![]() Measure 58: Mozart has put a staccato sign on the last two quavers. It would be good if anyone else could explain this a bit better. If you see two legato sixteenths notes, play the first one a little bit longer and the and the second one a little softer and not to long. This was also a convention during bachs time. Measure 46: these pairs of sixteenth notes have to be played in a very certain way. Measure: 43 the first g is a little more emphasized than the second one Meausre 39+40: I cannot hear a rhythmic difference between the sixteenth notes and and the following quavers. then a little crescendo and decrescendo on the last three E's. Because he wants the c sharp to get a little emphasis.īar 20: same rule here: Decrescendo on D sharp and E. Mozart could have put two sixteenth notes, but instead he writes a grace note of the D. What would it sound like ?īar 19: The dissonance and resolution rule applies for the C sharp grace note of the d. Imagine a violin playing these chord figurations. Measure 19-23: you forget to pay attention to the left hand accompanimenet. That means, you have to play a little decresce ndo on these two quaves. A dissonance gets an emphasis and the resolution is played softer. ![]() You have to "approach" the 2nd G.īar 8: The D sharp is the dissonance and the E is the resolution. But mozart makes the rhythmic value of the 2nd G in bar one and three longer because of its dot!! You forget the syncopated rhythm in measure one and three.īar 1+3: You missed the syncopated rhythm.
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