A Study of Closure in Sonata Form

A STUDY OF CLOSURE IN SONATA-FORM FIRST MOVEMENTS
IN SELECTED WORKS OF W. A. MOZART

By
ROBERT GORDON BATT
B.Mus., M c G i l l U n i v e r s i t y , 1974
L.Mus., M c G i l l U n i v e r s i t y , 1976
M.A., M c G i l l U n i v e r s i t y , 1980
A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF

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REQUIREMENTS FOR THE DEGREE OF

DOCTOR OF PHILOSOPHY
in
THE
FACULTY OF GRADUATE STUDIES

(School of Music)
We a c c e p t t h i s t h e s i s as conforming
to the r e q u i r e d
THE
standard
UNIVERSITY OF BRITISH COLUMBIA

October 1988
Robert Gordon B a t t , 1988
In
presenting
this
degree at the
thesis
in partial
University of
freely available for reference

copying
of
this
department
publication
or
of
his
or
and
her
permission.
Music
The University of British Columbia

1956 Main Mall
Vancouver, Canada
V6T
1Y3
Date
Oct.
14,
1988
requirements
for
purposes may
representatives.
be
It
shall not
granted
is
be
an
advanced
Library shall make it
study. I further agree that permission
this thesis for financial gain
Department of
the
British Columbia, 1 agree that the
thesis for scholarly

by
fulfilment of
by
understood
the
that
for extensive
head
of
my
copying
or
allowed without my
written
Abstract
This
study of l a r g e - s c a l e
f o c u s s e s on
the
the
structure
s e c t i o n that brings
Also
and
the
i n Mozart's sonata-form f i r s t movements
f u n c t i o n of the c l o s i n g s e c t i o n i n these works,
exposition
taken i n t o account are
s u b o r d i n a t e theme a r e a .
closure
and
r e c a p i t u l a t i o n sections
to an
end.
c l o s u r a l e f f e c t s of the coda (when p r e s e n t ) and
Because sonata form i n the
v a r i e t y of d i f f e r e n t l y - f u n c t i o n i n g s e c t i o n s
18th-century involves
such as
themes and
the
transitions,
the a n a l y t i c a l approach adopted c e n t e r s on m a t t e r s of f o r m t h e ways i n which

all
the v a r i o u s
channels of m u s i c a l s t r u c t u r e
( p r i m a r i l y rhythm, melody,
harmony) i n t e r a c t to shape a p a r t i c u l a r p i e c e a n d
of the c l o s i n g s e c t i o n .
s e c t i o n i n one
The
i n p a r t i c u l a r on
study i s l i m i t e d to one
f o r m a l type, thereby r e a c h i n g h i g h l y
composer's use
a d i s t i n c t , unique s t r u c t u r e and
aims a t i d e n t i f y i n g these i n the
c l o s i n g s e c t i o n , and
the
If closure
other sections
ing section,
be
form.
then t h e r e must be
t i o n t h a t are
The
of the
responsible
majority
for
t h i r d , and
fifth
about
function,
the
study
them w i t h
i s p r i m a r i l y generated i n the
p a r t i c u l a r structures
clos-
found m a i n l y i n t h a t
sec-
closure.
of Mozart's c l o s i n g s e c t i o n s
s i x t h e n t r i e s may
one
S i n c e each
at c o n t r a s t i n g
are based on a model which
s i m p l i f i e d to aabbcc, where each l e t t e r symbolizes one
f o u r t h , and
of
form
s p e c i f i c conclusions
t h i s f a c e t of sonata form at a p a r t i c u l a r stage i n music h i s t o r y .

s e c t i o n of sonata form has
the
and
be
group.
e i t h e r exact r e p e a t s or v a r i a n t s
entries respectively.
The
The
can
second,
of the
first,
most common l e n g t h s i n measures
are
(4 + 4) + (2 + 2) + ( 1 + 1 ) .
An example i s the Sonata f o r V i o l i n and Piano i n
B - f l a t Major, K. 454, mm. 50-65.

Chapter 1 i s p r i m a r i l y a survey of previous w r i t i n g on the subject of
closure.
Chapter 2 presents a theory that accounts f o r s t r u c t u r e at various
l e v e l s of Mozart's sonata form.
Chapters 3 through 6 contain d i s c u s s i o n and
a n a l y s i s of d i f f e r e n t types of c l o s i n g sections and movements.

includes a summary of the research undertaken.
Chapter 7
iv
Contents
Abstract.
i i
L i s t of T a b l e s .
List
viii
of Diagrams.
ix
Abbreviations.
xii
Preface.
xiii
1.
C l o s u r e : An
2.
Concepts, Models, and F e a t u r e s .

Level
Level
Introduction.
34
( a ) : Segments.
40
M o t i v e s and M o t i v i c Segments.
41
Grouplets.
43
Cadences.
46
D i s c u s s i o n of A l l Segment Types.
47
( b ) : P h r a s e s , Groups, and
Phrases.
Groups and
Level
Timespans.
49
49
Timespans.
( c ) : Small S e c t i o n s .
Themes.
52
57
59
Sentence.
60
Period.
62
Small T e r n a r y .
64
Unique Themes.
66
3.
Transitions.
67
Retransitions.
69
Three Types of Closing Music.
70
Codettas and Codetta-Complexes.
70
Closing Sections.
74
Codas.
77
Introductions.
80
Level (d): Large Sections.
81
Expositions.
81
Deve1opment s.
90
Recapitulations.
90
Level (e): Complete Movements.
95
The Closing Model.
96
Symphony no. 36.
97
Symphony no. 40.
104
Symphony no. 31.
109
Symphony no. 32.
I l l
Symphony no. 33.
112
Symphony no. 34.
113
Eine k l e i n e Nachtmusik.
114
Serenade K. 388.
116
C l a r i n e t Quintet.
116
S t r i n g Quintet K. 515.
117
120
121
S t r i n g Quartet K. 387.
124
vi
S t r i n g Q u a r t e t K. 421.
125
126
127
128
129
String Trio.
130
V i o l i n Sonatas
Piano Sonatas
4.
5.
6.
The C l o s i n g
K. 304, 377, and 454.
131
K. 284, 311, 310, 330, 457, and 533.
Codetta.
132
136
Symphony no. 39.
138
F l u t e Q u a r t e t K. 285.
141
S t r i n g Q u i n t e t K. 614.
146
151
Symphonies nos. 32 and 34; E i n e k l e i n e Nachtmusik.
159
S t r i n g Q u a r t e t s K. 428 and 589; S t r i n g T r i o K. 563.
160
Piano Sonatas K. 284, 309, 311, 333, 545, and 570.
161
The C l o s i n g
Theme F o l l o w e d by t h e C l o s i n g
Codetta.
166
Symphony no. 41.
166
172
V i o l i n Sonata K. 481.
174
Piano Sonata K. 332.
179
181
Closing
S e c t i o n s Not Based on Models.
183
Symphony no. 35.
184
Symphony no. 38.
190
Clarinet Quintet.
193
vii
7.
Piano Quartet K. 478.
195
199
207
Conclusion.
210
Notes to Chapter 2.
219
Notes to Chapter 3.
232
Notes to Chapter 4.
233
Notes to Chapter 5.
235
Notes to Chapter 6.
237
Notes to Chapter 7.
239
Glossary.
240
Bibliography.
243
Musical Examples.
1.
247
2.
Serenade K. 388.
255
3.
Piano Sonata K. 333: E x p o s i t i o n .
264
4.
Symphony no. 41: T r i o .
266
5.
S t r i n g Quartet K. 464: mm. 1-22.
267
6.
Piano Sonata K. 331: mm. 1-18.
267
7.
S t r i n g Quartet K. 465: mm. 90-113.
268
8.
Piano Sonata K. 309: mm. 32-58 and 145-155.
269
9.
Piano Sonata K. 570: mm. 62-85.
270
Piano Sonata K. 457: mm. 57-74 and 151-185.
271
10.
viii
Tables
1.
Mozart's Works Analysed i n Chapters 3, 4, 5, and 6.
2.
L e v e l s , Formal Contexts, and Normative Lengths.
38
3.
Summary of Thematic Structures.
66
4.
Piano Sonata K. 570: Theme/Codetta Paradigm at Level (c).
182
ix
Diagrams
1.
One Model o f Sonata Form ( A f t e r
2.
Piano Sonata K. 333:
3.
V i o l i n Sonata K. 454:
4.
Sentence Model of Thematic
5.
P e r i o d Model of Thematic
6.
Small T e r n a r y Model o f Thematic
7.
Serenade K. 388:
8.
A Model o f E x p o s i t i o n
9.
Symphony no.
36:
Exposition.
10.
Symphony no.
36:
Exposition Closing
11.
Symphony no.
36:
Expansion i n C l o s i n g
12.
Symphony no.
36:
Coda.
13.
Symphony no.
40:
Exposition Closing
14.
Symphony no.
40:
P r i n c i p a l V o i c e s i n mm.
15.
Symphony no.
32:
Exposition Closing
Section.
111
16.
Symphony no.
33:
Exposition Closing
Section.
112
17.
Symphony no.
34:
Exposition Closing
Section.
114
18.
E i n e k l e i n e Nachtmusik: E x p o s i t i o n Second-Key A r e a .
115
19.
E i n e k l e i n e Nachtmusik: R e c a p i t u l a t i o n F i n a l
115
20.
Clarinet
21.
S t r i n g Q u i n t e t K. 515: E x p o s i t i o n C l o s i n g
Schenker).
28
A n a l y s i s o f measures 4(4) t o 10(1).

Event/Timespan R e l a t i o n s h i p s
Closing
i n the E x p o s i t i o n .
55
61
Structure.
63
Structure.
65
Structure.
Section.
75
82
Structure.
Quintet : Closing
50
97
Section.
99
Section.
101
103
Section.
106
91-95 and 279-287.
Section.
108
117
Section.
Section.
118
22.
S t r i n g Q u i n t e t K. 515: R e c a p i t u l a t i o n C l o s i n g
23.
Section.
120
24.
Section.
123
25.
S t r i n g Q u a r t e t K. 387: E x p o s i t i o n C l o s i n g
Section.
124
26.
Section.
125
27.
Section.
126
28.
Section.
127
29.
Section.
128
30.
Section.
130
31.
S t r i n g T r i o K. 563: E x p o s i t i o n C l o s i n g
32.
Piano Sonata K. 311: E x p o s i t i o n C l o s i n g
33.
Symphony no. 39: E x p o s i t i o n and R e c a p i t u l a t i o n C l o s i n g
34.
F l u t e Q u a r t e t K. 285: E x p o s i t i o n and R e c a p i t u l a t i o n .
142
35.
S t r i n g Q u i n t e t K. 614: E x p o s i t i o n Dominant-Key A r e a .
147
36.
S t r i n g Q u i n t e t K. 614: Coda.
149
37.
S t r i n g Q u i n t e t K. 614: P i t c h R e d u c t i o n of C l o s i n g S e c t i o n and Coda.
150
38.
S t r i n g Q u a r t e t K. 575: P i t c h R e d u c t i o n ( 1 ) .
154
39.
S t r i n g Q u a r t e t K. 575: P i t c h R e d u c t i o n ( 2 ) .
157
40.
Symphony no. 41: E x p o s i t i o n C l o s i n g
168
41.
Symphony no. 41: O r c h e s t r a t i o n

Closing
Section.
119
Section.
131
Section.
133
Sections.
Section.
139
o f E x p o s i t i o n S u b o r d i n a t e Theme and
Section.
170
42.
Symphony no. 41: C l o s i n g Theme i n E x p o s i t i o n and Development.
171
43.
172
44.
V i o l i n Sonata K. 481: E x p o s i t i o n Subordinate Theme.
174
45.
V i o l i n Sonata K. 481: E x p o s i t i o n C l o s i n g
175
46.
V i o l i n Sonata K. 481: R e c a p i t u l a t i o n E n d i n g .
Section.
Section.
176
xi
47.
Piano Sonata K. 332: E x p o s i t i o n C l o s i n g Section.
180
48.
Symphony no. 35: E x p o s i t i o n .
185
49.
Symphony no. 38: E x p o s i t i o n Closing Section.
192
50.
Piano Quartet K. 478: E x p o s i t i o n .
196
51.
V i o l i n Sonata K. 306: E x p o s i t i o n .
200
52.
V i o l i n Sonata K. 306: P i t c h and Timespan Reduction of E x p o s i t i o n

Measures 26-74.
202
53.
V i o l i n Sonata K. 306: E x p o s i t i o n C l o s i n g Section.
204
54.
V i o l i n Sonata K. 306: R e c a p i t u l a t i o n Main Theme (Coda).
206
55.
Piano Sonata K. 576: E x p o s i t i o n .
208
56.
V i o l i n Concerto K. 216, Third Movement, Closing Section.
216
Abbreviations
Cdta.
Codetta.
CS
Closing
section.
CT
Closing
theme.
D,
Dev.
Development.
DC
D e c e p t i v e cadence.
E, Expo.
Exposition.
ECP
Expanded c a d e n t i a l
HC
Half
LAC
Imperfect a u t h e n t i c
M.
1(1)
cadence.
Measure one,
beat
MT
Main theme.
PAC
Perfect authentic
R,
Recap.
progression.
Recapitulation.
Retr.
Retransition.
ST
S u b o r d i n a t e theme.
TR
Transition.
cadence.
one.
cadence.
xiii
Preface
The r e a d e r may f i n d the g l o s s a r y u s e f u l n o t o n l y i n t h a t i t i n c l u d e s

d e f i n i t i o n s of terms such as motive and phrase, b u t a l s o i n t h a t i t serves
as an index f o r many o f the terms I u s e , a t l e a s t t o the e x t e n t t h a t i t r e f e r s
the reader t o f u l l e r d e f i n i t i o n s o f those terms. M u s i c a l examples a r e i n c l u d e d
o n l y f o r c h a p t e r 2 (Concepts, Models, and F e a t u r e s ) : they a r e c o l l e c t e d t o g e t h e r
as a u n i t a t the end o f the d i s s e r t a t i o n .
To read the f o u r c h a p t e r s d e a l i n g
w i t h a n a l y s i s o f complete m o v e m e n t s c h a p t e r s 3 through 6 t h e r e a d e r w i l l have
to o b t a i n c o p i e s of the s c o r e s of these movements ( t h e t a b l e of c o n t e n t s serves
as a guide f o r t h e s c o r e s needed f o r each c h a p t e r ) . F o r e d i t o r i a l and s t y l i s t i c
matters I have been guided p r i m a r i l y by the Chicago Manual o f S t y l e (1982).
I acknowledge the a s s i s t a n c e of my s u p e r v i s o r y committee i n p r e p a r i n g
t h i s d i s s e r t a t i o n , e s p e c i a l l y t h a t o f my r e s e a r c h s u p e r v i s o r , Dr. W i l l i a m E.
Benjamin, whose many v a l u a b l e s u g g e s t i o n s a r e o n l y r a r e l y documented i n the
text.
I a l s o thank Dr. Wallace B e r r y , n o t o n l y f o r h i s work on my d i s s e r t a t i o n ,
but a l s o f o r p e r m i t t i n g me t o use h i s o f f i c e d u r i n g the f i n a l stages o f p r e p a r i n g the d i s s e r t a t i o n .
I a l s o extend my g r a t i t u d e to my w i f e , M a r i e C a h i l l ,
f o r her a s s i s t a n c e i n preparing t h i s f i n a l d r a f t .
C l o s u r e : An I n t r o d u c t i o n
My
primary g o a l i n t h i s d i s s e r t a t i o n i s the study of l a r g e - s c a l e
i n Mozart's
sonata-form f i r s t movements.
To t h i s end I w i l l
f o c u s my
closure
attention
on the s t r u c t u r e and f u n c t i o n of the c l o s i n g s e c t i o n i n these works, the
section
t h a t n o r m a l l y c l o s e s the e x p o s i t i o n and r e c a p i t u l a t i o n s e c t i o n s of these movements.

