orce he is. The space creates a feeling of something bigger and more powerful then a mortal. It is important to note that a lot of these giant leaps are not easy. There are many augmented fourth's , minor sevenths , and other strange intervals that he has to navigate through. An example of the strange interval leaps can be found from measure 552 to 461. (ex 6) This little section takes a break from having a key center and instead floats around between diminished chords. This only adds to the something not of this earth feeling the Commendatore gives us. Mozart also uses repeated notes to produce a powerful effect. The orchestral motive moves up by step each measure while the Commendatore stays on the same note. This occurs between measures 465 and 470 and again between measures 475 and 478. (ex 7 ,8) Don Giovanni once again has similar qualities as the Commendatore. The large jumps are present but they are tonally different. They are often very key oriented , outlining triads or doing some sort of five to one motion. The harmonically stable nature of his vocal part lends itself to his personality. Some of his lines almost sound like fanfares. Fanfares are very bold sounding. Appropriatly his fanfare like lines begin at measure 504 when he starts bragging that he is not afraid of anything , even Gods wrath. (ex 9) Without the appropriate use of dynamics , none of the above would come of as they should to the audience. Mozart makes good use of dynamics by making Leporello very quiet when he is afraid and hiding. The Commendatore is always forte or fortissimo so that his power is evident. Don Giovanni is once again a blend of the Commendatore. He has a wide range of dynamics because he has a wide range of emotions throughout the dinner scene. The above examples are just a few things that Mozart and Lorenzo da Ponte did to make sure that the opera was as effective as possible. The next step is to observe how musici...
