Motet%

!!!!!Motet!(13th!Century,!Antiqua)!"Created"by"Notre"Dame"composer!written"by"Latin"words"to"the"upper"voices"of""""""
discant"clausulae%
"""1)"A"different"text"for"duplum"in"Latin"or"French,"Chant"text"is"not"necessarily,"secular"topic"could"be"used"
"""2)"A"third"or"fourth"voice"add"
"""3)"Giving"additional"part"texts"of"their"own"
"""4)"Deleting"the"original"duplum"and"writing"one"or"more"new"voices"
!!!!!From!mid813th!century,!three!voices!were!rule!with!Latin!or!French!or!Latin!and!French!for!each!voice.!
!!!!The!tenor!melody(!became!cantus8firmus)!came!from!Notre!Dame!clausulae!as!well!as!other!chant!and!secular!!!!!!
music!
"
!!!!!!Mid8!13th!Century!
!!!!!*Discant!style8!moving!about!same!rate!per!each!note(less!melismatic)!with!using!Rhythmic!mode!by!Leonin!
"""""features"
1) Rhythmic"variety!"Franconian"notation"
Duplex"Longa>"Longa>"Breve>"Semibreve=>"Rhythmic"freedom"and"variety"
2) Petrnoan"Motet("Petrus"de"Cruce)!"extended"rhythmic"variety"("lots"of"fast"rhythms),"triple"division"(perfect"
Longa!three"quarters,"imperfect!half"notes)"
!
!!!!!!14th!Century!(Ars!Nova)8!Isorhythmic!motet!(=!equal!rhythm)!
!Tenor"structured"by"isorhythmic"pattern"
"
1)Repeating"rhythmic"units!"Talea"
Beginning"and"ending"together""
2)Repeating"a"segment"of"melody!"Color"""""""""""" "
Could"be"same"length"
(Could"be"extended)"
"
""""""Color""I!!!!!!!!!!!!!!!!!!!!!!!!!!!!I"
""""""Talea""I!!!!!!!!I!!!!!!!!!I!!!!!!!!!I"(To"emphasize"recurring"rhythmic"pattern)"
3) Imperfect"consonances"(3rd,"6th!"sustained"or"delayed"which"is""typical"Ars"Nova"Style"
4) Still"parallel"octave"and"fifth"common"
5) Allowing"duple"division"of"note"values"along"with"the"traditional"triple"division"
6) Division"of"the"semibreve"into"minimas!"shorter"note"values"created"(ex:"minimas)"
7) Notable"composers!"Philippe"de"Vitry,"Guillaume"de"Machaut"
!
!!!!!!!Early!of!the!15th!Century!
!
!!!!!!!8England!
1) Faburdon!"a"technique""""""""""""Cantus""Perfect"5th"above"middle"voice"
""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""Middle"voice"(from"chant)"
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Tenor"parallel"3rd"below"than"middle"voice"
2) Contrapuntal"style"
3) Free"composed"
4) Notable"composer!"John"Dunstable"
8Guillaume!Du!Fay"
1) Abandon"a"repeated"figure"(why?"Avoid"a"repetition"of"the"cantus!firmus)"
2) Still"used"isorhythmic"rhythm"(Homophonic"rhythm)"
3) Passing"chord"(some"dissonant"chord"use!"but"carefully"and"controlled)"