and
A s p e c t s of g l o b a l c l o s u r e a r e o f t e n found i n the s u b o r d i n a t e theme a r e a
i n the coda, when the l a t t e r i s p r e s e n t , and these s e c t i o n s w i l l
discussed.
a l s o be
I tend not to view h i g h - l e v e l c l o s u r e as the r e s u l t of p r o c e s s e s
be-
gun e a r l y i n the movement, as would, f o r example, the a n a l y s t f o r whom a l l musi c a l coherence
flows from h i g h l e v e l , p i e c e spanning, s t r u c t u r e s ; i n s t e a d , I
view c l o s u r e as a r e l a t i v e l y
l o c a l i z e d phenomenon, heard i n the e x p o s i t i o n i n a
d i s s o n a n t t o n a l i t y , then, t o n a l l y r e s o l v e d , i n the r e c a p i t u l a t i o n .
time, however, o t h e r approaches,
for s p e c i f i c analyses.
From time to
such as the S c h e n k e r i a n one, w i l l be
invoked
Summaries of and commentaries on a number of views
of
c l o s u r e , i n c l u d i n g t h a t of Schenker, w i l l be found l a t e r i n t h i s c h a p t e r .
I see t h i s d i s s e r t a t i o n as a c o n t r i b u t i o n to the h i s t o r y and t h e o r y of
sonata form.
By "form" I mean, from one p o i n t of view,
the ways i n which a l l
the v a r i o u s channels of m u s i c a l s t r u c t u r e p r i m a r i l y rhythm, harmony, and melodyinteract
to shape a p a r t i c u l a r p i e c e .
concerned w i t h form i n an h i s t o r i c a l
However, i n t h i s study I am more
sense, as the c o l l e c t i o n of norms of c o o r -
d i n a t e d p a t t e r n i n g w i t h i n these channels c h a r a c t e r i s t i c of p a r t i c u l a r
styles.
From t h i s second p o i n t of view, s t u d y i n g form e n t a i l s , the a p p l i c a t i o n of a

s e r i e s of d i s c r e t e t h e o r i e s , each p e r t a i n i n g t o a more o r l e s s narrow
of
music; f o r , the l a r g e r the r e p e r t o r y , the l e s s s t y l e - s p e c i f i c
tant theory.
the
first,
repertory
i s the r e s u l -
Most textbooks and t h e o r i e s of form have been w r i t t e n n e i t h e r from
nor from the second p o i n t of view.
(Some i l l u s t r a t i o n s w i l l
in
the summaries of o t h e r approaches l a t e r i n t h i s c h a p t e r . )
of
T o n a l M u s i c " textbook r e v e a l s l i t t l e
arise
The s t a n d a r d "Forms
about the unique c h a r a c t e r of
specific
p i e c e s because i t n o r m a l l y p r e s e n t s one model f o r each type o f m u s i c a l form,

for
example,
the
same r e a s o n , though, i t says l i t t l e
styles.
a model of sonata form a l l e g e d l y used from Haydn to Brahms.
By l i m i t i n g my
about the c o n v e n t i o n s of p a r t i c u l a r
study to one composer's
use of one s e c t i o n i n one f o r m a l
type, I hope to be a b l e t o r e a c h h i g h l y s p e c i f i c c o n c l u s i o n s about t h i s

of
For
sonata form a t a p a r t i c u l a r stage i n music
facet
history.
C l o s i n g s e c t i o n s a r e d e f i n e d as those p a r t s of sonata forms which c o n c l u d e

the
e x p o s i t i o n and r e c a p i t u l a t i o n s e c t i o n s .
An obvious f a c t about c l o s i n g
sec-
t i o n s i s t h a t they f o l l o w some statement, o f t e n t h e m a t i c , i n the s u b o r d i n a t e key

a r e a ( i n Mozart's e x p o s i t i o n s , always the dominant
of a major t o n i c , and the
rel-
a t i v e major of a minor t o n i c ) , but one has o t h e r i n t u i t i o n s about them as w e l l .

My
o b j e c t h e r e i s t o e x p l a i n the n a t u r e and f u n c t i o n of c l o s i n g s e c t i o n s .
do c l o s i n g s e c t i o n s sound " c l o s i n g " ?
A r e t h e r e c h a r a c t e r i s t i c s of Mozart's
c l o s i n g s e c t i o n s which are fundamental to the c l o s u r e of most l a r g e r

forms?
tonal
Are t h e r e a r c h e t y p a l c l o s i n g s e c t i o n p a t t e r n s , and what a r e they?
t h e r e a s p e c t s of e a r l i e r p a r t s of movements which determine o r c o n d i t i o n

of
these movements' c l o s i n g s e c t i o n s ?
Why
To what e x t e n t do Mozart's c l o s i n g
Are
features
sections
r e l y on common p r a c t i c e s of the c l a s s i c p e r i o d and to what e x t e n t a r e they unique
to
h i s music?
Research
f o r t h i s d i s s e r t a t i o n f o c u s s e d on a n a l y s i s of Mozart's
mental works w r i t t e n i n the l a s t f i f t e e n y e a r s of h i s l i f e .

o m i t t e d because they use a m o d i f i e d type of sonata form.
the c h u r c h sonatas were a l s o o m i t t e d .
Concertos were
Minor works such as
Only f i r s t movements were a n a l y s e d ,
o m i t t i n g those few f i r s t movements which are not i n sonata form.

o t h e r than the f i r s t
instru-
(Movements
g e n e r a l l y use o t h e r types of sonata forms and o t h e r forms
a l t o g e t h e r ; i n any c a s e , these w i l l not be c o n s i d e r e d . )

hundred f i r s t movements, of which I a n a l y s e d h a l f .
genre were c o n s i d e r e d .
The
T h i s l e a v e s about
Works from almost
every
f o l l o w i n g w o r k - l i s t i n c l u d e s a l l of the works which
were a n a l y s e d .
T a b l e 1 was
in
the New
the New
compiled u s i n g the same genre c l a s s i f i c a t i o n system
Grove D i c t i o n a r y .
I t i s i n f a c t based
Grove a r t i c l e on Mozart,
Grove Mozart.
"K"
K and
New
r e f e r s to the number i n C h r o n o l o g i s c h - t h e m a t i s c h e s V e r z e i c h n i s
A. Weinmann, and G.
to
on the e q u i v a l e n t t a b l e i n
ed. L. von K 8 c h e l
(Leipzig,
1862).
r e f e r s to the number i n the s i x t h e d i t i o n of t h i s c a t a l o g u e , ed. F.
o r d e r of K
found
and on the r e v i s e d v e r s i o n i n S a d i e , The
s H m t l i c h e r Tonwerke Wolfgang Amade M o z a r t s ,

"K^"
as
S i e v e r s (1964).
numbers.
(In subsequent
Items are arranged
i n each c a t e g o r y by
r e f e r e n c e s to works I w i l l not use
numbers; the K number a l o n e w i l l
suffice.
Giegling,
Symphonies w i l l be
both
referred
by t h e i r B r e i t k o p f e d i t i o n number, as they are b e s t known i n t h i s way.)
dates of c o m p o s i t i o n are not always c e r t a i n or agreed upon by

From my
accounts
study of t h i s r e p e r t o r y of Mozart
The
authorities.
I have f o r m u l a t e d a t h e o r y t h a t
f o r s t r u c t u r e a t v a r i o u s l e v e l s of the sonata form: t h i s t h e o r y i s the
s u b j e c t of c h a p t e r 2.
My
r e s e a r c h i n d i c a t e s on the one hand t h a t t h e r e are
c e r t a i n r e c u r r i n g p a t t e r n s and f e a t u r e s i n many c l o s i n g s e c t i o n s , and on
the
Table 1
Mozart's
Works A n a l y s e d
i n Chapters
3, 4, 5, and
Genre: t i t l e , e t c .
Symphonies
6
K
Key
Comp.
cs
(10)
B r e i t k o p f ed. no. 31,
(Paris)
297
300a
1778
32
318
318
1779
1,2
33
319
319
Bb
1779
34
338
338
1780
1,2
35,
(Haffner)
385
385
1782
36,
(Linz)
425
425
1783
38,
(Prague)
504
504
1786
39
543
543
Eb
1788
40
550
550
1788
551
551
1788
1,2
41,
Serenades and D i v e r t i m e n t o s
(Jupiter)
( s t r i n g s w i t h or w i t h o u t winds)
E i n e k l e i n e Nachtmusik
Wind Ensemble
(strings)
(1)
525
525
1787
388
384a
1782-3
285
285
1777
581
581
1789
1,4
(1)
Serenade (2 ob,
Chamber: S t r i n g s
2 c l , 2 hn,
and Winds
F l u t e Quartet
(fl,
bsn)
(2)
vn, v a ,
vc)
C l a r i n e t Q u i n t e t ( c l , 2 vn, v a ,
vc)
Comp.
cs
1787
516
1787
593
593
1790
614
614
Eb
1791
387
387
1782
421
417b
1783
(Haydn
428
421b
Eb
1783
Quartets)
458
458
Bb
1784
464
464
1785
465
465
1785
(Hofmeister)
499
499
1786
( P r u s s i a n , no. 1)
575
575
1789
( P r u s s i a n , no. 2)
589
589
Bb
1790
( P r u s s i a n , no. 3)
590
590
1790
563
563
Eb
1788
1,2
478
478
1785
515
515
516
Key
Chamber: S t r i n g Q u i n t e t s (2 v n , 2 v a , v c ) (4)'
Chamber: S t r i n g Q u a r t e t s (10)
Opus 10, no. 1
no. 2
no. 4
no. 3
no. 5
no. 6
Chamber: S t r i n g Sonatas, Duos, T r i o s (1)

Divertimento
(vn, v a , v c )
Chamber: Keyboard and two o r more i n s t r u m e n t s (1)

Quartet
( p f , vn, v a , v c )
Comp.
CS
Opus 1, no. 4
304
300c
1778
Opus 1, no. 6
306
3001
1778
Opus 2, no. 3
377
374e
1781
Opus 7, no. 3
454
454
Bb
1784
481
481
Eb
1785
Opus 7, no. 2
284
205b
1775
1,2
Opus 4, no. 1
309
284b
1777
Opus 4, no. 2
311
284c
1777
1,2
Opus 4, no. 3
310
300d
1778
Opus 6, no.
330
300h
1781-3
Opus 6, no. 3
332
300k
1781-3
Opus 7, no.
333
315c
Bb
1783-4
457
457
1784
1,3
533
533
1788
545
545
1788
570
570
Bb
1789
2,3
576
576
1789
Chamber: Keyboard
rd:
and V i o l i n
Key
(Sonatas) (5)'
Sonatas: Solo Piano (12)
Opus 11
Notes: A b b r e v i a t i o n s : b s n b a s s o o n , c l c l a r i n e t , f l f l u t e ,
oboboe, p f p i a n o f o r t e , v n v i o l i n , v a v i o l a , v c c e l l o .
hnhorn,
The number a f t e r each genre heading r e f e r s t o the number of works

i n t h a t genre which a r e a n a l y s e d h e r e . The t o t a l number of works a n a l y s e d
i s 47, o f which 8 a r e i n the minor mode.
k The f i n a l c o l u m n " C S " r e f e r s to the c l o s i n g s e c t i o n c a t e g o r i e s i n
this dissertation.
Type 1 i s d i s c u s s e d i n c h a p t e r 3, type 2 i n c h a p t e r 4, type
3 i n c h a p t e r 5, and type 4 i n c h a p t e r 6. Some works can be seen i n two ways.
o t h e r hand t h a t some movements seem t o be unique

Chapters
in their closing
processes.
3, 4, 5, and 6 c o n t a i n d i s c u s s i o n of these types t o g e t h e r w i t h
some i n d e p t h o f
analyses
r e p r e s e n t a t i v e examples.
The g e n e r a l procedure
the i d e n t i f i c a t i o n o f , and
t h a t I w i l l use t o study these movements i n v o l v e s
the f o r m u l a t i o n of r e l a t i o n s among, the v a r i o u s
f e a t u r e s of the music t h a t I have observed
as c h a r a c t e r i s t i c of c l o s i n g s e c t i o n s ,
i n p a r t i c u l a r those f e a t u r e s which are found
o n l y i n c l o s i n g s e c t i o n s and
presumably thereby c o n t r i b u t e t o the c l o s i n g p r o c e s s .

methods i s the combination
The
which
g o a l of my
analytic
of a s p e c t s of t r a d i t i o n a l t h e m a t i c - m o t i v i c
analysis
w i t h a s p e c t s of more r e c e n t t h e o r i e s of rhythm.
The most i m p o r t a n t b e c a u s e
c l o s i n g s e c t i o n s s t r u c t u r e may
be b r i e f l y d i s c u s s e d here
d i f f e r e n t views of c l o s u r e l a t e r
and
of
i t i s the most f r e q u e n t l y u s e d m o d e l
i n this chapter).
( f o r comparison w i t h
See c h a p t e r s 2 ( l e v e l
[c])
3 f o r more d e t a i l e d d i s c u s s i o n of t h i s c l o s i n g model, w i t h examples.
Some
the terms used below w i l l be g i v e n s p e c i f i c meanings i n c h a p t e r 2 ( f o r ex-
ample, c o d e t t a , codetta-complex,
wish
group, p h r a s e , p e r i o d , theme): the r e a d e r
may
to reefer to the d e f i n i t i o n s of these terms i n c h a p t e r 2 o r i n the g l o s s a r y .
F o r the moment, however, the important

r e p e t i t i o n , p a i r i n g , and
be s i m p l i f i e d
f o u r t h , and
t h i r d , and
f e a t u r e s of the model to keep i n mind are
r e d u c t i o n i n l e n g t h of
The m a j o r i t y of Mozart's
s i x t h e n t r i e s may
fifth
common r a t i o b e i n g 4:2:1
the model below.
symbolizes
one
on a model which
group.
The
(That i s , one might f i n d
can
second,
be e i t h e r exact r e p e a t s or v a r i a n t s of the
entries respectively.
Normally
groups.
c l o s i n g s e c t i o n s are based
t o aabbcc, where each l e t t e r
aa^bb^cc, e t c . )
of
of
first,
aa^bbcc,
a_ i s l o n g e r than b_, and b_ i s l o n g e r than , the most

between a., b_, and , as shown i n the r e p r e s e n t a t i o n
(4 + 4) +
a
Normally, each group

chord.
six
The
first
(2 + 2) +
ends w i t h an a u t h e n t i c
1)
cadence, or at l e a s t w i t h a t o n i c
e i g h t b a r s a a a r e o f t e n l i k e a simple p e r i o d .
b a r s of the m o d e l b b c c b a l a n c e the f i r s t
l i k e subsection.
i n a t i o n , and
(1 +
e i g h t by
The
latter
f u n c t i o n i n g as a
These s i x bars are o f t e n c h a r a c t e r i s e d by
fragmentation,
of the second
i s common.
A tonic pedal,
t i o n of t o n i c harmony w i t h a s e r i e s of simple V-I p r o g r e s s i o n s ,

the l a t t e r s i x bars of the model.
Varying
or p r o l o n g a -
i s common i n
the second group of a p a i r by
ornamentation or f a s t e r note v a l u e s e s p e c i a l l y changing e i g h t h - n o t e s to

teenth-notesis
common.
The
two
p h r a s e - l i k e , forming a simple p e r i o d ,
by a c o d e t t a .
The
Discussion
units
(comprising
the aa p a i r )
the model takes on the aspect
c l o s i n g s e c t i o n of example 1 f o l l o w s
of the c l o s i n g model f a i r l y e x a c t l y .
i n some d e t a i l
adding
six-
c l o s i n g model i s a type of codetta-complex; how-
ever, i n those cases where the f i r s t
be d i s c u s s e d
elim-
l i q u i d a t i o n of m o t i v i c m a t e r i a l , thereby c o n t r i b u t i n g to c l o s u r e .
A 1- or 2-bar e x t e n s i o n
followed
codetta-
i n chapter
of a theme
this
T h i s c l o s i n g s e c t i o n , i n mm.
are
version
50-65, w i l l
2.
of a number of views of c l o s u r e i s u s e f u l here i n t h a t
alter-
nate approaches to mine w i l l be n o t e d , approaches t h a t d i f f e r e i t h e r because

the a u t h o r has
analysed
a d i f f e r e n t a n a l y t i c a l s t r a t e g y and/or because the music
r e q u i r e s a d i f f e r e n t approach.
w i l l r a i s e various
that w i l l
In a d d i t i o n , the f o l l o w i n g
i s s u e s r e l a t e d to c l o s u r e and
background w i l l a l s o be
summaries
a n a l y t i c a l approach,
r e c e i v e f u l l e r treatment i n subsequent c h a p t e r s .
i n c l u d e d here (e.g., LaRue).
being
issues
Some h i s t o r i c a l
In some of these summaries
I will
comment on how
the a u t h o r ' s approach might or might not
sonata-form music and/or oh how

w i l l merely o f f e r a b r i e f
l e a d to a b e t t e r r e s u l t .
i s s u e , and
Organizing
Therefore,
of sources i n the b i b l i o g r a p h y ,
reference
in f u l l
because
l e a d to a
signifi-
to a i d i n r e f e r r i n g to documentation
forego
i n the t e x t because they are
the use
of endnotes and
so f r e q u e n t .
I will
Chopin's opus 28,"
investigates i t with respect
s h o r t e r , and
a l s o use
are
Agawu takes a s m a l l
to d i f f e r e n t k i n d s
of c l o s u r a l
short
(1) Chopin's p r e l u d e s
are much
i n a d i f f e r e n t form, than Mozart's sonata-form movements;
h i s model a p p l i e s to the whole of a p r e l u d e ,

