Analyst : Moerdyana Novianti

Analysis Date : November 25th, 2019

Basic Music Analysis

12 Variations of “Ah vous dirai-je Maman” by W.A. Mozart

(1756-1791)

1. Description
“Ah vous dirai-je Maman” is a popular folk song from France. This song was
first published without lyrics in Les Amusements d'une Heure et Demy by Bouin in
1761. Les Amusements d'une Heure et Demy includes several music collection to
be played with certain instruments for garden parties (which was popular in 18th
century). “Ah vous dirai-je Maman” was the first line of the collection list.
Meanwhile, in 1781, Mozart composed 12 variations based on this popular
French song. He made the theme of this song being restated in 12 variations in its
melody and accompaniments. Historians believed that Mozart composed it while
he was in Paris, around 25 or 26. This song is mostly known as a popular children
song from generation to generation entitled “Twinkle Twinkle Little Star”.

2. General Analysis
Element Element Detail
Melody Range : F#3-F6
Complexity : simple to complex (Var. X-Var. XII)
Phrasing : mainly simple 4 bars phrase; not exactly 4
bars phrase (Var. V, Var. VII, Var. X)
Type of movement : stepwise (bars 34-37); small
leaps (bars 25-32)
Difficulty for performer : easy to complex
Harmony Mode : C Major
Complexity of chords : consonant chords (bars 78-
81); chromaticism (bars 69-72); some 7th chords (bars
35, 54, 102, 104)
Use of dissonance : chromaticism (bars 69-72);
some 7th chords (bars 35, 54, 102, 104)
Key structure : modulation to c minor (Var. VIII) and
the key changes back to C major (Var. IX)
Rhythm Tempo : fast to “unexpectedly” slow (from Theme to
Var. XI) then back to Allegro (Var. XII)
Dance rhythms : dance-like in the slow section (bars
274-280)
Consistent or varied : varied; 2/4 to 3/4 (Var. XII)
Dynamics Loud or soft : both are equal
Range : some crescendos to forte (bars 148-151;
164-167); crescendo to forte ends with decrescendo
to piano (bars 158-162)
Use of contrast : a piano on Var. VI changes to forte
that precedes with crescendo
Form Overall shape : Theme introduction (A) – 8 bars, 2/4;
the middle part of Theme (B) – 8 bars, 2/4; Theme
introduction repetition – 8 bars, 2/4; coda on Var. XII
(C) – 8 bars, 3/4
Complexity : mostly simple structure--ABA and
ABAC in Var. XII
Texture Melody and accompaniment : yes, except for the
accompaniment of Var. X that mainly played in
consequent phrase
Type of accompaniment : block chords; arpeggio;
broken chords
 How much variation : both are equally has its own
variations in each section
Complexity of accompaniment : simple to complex-
-a lot of development in Var. II and so on
Timbre Use of instruments : piano
How much variation and contrast : no variation
Style/Tone/Mood Style : classic

3. Song Scheme
a) Theme
A-A-B-A-B-A
b) Variation I
A1-A1-B1-A1-B1-A1
c) Variation II
A2-A2-B2-A2’-B2-A2’
d) Variation III
A3-A3-B3-A3-B3-A3
e) Variation IV
A4-A4-B4-A4’-B4-A4’
f) Variation V
A5-A5-B5-A5’B5-A5’
g) Variation VI
A6-A6-B6-A6-B6-A6
h) Variation VII
A7-A7-B7-A7-B7-A7
i) Variation VIII
A8-A8-B8-A8’
j) Variation IX
A9-A9-B9-A9’-B9-A9’
k) Variation X
A10-A10-B10-A10-B10-A10
 l) Variation XI
A11-A11-B11-A11’-B11-A11’
m) Variation XII
A12-A12-B12-A12-B12-A12-A12-C

4. Essay Analysis
a) Theme

This section has the role of introducing the theme of the song. The theme
is played on C major and it consists of two forms, which are the A form and the
B form. The forms has a little bit of trill ornament that played mostly at the end
of every consequent phrase. Moreover, the A form is being repeated precisely
after the B form, and so that this section forms A-B-A. This section is also using
Simple 4 Bars phrase.

b) Variation I
 The melody of this variation was developed from 1/4 to 1/16, and it sounded
more exciting and crowded. While the accompaniment was still sound the same
as the Theme, yet it has an extension notes at the end of every A form (see
bars 32 and 48). Furthermore, this section is also have some modifications in
notes by adding accidentals that provides different kind of chords. This first
variation is still identified as Simple 4 Bars phrase.