4) Fauxbourdon"by"Second"quarter"of"15th"century"
"""""""""""""Main"melody"("Cantus)"""exactly"parallel"4th"below""""
""""""""""""""""""""Unwritten"voice"("Fauxbourdon)""""""""""""""""""""""""""""""""""""""""""""""""""""Parallel"6th"below"
""""""""""""""""""""Tenor""
a) Used"by"Guillaume"Du"Fay","b)"three"voices,"c)"still"used"Isorhythmic"motet"
!
!!!!!!!*By!1450,!Isorhythmic!motet!disappeared,!motet!term!changed!any!polyphonic!composition!on!Latin!text.!
!
!!!!!!!Mid815th!!Early!of!the!16th!Century!!
1)!Josquen!Des!Prez!(145081520)!
"Most"motets"were"freely"composed"
"Clarity"in"phrasing,"form,"and"tonal"organization"(cadence"ends"with"tonal"center"C)"
"Fluid"tuneful"melody"
"Transparent"textures"(Strong"contrast)"
"Use"of"imitation"and"homophony"
"From"Franco!Flemish"school"(Johannes"Ockeghem,"Josquin"Des"Prez)!"Four"part"motet"
"Careful"use"of"text"
Text"depiction!""used"to"reinforce"a"musical"gesture"
Text"expression!"conveys"an"emotion"suggested"by"text""through"music"
"Notable"Piece"Ave"Maria!"Use"of"concluding"cadence"on"the"tonal"center"C,"Fluid"tuneful"melody,"Use"of"
imitation,"Text"expression"and"Text"depiction."
!!!!!!2)!Martin!Luther!(148381546)8!Polyphony!choral!motet!
"Choral"tune"in"tenor"
"Surrounding""tenor"with"three"or"more"free"flowing"parts!"Borrowed"the"technique"from"Franco!Flemish"motet"
"Imitated"or"free"flowing"(Each"voice"without"tenor)"
Cantus!"Altus!Tenor("Choral"Tune)!"Bassus"
"
!!!!!!Mid!16th!Century!!
1) Imitative"polyphony"continued"
2) Polyphonic"settings"of"sacred"composition"in"other"languages"
3) Cadence"
4) Strong"contrasts"by"Josquin"("Continued)"
5) Palestrina"(Strict"counterpoint)!"Ill"refer"about"Palestrina"in"the"Church"music"
6) Orlando"di"Lasso"
"""""""""""""" "Emotional"expression"and"text"depiction"
"""""""""""""" "Use"of"suspension!"to"achieve"emotional"tension"
""""""""""""""""""""Ex)"Tritis"(Sad)!"descending"semiton"motiv"
"""""""""""""" "Voice"expansion"with"5"voices"("Use"Two"Altus)!"Influenced"to"Heinrich"Schutz"and"J.S.Bach"
"
!!!!!!!17th!Century!
!
"""""""Heinrich"Schutz!"Polyphonic"chorale"motets"and"motets"on"biblical"texts"without"chorale"melodies"
"

%
%
%
%

Madrigal%
1. General"characteristics"of"Madrigal"(which"is"Sixteenth"century"secular"vocal"chamber"music)"
1) A"stanza"with"seven"or"eleven"syllable"lines,"standard"or"free"rhyme"scheme,"No"refrain"and"repeated"line"
2) Through!composed"
3) Definition!"Musical"settings"of"Italian"poetry"of"various"types"from"sonnets"to"free"forms"
""""""""""""""Composers"emphasized"the"text"and"meaning"through"the"musical"setting""
""""""""""""""Explored"new"effects"of"declamation,"imagery,"expressivity,"characterization,"and"chromaticism""
""""""""""""" (influence"to"Opera)"
4) Subject!"Sentimental"or"erotic,"Theme!"love,"sex,"and"wit"
5) Dealt"free"with"poetry,"using"variety"of"homophonic"and"contrapuntal"textures"in"series"of"overlapping"
sections,"each"based"on"a"single"text"
6) All"voices"playing"essentially"equal"roles"
7) Social"role!"mixed"group"of"women"and"men"singing"
%
%%%%%%Early/%4%voices%(cantus/Altus,%Tenor,%Bassus)%
1) Jacques"Arcadelt"(Franco!"Flemish)"
"Homophony"with"occasional"imitation"
"Simple"and"ingenious"
"Text"with"contrast"
2) Adrian"Willaert"
"""""""" "Petrarchan"movement!"Led"by"Cardinal"Bembo"
""""""""""""""Poet"Francesco"Petrarca!"Ofen"revised"sound"of"the"words"without"changing"the"imagery"or"meaning"
""""""""""""""*Two"opposite"quantaties"
""""""""a)"In"the"pleasing"category"
Bembo"identified"
b) Severe"category"
"""""""" "Emphasized"melodic"motion"
"""""""""Ex)"Harsh"heart,"savage,"cruel!"motion"in"whole"step,"major"3rds"
""""""""""""""Sweet,"humble!"semitones,"minor"thirds"
!Early!of!those!two!composers!used!emotional!qualities!which!were!related!to!music!!
%
%%%%%Middle/%Five%voices%with%frequent%changes%of%texture%
%%%%%%%%%%%%%%%%%%%%%Freely%alternated%homophony%and%imitative%or%free%polyphony%
1) Cipriano"de"Rore"(Franco!Flemish"born)!"5"voices"(From"5"voice!"use"Latin"number"Quintus)%
"Accented"syllables!"Longer"notes"than"Unaccented"syllables"
"Petrarchan"movement"modeled"
"Chromaticism!"Introducing"notes"outside"the"mode"
Zarlino"accepted"to"use"the"accidentals"to"express"sorrow"
Vincentino!"Used"chromaticism"(Greek"chromatic"tetrachord)"
%
%%%%%%%%Late%
1) Orlando"di"Lasso"
2) Luca"Marenzio"(Italian)"
"Depicted"contrasting"feelings"and"visual"details"
Ex)"Flee,"Excape!"quickly"moving"figures"
Madrigalism!"Striking"musical"images"evoking"the"text"almost"literally"
Word!painting!"naturalistic"expression"of"feelings"to"the"depiction"of"individual"words"
"