(the p r e l u d e s
are
so b r i e f
u n l i k e sonata-form movements); and

s t r u c t u r e of n i n e t e e n t h - c e n t u r y
of the p e r i o d ; he
reper-
processes.
(2) Agawu does f i n d a b a s i c model t h a t a p p l i e s to many of the p r e l u d e s :

mine a p p l i e s o n l y
that c l o s u r e o f t e n begins
(3) he b e l i e v e s
immediately,
t h a t u n d e r s t a n d i n g of
music i s f a c i l i t a t e d by
reference
s p e c i f i c a l l y uses Smith, P o e t i c C l o s u r e
Agawu d e f i n e s
to
(discussed
c l o s u r e i n t h r e e ways, a s p e c t s of which are
to Mozart's sonata-form music:
whereas
to the c l o s i n g
t h i s c h a p t e r ) i n h i s study, e s p e c i a l l y to f o r m u l a t e h i s d e f i n i t i o n of
to a p p l y
place
bibliography.)
study d i f f e r s from mine, however, i n t h a t
section
not
I have arranged the m a t e r i a l a l p h a b e t i c a l l y .
In "Concepts of c l o s u r e and
His
following
forms f o r documentation; a l l p u b l i c a t i o n s so c i t e d are r e f e r r e d to
i n the
t o r y and
the
i f only
would not
cases I
i t c h r o n o l o g i c a l l y would l i k e w i s e
i f only
(For the remainder of t h i s c h a p t e r I w i l l

page r e f e r e n c e s
Arranging
to i s s u e s would be d i f f i c u l t ,
s e v e r a l w r i t e r s d e a l w i t h more than one

cantly clearer presentation.
to Mozart's
h i s approach r e l a t e s to mine; i n other
summary of the author's work.
s e r i e s of summaries a c c o r d i n g
apply
the
literature
later in
closure.
general
enough
10
1. C l o s u r e i s a f u n c t i o n of f o r m a l p r i n c i p l e s and/or g e n e r i c
s i g n s . . . . v a r i o u s types of s i g n s s o m e c o n v e n t i o n a l , o t h e r s
a r b i t r a r y a r e used to i n f o r m the l i s t e n e r of how or when a p i e c e
i s going t o end.
. . .
2. C l o s u r e i s not the same t h i n g as an ending. . . . an ending
r e f e r s t o l o c a l elements i n a m u s i c a l s t r u c t u r e , whereas c l o s u r e
denotes a g l o b a l mechanism.
. . .
3 . C l o s u r e i s a f u n c t i o n of b o t h s y n t a c t i c and semantic p r i n c i p l e s . . . . [In t h i s study] r e f e r e n c e s to s t r u c t u r e [ i . e . ,
syntax] always denote the h a r m o n i c - s t r u c t u r a l o r m e l o d i c - s t r u c t u r a l a s p e c t s of a p i e c e , as d i s t i n c t from i t s ornamental a s p e c t s .
"Semantic" on the o t h e r hand emb r a c e s the sense of the m u s i c a l
g e s t u r e , the meaning t h a t emerges from the p a r t i c u l a r arrangement
of n o t e s .
(Pp. 4 - 5 )
Agawu's f i r s t
c a t e g o r y a p p l i e s to most music; i n Mozart's
music i t a p p l i e s i n t h a t a f i x e d p a t t e r n t h e c l o s i n g m o d e l i s
f o r m a l l o c a t i o n t h e c l o s i n g s e c t i o n t o generate
closure.
p e r c e p t i v e l y to a number of these works of Mozart may

pattern's function.
i n Mozart's
Agawu's second
sonata-form
sonata-form
used
in a fixed
Someone who
recognize t h i s
listens
particular
c a t e g o r y i s a g a i n a p p l i c a b l e to most music;
music the " g l o b a l mechanism" would be generated by
pro-
c e s s e s t a k i n g p l a c e i n the c l o s i n g s e c t i o n and a l s o , to a c e r t a i n e x t e n t , i n the

second
theme ( a l t h o u g h i t may
cesses i n i t i a t e d
be p o s s i b l e t o see c e r t a i n k i n d s of c l o s u r a l
even e a r l i e r i n the form).
t h i r d category w i l l
form the b a s i s of my
not a p p l y to Mozart
( a l t h o u g h i t i s one
The
pro-
" s y n t a c t i c " p o r t i o n of h i s
approach;
h i s "semantic" p o r t i o n does
of the most i n t e r e s t i n g and
original
a s p e c t s of Agawu's s t u d y ) .
There a r e two
principles":
important
(1) The a n a l y s t must be s e n s i t i v e t o the v a r i a t i o n s
of the v a r i o u s dimensions
be
i s s u e s i n the a p p l i c a t i o n of h i s " s y n t a c t i c
o r channels
of s t r u c t u r e : harmony, melody, e t c . ,
i n v o l v e d i n c l o s u r e a t d i f f e r e n t p o i n t s i n a p i e c e ; and
e v a l u a t e the s i g n i f i c a n c e of c l o s u r a l events as l o c a l ,
(p. 6 ) .
i n prominence
may
(2) the a n a l y s t must
i n t e r m e d i a t e , or g l o b a l
11
S e v e r a l w r i t e r s d i s c u s s the
sections, etc.
F o r example, i n "A
i d e a of a r c h e t y p a l
theory
of m u s i c a l
lengths
f o r phrases,
meter," Benjamin w r i t e s :
The group s t r u c t u r e s of p a r t i c u l a r t o n a l s t y l e s , and most

e s p e c i a l l y of the c l a s s i c a l s t y l e , must be u n d e r s t o o d not o n l y
to "do" t h i n g s ( i n a melodic-harmonic s e n s e ) , but to do them
i n a s p e c i f i c number of measures. T h i s " s p e c i f i c number" i s ,
t o some degree, a f e a t u r e of the i n d i v i d u a l p i e c e or movement,
but the i d e a of a normative span i n which to get t h i n g s done
r e l i e s on awareness of the s t y l i s t i c c o n t e x t as a whole.
(P. 392)
My
c l o s i n g model i s an i n s t a n c e of such an a r c h e t y p e i n terms of both i t s t o t a l
l e n g t h and
the i n t e r n a l grouping of p h r a s e s .
Benjamin o f f e r s an i n t e r e s t i n g e x p l a n a t i o n
differ
i n t h e i r e x p o s i t i o n and
of why
many c l o s i n g s e c t i o n s
r e c a p i t u l a t i o n forms i n a g i v e n work:
A p a r t i c u l a r problem of d i s s i p a t i n g the momentum of a c o n t e x t

overburdened w i t h m e t r i c l e v e l s a r i s e s w i t h the n e c e s s i t y of
b r i n g i n g a movement to a c o n v i n c i n g end.
T h i s i s why, i n c l a s s i c a l sonata forms, the r e c a p i t u l a t i o n s are o f t e n expanded,
i n r e l a t i o n to c o r r e s p o n d i n g e x p o s i t i o n s , j u s t where they are
p r e p a r i n g to end: These expansions o b l i t e r a t e enough l e v e l s of
meter to a l l o w a p a r t i c u l a r c a d e n t i a l a r r i v a l to stand out i n a
way i n which the c o r r e s p o n d i n g event i n the e x p o s i t i o n d i d n o t .
(Pp. 405-406)
However, i t i s my
observation
t h a t about as o f t e n as not Mozart's c l o s i n g s e c -
t i o n s are s i m i l a r i n both e x p o s i t i o n and

T h i s i s s u e w i l l a r i s e i n subsequent
Berry,
r e c a p i t u l a t i o n forms i n a g i v e n work.
chapters.
i n Form i n Music, d i s t i n g u i s h e s t h r e e
s e c t i o n s , based on l e n g t h and
constituent material.
a mere f l o u r i s h of c a d e n t i a l c h o r d s " (p. 159).

piano sonata by J . C. Bach (p. 159),
discussed
i n my
chapter
4.
(1) "The
codetta
i s often
c i t e s a 2-bar example from a
t h a t I would c o n s i d e r
a c l o s i n g codetta
(2) A more s u b s t a n t i a l c o d e t t a may
m o t i v i c m a t e r i a l of the f i r s t
may
He
types of sonata-form c l o s i n g
group, i n c a s u a l , p e r f u n c t o r y
d e r i v e from o t h e r p a r t s of the e x p o s i t i o n " (p. 159).
He
i n c l u d e "some
references,
or i t
c i t e s Mozart's
as
12
Symphony no.
first
38,
f i r s t movement, as an example of a c l o s i n g s e c t i o n based
theme m a t e r i a l ; t h i s w i l l be d i s c u s s e d
i n chapter
on
6 below.
[ ( 3 ) ] In some examples the second t o n a l group l e a d s i n t o a d i s t i n c t i v e new theme of r e l a t i v e l y r e s i g n e d c h a r a c t e r and r e s t r i c t e d

c o n t e n t , or i n t o a c o d e t t a c o n t a i n i n g such a theme. A thematic
e n t i t y of t h i s k i n d , s e t a p a r t from the main, body of the second
group by a t r a n s i t i o n a l passage (Mozart Sonata i n F, K. 332,
m. 71), by d e c i s i v e c a d e n t i a l p u n c t u a t i o n , p o s s i b l y i n c l u d i n g
r e s t s , or a p p e a r i n g as p a r t of the c o d e t t a , i s c a l l e d a c l o s i n g
theme. (P. 159)
This t h i r d
type c o r r e s p o n d s to my
as d i s c u s s e d
i n chapter
Berry's
5 below.
i d e a s of m e t r i c p r o g r e s s i o n and
S t r u c t u r a l Functions
s t a b i l i t y and
i n Music imply
longer u n i t s
metric progression
t h a t c l o s u r e i s c h a r a c t e r i z e d by
i n a process
to the e x t e n t
t h a t my
increasing unit size
progressive
approach i s i n c o n f l i c t w i t h
c l o s i n g model i s c h a r a c t e r i z e d by
s h o r t e r u n i t s (which t o B e r r y would s i g n i f y i n s t a b i l i t y ) .
approach does e x p l a i n the end
"increased
(b) i n c r e a s e d i n -
of mounting i n t e n s i t y ;
Berry's
in his
i s of d e c e l e r a t i o n , " whereas
i s c h a r a c t e r i s t i c of "(a) s h o r t e r u n i t and
i s of a c c e l e r a t i o n " (p. 378).
research
r e c e s s i o n as d i s c u s s e d
. . . recessive effect
s t a b i l i t y , often significant
effect
" c l o s i n g theme f o l l o w e d by the c l o s i n g c o d e t t a "
of the s u b o r d i n a t e
shorter
theme a r e a , which o f t e n f e a t u r e s
And
i n a more
r e c e n t a r t i c l e B e r r y appears to r e s t r i c t h i s n o t i o n of a c c e l e r a t i o n to
between B e r r y ' s
forms and
approach and mine.
J o u r n a l of Music Theory, 22
such a r e s t r i c t i o n would a l l e v i a t e the

(See
and
However, B e r r y ' s
(see C a p l i n , below, f o r d i s c u s s i o n of t h i s ) .
ment s e c t i o n s of sonata
my
developconflict
"Rhythmic a c c e l e r a t i o n s i n Beethoven,"
[1978], 177-178.)
13
Caplin's
"The
'expanded c a d e n t i a l p r o g r e s s i o n ' :
a category
f o r the
a n a l y s i s of c l a s s i c a l form" ( h e r e a f t e r r e f e r r e d to as C a p l i n , ECP),
u l a r l y r e l e v a n t to my
t o p i c because (1) i t d e a l s w i t h
w i t h mine, (2) i t d e a l s w i t h
the a r e a d i r e c t l y p r e c e d i n g
t i n g u i s h i n g subordinate
uses a n a l y t i c a l
a r t i c l e was
tool.
c l o s u r e of the sonata-form s u b o r d i n a t e
the c l o s i n g s e c t i o n , (3) i t p r o v i d e s
s i m i l a r to some of those i n my
only l a s t year,
e a r l i e r d r a f t of i t , and
an a n a l y t i c a l
other
I have had
have i n c o r p o r a t e d
As many r e a d e r s
r e l a t e d aspects
Following
Ratz and
l a t e r i n t h i s chapter,
may
i n my
own
work the ECP
i n chapter
is differentiated
generated i n one
as
it
may
(as do
discussed
I) t h a t a theme i s to be
tonal
complex t h a t i n c l u d e s a soprano and
2; f o r now
and
i t may
seen
region,
bass c o u n t -
cadential
style
be noted t h a t the s u b o r d i n a t e
will
theme
i n p a r t from the main theme by a l o o s e r s t r u c t u r e t h a t i s

r e s p e c t by an
and
how
d i n a t e theme" (p. 217).

second key
the
an
concept
types of themes encountered i n the c l a s s i c a l
c l o s e of the theme" (p. 216).

sion i s achieved
Although
i n a d d i t i o n to a
Schoenberg, b o t h of whose approaches are
Caplin considers
The
dis-
(4) i t
not have read C a p l i n ' s a r t i c l e ,
e r p o i n t , a d e f i n i t e harmonic p l a n , a p h r a s e - s t r u c t u r a l d e s i g n ,
be d i s c u s s e d
of
of C a p l i n ' s approach to t h i s music.
r a t h e r as a complete m u s i c a l
c l o s u r e " (p. 216).
theme a r e a ,
the b e n e f i t of s t u d y i n g
"not merely as a melody or c o l l e c t i o n of motives w i t h i n a g i v e n

but
overlaps
a way
thesis.
be u s e f u l to e x p l a i n here the e s s e n t i a l f e a t u r e s of the ECP

few
that
theme c l o s u r e from c l o s i n g s e c t i o n c l o s u r e , and
techniques
published
a repertory
is partic-
a r e a , he notes
"expansion of the c a d e n t i a l harmonies at

