Mozart Rondo in D Major

[keasbey]

hi,  i am very new and unfamiliar to trills, or any ornamentation for that matter.  Im up to this part in Mozarts D Major Rondo:



I'm not sure what notes to play here, can somebody explain this to me?

Sorry the picture is so big

[stevie]

ah, i cant help you but i love this piece and just wanted to ask if anyone knows where to get the sheets for it online?

[phil13]

Okay.

The trills you have shown are transient trills. For those particular trills you should play the principle note first, then follow with the upper note and the principle note again.

i.e., the first trill is on a B. You would play B-C#-B as a 16th triplet to fit into the same time as the eigth note presented. The next trill is on a G. Here you would play G-A-G, again, as a 16th-note triplet. Since the rondo is fairly fast, you won't need any more than this single repercussion on the trill (no more notes in the trill)

FYI: Usually trills begin on the auxiliary (the upper note). These trills you have here and others like them start on the principle note because of the phrasing. It's to keep the phrasing from feeling choppy, and with this trill it stays smooth.

Phil

[pianobil]

Dear Keasbey,

As Phil said.  Mozart often would write in his letters to his father that the piano music should "flow like oil".  If the sound coming down the piano sounds choppy, time to practice more.  By the way, lovely piece.  Good luck!

Best,
Bill

[xvimbi]

Dear Keasbey,

As Phil said.  Mozart often would write in his letters to his father that the piano music should "flow like oil".  If the sound coming down the piano sounds choppy, time to practice more.  By the way, lovely piece.  Good luck!

To be nit-picky, I believe Mozart's "oil" statement refers to legato playing, not to piano music in general

[keasbey]

ah, i cant help you but i love this piece and just wanted to ask if anyone knows where to get the sheets for it online?

If you cant find them,  i'll scan them for you if u want.  just gimme a PM.

Okay.

The trills you have shown are transient trills. For those particular trills you should play the principle note first, then follow with the upper note and the principle note again.

i.e., the first trill is on a B. You would play B-C#-B as a 16th triplet to fit into the same time as the eigth note presented. The next trill is on a G. Here you would play G-A-G, again, as a 16th-note triplet. Since the rondo is fairly fast, you won't need any more than this single repercussion on the trill (no more notes in the trill)

FYI: Usually trills begin on the auxiliary (the upper note). These trills you have here and others like them start on the principle note because of the phrasing. It's to keep the phrasing from feeling choppy, and with this trill it stays smooth.

Phil

Thanks you very much,  I think I got it now.  I was playing it on the upper neighbor and i thought that sounded weird.

Dear Keasbey,

As Phil said. Mozart often would write in his letters to his father that the piano music should "flow like oil". If the sound coming down the piano sounds choppy, time to practice more. By the way, lovely piece. Good luck!

Best,
Bill

thanks.  This peice is indeed lovely,  maybe ill record it and put it in the audition room sometime soon.

[arensky]

Okay.

The trills you have shown are transient trills. For those particular trills you should play the principle note first, then follow with the upper note and the principle note again.

i.e., the first trill is on a B. You would play B-C#-B as a 16th triplet to fit into the same time as the eigth note presented. The next trill is on a G. Here you would play G-A-G, again, as a 16th-note triplet. Since the rondo is fairly fast, you won't need any more than this single repercussion on the trill (no more notes in the trill)

FYI: Usually trills begin on the auxiliary (the upper note). These trills you have here and others like them start on the principle note because of the phrasing. It's to keep the phrasing from feeling choppy, and with this trill it stays smooth.

Phil

Phil is right.

For all other situations the rule is that trills start on the note above the principal note(the note marked tr) UNLESS the preceeding note is the note above. So this example is the exception to the rule. Most modern editions of Clalssical and Baroque music explain this in detail, such as the Wiener Urtext Mozart and Haydn editions and the editions edited by Maurice Hinson for Alfred; these are particularly good because they are inexpensive and Dr. Hinson explains these stylistic issues in plain English, avoiding unnessacary jargon to make sure that you understand them.