3)Carlo"Gesuado"
Sharp"contrasts"between"""""""""" "diatonic"and"chromatic"passages"
""""""""""""""""""""""""""""""""""""""""""""""""""""""" "consonance"and"dissonance""""""""""""""""""dramatization"of"poetry"
""""""""""""""""""""""""""""""""""""""""""""""""""""""" "chordal"and"imitative"texture"""""""""""""""""Ex)"Chromatic"line"
""""""""""""""""""""""""""""""""""""""""""""""""""""""" "slow!moving"and"active"rhythms"""""""""""""""""!"Womens"Lament"
%
France%
/ Musique"Mesuree"(Kind"of"Madrigal)"
1) Longer"syllables"in"French"language"were"set"to"longer"note"values,"and"shorter"syllables"to"shorter"
2) Voice"and"accompaniment"
3) Imitate"rhythm"of"Greek"poetry"
%%%%%%Germany%
1) Meistersinger"
2) German"polyphonic"lied"continues"
3) Poems"fit"to"existing"Ton("note)!"All"Tone("notes)"use"bar"form"
4) Orlando"di"Lasso"
England"
1) Consort"song!"voice"with"accompanied"a"consort"of"viols"
2) English"madrigal"
"refrain"("fa!"la!"la)"
"came"from"canzonetta"and"ballata"
"strophic,"homophonic"settings"
"main"melody"in"cantus"
Word!painting"
3) Lute"song!"vocal"melody"(Lute"subordinates"the"vocal"melody),"Tablature("notation"system)!"for"Lute"part"

%
th

Secular(Song(

!!!!!!14 !century!French!song"("Gillaume"de"Machaut"continued"the"Trouvere"tradition)"
"""""Chanson!"development"of"polyphonic"songs"in"14th"century"
""""" "Treble"cominated"
""""" "A"major"innovation"of"Ars"Nova"period"
""""" "The"upper"voice"carrying"the"text,"called"the"treble"or"cantus!firmus""
""""""""""""The"principal"line"supported"by"a"slower!moving"tenor"without"text"
""""" "One"or"two"other"untexted"voices!"Maybe"added"to"the"essential"two!"voice"frame"work"
"""""""""Formes"Fixes"
/ Derived"from"the"genres"associated"with"dancing"("by"their"use"of"refrain"
/ Machauts""""""Monophonic"Virelais!"dance"like"character,"could"be"danced"
""""""""""""""""""""""""""""""""Polyphonic"Chanson!"highly"stylized"and"not"used"for"dancing"
1) Virelai!(monophonic)!
""""" "Machaut"(25"monophonic,"8"polyphonic"
""""" "subject!"descriptions"of"nature"to"feeling"of"love"
""""" "3"Stanzas"
A(refrain)"
bba"
A(refrain)"
bba"
A(refrain)"
bba"
A"(refrain)"
st
ND
rd
"(1 "stanza)"
(2 "stanza)"
(3 "stanza)"
"""""" "Text"and"music"have"particular"patterns"of"repetition""including"a"refrain,"a"phrase"or"section"repeating"""""""""""""""""
both"words"and"music"

2) Ballade!(polyphonic)!
""""""" "The"most"serious,"appropriate"for"philosophical"or"historical"themes"
""""""" "3"stanzas,"each"sung"to"the"same"music"&ending"with"the"same"line"of"poetry"which"serves"as"a"refrain"
aab"(1st"stanza)"
C"("refrain)"
aab"(2nd"stanza)" C"(refrain)"
aab"(3rd"stanza)" C"(refrain)"
3) Rondeux!(Polyphonic!song)!
""""""" "Subject!"themes"of"love"
""""""" "1"stanza"
AB"(refrain)"
a"
A"(half!"refrain)"
ab"
AB"
"
!