C a p l i n ' s g o a l i s to f o r m u l a t e
i t f u n c t i o n s w i t h i n the c o n t e x t
"how
such an expan-
of a complete subor-
In d i s c u s s i n g the types of c a d e n t i a l a c t i v i t y
that
the
i n the
14
a fundamental d i s t i n c t i o n must be drawn between the c a d e n t i a l

p r o g r e s s i o n t h a t t r u l y c l o s e s the s u b o r d i n a t e theme and those
harmonies t h a t f o l l o w the a c t u a l cadence and serve to r e i n f o r c e
i t s f i n a l t o n i c . These " n o n f u n c t i o n a l " cadence formulas p r o v i d e
the harmonic b a s i s f o r the c o d e t t a s t h a t c o n s t i t u t e the c l o s i n g
s e c t i o n of the e x p o s i t i o n . . . . The cadence formulas of the
c o d e t t a s are o f t e n compressed i n r e l a t i o n to the expanded cade n t i a l harmonies t h a t are an i n t e g r a l p a r t of the s u b o r d i n a t e
theme proper.and t h a t e f f e c t i t s c l o s u r e .
(P. 217)
Indeed, the v a r y i n g degree of c a d e n t i a l expansion and compression
w i t h i n an e x p o s i t i o n o f t e n proves to be a u s e f u l guide f o r d i s t i n g u i s h i n g between the s u b o r d i n a t e area p r o p e r and the c l o s i n g
section.
(P. 227)
In C a p l i n ' s view, then, the expanded c a d e n t i a l p r o g r e s s i o n
ate theme, w i t h the c l o s i n g s e c t i o n f u n c t i o n i n g "as
prolong
the c a d e n t i a l t o n i c " (p. 253).
d i s c u s s i o n of the ECP.)
An
t e n t to which the ECP,

exposition
(and
(See
r e c a p i t u l a t i o n ) , and
subordin-
a s e r i e s of c o d e t t a s
c h a p t e r 2, note 28,
i s s u e t h a t w i l l be d i s c u s s e d
i n c l o s i n g the
c l o s e s the
that
for further
l a t e r here i s the
ex-
s u b o r d i n a t e theme, a l s o c l o s e s the e n t i r e
t h a t to which, as
I would o f t e n c l a i m ,
the
c l o s i n g s e c t i o n p l a y s a d i s t i n c t , e s s e n t i a l r o l e i n p r o v i d i n g c l o s u r e f o r these
large sections.
I find
t h a t i n Mozart's works the c l o s i n g s e c t i o n may
ways be merely a " s e r i e s of c o d e t t a s , "

C a p l i n appears to use
Caplin's
codettas
the
term.
a t l e a s t not
(I define
"codetta"
i n the r e s t r i c t e d
f i r s t movement, mm.
41[3]-48, C a p l i n ' s
example l [ c ] ; and
i n D Major, K.
53-58, C a p l i n ' s
i n my
c h a p t e r 6.)
a l l very
s h o r t and
n i f i c a n t extent.
is inclined
The
few
sense t h a t
i n c h a p t e r 2; examples of
i n c l u d e Beethoven, Piano Sonata i n F Minor, op.
576,
not a l -
2, no.
1,
Mozart, Piano Sonata

example 2 [ c ] ,
discussed
examples of c l o s i n g s e c t i o n s t h a t C a p l i n c i t e s
c l e a r l y do not
In a p e r s o n a l
p a r t i c i p a t e i n l a r g e s c a l e c l o s u r e to any
communication
( J u l y 5,
1988), he w r i t e s
toward the view t h a t the c l o s i n g s e c t i o n "does f u n c t i o n to
c l o s u r e f o r the e x p o s i t i o n , at the
f o r the s u b o r d i n a t e theme."
are
same [time] as
i t functions
sig-
that
he
create
post-cadentially
15
In d i s c u s s i n g
the c l o s i n g s e c t i o n i n Beethoven's Piano Sonata op.
f i r s t movement, made up
of three
s i m i l a r 2-bar c o d e t t a s ,
2, no.
1,
he notes t h a t i t
does not have a t r u e c a d e n t i a l r o l e ; i t does not a r t i c u l a t e

thematic c l o s u r e .
That purpose has a l r e a d y been f u l f i l l e d by
the genuine c a d e n t i a l phrase [the ECP].
Rather, the c o d e t t a s
f u n c t i o n here to d i s s i p a t e the energy b u i l t up by the c a d e n t i a l
expansion a t the c l o s e of the theme. They are c l e a r l y n e c e s s a r y
f o r dynamic and rhythmic r e a s o n s , but they c o u l d have been e l i m i n a t e d w i t h o u t a f f e c t i n g the fundamental thematic and t o n a l
s t r u c t u r e of the e x p o s i t i o n .
(P. 222)
Many of Mozart's c l o s i n g s e c t i o n s
to t h i s one
of Beethoven (they
c h a p t e r 4 f o r examples).
are
s i m i l a r i n length,
are of a type I c a l l
the
function
c l o s i n g codetta;
C a p l i n subsequently discusses
c l o s i n g s e c t i o n s i m i l a r to t h i s
s t r u c t u r e , and
K.
576,
which has
see
a
one.
Longer c l o s i n g s e c t i o n s , ones n o r m a l l y based on
the c l o s i n g model, have
a more s i g n i f i c a n t f u n c t i o n than merely d i s s i p a t i n g s u b o r d i n a t e theme energy,

and
could
l i k e l y not be
eliminated
w i t h o u t a f f e c t i n g the
exposition
structure.
D a v i s , "Harmonic rhythm i n Mozart's sonata form," a study s i m i l a r to mine

i n i t s choice
of r e p e r t o r y ,
demonstrates t h a t
"Mozart appears to d i s t i n g u i s h v a r -
i o u s areas as c l e a r l y by harmonic-rhythmic s t r u c t u r i n g as by
procedures such as m e l o d i c d i f f e r e n t i a t i o n and
tessitura"
s e c t i o n s may
(p. 27).
be
other
compositional
changes of i n s t r u m e n t a t i o n
A p o r t i o n of h i s c o n c l u s i o n s
regarding
exposition
or
closing
quoted:
The K s e c t i o n i s the most s t r o n g l y - a r t i c u l a t e d s u b d i v i s i o n of the
e x p o s i t i o n , and to h e l p the c a d e n t i a l d r i v e , i t u s u a l l y p r o v i d e s
one or more marked a c c e l e r a t i o n s p r e c e d i n g a t e r m i n a l p u n c t u a t i o n
of slower harmonic rhythm. The r e s u l t i n g j u x t a p o s i t i o n of f a s t
and slow produces a c h a r a c t e r i s t i c harmonic-rhythmic c o n t r a s t .
. . . o s c i l l a t i n g harmonies appear more f r e q u e n t l y i n the K s e c t i o n than i n any.of the p r e c e d i n g s e c t i o n s .
They are used p r i m a r i l y f o r a r t i c u l a t i o n , o c c u r r i n g a t the b e g i n n i n g and l e s s o f t e n
a t or near the c l o s e of a theme or s e c t i o n .
To end a K s e c t i o n ,
Mozart f a v o u r s s u s t a i n e d harmonies over o s c i l l a t i o n p r o g r e s s i o n s .
16
. . . Through the j u x t a p o s i n g of a c t i v e and s t a b l e a r e a s , most
K s e c t i o n s emphasize harmonic-rhythmic c o n t r a s t over o t h e r f e a t u r e s of d e s i g n .
(P. 33)
Davis g i v e s many i l l u s t r a t i o n s of these p o i n t s , f o r example, the f i r s t movement
of the Piano
Sonata
Regarding
i n F Major, K.
533, mm.
89-102.
recapitulation closing sections,
he w r i t e s , i n p a r t :
When g r e a t e r s t a b i l i t y i s r e q u i r e d t o consummate an e n t i r e movement, r e c a p i t u l a t i o n s conclude w i t h f u r t h e r s t a b i l i z i n g a d d i t i o n s .

I n t e r n a l changes t h a t o c c u r u s u a l l y h e i g h t e n c o n t r a s t . Thus, as
K s e c t i o n s tend t o l e n g t h e n i n r e c a p i t u l a t i o n s , the elements of
a r t i c u l a t i o n tend to i n c r e a s e . (P. 41)
He
uses the f i r s t movements of the Symphonies nos. 40 and
Hatmaker's "A theory of timbre

my
observation
t h a t many of Mozart's
41 as
i n the l a t e C l a s s i c a l
illustrations.
symphony" c o n f i r m s
symphonic f i r s t movements end w i t h
tuttis,
t h i s b e i n g an a s p e c t of c l o s u r e :
The " a r r i v a l " f u n c t i o n of t u t t i and the phenomenon of timbre
dominance g i v e s r i s e t o a t i m b r a l s t r u c t u r e i n the C l a s s i c a l
symphony,.the "timbre p r o g r e s s i o n . " The timbre p r o g r e s s i o n ,
which may be d e f i n e d as a s u c c e s s i o n of timbre events b e g i n n i n g
w i t h a p a r t i a l ensemble and ending w i t h t u t t i , t y p i c a l l y shows
a g r a d u a l "growth" ( s u c c e s s i v e events i n c r e a s i n g i n l i k e n e s s to
t u t t i ) i n the C l a s s i c a l symphony. T h i s tendency of growth toward
t u t t i , combined w i t h t u t t i ' s f u n c t i o n as a s i g n of c l o s u r e , a l l o w s
me to i n f e r a paradigm of timbre p r o g r e s s i o n . . . t h a t of the
p a r t i a l ensemble p r o g r e s s i n g to t u t t i .
(Pp. 3-4)
In g e n e r a l , a f a s t r a t e of timbre change i s a s s o c i a t e d w i t h
t r a n s i t i o n a l , modulating music and a slower r a t e w i t h s t a b i l i t y .
. . . The ends of many symphonies e x e m p l i f y the l a t t e r .
(P. 31)
Hopkins, i n "Secondary parameters and

Mahler,"
understands
c l o s u r e to be o p e r a t i v e a t v a r i o u s l e v e l s and
parameters,
as does Meyer (see below).
parameters,
the o t h e r s secondary.
i n various
(Melody and harmony are Hopkins's
Rhythm i s not a parameter.)
c h a p t e r 1, " C l o s u r e , " i s r e l e v a n t t o my
l a t e e i g h t e e n t h - and
c l o s u r e i n the symphonies of Gustav
t o p i c , as he here
e a r l y n i n e t e e n t h - c e n t u r y music.
primary
Most of h i s
summarizes c l o s u r e i n
F o r example, he d i s c u s s e s
17
how
d i f f e r e n t parameters can c r e a t e c l o s u r e .
t h i s c h a p t e r , he c o n s i d e r s an a s p e c t
r e l a t e d to my
In the f o l l o w i n g q u o t a t i o n ,
of c l o s u r e i n e i g h t e e n t h - c e n t u r y
from
music
c l o s i n g model:
The degree of c l o s u r e i s a l s o p a r t l y a consequence of i t s l e n g t h .
In g e n e r a l , c l o s u r e i s s t r o n g e r when i t i s p r o l o n g e d .
For i n s t a n c e , composers of the c l a s s i c a l p e r i o d commonly strengthened
p r i m a r y p a r a m e t r i c c l o s u r e at the ends of l a r g e s e c t i o n s and
movements by extending the chord of r e s o l u t i o n . The e x t e n s i o n
might be produced by r e p e a t i n g s c a l a r or t r i a d i c p i t c h p a t t e r n s
based on the t o n i c , r e i t e r a t i n g the t o n i c harmony one or more
times, or simply s u s t a i n i n g the t o n i c c h o r d .
(Pp. 14-15)
Kramer, i n "Beginnings and
endings i n Western a r t music," d i s c u s s e s
c l o s u r e of music i n the common p r a c t i c e p e r i o d , f o c u s s i n g on t o n a l i t y :

once t o n a l i t y became f u l l y developed was
i t p o s s i b l e f o r an e n t i r e
to be a r e a l i z a t i o n of a s i n g l e t o n a l p r o c e s s "
not d i s c u s s d e t a i l s of such p r o c e s s e s ,
he
(p. 1 ) .
"Only
composition
A l t h o u g h Kramer does
i s l i k e l y r e f e r r i n g t o , f o r example,
the o v e r a l l view of a movement p r o v i d e d by a Schenkerian
Ursatz.
However, he a l s o d i s c u s s e s a somewhat d i f f e r e n t approach to c l o s u r e , an

approach based not
on an o v e r a l l p r o c e s s
but on a h i e r a r c h i c a l arrangement of
cadences:
A s t r o n g cadence ends not. o n l y i t s phrase but a l s o s e v e r a l p r e ceding phrases.
A phrase group i s c r e a t e d i n t h i s manner.
The
f i n a l cadence of the p i e c e i s of course the s t r o n g e s t , s i n c e i t
must b r i n g to a c l o s e the e n t i r e work. Thus c l o s u r e , l i k e t o n ality itself, is hierarchical.
(P. 2)
Again,
Kramer does not e l a b o r a t e on the h i e r a r c h y of c l o s u r e .
of c a d e n t i a l h i e r a r c h y w i t h
works.
t o n a l h i e r a r c h y does not
A l t h o u g h a s e c t i o n such as a theuie may
cadence b e i n g
cadence occurs
The
always apply
comparison
to Mozart's
be c l o s e d by v i r t u e of i t s f i n a l
the s t r o n g e s t , i n Mozart's sonata-form movements the

a t the end
theme ( i . e . ,
the ECP),
strongest
with
the
18
c l o s i n g s e c t i o n p r o l o n g i n g the f i n a l harmony, perhaps w i t h weaker cadences o r

cadence-like progressions.
ularly
Only
i n those movements i n which the ECP i s p a r t i c -
l e n g t h y c o u l d one say t h a t i t dominated a l l o t h e r cadences i n the whole
movement.
Another way Kramer e x p l a i n s endings
i s by r e f e r e n c e t o c o n v e n t i o n :
A n y t h i n g i s p o s s i b l e a t the b e g i n n i n g b u t by the end the n a t u r e

of the p i e c e d i c t a t e s the n a t u r e o f i t s ending p r o c e d u r e s . I t
i s these s t r a t e g i e s of ending more than the c o n v e n t i o n a l i z e d
l a s t - t h i n g - h e a r d t h a t a r e suggested by the p i e c e ' s i n t e r n a l p r o c e s s e s , and thus t h e r e a r e many r o u t e s t o c l o s u r e . . . . t h e
p r o l o n g a t i o n o f the f i n a l t o n i c , on the o t h e r hand, i s harmonica l l y r a t h e r s t a n d a r d . . . ; the a c t u a l c l o s i n g g e s t u r e i s o f t e n
a s t o c k c o n v e n t i o n , l o o s e l y l i n k e d o r a c t u a l l y u n r e l a t e d t o the
p r o c e s s e s o r m a t e r i a l s o f the c o m p o s i t i o n .
(P. 3)
Kramer's d i s c u s s i o n here i s n o t s t y l e - s p e c i f i c and i s thus r a t h e r g e n e r a l .
I f a n y t h i n g , i t a p p l i e s more t o romantic
p e r i o d music, i n which, f o r example,
almost a n y t h i n g can happen a t the b e g i n n i n g of a work, u n l i k e i n c l a s s i c

