143 Mozart K332 I Exp
Materials 5
Mu3107
Dr. C. Ross
STRUCTURAL ANALYSIS OF MOZART: PIANO SONATA IN F MAJOR (K. 332); I
Mm.
Section
Key(s)
EXPOSITION
FIRST GROUP (in PTA)
1-4
PT1, phr 1
F
5-12:2
12:3-16:2
phr 2
$
PT2, phr 1
$
Comments; Cadence Types
Lyrical R. H. melody, mainly disjunct, supported by Alberti bass; Harmony is
I, V7/IV, IV6/4, vii°6, with F pedal point in the bass. HC.
RH continues unaccompanied for 2 bars, reversing the general contour of the first phrase (thus, an inexact melodic complement). The LH joins with the same material (7), making a brief (2-bar plus 1 beat) canon at the doubleoctave (RH leader, LH follower). An interesting aspect of this second phrase is its asymmetry; the RH can be broken into segments of 3+6 bars (counting the elision in bar 7 twice — once to finish the 3-bar phrase segment, and once to begin the 6-bar segment), or possibly 5+3 bars. PAC.
→ The two phrases of PT1 form a contrasting, asymmetrical (5+8) period.
Contrasting character (dance-like) and texture (homorhythmic); the LH evokes the horn because
is typical of writing for the natural
horn, and contains a “horn fifth.” IAC.
16:3-22:2
PT2, phr 2
$
Varied repetition, using
instead of
for the anacrusis.
PAC (m.20:1), followed by a two-bar cadential extension with two additional PAC’s.
→ The two phrases of PT2 form a parallel, symmetrical (4+4) period.
22:3-40 TRANSITION
d (?) → c
Following one beat of rest, the transition begins with a dramatic mood shift to sturm und drang (storm and stress), brought about through a sudden dynamic change to f, a direct modulation to the relative minor (d), a contrasting texture from the previous section, including occasional octaves in the LH, frequent register changes (and an overall wider register than used for either of the previous themes), and significantly more 16th-note activity than was previously the case. It uses broken chord figures in both hands. vii°6/5 of d helps establish the new key. The D-minor chord functions as
Mu3107
Dr. C. Ross
STRUCTURAL ANALYSIS OF MOZART: PIANO SONATA IN F MAJOR (K. 332); I
Mm.
Section
Key(s)
EXPOSITION
FIRST GROUP (in PTA)
1-4
PT1, phr 1
F
5-12:2
12:3-16:2
phr 2
$
PT2, phr 1
$
Comments; Cadence Types
Lyrical R. H. melody, mainly disjunct, supported by Alberti bass; Harmony is
I, V7/IV, IV6/4, vii°6, with F pedal point in the bass. HC.
RH continues unaccompanied for 2 bars, reversing the general contour of the first phrase (thus, an inexact melodic complement). The LH joins with the same material (7), making a brief (2-bar plus 1 beat) canon at the doubleoctave (RH leader, LH follower). An interesting aspect of this second phrase is its asymmetry; the RH can be broken into segments of 3+6 bars (counting the elision in bar 7 twice — once to finish the 3-bar phrase segment, and once to begin the 6-bar segment), or possibly 5+3 bars. PAC.
→ The two phrases of PT1 form a contrasting, asymmetrical (5+8) period.
Contrasting character (dance-like) and texture (homorhythmic); the LH evokes the horn because
is typical of writing for the natural
horn, and contains a “horn fifth.” IAC.
16:3-22:2
PT2, phr 2
$
Varied repetition, using
instead of
for the anacrusis.
PAC (m.20:1), followed by a two-bar cadential extension with two additional PAC’s.
→ The two phrases of PT2 form a parallel, symmetrical (4+4) period.
22:3-40 TRANSITION
d (?) → c
Following one beat of rest, the transition begins with a dramatic mood shift to sturm und drang (storm and stress), brought about through a sudden dynamic change to f, a direct modulation to the relative minor (d), a contrasting texture from the previous section, including occasional octaves in the LH, frequent register changes (and an overall wider register than used for either of the previous themes), and significantly more 16th-note activity than was previously the case. It uses broken chord figures in both hands. vii°6/5 of d helps establish the new key. The D-minor chord functions as