/ Secular!song8!Late!15th!and!Early!of!the!16th!Century!
""""""1)"Villancico"(Spain)!"the"most"important"form"of"secular"polyphonic"song"in"Renaissance"Spain"
"""" "Texts!"rustic"or"popular"subjects"
"""" "Composed"for"Aristocrasy"
"""" "Short,!strophic,!syllabic,"and"mostly"homophonic!"reflect"a"growing"preference"for"simplicity!
"""""""""""(Authentic"representation"of"Spanish"culture"more"complex"French"chanson)"
"""" "Includes"a!refrain"and"one"or"more"stanzas"
"""" "Principal"melody"is"always"in"the"upper"voice!""others"may"have"been"sung"or""performed"on"instruments"
("lute)"
"
2) Frottola"(Italy)!"a"four!part"strophic"song"set"syllabically"and"homophonically"
""""""" "Melody!"in"the"upper"voice,"marked"rhythmic"patterns"and"simple"diatonic"harmonies"
""""""" "End"of"each"line"with"a!cadence"with"lower"parts"providing"a"harmonic"foundation"
""""""" "Simple"music,"but"were"neither"folk"nor"popular"songs"
""""""" "Earthy"and"satirical"texts"
""""""" "Usually"the"top"voice"was"sung,"while"the"other"parts"were"played"on"instrument""
""""""" Best!"known"composer!"Marco"Cara"

%
Mass%
/ The"most"solemn"service"of"Roman"Catholic"Church"and"the"service"attended"by"the"public"
1) Mass"""""""Proper!"Texts"vary"from"day"to"day"
""""""""""""""""""""""""""Introit(1),"Gradual(4),"Alleluia(5),"Sequence("additional),"Offertory(7),"Communion(10)"
""""""""""""""""""""""""Ordinary!"Texts"do"not"change"
"""""""""""""""""""""""""""Kyrie(2),"Gloria(3),"Credo(6),"Sanctus(8),"Agnus"Dei(9),"Ite"missa"est"
2)"Office!"Psalm"with"Antiphon,"Responsories,"Hymn,"Canticles"
Manner"of"Performance""""""""Responsorial"(Soloist"VS"Choir"or"congregation"
"""""""""""""""""""""""""""""""""""""""""""""""""""Antiphonal"(Two"groups"alternate)"
"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""Direct"(Without"alteration)"
3) Text"settings!"Syllabi,c"Neumatic,"Melismatic"
4) Recitation"fomulas"
""""""" Psalm"tones!"Singing"Psalm"in"the"office,"sung"everyweek"
"""""""""""(Intonation!"tenor!"median!"tenor!"termination)"
""""""" "Office"Hymns!"Strophinc,"all"sung"to"the"same"melody"
""""""" "Alleluia!"effusive"melisma"called"a"Jubilus"("sing"A"with"melismatic"figure)"
""""""" "Additions"to"the"authorized"chants!"Trope("Expanding"existing"chant),"Sequence("Syllabic"text"to"Jubilus)"
""""""" "Office"Antiphon!"Different"by"church"calendar"
5) Notable"composer!"Hildegard"von"Bingen"(1098!1179)!"composed"for"office"services,"sacred"music"drama"