Kramer's "many r o u t e s t o c l o s u r e " would n o t a p p l y t o Mozart's
sonata-form
music.
music,
as most o f t h i s r e p e r t o r y i s c o n v e n t i o n a l i z e d a t l e a s t w i t h r e s p e c t t o o v e r a l l
harmonic motion and form.
However, the c l o s i n g s e c t i o n i s perhaps more o f t e n
made of " s t o c k c o n v e n t i o n s " than i s the p r e c e d i n g s u b o r d i n a t e theme a r e a , w i t h

the e x c e p t i o n o f the ECP.
comprised
Furthermore,
the c l o s i n g s e c t i o n i s i n f a c t o f t e n
of m a t e r i a l " l o o s e l y l i n k e d o r a c t u a l l y u n r e l a t e d " t o e a r l i e r s e c t i o n s .
F i n a l l y , Kramer a l s o c o n t r a s t s two e x p l a n a t i o n s o f endings,

formula:
c o n t e x t and
(1) "An ending can be d e f i n e d as the p l a c e a t the c l o s e o f the p i e c e
where a l l of i t s t e n s i o n s have been r e s o l v e d " (p. 6 ) . In terms o f my r e p e r t o r y ,

the c l o s i n g s e c t i o n i s i n t h i s view the l o c a t i o n of t o n i c s t a b i l i t y ,
and rhythmic
liquidation.
and melodic
(2) "An ending can a l s o be d e f i n e d by the a c t u a l
shape o r p r o f i l e of the f i n a l
s o u n d s a t h i n g ( o r product)
r a t h e r than a p r o -
c e s s " (p. 6 ) . I n Mozart, the c l o s i n g s e c t i o n , from t h i s s t a n d p o i n t , i s a con-
19
v e n t i o n a l i z e d form, u s u a l l y an i n s t a n c e of the c l o s i n g model, and

the c o n v e n t i o n a l i z e d
i t follows
ECP.
LaRue's study of the e i g h t e e n t h - c e n t u r y
symphony (New
Grove D i c t i o n a r y ,
"Symphony: I " ) , i n c l u d e s d i s c u s s i o n of the development of s p e c i f i c

features
there
t h a t apply
to most of c l a s s i c p e r i o d music.
i s no b e t t e r e x e r c i s e than t o f o l l o w the
symphony" (p.
"To
stylistic
understand C l a s s i c i s m
long e v o l u t i o n of the
18th-century
438).
No mere c o l l e c t i o n of t r a i t s . . . can generate the f u l l c h a r a c t e r
of C l a s s i c i s m , which r e s u l t s not from i n d i v i d u a l p r o c e s s e s but
r a t h e r from a h i g h e r c o n t r o l , or c o n c i n n i c i t y , a s k i l f u l and
e l e g a n t arrangement and adjustment of the v a r i o u s elements. Once
t h i s c e n t r a l t e c h n i q u e became c u r r e n t , composers c o u l d p e r f e c t
v a r i o u s o t h e r c h a r a c t e r i s t i c s t h a t d i s t i n g u i s h a C l a s s i c a l symphony, n o t a b l y a h i e r a r c h y of p u n c t u a t i o n n e c e s s a r y to c l a r i f y
more c o m p l i c a t e d p h r a s e , sentence and paragraph s t r u c t u r e s ; and
a d i f f e r e n t i a t i o n and l a t e r s p e c i a l i z a t i o n of s e c t i o n s (primary,
t r a n s i t i o n a l , secondary and c l o s i n g ) . . . . The C l a s s i c a l s t y l e
s i g n a l s the c o n t r a s t between primary and secondary groups not
merely from changes i n melody but a l s o from changes i n dynamics,
t e x t u r e , rhythm (both chord and s u r f a c e ) and phrase u n i t .
(P. 440)
The
" h i e r a r c h y of p u n c t u a t i o n , "
t i o n s , " and
the
" d i f f e r e n t i a t i o n and
s p e c i a l i z a t i o n of
the "changes i n phrase u n i t " are a l l c e n t r a l f e a t u r e s of the
ment of sonata form (about which LaRue i s e s s e n t i a l l y w r i t i n g ) , and

tral
to my
having
study of c l o s u r e i n t h a t c l o s u r e i s c e n t e r e d
i t s own
types of p u n c t u a t i o n
and
sec-
develop-
are a l s o c e n -
in a specialized section
phrase u n i t s .
In LaRue's summaries of the s t y l e s of i n d i v i d u a l composers t h e r e are

number of r e f e r e n c e s
has
to c l o s i n g p r o c e s s e s .
"a k i n s h i p to Mozart i n the use
i n t e r p o l a t e a moment of q u i e t b e f o r e
The
Viennese J . B. Vanhal
(1739-1813)
of g e n t l e , r e t r o s p e c t i v e c l o s i n g themes t h a t
the f i n a l
trumpets" (p. 444).
Stamitz (1717-1757) developed "a w e l l - d i f f e r e n t i a t e d e x p o s i t i o n " and

development s e c t i o n , but d i d not
J . W.
an
A.
extensive
i n c l u d e the primary m a t e r i a l i n the r e c a p i t u l a - :
20
tion:
S t r u c t u r a l l y , the secondary and c l o s i n g s e c t i o n s by themselves
cannot s t a b i l i z e the t o n i c s u f f i c i e n t l y to b a l a n c e the f o r c e f u l
Mannheim e x p o s i t i o n and development. A r e c a p i t u l a t i o n of o n l y
the secondary and c l o s i n g m a t e r i a l may produce too abrupt a
conclusion.
(P. 445)
Stamitz and
o t h e r Mannheim composers sometimes r e c o g n i z e d
ther material
to the r e c a p i t u l a t i o n .
the e x p o s i t i o n of c o u r s e f o l l o w e d
t u r e and
(p.
orchestration
t h i s and
added f u r -
A r e c a p i t u l a t i o n based more c l o s e l y on
l a t e r i n the c e n t u r y .
"Mozart e v i d e n t l y
In the areas of
struc-
l e a r n t a good d e a l from Mannheim"
446).
One
Eichner
of the b e s t
of the second g e n e r a t i o n
of Mannheim composers was
Ernst
(1740-1777):
He a t t a i n e d a p a r t i c u l a r l y advanced thematic d i f f e r e n t i a t i o n t h a t
not o n l y c o n t r a s t e d secondary s e c t i o n s but a l s o i n d i v i d u a l i z e d
the m a t e r i a l of t r a n s i t i o n s and c l o s i n g s e c t i o n s ; a t the same
time he was a b l e to embed these ideas i n sentences and paragraphs
with strong d i r e c t i o n a l flow.
(P. 446)
One
who
of the b e s t
a l s o had
composers i n London was
a s i g n i f i c a n t i n f l u e n c e on
J . C. Bach (1735-1782), a composer
Mozart:
H i s combination of i m a g i n a t i o n and t e c h n i c a l mastery made p o s s i b l e

a wide v a r i e t y and s u b t l e g r a d a t i o n of thematic i d e a s , which he
then d i s t i n g u i s h e d a c c o r d i n g to e x p o s i t i o n a l f u n c t i o n s : even out
of c o n t e x t h i s themes sound l i k e p r i m a r y , t r a n s i t i o n a l , secondary
or c l o s i n g m a t e r i a l .
(P. 448)
In summarizing Mozart's s t y l e , LaRue comments on
rhythm to
the
importance of
surface
structure:
He commanded a remarkable rhythmic v o c a b u l a r y , which may a l s o be
a by-product of a l a r g e r c o l o u r c o n t r a s t , as p a r t of Mozart's
s t r o n g c h a r a c t e r i z a t i o n of s t r u c t u r a l areas by the c r e a t i o n of
s p e c i a l thematic types; one can u s u a l l y r e c o g n i z e the p r e c i s e
e x p o s i t i o n a l f u n c t i o n of a Mozart theme even when i t - i s taken
out of i t s c o n t e x t .
(P. 450)
2-1
LaRue d i s c u s s e s a p a r t i c u l a r type of expanded c l o s i n g s e c t i o n
charact-
e r i s t i c of Mozart's mature symphonies:

Between the u s u a l c a d e n t i a l themes he i n t r o d u c e d a piano p e n u l timo: a q u i e t , r e f l e c t i v e theme t h a t enhances the b r i l l i a n c e of
the f i n a l c a d e n t i a l trumpeting. T h i s h e i g h t e n e d c o n t r a s t i n the
c l o s i n g a r e a lends a s p e c i a l c o n v i c t i o n and d e f i n i t e repose to
Mozart's c o n c l u s i o n s , n o t i c e a b l e i n embryo as e a r l y as K134.
(P. 452)
In h i s d i s c u s s i o n of sonata form i n The
Rhythms of Tonal Music, L e s t e r
takes a f r e q u e n t l y - s e e n p o s i t i o n :
Each passage i n a sonata-form movement has i t s own r o l e to p l a y
i n the o v e r a l l form and, t h e r e f o r e , i t s own i n t e r n a l s t r u c t u r e .
The themes t h a t announce each of the key areas i n the e x p o s i t i o n ,
f o r i n s t a n c e , are more o f t e n than not p r e s e n t e d i n d i s c r e t e
p h r a s e s , as opposed to t r a n s i t i o n a l , c o n c l u s i v e , or developmental
passages t h a t f e a t u r e more continuous music and e l i d i n g p h r a s e s .
(P. 229)
The
d i s t i n c t i o n between two
p a r t of my
types of phrase s t r u c t u r e i s u s e f u l and w i l l
a n a l y t i c a l approach i n chapter
2 below.
L e s t e r devotes most of h i s c o n s i d e r a t i o n of sonata form to the
"second
theme group" (by which he means a l l the m a t e r i a l i n the second key w i t h i n

e x p o s i t i o n ) , because he b e l i e v e s t h i s a r e a has
i z e d more than any
other.
This
form
a s t r u c t u r e t h a t can be
the
general-
section
must e s t a b l i s h the new key a r e a , y e t must h o l d o f f a c o n c l u s i v e

a r r i v a l on the t o n i c of the new key as l o n g as p o s s i b l e .
For
when the second theme group r e c u r s i n the r e c a p i t u l a t i o n , i t
g e n e r a l l y f o l l o w s music i n the t o n i c key (the f i r s t theme g r o u p ) .
Premature c l o s u r e would make the remainder of the r e c a p i t u l a t i o n
sound l i k e a p e r f u n c t o r y t a g .
In o r d e r to f u l f i l l these r o l e s , second theme groups, whatever
t h e i r l e n g t h or the number of themes, tend to b e g i n w i t h phrases
or a p e r i o d w i t h e x t e n s i o n s or e l i s i o n s d e l a y i n g the cadence of
the consequent p h r a s e . L a t e r i n the second theme group i s u s u a l l y
a s e r i e s of e v e r - s h o r t e r c a d e n t i a l p h r a s e s , each e l i d i n g w i t h the
n e x t . The opening phrases e s t a b l i s h the new key w i t h o u t n e c e s s a r i l y c a d e n c i n g i n i t c o n c l u s i v e l y ; the l a t e r e l i s i o n s and r e i t e r a t e d cadences p r o j e c t the f i n a l i t y of the s e c t i o n but h o l d o f f
the f i n a l r e s o l u t i o n u n t i l the end.
(Pp. 229-230)
22
This
i s a good g e n e r a l
d e s c r i p t i o n t h a t a p p l i e s i n l a r g e measure to Mozart's
sonata forms (a d e s c r i p t i o n p a r t i a l l y a m p l i f i e d i n C a p l i n ' s ECP,

Lester's
"ever-shorter
tion structure.
He
c a d e n t i a l p h r a s e s " correspond to my
l a t e r r e f e r s to t h i s a g a i n
(Beethoven's Piano Sonata op.
14,
no.
of the term " p h r a s i n g
the m a t e r i a l h e r e .
K.
545
groups
and
(pp.
He
K.
515
of a s p e c i f i c
u n i t s " (p. 232).
movements of Mozart's Piano Sonata
to i l l u s t r a t e h i s approach to second theme
233-235).
groups are o f t e n r e w r i t t e n , "second theme groups m a i n t a i n the

(p. 240).
Further
references
i n d i s c u s s i o n of timespans and
Several writers discuss

absolute
conclusion,
to L e s t e r ' s book w i l l
theme
structure
described
a r i s e i n chapter 2
closing sections.
the view t h a t p i e c e s
t h a t they are p i e c e s
i s continuous, i n d e f i n i t e .
c e r t a i n a r b i t r a r i n e s s " (p. 198).
The
end
of music never come to
of something b i g g e r ,
For example, i n M u s i c a l Morphology, L e v e r i e and

flow
analysis
Note L e s t e r ' s
In d i s c u s s i n g r e c a p i t u l a t i o n s , L e s t e r notes t h a t whereas f i r s t
earlier"
sec-
u n i t , " as opposed to " p h r a s e , " to d i s t i n g u i s h
a l s o uses the f i r s t
S t r i n g Quintet
model of c l o s i n g
2, f i r s t movement), where the c l o s i n g
section i s "cast i n short, r e p e t i t i v e phrasing

c a r e f u l use
i n context
as noted above).
Levy w r i t e :
of a p i e c e
an
i . e . , of music.
"By
nature,
musical
i s never q u i t e f r e e of a
Regarding the ending of t o n a l music, they
w r i t e , f o r example:
In the t e r m i n a l cadences of the h i g h p e r i o d of t r i a d i c t o n a l i t y ,
the e n e r g e t i c c h a r a c t e r , the f o r c e f u l dynamics, and the i n s i s t e n t
r e i t e r a t i o n s t h a t o f t e n form a c h a i n are a l l means aimed at r e d u c i n g the g e n e r a t i v e power of the p e r f e c t t r i a d , i s o l a t i n g the
" p i e c e " from the i n d e f i n i t e , and a f f i r m i n g the end of the movement. M e t r i c r e g u l a r i t i e s c o n t r i b u t e .
(Pp. 140-141)
T h e i r " i n s i s t e n t r e i t e r a t i o n s t h a t o f t e n form a c h a i n " and
"metric
regularities"
23
are
supportive
of features
o f my c l o s i n g model.
In "Texture as a s i g n i n C l a s s i c and e a r l y Romantic music," Levy desc r i b e s a number o f c o n v e n t i o n a l i z e d

( i n c l u d i n g octave doublings).
t e x t u r a l s i g n s , one of which i s the u n i s o n
Unisons a r e f r e q u e n t l y used "as a u x i l i a r y s i g n s
of c l o s e . . . . The e f f e c t may be one o f d i s s o l u t i o n " (p. 519).
The u n i s o n i s
a l s o o f t e n used t o " s i g n a l the c l o s e o f the e x p o s i t i o n " (p. 519). Among h e r

examples a r e a number by Mozart.
Lorince,
i n "A study of m u s i c a l
texture
i n r e l a t i o n t o sonata-form as
evidenced i n s e l e c t e d keyboard sonatas from C. P. E. Bach through Beethoven,"

f i n d s t h a t Mozart d i s t i n g u i s h e s s e c t i o n s o f sonata-form movements by t e x t u r a l
means ( i n a d d i t i o n t o o t h e r means such as k e y ) .
sections
" c h a r a c t e r i z e d by s i m p l e r
He f i n d s Mozart's c l o s i n g
t e x t u r a l s e t t i n g s . . . . Sixteenth-note
scale
passages w i t h a wide m e l o d i c range a r e t y p i c a l as a r e s h o r t r e p e a t e d passages

emphasizing c o n t r a s t "
area o f t e x t u r e ,
range).
(pp. 283-284).
He c o n s i d e r s
a v a r i e t y o f f a c t o r s i n the
such as c o n t o u r , r e g i s t e r , , dynamics, and v e r t i c a l
F o r i n s t a n c e , he f i n d s t h a t the w i d e s t v e r t i c a l
span ( o r
span i n Mozart's works
o c c u r s i n the c l o s i n g s e c t i o n (pp. 289-290).
In Emotion and Meaning i n Music, Meyer suggests t h a t c l o s u r e i s p a r t i a l l y

dependent on the l i s t e n e r ' s knowledge of when a melody w i l l
138).
close
(pp. 78-79,
In o t h e r words, i f a l i s t e n e r hears a cue f o r the b e g i n n i n g of a
c l o s i n g process,
standard
then t h a t c l o s i n g p r o c e s s w i l l be more s a t i s f y i n g than one i n
which the l i s t e n e r was unaware t h a t i t was a c l o s i n g
process.
24
Most of Meyer's c h a p t e r 4,
and
" P r i n c i p l e s of p a t t e r n p e r c e p t i o n :
c l o s u r e , " i s r e l e v a n t to the t o p i c of t h i s d i s s e r t a t i o n .
suggests t h a t form ("shape and

closure
(p. 130).
example,
i s the cause of both c o n t i n u i t y
In d i s c u s s i n g s a t u r a t i o n a
l e a d i n g to the e x p e c t a t i o n
ferent according
pattern")
For
he
and
p r o c e s s r e s u l t i n g from r e p e t i t i o n ,
of c h a n g e h e notes t h a t the e x p e c t a t i o n
to the f o r m a l
completion
may
be
dif-
context:
A r e p e a t e d p a t t e r n a t the end of a work need not g i v e r i s e to

s a t u r a t i o n , s i n c e a t t h i s p o i n t the l i s t e n e r understands . . .
the s i g n i f i c a n c e of the r e p e t i t i o n : That i s , because t h i s i s the
end of the p i e c e , l a c k of forward motion, a composed f e r m a t a , i s
expected and d e s i r a b l e . Thus the law of s a t u r a t i o n i s c o n d i t i o n a l :
In a s i t u a t i o n where r e p e t i t i o n i s not normal and u n d e r s t a n d a b l e ,
the l o n g e r a p a t t e r n or p r o c e s s p e r s i s t s , the s t r o n g e r the expect a t i o n of change.
(P. 136)
This i s p a r t i c u l a r l y relevant
to my
d i s s e r t a t i o n because the c l o s i n g model i s
composed of a s e r i e s of r e p e a t e d u n i t s .
(Meyer's " s a t u r a t i o n " a p p l i e s to
thematic s e c t i o n s of Mozart's sonata form, i n p a r t i c u l a r to the

