/Confounding.

   2. Measure 15 Confutatis: Standard.  Less Confusion/Confounding.  

 

 

   Chord locs:     5.4, 6.1

  As Written:  E---E---A---D#  -->  E-E-E----G#-B--E

  Variation:   E-------A---D#  -->      E----G#----E

                     5.4                                6.1

  

   If the standard trademark phrase had been used, it would read:

               F-------A---D#  -->      E----G#----E

                     5.4                                6.1

 

 

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