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6

As stated before, his father was a fine composer himself, especially a fine writer of orchestral serenades which were popular in Salzburg; some of Wolfgang’s early pieces were serenades and cassations, which were a variant of the Salzburg serenade. Other composers such as Michael Haydn were of use to Mozart for teaching purposes; many of Mozart’s earlier ...


1

The first two bars are a G major chord. The next two are a D7 chord. Nothing ambiguous about that (although, of course, a re-harmonisation is always possible). If your task was to orchestrate, do just that. Keep it as a unison texture. Your job is to choose what instruments to use, not to re-compose it. Mozart filled in the G chord at the beginning. ...


-1

What's wrong with orchestrating it exactly as Mozart wrote it - a unison C? You are absolutely right, it is harmonically ambiguous. That's the whole point of it. Making it unambiguous is as stupid as writing a three-volume treatise explaining why the chicken crossed the road, IMO.


2

Mozart clearly implies a D7 chord, but if you want to write a C major chord there's nothing to stop you (but maybe you'll hear Mozart turning in his grave). If you do decide to write D7 than you have to make it work by voicing it well. That almost certainly means starting with the root in the bass instruments (including cello/bass). But if a unison C was ...


1

Far from an experienced composer/arranger, nor am I a string musician, but based on what I've heard in classical repertoire, having the second violin play as low as G below middle C isn't necessarily a bad thing, although it does add some special flavor to the music, in my opinion more espressivo and passionate, in fact, a lot of composers have used it in ...


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