discussed
i n c h a p t e r 2 below.)
Further
i n Meyer's d i s c u s s i o n of the law of
support f o r my
sentence model
c l o s i n g model i s found
return:
The law of r e t u r n appears to o p e r a t e most e f f e c t i v e l y

g i v e n sound term i s l e f t i n c o m p l e t e .
Since the sound
G e s t a l t which s e t s up f o r c e s toward a p a r t i c u l a r k i n d
the o n l y way i t can be c l o s e d i s by r e p e a t i n g i t w i t h
more f i n a l ending.
(P. 153)
Many examples of the c l o s i n g model i n c o r p o r a t e
such a p r o c e s s ,
r e p e a t e d u n i t s are p a i r e d , the second of which i s more c l o s e d

the manner of a simple p e r i o d .
exact;
is,
The
the
where the
term i s a
of c l o s u r e ,
a new
and
o f t e n i n which
than the f i r s t
r e p e t i t i o n i n closing sections
i s often
in
very
t h i s i s supported by Meyer's statement t h a t "the more c l o s e d a sound term
the more i t s r e c u r r e n c e
is likely
to be
exact
or almost e x a c t "
(p.
153).
25
In E x p l a i n i n g Music, Meyer c o n s i d e r s
various
c l o s u r e throughout the music a t
levels.
C l o s u r e t h e a r r i v a l a t r e l a t i v e s t a b i l i t y i s a r e s u l t of the
a c t i o n and i n t e r a c t i o n among the s e v e r a l parameters of music.
Because melody, rhythm, harmony, t e x t u r e , timbre, and dynamics
are r e l a t i v e l y independent v a r i a b l e s , some may a c t to c r e a t e
c l o s u r e a t a p a r t i c u l a r p o i n t i n a work, w h i l e o t h e r s are m o b i l e
and on-going.
(P. 81)
The s t r u c t u r e of a composition i s something which we i n f e r from
the h i e r a r c h y of c l o s u r e s which i t p r e s e n t s . . . . The end of a
movement i s . . . the p o i n t at which a l l parameters move cong r u e n t l y t o c r e a t e the s t a b i l i t y of c l o s u r e .
(P. 89)
Meyer's g e n e r a l
approach to a n a l y s i s of t o n a l m e l o d y t h e i m p l i c a t i o n -
r e a l i z a t i o n model d i s c u s s e d
at length i n E x p l a i n i n g Musicwould
c a t e g o r i z e c l o s i n g s e c t i o n s as n o r m a l l y
h i s a n a l y s i s of the S t r i n g Quartet
ample, he c o n s i d e r s
of the r e p e a t
prolongation
my
i n D Major, K.
575,
"Since
the e x t e n s i o n
233-235).
In
second movement, f o r
61-73), as an
ex-
extension
i s e s s e n t i a l l y a melodic
of the t o n i c , A, moving through t h r e e o c t a v e s ,
a t i o n s h i p s are g e n e r a t e d " (pp.
to
l a c k i n g i n melodic i m p l i c a t i o n s .
the c l o s i n g s e c t i o n , or coda (mm.
of the main theme:
l e a d him
no
implicative r e l -
T h i s c l o s i n g s e c t i o n i s s i m i l a r to
c l o s i n g model.
Ratz, EinfUhrung i n die musikalische

of e i g h t e e n t h - c e n t u r y
p e r i o d music, and
instrumental
music.
Formenlehre, i s p r i m a r i l y a study
Ratz bases h i s approach to
on Beethoven i n p a r t i c u l a r , on the a n a l y t i c a l p r i n c i p l e ,
elsewhere, of d i f f e r e n t l y - f u n c t i o n i n g s e c t i o n s .
o r g a n i z a t i o n are
"(1)
to a c e r t a i n e x t e n t
subordinate
classical
H i s two
p r i n c i p l e s of
seen
formal
t i g h t k n i t o r g a n i z a t i o n , which i n c l u d e s the main theme
the c o d e t t a s ,
and
(2) l o o s e o r g a n i z a t i o n , which i n c l u d e s
theme, t r a n s i t i o n , r e t r a n s i t i o n ,
[and]
development"
(p. 21
and
the
i n the
German o r i g i n a l ; a l l t r a n s l a t i o n s are done by P r o f e s s o r W i l l i a m E. C a p l i n of

McGill University).
A l t h o u g h Ratz i n c l u d e s the s u b o r d i n a t e
theme i n h i s
cate-
26
gory of l o o s e o r g a n i z a t i o n , i t i s not as l o o s e as the o t h e r s e c t i o n s i n c l u d e d

i n t h i s category.
In my
study I am
c a t e g o r i z i n g b o t h themes as
relatively
t i g h t k n i t , a t l e a s t i n comparison w i t h o t h e r s e c t i o n s .
Ratz d e s c r i b e s the c l o s i n g s e c t i o n i n t h i s
way:
Codettas ( C l o s i n g S e c t i o n ) . The essence of the c o d e t t a s cons i s t s i n m o t i v i c l i q u i d a t i o n and i n c a d e n t i a l f o r m a t i o n s t h a t a r e

made i n c r e a s i n g l y c l o s e r u n t i l f i n a l l y n o t h i n g more than the I
degree remains: e.g., (2x4) + (2x2) + (2x1) + ( 2 x i ) + 1.
(P. 30)
The
" m o t i v i c l i q u i d a t i o n , " the " i n c r e a s i n g l y c l o s e r c a d e n t i a l f o r m a t i o n s , " the
p a i r i n g of s i m i l a r u n i t s , and
two
t o one
In
classical
ata
form
to o n e - h a l f are a l l f e a t u r e s v e r y c l o s e l y r e l a t e d to my
composers' use of t o n a l i t y t o generate

( e . g . , pp. 68-71).
"The
i n the development, had
s t a b i l i t y and
clarity
s e c t i o n s p o s s i b l e " (p. 70).
s e c t i o n was
i t s r e p e r c u s s i o n s elsewhere
of the opening
and
tonal s t a b i l i t y
i n son-
i n the
c l o s i n g pages of a
One
classical
r e a s o n , then, f o r the use of a c l o s i n g

T h i s f e a t u r e of
theme, i s somewhat s i m i l a r to Ratz's
(at l e a s t i n the sense of not modulating) f o r the
c o n s t r u c t i o n of the main theme and
of
they make the i n c r e a s e d t e n s i o n of the
to a s s u r e t o n a l s t a b i l i t y f o r the form.
s e c t i o n s , shared w i t h the f i r s t
of
l a r g e - s c a l e dissonance
The use of c o n t r a s t i n g keys i n the second h a l f
sonata a r e e s s e n t i a l to i t s form, and

middle
The C l a s s i c a l S t y l e , Rosen c o n s i d e r s a t some l e n g t h the i s s u e of the
the e x p o s i t i o n , and
form:
the r e d u c t i o n i n u n i t l e n g t h from f o u r bars to
closing
requirement
tightknit
the c o d e t t a s .
Much of Rosen's Sonata Forms i s r e l e v a n t t o t h i s d i s s e r t a t i o n ,
especially
i n t h a t Rosen c o n c e n t r a t e s on e i g h t e e n t h - c e n t u r y sonata forms and a n a l y s e s many

of
pp.
the same works c o n s i d e r e d here

194-217).
(e.g., the Symphony i n D Major, no.
38,
Rosen c o n s i d e r s the u s u a l e x p o s i t i o n model, " F i r s t Group, B r i d g e
27
Passage, Second Group, and C o n c l u d i n g Theme," to be " r a r e i n the e i g h t e e n t h

c e n t u r y , as the move to the dominant
i s o f t e n i n i t i a t e d w i t h o u t a break from
the statement or c o u n t e r s t a t e m e n t [of the F i r s t

theme may
Group], and the c o n c l u d i n g
be a b r i e f appendage to the second group: i n t h i s c a s e , we have a
two-part e x p o s i t i o n " (p. 98).
While some of Mozart's s h o r t e r e x p o s i t i o n s
may
be a n a l y s e d as b i p a r t i t e , I f i n d t h a t many o t h e r s can be seen s u c c e s s f u l l y as

based on the f o u r - s e c t i o n model.
f o r example,
( I w i l l not use the same terms as Rosen has;
he uses "theme" i n a more g e n e r a l way
than I do, and I p r e f e r
" c l o s i n g s e c t i o n " to " C l o s i n g Theme".)

L i k e some o t h e r w r i t e r s , such as Ratz and Schoenberg, Rosen d i s c u s s e s
d i f f e r e n t l y - f u n c t i o n i n g elements and how
he does so i n a d i f f e r e n t way
they c o n t r i b u t e t o the form,, a l t h o u g h
from them:
In the sonata form, the meaning of a phrase depended on i t s p l a c e

i n the.work as a whole, on i t s p o s i t i o n i n the g e n e r a l movement
from p o l a r i z a t i o n [of keys] to r e s o l u t i o n .
The forms, t h e r e f o r e ,
demanded c l e a r l y s e p a r a b l e elements whose a l t e r e d f u n c t i o n s c o u l d
be c l e a r l y r e c o g n i z e d as they appeared a t d i f f e r e n t p o i n t s of the
work.
(P. 194)
T h i s i s c e r t a i n l y an approach I agree w i t h , as I hope to demonstrate t h a t what
happens i n a c l o s i n g s e c t i o n i s d i f f e r e n t from what happens elsewhere i n the work.
Rosen's c h a p t e r on " E x p o s i t i o n " i s q u i t e u s e f u l , as he summarizes
a number
of ways t h a t t h i s s e c t i o n i s o r g a n i z e d , many of the ways b e i n g used by Mozart.
A l t h o u g h Schenker does not d i s c u s s the s t r u c t u r e or f u n c t i o n of c l o s i n g

s e c t i o n s , or c l o s u r e i n g e n e r a l , h i s t h e o r y as i t a p p l i e s t o these m a t t e r s can
be surmised from h i s approach t o sonata-form a n a l y s i s as found i n F r e e
tion
( p r i m a r i l y c h a p t e r 5, s e c t i o n 3, paragraphs 311-316).
The g o v e r n i n g p r i n -
c i p l e f o r the a n a l y s i s of a l l s o n a t a forms i s the i n t e r r u p t i o n .

p r o l o n g a t i o n of a d i v i s i o n
Composi-
"Only the
( i n t e r r u p t i o n ) g i v e s r i s e to sonata form" (p. 134).
28
Diagram 1
One Model
of Sonata Form ( a f t e r
Schenker)
7^=;:
~k>-j
-if*J-^
Development
Exposition
-Qrf
J -
'
'
R e c a p i t u l a t ion
"^v
<
The two types of i n t e r r u p t i o n found i n sonata form are those where the fundamental
l i n e b e g i n s w i t h s c a l e degrees 3 and 5.
F r e e Composition, and i l l u s t r a t e s
the f i r s t
Diagram
type.
except t h a t the fundamental l i n e b e g i n s on S\

the
recapitulation;
1 i s based on f i g u r e 23 from
(The second type i s s i m i l a r
r e t u r n i n g t h e r e a t the s t a r t of
i n the minor mode t h e s i t u a t i o n changes
i n t h a t I I I or v i s
used i n s t e a d of V, and the f i r s t ^ a r r i v e s o n l y a t the end of the
development;
see f i g u r e s 24 t o 26 i n F r e e Composition.)
I am not i n a p o s i t i o n to s t a t e whether
a l l of Mozart's sonata-form move-
ments can be a n a l y s e d u s i n g t h i s and Schenker's o t h e r models f o r sonata form,

a l t h o u g h c e r t a i n l y many c o u l d be.
The modulatory scheme a t l e a s t f i t s
Mozart's sonata-form e x p o s i t i o n s , the p r o l o n g a t i o n of the dominant
a l l of
harmony b e g i n -
n i n g e i t h e r d u r i n g the t r a n s i t i o n or a t the s t a r t of the second theme, depending

on the p a r t i c u l a r movement.
The development
form movments can be seen as dominant
s e c t i o n of most of Mozart's s o n a t a -
p r o l o n g a t i o n s , the r e c a p i t u l a t i o n s as a
r e t u r n to the t o n i c a l o n g w i t h a subsequent t o n i c
prolongation.
The S c h e n k e r i a n view of the c l o s i n g s e c t i o n , b o t h i n the e x p o s i t i o n and

r e c a p i t u l a t i o n , i s t h a t i t has no fundamental l i n e motion; i n s t e a d , i t p r o l o n g s
29
one o r more a l r e a d y e s t a b l i s h e d tones and harmonies

background
( i n the major mode, the
A
. .
A
.
2 and V i n the e x p o s i t i o n , 1 and I i n the r e c a p i t u l a t i o n ) .
In the
e x p o s i t i o n , the 2 i s p r o l o n g e d by means of a f i f t h - p r o g r e s s i o n d e s c e n d i n g from

it,
d e s c e n d i n g e i t h e r b e f o r e or d u r i n g the c l o s i n g s e c t i o n .
F r e e C o m p o s i t i o n , f i g u r e 154,
(For examples,
1: Mozart, Piano Sonata i n C Major, K. 279,
movement; and f i g u r e 47,2: Beethoven, Piano Sonata i n G Major, op. 14, no.
see
first
2,
f i r s t movement.)
Schoenberg's Fundamentals
r e l a t e d to my
of M u s i c a l Composition c o n t a i n s much t h a t i s
a n a l y t i c a l approach.
The emphasis
on f o r m a l a n a l y s i s , the d i s t i n c -
t i o n between p r i m a r y and secondary s e c t i o n s , the f o c u s on c l a s s i c a l p e r i o d
music,
and the use of the terms p e r i o d and sentence f o r thematic types a r e a l l s i m i l a r

to my
approach.
He c a t e g o r i z e s the sonata-form c l o s i n g s e c t i o n as o f t e n b e i n g
a "group of c o d e t t a s , " sometimes based on the main theme ("adapted

harmonies")
(pp. 202, 204).
to c a d e n t i a l
H i s use of the term " c o d e t t a " i s s i m i l a r t o mine
( h i s "group of c o d e t t a s " i s what I w i l l
c a l l a "codetta-complex").
C o d e t t a s a r e p r i m a r i l y cadences. They s e r v e as r e a f f i r m a t i o n s
of the ending of a s e c t i o n .
H a r m o n i c a l l y , they may c o n s i s t of the
most rudimentary cadence, V - I ; or they may be h i g h l y complex.
M o t i v a l l y , they may range from simple r e p e t i t i o n s of s m a l l e l e ments to r a t h e r independent f o r m u l a t i o n s . 1 . . .
^-Usually, i f more than one c o d e t t a appears, the l a t e r ones a r e
s h o r t e n e d , o f t e n i n the manner of a l i q u i d a t i o n .
(P. 155)
The t e c h n i q u e of l i q u i d a t i o n . . . [ i n v o l v e s ] g r a d u a l l y d e p r i v i n g the motive-forms of t h e i r c h a r a c t e r i s t i c f e a t u r e s and d i s s o l v i n g them i n t o u n c h a r a c t e r i s t i c forms, such as s c a l e s , broken
chords, e t c . (P. 152)
As suggested by the above q u o t a t i o n s , a common c l o s u r a l t e c h n i q u e i s l i q u i d a t i o n , the purpose of which i s " t o c o u n t e r a c t the tendency toward
e x t e n s i o n " (p. 58).
unlimited
Such a t e c h n i q u e c o u l d be used to end a phrase or a s e c t i o n .
S u p p o r t i n g my view of Mozart's c l o s i n g s e c t i o n s i s Schoenberg's
statement t h a t
30
"the
And
l i q u i d a t i o n i s g e n e r a l l y supported by
c l o s i n g sections often feature
Smith's P o e t i c C l o s u r e
cited
i n t h i s chapter;
book as an
my
has
a shortening
of the p h r a s e " (p.
" s c a l e s , broken chords, e t c . "
been r e f e r r e d to by
s e v e r a l of the
f o r example, Meyer and Agawu have b o t h c i t e d
i n f l u e n c e on t h e i r own
d i s s e r t a t i o n : nevertheless,
work.
i t may
authors
Smith's
However, I have not used i t much i n
be mentioned here because o t h e r
writers
on music have found some i n s p i r a t i o n i n i t , because Smith makes v a r i o u s

