In many of Mozart's compsitions modulations between different keys were employed in order to provide contrast and to increase length. This was standard for the Classical music era and these techniques were also employed by other composers such as Haydn, Beethoven, and others.
Symphonies
Symphony No. 1
===Symphony in A minor, "Odense"===
Symphony No. 4
Symphony in F
Symphony No. 5
===Symphony in G, "Lambach"===
Concerti
Violin Concerti
Violin Concerto No. 1 in B-flat major (B-dur)
This piece, written in , begins in the key of B-flat major, then progresses to the key of . (Still under construction)
Violin Concerto No. 3 in G major (G-dur)
The first movement is in ABA form, and opens with the main G major theme played by the orchestra: a typical radiant Mozartian tune. The violin then repeats the beginning of the theme as a solo. After a short orchestral passage, the violin enters once again, by playing a G major broken chord in the form of minim-crotchet-crotchet-minim. The ornamented solo modulates from G to A Major, B minor and finally D Major, where the violin ends the passage with a low D after a sixteenth-notes only brilliant passage. As the orchestra plays, the melody goes from D Major to minor, when the violin enters with two minims and a descending D minor scale. The orchestra answers back to the violin, and this occurs several times, until the violin plays exactly the same motif in C Major. Then, the melody turns to expressivo, and ultimately back into D major. After a small cadenza, the orchestra concludes the passage, and the solo violin re-appears in G major, exactly as in the first solo. A sudden change is noticeable from G major to A minor, to G major, E minor, D major, and finally G major again. After a rise to the fourth position in the solo violin, the movement concludes in G major.
The second movement is also in ABA, and in the dominant key: D major. The orchestra begins by playing the well known and beautiful main theme, which the violin imitates one octave higher. The winds then play a dance like motif in A major, which the violin concludes by its own. After a conclusion in A, the violin plays the main theme again, remaining in the same key. When it should have sounded A natural, it sounds A sharp, and the melody switches to B minor, in a fairly tragic passage. It soon modulates back to A major, and to the home key of D major through the main theme. After the cadenza, and in a quite unusual thing for Mozart to do, the violin plays the main theme again , thus concluding the movement in D.
The third movement is a Rondeau Allegro, and opens with an orchestra theme which gave the concerto its nickname: "Strassburg". After a lonely, short passage by the oboes only, the solo violin enters with a different melody which modulates to D. A brilliant and high passage in D is soon followed by a descending arpeggio-like melodic line which eventually leads to the G string and repeats itself. After the second time, the violin plays the lonely oboe line from the introduction. A chromatic scale then leads to the "Strassburg" theme with the violin playing. The orchestra imitates the violin and abrupty change to B minor and a B minor violin theme: exactly the same theme as in the first violin solo, played in the relative minor key. As the theme itself repeats, it once again abruptly changes to E minor. The small E minor cadenza introduces the orchestra, which once again plays the "Strassburg" theme in G Major. After a couple of bars in D Major by the orchestra, the music goes from Allegro to an Andante in G minor, almost in the fascion of a Scherzo-Trio form. The strings play saltato quavers while the violin plays a note-rest small melodic line which repeats itself and eventually leads to a G Major Allegretto. The violin plays a crotchet-only playfull theme, while the orchestra plays brilliant and fast threesome up-and-down notes, in a way that ithe solo violin's part acts as a background only. The parts switch and now the orchestra plays the playfull theme, while the violin gets to show off by playing fast notes. The quick passages stops for the violin to play a more ceremonial theme played in the D and A strings, in the fashion of a Musette. This pattern sounds two more times until the violin concludes the fast theme with a low G, and switches to Tempo 1. After a few bars, the first solo theme that the violin played is played as a variation in A minor. The violin plays the "Strassburg" theme in G minor, and the orchestra imitates it in the usual form of G major. After the typical first solo variation, this time in the tonic key. the violin plays another small cadenza which leads to the last "Strassburg" theme played in two octaves. The orchestra plays it one third time in the lower octave. Instead of ending the concerto in a pompous way, Mozart choose to end it instead with the lonely oboe theme in G major played piano, adding the feeling of a musical "disappearing".
Piano Concerti
Wind Concerti
Other Concerti
Divertimenti, Serenades, and Cassations
Eine kleine Nachtmusik
Chamber music
String Trios
String Quartets
String Quintets
Piano Quartets/Quintets
Sonatas
Violin Sonatas
Piano Sonatas
Symphonies
Symphony No. 1
===Symphony in A minor, "Odense"===
Symphony No. 4
Symphony in F
Symphony No. 5
===Symphony in G, "Lambach"===
Concerti
Violin Concerti
Violin Concerto No. 1 in B-flat major (B-dur)
This piece, written in , begins in the key of B-flat major, then progresses to the key of . (Still under construction)
Violin Concerto No. 3 in G major (G-dur)
The first movement is in ABA form, and opens with the main G major theme played by the orchestra: a typical radiant Mozartian tune. The violin then repeats the beginning of the theme as a solo. After a short orchestral passage, the violin enters once again, by playing a G major broken chord in the form of minim-crotchet-crotchet-minim. The ornamented solo modulates from G to A Major, B minor and finally D Major, where the violin ends the passage with a low D after a sixteenth-notes only brilliant passage. As the orchestra plays, the melody goes from D Major to minor, when the violin enters with two minims and a descending D minor scale. The orchestra answers back to the violin, and this occurs several times, until the violin plays exactly the same motif in C Major. Then, the melody turns to expressivo, and ultimately back into D major. After a small cadenza, the orchestra concludes the passage, and the solo violin re-appears in G major, exactly as in the first solo. A sudden change is noticeable from G major to A minor, to G major, E minor, D major, and finally G major again. After a rise to the fourth position in the solo violin, the movement concludes in G major.