c) Variation II
 This variation is “highlighting” the rhythm accompaniment instead of the
melody, which provides the contrasting variation between Variation I and II. The
accompaniment rhythm changed from 1/4 to 1/16, while the melody went back
to the previous rhythm. The melody also have different harmonies and some
dissonance (see bar 70). 7th chords are mostly played in this variation too (see
bars 54, 56, 59, 61, 63-65, 68-70, and bar 72).

d) Variation III
 This variation provides the development of the melody rhythm, that changed
into 1/8 triplets with trill ornaments that mostly played in A form. The harmony
was taken over with accompaniments in 1/4 and triplets at the end of every A
form. There is also a little staccato technique in melody section of A form.

e) Variation IV
 The rhythm of the melody is switching with the accompaniments’, and so
the harmony being played in the melody, while triplets was taken over by the
accompaniments. The melody also has triplets at the end of antecedent and
consequent phrase in B form (see bars 109 and 113).

f) Variation V

Both accompaniments and melodies are filling each other in this variation.
This one sounded like it’s only playing melodies with some variated rhythms
right after the B form, and so it forms A-B-A’. Moreover, this variation is using
different kind of phrase than before, it is Not Exactly 4 Bars. The proof can be
heard or seen through the pictures above, on melodies in each forms. It shows
that every antecedent or consequent phrase ends on the first note of the next
bar.

g) Variation VI
 This variation provides melodies and accompaniments that ‘switched
rhythms’ between the accompaniment of the A form and the melody of the B
form. However, the accompaniment of the B form is not using the 1/8 rhythm,
but 1/4 instead. The dynamics are also provided in this variation that can be
seen in Harmony Analysis (bars 146-153) that went from piano to crescendo,
and ended in forte.

h) Variation VII
 Same as the Variation V, this one is using Not Exactly 4 Bars phrase that
can be seen in bars 170-173, where the last note of the antecedent phrase is
ended on the first note of the next bar (from bars 172 to 173). This can be found
only in melodic section of the A form. The rhythm was being more varied with
the use of several kinds of rhythms such as triplets, 1/4, 1/16, 1/2 that can be
seen on pictures above.

i) Variation VIII
 This is the only variation that being played on different key, which is c minor,
that makes the whole situation of the song changes unexpectedly. From
exciting to dramatic scene. This variation is also not repeating the A’ form, just
like the other variations, but it only being repeated on the first 8 bars. The first
melody of the A form was being repeated by its accompaniment right after the
melody ended in 2 bars, with lower notes, 8+3 intervals (see bars 194-197).
This can also be found in the A’ form, yet this melody have more varied rhythms
(see bars 210-213).

j) Variation IX

After experiencing the unexpected dramatic scene, this variation brought

the song back to C major. The A’ form was being repeated, just like the other
variations. The first melody of the A form was being played in C4, while the A’
form took the higher C, an octave away from C4 (see bars 218 and 234). This
variation is also maintaining the repeated melody in the A form with 8+3
intervals, just like the previous one.
k) Variation X

Every antecedent phrase (which marked in red) in A form is not being

followed by the accompaniment, though there is a single 1/4 note at the
beginning. That phrase let the melodies to be played all along until it comes to
the next phrase. Triplets are being used again in this variation, yet with smaller
value of the rhythm. This variation is also using Not Exactly 4 Bars phrase that
can be seen in bars 242-245, where the antecedent ended on the first note of
the next bar.
l) Variation XI

This variation brought us to the slower tempo, unexpectedly, into Adagio.

This variation is giving a sign that the song is about to end soon. The melody
and accompaniment sounded more soothing than any other variations, with the
use of Simple 4 Bars phrase and more varied rhythms. There is an addition of
notes on the A’ form, which makes it a little different than the A form (see bars
266 and 281).
m) Variation XII
 After experiencing the slow and soothing tempo, this variation brought back
the exciting situation with Allegro tempo. This one provides longer scores than
any other variations, and sounded more energetic with the use of 1/16 rhythms
in both melodies and accompaniments. The A form was identified as Not
Exactly 4 Bars phrase (the antecedent ended on the first note of bar 293) and
being repeated after the B form. In fact, the consequent phrase of A form was
being repeated once in bars 314-317 before it went to the C form, the coda.
The C form contains of 8 bars, from 318 to 325. The proof can be seen in
pictures below (marked with purple).