i s o n s between music and
p o e t i c c l o s u r e , and
s t u d i e s of c l o s u r e i n any
i n g the s u b j e c t of
For
58).
a r t form i t may
because, as one
be
of the few
of some i n t e r e s t
comparthorough
to r e a d e r s
study-
closure.
Smith, "the
s t r u c t u r e " (p. 4 ) .
One
sense of c l o s u r e i s a f u n c t i o n of the p e r c e p t i o n
of her a n a l o g i e s
the d u a l n a t u r e of p o e t i c
w i t h music i s concerned w i t h
of
explaining
structure:
The p r i n c i p l e s of p o e t i c and m u s i c a l s t r u c t u r e are comparable i n s o f a r as both forms of a r t produce e x p e r i e n c e s which occur over
a p e r i o d of time and are c o n t i n u o u s l y m o d i f i e d by s u c c e s s i v e
e v e n t s . Because language, however, has semantic or symbolic as
w e l l as p h y s i c a l p r o p e r t i e s , p o e t i c s t r u c t u r e i s c o n s i d e r a b l y
more complex. A sonata c o n s i s t s o n l y of an o r g a n i z a t i o n of
sounds, but a sonnet c o n s i s t s of an o r g a n i z a t i o n of symbols as
well.
(Pp.
4-5)
Musical
s t r u c t u r e i s thus analogous to f o r m a l
d e f i n e d as
Missing
"the
systematic
from m u s i c a l
r e p e t i t i o n or p a t t e r n i n g
from r e f e r e n c e
t h e o r i s t s would l i k e l y d i s a g r e e
w i t h her
to syntax to t o n e " (p. 6 ) .
(Many
meaning.)
to Smith's study i s t h a t t h e r e i s
t h i s b a s i c d i f f e r e n c e i n s t r u c t u r e between p o e t r y
her
latter
elements" (p. 6 ) .
r e s t r i c t i v e view of m u s i c a l
r e a s o n I have a v o i d e d r e f e r e n c e
attempt to a p p l y
of v a r i o u s
the
s t r u c t u r e i s an analogy to thematic s t r u c t u r e i n p o e t r y ,
structure including "everything
One
s t r u c t u r e i n poetry,
and
music.
approach to music, see Agawu's a r t i c l e ,
However, f o r an
as d i s c u s s e d
above.
31
Smyth's d i s s e r t a t i o n "Codas i n c l a s s i c a l form: a s p e c t s of

rhythm and
p a t t e r n c o m p l e t i o n " i s e s p e c i a l l y r e l e v a n t to my
tigates a s i m i l a r repertory
Beethoven, and
piano s o n a t a s , s t r i n g q u a r t e t s ,
I have not
and
i n c l u d i n g works other
symphonies), and
j u s t codas, i n these works.
number of p r e v i o u s
study, as he
to mine ( i n c l u d i n g works of Haydn, Mozart,
a l l movements of works, but not
i n g e n e r a l , not
because he
s t u d i e s d e a l i n g w i t h c l o s u r e and
codas.
One
(Erlangen,
d i s s e r t a t i o n worth n o t i n g
1947); Smyth comments on one
inves-
and
than
studies
In h i s c h a p t e r 2 he
seen, i s a d i s s e r t a t i o n by Bohdan J . K u s c h n i r , "Zur
des K o d a p r i n z i p s , "
large-scale
closure
summarizes a
of these,
which
Frtlhgeschichte
f i n d i n g of
this
here:
With the r i s e of i n s t r u m e n t a l music d u r i n g the baroque p e r i o d ,

c e r t a i n c l o s u r a l t e c h n i q u e s were c a r r i e d over from e a r l i e r
practice.
One was "echo-technique": r e p e t i t i o n i n v o l v i n g
dynamic c o n t r a s t a r t i c u l a t e s p a i r s of segments which c o n s t i t u t e
a g r e a t e r whole, which i s c l o s e d by v i r t u e of the r e p e t i t i o n .
(Pp. 10-11)
The
f e a t u r e of p a i r s of r e p e a t e d u n i t s i s c l e a r l y r e l a t e d to my
f o r Mozart, and
may
be
seen as a h i s t o r i c a l f o r e r u n n e r
t h a t may
c l o s i n g model
have l e d i n
p a r t to the development of the c l o s i n g model i n the c l a s s i c a l p e r i o d .

noteworthy here i s the o b s e r v a t i o n
Also
t h a t l a r g e r - s c a l e c l o s u r e r e s u l t s from
this
lower-level r e p e t i t i o n .
Smyth uses the term " c o d e t t a "
is characterized
f o r the c l o s i n g s e c t i o n , which he
notes
by
a d e c r e a s e i n harmonic c o m p l e x i t y (many employ p e d a l p o i n t ) and

i n m e l o d i c i n t e r e s t (sometimes to the p o i n t of i n c l u d i n g o n l y
c a d e n t i a l c l i c h e s and c o n v e n t i o n a l passage work), and rhythmic
and t e x t u r a l s i m p l i f i c a t i o n .
P r e v i o u s l y heard motives might be
g r a d u a l l y l i q u i d a t e d , o r , a l t e r n a t i v e l y , a s h o r t b u r s t of cade n t i a l energy might e r u p t .
In e i t h e r c a s e , the "sense of an
e n d i n g " w i l l most o f t e n be q u i t e c l e a r .
(Pp. 18-19)
Smyth's d e s c r i p t i o n of the c l o s i n g s e c t i o n i s v e r y
s i m i l a r to mine.
32
Smyth devotes
phrase, and coda.
some d i s c u s s i o n t o d e f i n i t i o n of terms such as cadence,
He sees the cadence
as e s p e c i a l l y important
(even though he
d e f i n e s most segments by i n i t i a t i o n r a t h e r than by e n d i n g ) , and i n f a c t demons t r a t e s t h a t , " i n a v e r y important sense, the coda and the c o d e t t a a r e p r e c i s e l y
'extensions of the cadence'"
(p.
18).
Smyth i n c l u d e s an e n t i r e c h a p t e r devoted t o sonata forms, a c h a p t e r t h a t

i n c o r p o r a t e s a u s e f u l survey of approaches
t o the a n a l y s i s o f t h i s form t y p e .
In g e n e r a l , he says " f o r m a l c l o s u r e i s a c h i e v e d when the o v e r a l l p a t t e r n o f

t e n s i o n / r e s o l u t i o n i s completed"
on how " g r o u p i n g s t r u c t u r e s
(p. 178). H i s a n a l y t i c a l t e c h n i q u e f o c u s s e s
[e.g.,, the f o r m a l c a t e g o r i e s o f themes,
transitions,
and c l o s i n g s e c t i o n s ] can u n d e r l i e sonata forms and c o n t r i b u t e t o a
'symmetrical
r e s o l u t i o n o f opposing f o r c e s ' "
(p. 180; h i s q u o t a t i o n i s from
Rosen).
E s s e n t i a l l y , Smyth i s concerned w i t h d e m o n s t r a t i n g how f o r m a l c l o s u r e

r e s u l t s from h i g h - l e v e l p a t t e r n i n g .
To do t h i s he produces
graphs o f movements
which i n c l u d e l e n g t h s of v a r i o u s s e c t i o n s ; then- he compares and d i s c u s s e s the

l e n g t h s of these s e c t i o n s p r i m a r i l y as t o how they b a l a n c e .
closure i n c l a s s i c a l
i n s t r u m e n t a l music
" O v e r a l l formal
i n v o l v e s p a t t e r n c o m p l e t i o n and d u p l i -
c a t i o n o f g r o u p i n g s t r u c t u r e s on a much l a r g e r s c a l e than most p r e v i o u s a n a l y s t s

have c o n s i d e r e d " (p.
219).
In The Symphonies o f Johann S t a m i t z : A Study
i n the F o r m a t i o n of the
C l a s s i c S t y l e , Wolf i n c l u d e s one of the b e s t t h e o r i e s o f phrase and movement

s t r u c t u r e s a p p l i c a b l e t o the c l a s s i c p e r i o d
(see e s p e c i a l l y h i s c h a p t e r s 8 and 9 ) .
He f i n d s t h a t p h r a s e - l e v e l r e p e t i t i o n " ( a + a ) " i s
of second
themes and c l o s i n g s e c t i o n s .
especially
characteristic
"Most of S t a m i t z ' s c l o s i n g
make use o f r e p e t i t i o n i n o r d e r t o s t a b i l i z e
(K) themes
the end o f the e x p o s i t i o n o r r e c a p -
33
itulation"
(p. 108).
I n view of the s i m i l a r type o f r e p e t i t i o n I f i n d i n
Mozart's c l o s i n g s e c t i o n s , Wolf's study i s p a r t i c u l a r l y r e l e v a n t

Wolf d i s c u s s e s
including Riepel's
some e i g h t e e n t h - c e n t u r y
t h e o r i e s o f phrase s t r u c t u r e ,
Grundregeln z u r Tonordnung insgemein.
R i e p e l notes f o r expansion of s e c t i o n s
here.
One of the ways
i s " r e p e t i t i o n o f the c a d e n t i a l u n i t s
(Verdoppelung d e r Cadenzen, pp. 61-63 [ o f R i e p e l ] ) " (p. 115 [ o f W o l f ] ) , a

method c o r r e s p o n d i n g t o an a s p e c t
e r a l , that Riepel's
"compositional
cedures t h a t c o n t r i b u t e d
of my c l o s i n g model.
theory
Wolf b e l i e v e s , i n gen-
incorporates
many o f the a c t u a l p r o -
t o the e v o l u t i o n of C l a s s i c phrase s y n t a x " (p.
115).
Wolf summarizes c l o s i n g m a t e r i a l as f o l l o w s :
Whether area o r s e c t i o n , K i n Stamitz o f t e n i n c l u d e s l i t e r a l
r e p e t i t i o n a t the b r o a d e s t l e v e l p r e s e n t w i t h i n the e x p o s i t i o n
as a means of p r o v i d i n g c a d e n t i a l s t a b i l i z a t i o n .
In a d d i t i o n ,
S t a m i t z commonly precedes and/or f o l l o w s t h i s r e p e t i t i o n w i t h
one or more s m a l l - s c a l e r e p e t i t i o n s based on c a d e n t i a l harmonic
f o r m u l a s , r e g u l a r chord rhythm, and perhaps p e d a l p o i n t .
(P. 151)
These f e a t u r e s
a r e c e r t a i n l y o f t e n found i n Mozart's c l o s i n g s e c t i o n s .
Wolf a l s o i d e n t i f i e s a d i f f e r e n t type o f e x p o s i t i o n s t r u c t u r e i n which

the
second theme i s f o l l o w e d
by a s e c t i o n o r s e c t i o n s
t h a t l e a d t o the c l o s i n g s e c t i o n i t s e l f
of Mozart's movements (e.g.,
discussed
transitional
(p. 151). T h i s
i n style
too i s seen i n s e v e r a l
the Piano Sonata i n B - f l a t Major, K. 333, to be
l a t e r ) ,. where such s e c t i o n s resemble t y p i c a l t r a n s i t i o n s i n terms
of m e l o d i c m a t e r i a l , t e x t u r e , and rhythmic o r g a n i z a t i o n ,
with regard
though g e n e r a l l y not
t o harmonic f u n c t i o n , s i n c e they do not modulate.
34
Concepts,
In
Models, and
Features
t h i s c h a p t e r I w i l l be p r i m a r i l y concerned w i t h e x p l a i n i n g my
view of
those c h a r a c t e r i s t i c s of Mozart's
f i r s t movement sonata forms r e l e v a n t t o
study of c l o s u r e i n these works.
Essentially, this w i l l
entail a definition
d i s c u s s i o n of those f e a t u r e s t h a t d i s t i n g u i s h the d i f f e r e n t
ata
forms,
my
s e c t i o n s of the
and
son-
the u l t i m a t e g o a l b e i n g the i d e n t i f i c a t i o n of f e a t u r e s t h a t promote
c l o s u r e of these works and
t h a t a r e c h a r a c t e r i s t i c of c l o s i n g
sections.
Discus-
s i o n of areas of sonata forms o t h e r than the c l o s i n g s e c t i o n i s n e c e s s a r y because

comparing the c h a r a c t e r i s t i c s of d i f f e r e n t areas w i l l b e t t e r r e v e a l those of the
c l o s i n g s e c t i o n , and because the f u n c t i o n of the c l o s i n g s e c t i o n w i t h i n the
t i r e work must be
It
examined.
should a l r e a d y be apparent
t h a t I r e g a r d the d i s c u s s i o n of the f o r m a l
f u n c t i o n of the t r a d i t i o n a l l y a n a l y s e d s e c t i o n s of sonata f o r m t h e m e s ,
t i o n s , c l o s i n g s e c t i o n s , d e v e l o p m e n t s a s a c e n t r a l concern i n my
works of Mozart.
Schenkerian one,
i s s u e , I am
en-
Having
transi-
study of these
c o n s i d e r e d o t h e r a n a l y t i c a l v i e w p o i n t s , such as
the
i n which the long-range harmonic and
l i n e a r p l a n i s the c e n t r a l
c o n v i n c e d t h a t the most v a l u a b l e approach
to the study of c l o s u r e i n
these works i s t h a t of d i v i d i n g the p i e c e i n t o s e c t i o n s , a c c o r d i n g to the f e a t u r e s found i n e a c h f e a t u r e s d e f i n e d on the b a s i s of melody, harmony, rhythm,

texture, e t c . a n d
then s e e i n g how
the d i f f e r e n t
s e c t i o n s combine and r e l a t e
on
35
the b a s i s of these same f e a t u r e s .