The second movement is also in ABA, and in the dominant key: D major. The orchestra begins by playing the well known and beautiful main theme, which the violin imitates one octave higher. The winds then play a dance like motif in A major, which the violin concludes by its own. After a conclusion in A, the violin plays the main theme again, remaining in the same key. When it should have sounded A natural, it sounds A sharp, and the melody switches to B minor, in a fairly tragic passage. It soon modulates back to A major, and to the home key of D major through the main theme. After the cadenza, and in a quite unusual thing for Mozart to do, the violin plays the main theme again , thus concluding the movement in D.
The third movement is a Rondeau Allegro, and opens with an orchestra theme which gave the concerto its nickname: "Strassburg". After a lonely, short passage by the oboes only, the solo violin enters with a different melody which modulates to D. A brilliant and high passage in D is soon followed by a descending arpeggio-like melodic line which eventually leads to the G string and repeats itself. After the second time, the violin plays the lonely oboe line from the introduction. A chromatic scale then leads to the "Strassburg" theme with the violin playing. The orchestra imitates the violin and abrupty change to B minor and a B minor violin theme: exactly the same theme as in the first violin solo, played in the relative minor key. As the theme itself repeats, it once again abruptly changes to E minor. The small E minor cadenza introduces the orchestra, which once again plays the "Strassburg" theme in G Major. After a couple of bars in D Major by the orchestra, the music goes from Allegro to an Andante in G minor, almost in the fascion of a Scherzo-Trio form. The strings play saltato quavers while the violin plays a note-rest small melodic line which repeats itself and eventually leads to a G Major Allegretto. The violin plays a crotchet-only playfull theme, while the orchestra plays brilliant and fast threesome up-and-down notes, in a way that ithe solo violin's part acts as a background only. The parts switch and now the orchestra plays the playfull theme, while the violin gets to show off by playing fast notes. The quick passages stops for the violin to play a more ceremonial theme played in the D and A strings, in the fashion of a Musette. This pattern sounds two more times until the violin concludes the fast theme with a low G, and switches to Tempo 1. After a few bars, the first solo theme that the violin played is played as a variation in A minor. The violin plays the "Strassburg" theme in G minor, and the orchestra imitates it in the usual form of G major. After the typical first solo variation, this time in the tonic key. the violin plays another small cadenza which leads to the last "Strassburg" theme played in two octaves. The orchestra plays it one third time in the lower octave. Instead of ending the concerto in a pompous way, Mozart choose to end it instead with the lonely oboe theme in G major played piano, adding the feeling of a musical "disappearing".
Piano Concerti
Wind Concerti
Other Concerti
Divertimenti, Serenades, and Cassations
Eine kleine Nachtmusik
Chamber music
String Trios
String Quartets
String Quintets
Piano Quartets/Quintets
Sonatas
Violin Sonatas
Piano Sonatas
Eye For Film is an online film magazine based in the United Kingdom. It launched in August 2006. It is updated daily. Its opinions are solicited as notable for other publications and are also listed by cinemas.
Features
Eye For Film runs features including interviews with directors (such as John Sayles, George A. Romero and John Waters), star interviews, opinion pieces, articles about the film industry and insights into grass roots filmmaking activity. It also runs a regular column looking at books about film. All Eye For Film feature content is original material. New features are added to the site roughly three times a week.
It is listed as a news source at the Internet Movie Database.
Film and DVD reviews
The site has more than 10,000 film and DVD reviews and reviews most new UK cinema releases and major DVD releases. It is one of few publications to provide full reviews of short films. It also reviews many independent film productions not on general release.
Eye For Film uses a multiple review system so that readers can compare what different critics think about particular films. Its regular reviewers include the noted critic Anton Bitel.
Festival coverage
Eye For Film provides coverage of numerous film festivals, both small and large. Drawing on its Scottish roots, it provides the most comprehensive coverage available of the Edinburgh International Film Festival and the Glasgow Film Festival.
Features
Eye For Film runs features including interviews with directors (such as John Sayles, George A. Romero and John Waters), star interviews, opinion pieces, articles about the film industry and insights into grass roots filmmaking activity. It also runs a regular column looking at books about film. All Eye For Film feature content is original material. New features are added to the site roughly three times a week.