!14th!Century!Mass"
1) Guillaume"De"Machaut!"first"polyphonic"cycle"of"the"complete"Ordinary"of"the"Mass"in"4"voices""
("Triplum!"Motetus!"Tenor!"Contratenor)"
!"Messe"de"la"Notre"Dame!"Tenor"carries"a"cantus!"firmus"melody"from"chant""
(Same"as"melody"of"Ordinary"text)!"Plainsong"mass"
"""Gloria,"Credo!"Discant"or"Conductus"sytle"
"""Kyrie,"Sanctus,"Agnus"Dei,"Ite"missa"est!"Isorhythmic"motet"
!
!!!!!Mid!15th!Century!
/ Until!1420s,!Ordinary!usually!composed!as!separate!pieces(!Except!for!Machaut)!
/ 15th!Century8!!Became!standard!practice!to!set!the!Ordinary!as!a!coherent!whole!
"""""""1)"Guillaume"Du"Fay"
!"Mass"cycles"(Kyrie,"Gloria,"Credo,"Sanctus,"Agnus"Dei)"
"Plainsong"mass!"each"movement"based"on"an"existing"chant"for"that"text"
"Motto"mass!"Beginning"of"each"movement"with"same"melodic"motive"in"one"or"all"voices"
"Cantus!firmus"mass""""""Each"movement"constructed"around"the"same"cantus!firmus,"
"""""""""""""""""""""""""""""""""""""""""""""""normally"placed"on"the"tenor"
""""""""""""""""""""""""""""""""""""""""Tenor"cantus!firmus"written"in"long"notes"in"an"Isorhythmic"pattern"
"
"4"voice"texture"from"mid"15th"C!"Contratenor"bassus!"Contratenor!Altus!Soprano"
""""""" "Piece!"Missa"Se"la"face"ay"pale"and"Missa"LHomme"Arme"("borrowed"melody"from"secular"song)"
"""""""2)"Johannes"Ockeghem"
""""""" "Wider"voice"range"than"Du"fay!"Fuller"and"Darker"texture"
""""""" "Cantus!firmus"masses"
""""""" "Mensural"Notation"
""""""" "Occasional"moment"of"imitation"
""""""" "Missa"Prolationum!a)"Notated"in"two"voices"but"sung"in"4"voice,"b)Using"the"4prolations"of"Mensural"notation"
""""""" "Canon!"Deriving"two"or"more"voices"from"a"single"notated"voice"
""""""""""""""""""""""""""Mensuration"canon!"using"different"mensuration"sign!>"each"voice"moves"with"different"speed"
""""""" "Missa"cuiousvis!"Can"be"sung"mode"1,3,5,"or"7"in"the"mass"using"Musica"ficta"to"avoid"triton"
"""""""3)"Josquin"des"Prez"
""""""" "Imitation"Mass!"Each"movement"is"based"on"same"polyphonic"model"("Chanson"and"Motet)""
"""""""""""""(Parody"Mass)"""all"voices"of"polyphonic"model"are"used"in"the"mass,"but"none"is"used"as"cantus!"firmus""
"""""""""""""Ex)"Missa"Malheur"me"bat"
""""""" "Paraphrase"mass!"Based"on"the"plainchant"Hymn,"paraphrased"it"in"all"four"voice"(Ex)"Missa"Pange"Lingua"
16th"Century"character!"still"cantus!firmus"mass,"but"turned"increasing"to"imitation!or!paraphrase!mass!
"
Cantus!firmus"mass"
Paraphrase"mass"
Imitation"mass"
/imitation"mass"
Piece"
Dufay"
Josquin"
Josquin"
Missa"Se"la"face"ay"pale"
Missa"pange"Lingua"
Missa"Malheur"me"bat"
Borrowed"
Tenor"plus"parts"of"other"voices" Chant"melody"
All"voices"from"polyphonic"
material"
from"polyphonic"work"
work"
Where"is"it"used" Tenor"in"tenor"of"mass,"Others"
All"voices"of"mass"
All"voices"of"mass"
in"other"voices"
How"is"it"used"
Tenor"used"as"structural"cantus! Paraphrased"and"with"
Motives,"a"point"of"
firmus,"others"reworked"
notes"added"
imitation"or"other"
elements"reworked"
Main"texture"
Stratified"with"tenor"as"
Imitative"with"some"
Imitative"with"some"
structural"voice"
homophonic"passages"
homophonic"passages"

""""""""""The!Protestant!Reformation!16th!
""""""""""1)"Luther"church!"Chorale,"Chorale"settings"
""""""""" Chorale!"Congregational"Hyum,"consists"of"only"metric,"rhyme,"strophic"poem"and"a"melody"in"simple"
rhythmic""sung"in"unison"without"harmonization"and"accompaniment."
""""""""""""""""" Polyphonic"chorale"settings!"alternating"stanzas"with"the"congregation"singing"in"unison"without""accomp."
"""""""""""""""""""""Purpose"""""Group"singing"in"homes"and"school"
"""""""""""""""""""""""""""""""""""""""""Performance"in"church"by"chants"
""""""""""""""""" "Sources"for"chorale"
""""""""""""""""""""""a)"Adaptations"of"Gregorian"chant"""""""""""""""""""""""""""""""""""""""""""b)"New"compositions!"Ex)"Luther!"Einfeste"Burg"
""""""""""""""""""""""c)"Secular"songs"given"new"words"called"Contrafactum"""""d)"Existing"German"devotional"songs"
"""""""""""2)"Metrical"Psalm!"Calvinist"churches"(Elaborate"church)""
""""""""""""""""Psalms"had"verses"of"varying"lengths,"making"them"difficult"for"congregation"to"sing"
! So"need"to"rework!!"Metric,"rhymed,"strophic"translations"of"psalms"in"the"vernacular"that"was"to"
newly"composed"melodies"or"tunes"adopted"from"chant"
"""""""""""3)"Anthem!"""""""Full"anthem!"Unaccompanied"choir"in"contrapuntal"style"
"""""""""""""""""""""""""""""""""""Verse"anthem!"Employs"one"or"more"solo"voices"with"organ"or"viol"accompaniment,"alternating""""""""""""""
with"passages"for"full"choir"doubled"by"instruments"
"""""""""""""""Service!""
Great"Service!"A"contrapuntal"and"melismatic"setting"
""""""""
Short"service!"Sets"the"same"texts,"but"in"a"syllabic,"chorale"style"(Ex)!"William"Byrd"
""""""""""""
"""""""""16th!Century!Catholics!response!to!the!reformation!8>!Loyola!made!Society!of!Jesus8!Asceticism!by!Pope!Paul!III!
!!!!!
!!!!!!!!!!Giovanni!Pierluigi!Da!Palestrina!(104masses)!
"""""""""""1)"""51"masses!"Based"on"polyphonic"model"
""""""""""""""""""34"Paraphrase"masses!"All"on"chant"with"borrowed"melody"paraphrased"in"all"voices"
""""8"masses!"Old!fashioned"cantus!firmus"method,"used"borrowed"melody!>"LHomme"Arme"
""""6"masses!"Including"Pope"Marcellus"mass,"free"(neither"borrowed"materials"nor"canons)"
""""Canonic"masses!"Franco!Flemish"tradition"""
"""""""""""2)"Music"style"
""""""""""" "Counterpoint"and"dissonance"treatment!"Dissonance("suspension,"passing,"and"Neighbortones)""
""Often"used"Cambiata"
""""""""""" "Sonority!"The"smooth"diatonic"line"and"discreet"handling"of"dissonance!"give"serenity"and"transparency"
""""""""""" "Text"declamation!"To"accentuate"the"words"correctly,"set"many"passages"in"homophony"to"understand"easily"
"
Ex)"each"note""one"syllable"
""""""""""""
""""""""""" "Texture!"""""""Each"new"phrase"to"a"different"combination"of"voices"
"
The"full"six"voices"for"climaxes,"major"cadences,"or"particularly"significant"words"
"
Subtle"text!painting"(ex!""the"Father"sung"by"3voices!"Why?"The"father"means"trinity)"
""""
""""""""""" "Rhythm"!""""""Each"voice"in"great"variety"of"durations"
"
No"two"successive"measures"feature"the"same"rhythm"
""""""""""""
Often"use"syncopation"to"sustain"momentum"and"link"phrases"
"
"
"
!
!
!
"

Classic%Period%
Mozart!(17568!1791)!
1)"Themes!""Songlike"("Galant"style)"
2)"Use"heterogeneous"style!"Learned"style"+"Galant"+"Strum"und"Drang"in"one"movement"
"""""Ex)"Piano"Sonata"in"F"Major,"K.332"!>"Phrases"are"usually"balanced"between"antecedent"and"consequence"
""""""""""""Theme!"unfold"naturally"and"spontaneously"
3)"Tempo"and"dynamic"change"rapidly"and"unpredictably"to"reflect"strong"changes"of"emotion"
4)"Piano"works!"19"Piano"sonatas,"17"Piano"Concertos"(!"6"vienna"concertos"among"them)"
"""""Ex)"Piano"Concerto"in"A"major,"K.488!""
"""""" "follow"the"traditional"three!movement"pattern""Fast!"Slow!"Fast"
"""""" "Opening"ritornello!"introduces"the"movements"first"theme,"transition,"second"theme,"and"closing"theme"
"""""" "Double"exposition!"Ritornello"by"Orchestra"tutti"and"then"solo"
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