It is listed as a news source at the Internet Movie Database.
Film and DVD reviews
The site has more than 10,000 film and DVD reviews and reviews most new UK cinema releases and major DVD releases. It is one of few publications to provide full reviews of short films. It also reviews many independent film productions not on general release.
Eye For Film uses a multiple review system so that readers can compare what different critics think about particular films. Its regular reviewers include the noted critic Anton Bitel.
Festival coverage
Eye For Film provides coverage of numerous film festivals, both small and large. Drawing on its Scottish roots, it provides the most comprehensive coverage available of the Edinburgh International Film Festival and the Glasgow Film Festival.
There is a limit on the amount of information that a person is able to receive, process, and remember. The first part of an individual receiving the information goes in the form of recoding. Recoding is a very important process in human psychology and Miller believes that it deserves a much more explicit attention than it has received. He goes on to say that the kind of linguistic recoding that people engage in seems to him to be the very lifeblood of the thought process because that is where it all begins. Recoding, he says, is a constant concern to clinicians, social psychologists, linguists, and anthropologists because it is less accessible to experimental manipulation but through experimental techniques, methods of recoding can be specified and behavioral indications can be found.
The concepts and measures used in the experiment provided readers with some information. There is a clear and definite limit to the accuracy with which people can identify absolutely the magnitude of a unidimesional stimulus variable, which is the amount of information one can recall in a short period of time. Miller called the limit the span of absolute judgment. He said that for unidimensional judgments, the span of absolute judgment span is usually somewhere in the neighborhood of seven.
He proposes that there is a way of getting around the accuracy of judgment which revolves around the neighborhood of seven. We can increase the accuracy of our judgment, which is, the amount of information we are able to recall in the short term, by using a variety of techniques that will help one get around it and therefore increasing the accuracy of one’s judgment. The three of the most important devices are first, to make relative rather than absolute judgments. Or if that is not possible, to increase the number of dimensions along which the stimuli can differ; this might include mnemonic processes. Or to arrange the task in such a way that one can make a sequence of several absolute judgments in row. He says that by adding these dimensions one can extend the span of their absolute judgment from seven to at least 150. The span of absolute judgment is once again the amount of information one can remember over a short period of time.
The concepts and measures used in the experiment provided readers with some information. There is a clear and definite limit to the accuracy with which people can identify absolutely the magnitude of a unidimesional stimulus variable, which is the amount of information one can recall in a short period of time. Miller called the limit the span of absolute judgment. He said that for unidimensional judgments, the span of absolute judgment span is usually somewhere in the neighborhood of seven.
He proposes that there is a way of getting around the accuracy of judgment which revolves around the neighborhood of seven. We can increase the accuracy of our judgment, which is, the amount of information we are able to recall in the short term, by using a variety of techniques that will help one get around it and therefore increasing the accuracy of one’s judgment. The three of the most important devices are first, to make relative rather than absolute judgments. Or if that is not possible, to increase the number of dimensions along which the stimuli can differ; this might include mnemonic processes. Or to arrange the task in such a way that one can make a sequence of several absolute judgments in row. He says that by adding these dimensions one can extend the span of their absolute judgment from seven to at least 150. The span of absolute judgment is once again the amount of information one can remember over a short period of time.
Alex Riggs (born March 17, 1988 in St. Louis, Missouri) is an American soccer player who played for the Columbus Crew in Major League Soccer.
Career
College and Amateur
Riggs played between to 2010. Riggs was named the goalkeeper of the Year 2009 and 2010, MVC Player of the Year and All-MVC first team selection in his senior season, the third of his career. In 2010, he led the MVC in goals against average (0.73), save percentage (.854) and shutouts (9), with six of his shutouts coming against conference foes.
During his career, Riggs was named the MVC Defensive Player of the Week six times including October 11 and October 25, 2010. He was selected in the NSCAA All-Midwest Region first team in 2010 and 2009. He also was named to the MVC All-Tournament team in 2010 and 2008.
Riggs also spent 2010 with Chicago Fire Premier in the USL Premier Development League.
Professional
Riggs signed his first professional contract with Columbus Crew on February 22, 2011.
Career
College and Amateur
Riggs played between to 2010. Riggs was named the goalkeeper of the Year 2009 and 2010, MVC Player of the Year and All-MVC first team selection in his senior season, the third of his career. In 2010, he led the MVC in goals against average (0.73), save percentage (.854) and shutouts (9), with six of his shutouts coming against conference foes.
During his career, Riggs was named the MVC Defensive Player of the Week six times including October 11 and October 25, 2010. He was selected in the NSCAA All-Midwest Region first team in 2010 and 2009. He also was named to the MVC All-Tournament team in 2010 and 2008.
Riggs also spent 2010 with Chicago Fire Premier in the USL Premier Development League.
Professional
Riggs signed his first professional contract with Columbus Crew on February 22, 2011.