My
all
approach i s not dogmatic i n the sense of a p p l y i n g one
of these works: many p i e c e s cannot
or a t l e a s t cannot
e a s i l y be heard as comprised
of s e c t i o n s ,
be d i v i d e d i n t o the same s o r t s of s e c t i o n s found
i n the u s u a l
t y p o l o g y of sonata form.
pose below must be
f o r m a l model t o
The
f o r m a l , t h e m a t i c , and p h r a s e o l o g i c a l models I p r o -
seen as a p p l y i n g t o a g r e a t e r or l e s s e r e x t e n t t o these p i e c e s ,
w i t h no v a l u e judgment i m p l i e d .
That
i s , a p i e c e which does not conform to a
p a r t i c u l a r model must not be understood
as d e v i a n t : another way
must be found
to
a n a l y s e such a p i e c e .
T h i s problem i s o n l y one
some of which may
of many i n the use of models f o r m u s i c a l
be b r i e f l y mentioned h e r e .
How
analysis,
homogeneous does a p a r t i c u l a r
r e p e r t o r y have to be f o r c o n s i d e r a t i o n as a d i s t i n c t r e p e r t o r y , h a v i n g i t s own
models?
my
I d e n t i f y i n g a c c u r a t e models i n v o l v e s a l e n g t h y feedback
r e s e a r c h by s t u d y i n g a number of randomly chosen works by Mozart, then
f i e d models t h a t a p p l i e d to some of them.

tory.
T h i s encouraged me
As more and more p i e c e s were i n c l u d e d i n my
models were changed to r e f l e c t

models were developed
the new
identi-
to widen the r e p e r -
study, the p r e v i o u s l y d e f i n e d
r e p e r t o r y to which they a p p l i e d , and
to e x p l a i n o t h e r newly a n a l y s e d p i e c e s .
r e v i s i o n and development of models c o u l d be c o n t i n u e d u n t i l

was
p r o c e s s : I began
new
T h i s p r o c e s s of
a l l of Mozart's
music
a n a l y s e d , as w e l l as compared w i t h music w r i t t e n by o t h e r composers working
a t the same time as Mozart.
Although
nor even a l l of h i s sonata-form

I p r e s e n t here may
be used
I have not a n a l y s e d a l l of Mozart's
music, I am
reasonably convinced
music,
t h a t the models
t o e x p l a i n enough a s p e c t s of the music under c o n s i d -
e r a t i o n to g i v e the models v a l i d i t y .
R e s t r i c t i n g the r e p e r t o r y f o r t h i s d i s s e r t a t i o n c h r o n o l o g i c a l l y i s a r b i t r a r y because no j u s t i f i c a t i o n can be found
f o r a b e g i n n i n g date.
Do
the
late
36
works b e g i n w i t h the y e a r 1775,
1780,
cannot agree on what the v a r i o u s

could
not
(or s h o u l d ) ,
and
1781,
or some other year?
s t y l e periods
I d e f i n e d my
repertory
Historians
of Mozart a r e , and
even i f they
on t h i s b a s i s , many p i e c e s
f i t i n f e r r e d s t y l i s t i c norms of a p e r i o d because they would be w r i t t e n i n
e a r l i e r s t y l e s or i n combinations of e a r l i e r s t y l e s and
style
(e.g.,
the Piano Sonata i n C Major, K.
obvious f e a t u r e s
of e a r l i e r
545,
the c u r r e n t ,
written
i n 1788
chosen f o r a n a l y s i s .
than by c o n c e r t o
or l e s s e r extent
s t y l e , some v i c e v e r s a ,
concertoand
are more i n f l u e n c e d by
and
so on.
i n f l u e n c e s and
Much w r i t i n g i n music theory
1780sfor
contains
as
How
opera b u f f a
c o u l d one
model p o s s i b l y
differences?
implicit
the assumption t h a t
a n a l y s i s of the s t r u c t u r e of music i s the a n a l y s i s of music i t s e l f .

w i t h s t r u c t u r e i s p r i m a r i l y a f e a t u r e of t w e n t i e t h - c e n t u r y
s t r u c t u r e and
past.
By
they
i n the r e p e r t o r y by Mozart t h a t I have
That i s , some p i e c e s
account f o r a l l these s t y l i s t i c
teenth-century
having
styles).^
example, opera b u f f a , e c c l e s i a s t i c a l , Mannheim i n s t r u m e n t a l ,

f i g u r e to a g r e a t e r
defined
but
Furthermore, t h e r e are many s t y l e s t h a t were i n vogue i n the
all
would
This
a e s t h e t i c s of music are two
concern
w r i t i n g , whereas
w r i t e r s were more concerned w i t h the a e s t h e t i c s of music.
the
nine-
The
of the concerns w r i t e r s have had
i n the
f o c u s s i n g on the a p p l i c a t i o n of models to Mozart's music I p l a c e
myself
among those who
see
s t r u c t u r e as p r i m a r y .
However, I do
t h a t the a n a l y s i s of s t r u c t u r e , v i a models, l e a v e s
other
so w i t h the
areas,
reservation
such as
aesthe-
2
tics,
untouched.
Despite
the v a r i o u s
i c a l a n a l y s i s , the use
problems and
of models seems to me
l a r g e number of r e l a t e d works t h a t may

repertory.
l i m i t a t i o n s i n the use
Eighteenth-century
to be
of models f o r mus-
essential i n discussing
i n some senses appear to form a
music i s o f t e n regarded as b e i n g
distinct
suitable for
37
t h e o r i e s based on norms of s t r u c t u r e .
In the e i g h t e e n t h - c e n t u r y
itself,
music
c r i t i c i s m f o c u s s e d on the r e l a t i o n of the i n d i v i d u a l work t o i t h e norm of which

i t was
an example.
Dahlhaus comments on
this:
The g e n e r a l concept o r i d e a l type of a m u s i c a l form (sonata or

f u g u e ) , which g r a d u a l l y faded to a schema i n the l a t e n i n e t e e n t h
c e n t u r y and e v e n t u a l l y degenerated to a l a b e l , s t i l l possessed
h i s t o r i c a l substance around 1800.
I t was m u s i c a l l y r e a l . ^
While i d e n t i f i c a t i o n of norms of s t r u c t u r e i n t h i s r e p e r t o r y i s the
primary
g o a l , I am a l s o concerned
w i t h e x p l i c a t i n g the unique p r o p e r t i e s of
these p i e c e s to the e x t e n t t h a t these p r o p e r t i e s are r e v e a l e d by c l o s i n g

cesses.
In Narmour's terms, I am a n a l y s i n g b o t h
s t y l e s t r u c t u r e s and
pro-
idiostruc-
4
tures.
From Dahlhaus's p o i n t of view, I am w r i t i n g a " t h e o r y based on
and a l s o w r i t i n g a n a l y s e s which "do j u s t i c e to the p a r t i c u l a r and
analyses
unrepeatable."
The p r e s e n t a t i o n of models w i l l be done s y s t e m a t i c a l l y a c c o r d i n g to the

l e n g t h of the u n i t of m u s i c a l m a t e r i a l .
i n a v a r i e t y of h i e r a r c h i c a l grouping
h i e r a r c h y t h a t I am u s i n g here
l e v e l s or formal contexts.
on the m u s i c a l
of the s i g n i f i c a n c e of t h a t event
system, each h i e r a r c h i c a l
a c t e r i s t i c unit
The
concept
s u r f a c e i s not n e c e s s a r i l y
on subsequent l e v e l s .
In
my
l e v e l i s p r i m a r i l y d e f i n e d by the l e n g t h of i t s c h a r -
( r e l a t i v e to the l e n g t h s of the u n i t s of the o t h e r l e v e l s
in a
g i v e n work), and by the f o r m a l c o n t e x t of i t s c h a r a c t e r i s t i c u n i t .
To a l a r g e
e x t e n t , I w i l l uge
context,"
and
the terms " h i e r a r c h i c a l
"context" interchangeably.
arranged
of
i s not the same as, f o r example, t h a t used by
Schenker, where the l e n g t h of an event

a determinant
These d i s c r e t e , r e l a t e d models occur
l e v e l , " " l e v e l , " "formal
The v a r i o u s c o n t e x t s I am
i n t a b l e 2 from low to h i g h
c o n s i d e r i n g are
level.
A f u r t h e r problem a r i s e s here as to method of p r e s e n t a t i o n : i s i t b e t t e r

to b e g i n w i t h the l o w - l e v e l c a t e g o r i e s and proceed
towards the e n t i r e movement,
38
Table 2
L e v e l s , Formal C o n t e x t s , and Normative Lengths
Level
Contexts
& f o r m a l names
(a)
segments ( m o t i v i c segments, g r o u p l e t s ,
and cadences;
Approx. normal l e n g t h s
2 measures
i . e . , s u r f a c e phenomena)
(b)
phrases
and groups
(c)
s m a l l s e c t i o n s (themes, t r a n s i t i o n s ,
4 t o 8 measures
8 t o 40 measures
closing sections, etc.)

(d)
large sections (exposition,
40 t o 100 measures
development, r e c a p i t u l a t i o n )
(e)
e n t i r e movements ( s o n a t a form)
150
t o 250 measures
or t o r e v e r s e the p r o c e s s and s t a r t w i t h the e n t i r e movement and work down?

T h i s i s not a s m a l l matter,
may be n e c e s s a r y
A phrase
s i n c e i n o r d e r t o d i s c u s s , f o r example, p h r a s e s , i t
t o d i s c u s s the c o n t e x t s they "occur i n f o r
example, themes.
i n a theme may n o t have e x a c t l y the same model s t r u c t u r e as one i n a
transition.
That
i s , should phrases be d i s c u s s e d , w h i l e mentioning
intrinsic
p h r a s e - l e v e l f e a t u r e s , i n terms o f the l a r g e r c o n t e x t they o c c u r i n f o r

themes, o r should themes be d i s c u s s e d i n terms of the l o w e r - l e v e l content
e x h i b i t f o r example, phrases?
exampl
they
As long as the model f o r each l e v e l i n c l u d e s
c o n s i d e r a t i o n of l e v e l s both above and below the one b e i n g d e f i n e d t h a t i s , i n

forming a model f o r , l e t us say, p h r a s e s , both segment and s m a l l - s e c t i o n l e v e l s
and p o s s i b l y h i g h e r l e v e l s t o o , a r e i n c o r p o r a t e d p r o c e e d i n g from h i g h t o low
or from low t o h i g h w i l l
routes.
probably y i e l d
s i m i l a r r e s u l t s , although v i a d i f f e r e n t
My g e n e r a l approach w i l l be t o b e g i n w i t h the low l e v e l s , working tow-
6
a r d models of the e n t i r e movement.
39
The
approximate normal l e n g t h s i n t a b l e 2 f o r each c o n t e x t a r e
o n l y as g u i d e l i n e s .
They are more a c c u r a t e f o r lower than f o r h i g h e r
Some movements w i l l have these l e n g t h s doubled

due
intended
levels.
( e . g . , 4-measure l e v e l
[a])
t o tempo, e t c .
I w i l l b e g i n the d i s c u s s i o n of each f o r m a l c o n t e x t by d e f i n i n g t h a t con-
t e x t i n a g e n e r a l way,
that i s , without
a phrase would be f i r s t
reference to higher l e v e l s .
d e f i n e d u s i n g a g e n e r a l model t h a t would a p p l y to a l l
h i g h e r - l e v e l c o n t e x t s i n which a l l phrases would be found.

of subsequent l e v e l s ,
cific
types of phrases
thematic phrase,
F o r example,
In the d i s c u s s i o n
the d e f i n i t i o n of phrases would be r e f i n e d

found
to r e f l e c t
i n each c o n t e x t a t each h i g h e r l e v e l ;
the t r a n s i t i o n a l phrase,
d e f i n i t i o n s than the g e n e r a l one
found
spe-
t h a t i s , the
e t c . , would each have more d e t a i l e d
i n the d i s c u s s i o n of the phrase
level.
However, t h e r e w i l l be c e r t a i n c o n t e x t s i n which an a c c u r a t e g e n e r a l d e f inition
i s not p o s s i b l e w i t h o u t
immediate r e f e r e n c e to h i g h e r l e v e l s .
ample, a t the s m a l l e s t l e v e l one way
For
of i d e n t i f y i n g whether a segment i s m o t i v i c
r a t h e r than b e i n g a g r o u p l e t or a cadence i s by the presence
of c o n n e c t i o n s
tween segments t h a t might not be p e r c e i v e d as m o t i v i c when seen on t h e i r

(because
be-
own
t h e i r s i m i l a r i t y i s tenuous), but t h a t are p e r c e i v e d as m o t i v i c be-
cause they are a n a l o g o u s l y p l a c e d i n l a r g e r c o n t e x t s .

the b e g i n n i n g of the development might be
An event o c c u r r i n g a t
seen as m o t i v i c a l l y r e l a t e d to
another
at the b e g i n n i n g of the e x p o s i t i o n , whereas the same segments might not be

in this
ex-
seen
l i g h t were they both i n the e x p o s i t i o n .

S i n c e my
use of l e v e l s i s p r i m a r i l y a convenience
f o r the p r e s e n t a t i o n .
of d e f i n i t i o n s of terms, concepts, and models t h a t w i l l be used
i n subsequent
c h a p t e r s d e a l i n g w i t h t h e o r e t i c a l and a n a l y t i c a l a s p e c t s of c l o s i n g s e c t i o n s ,
r a t h e r than a t h e o r e t i c a l end
in itself,
I w i l l n e i t h e r be concerned
with
formal
40
g e n e r a t i o n of each l e v e l nor w i t h f u l l
level.
d i s c u s s i o n of a l l p a r t i c u l a r s of each
Moreover, s i n c e i t i s the middle l e v e l s ( b ) and
e x p o s i t i o n and r e c a p i t u l a t i o n of l e v e l
( c ) a s w e l l as the
(d) t h a t are most important t o my
dis-
c u s s i o n of c l o s i n g s e c t i o n s , I w i l l devote most of t h i s c h a p t e r to a c o n s i d e r a t i o n of those
levels.
The d e f i n i t i o n p r o c e s s w i l l
i n v o l v e as many as t h r e e a s p e c t s , depending
on the p a r t i c u l a r term under examination and the l e v e l b e i n g c o n s i d e r e d .

the f e a t u r e s from lower
First,
l e v e l s t h a t combine to form the l e v e l b e i n g d e f i n e d w i l l
be d i s c u s s e d : f o r example, a phrase would be d e f i n e d p a r t l y i n terms of types of

m o t i v i c &nd
c a d e n t i a l combinations.
Second, i n some cases i t i s n e c e s s a r y t o i n -
voke h i g h e r l e v e l s than the one b e i n g d e f i n e d i n o r d e r t o o b t a i n a g e n e r a l d e f i n ition.
A t h i r d p a r t c o n s i s t s i n i s o l a t i n g those t r a i t s c h a r a c t e r i s t i c of each
level.
Such t r a i t s can be noted i n terms of p a t t e r n i n g i n f o u r b a s i c
( i . e . , channels of s t r u c t u r e ) :
and meter, and
(1) harmony, (2) melody ( l i n e a r p i t c h ) ,
(4) t e x t u r e and timbre.
I will
emerge i n the d e f i n i t i o n of each
P r e c i s e meaning f o r these
level.
In summary, then, the d e f i n i t i o n p r o c e s s w i l l

each l e v e l by the harmonic,
(3) rhythm
assume a g e n e r a l u n d e r s t a n d i n g
of these b a s i c concepts as they a p p l y to t o n a l music.

terms w i l l
parameters
c o n s i s t of c h a r a c t e r i s i n g
m e l o d i c , r h y t h m i c , m e t r i c , t e x t u r a l , and
timbral
f e a t u r e s found i n each l e v e l as w e l l as d e f i n i n g the r e l a t i o n s h i p between
Level
( a ) : Segments
M o t i v i c segments, g r o u p l e t s , and cadences

found i n l e v e l
(a).
There may
levels.
are the t h r e e types of segments
be more than one, and more than one t y p e , i n a
41
g i v e n segment.
T h i s 2-bar l e v e l , the lowest I am c o n s i d e r i n g , i s comprised
of
s h o r t e r motives and g r o u p l e t s , f o r example, 1-bar motives and 1-bar g r o u p l e t s ,

which i n t u r n a r e comprised
of i n d i v i d u a l p i t c h e s and
intervals.
M o t i v e s and m o t i v i c segments
A motive u s u a l l y f e a t u r e s a s m a l l number of l i n e a r
p i t c h e s t h a t form a u n i t due
(i.e.,
non-overlapping)
to t h e i r p r o x i m i t y i n time and r e g i s t e r .
The
pit-
ches u s u a l l y form a d i f f e r e n t i a t e d rhythmic p a t t e r n , they a r e e x p r e s s e d i n a

s i n g l e t e x t u r e and timbre, and they express one or two harmonies.
commonly one b a r l o n g ; a m o t i v i c segment u s u a l l y has
i s another type o f motive
o f t e n l e a d s to the f i r s t
two
1-bar m o t i v e s .
s e v e r a l measures l o n g c o m p r i s e d
type of motive;
e.g.,
A motive i s
of l o n g
(There
noteswhich
Symphony no. 41, f o u r t h movement.)
A n e c e s s a r y c h a r a c t e r i s t i c of m o t i v i c segments i s t h a t they a r e s u b j e c t
to r e p e t i t i o n and v a r i a t i o n .
While t h i s happens to g r o u p l e t s and cadences
w e l l as to b l o c k s of m a t e r i a l on o t h e r l e v e l s ,
as
i t happens t h e r e t o a l e s s e r
t e n t , and i s a primary f e a t u r e o n l y of m o t i v i c segments.
ex-
In the case of e x a c t
or n e a r - e x a c t r e p e t i t i o n i t i s c l e a r t h a t such a l e v e l - ( a ) event w i l l be m o t i v i c .
The
l e s s obvious the r e p e t i t i o n , the more the need f o r r e f e r e n c e to h i g h e r l e v e l s
to demonstrate
r e l a t i o n s h i p between
motive-forms.
A m o t i v i c segment, l i k e most s u r f a c e phenomena i n Mozart's music,

ally
found i n the p r e d o m i n a t i n g
top v o i c e of a complex of v o i c e s .
The
i s usu-
types of
t e x t u r e s i n which motives a r e found are more v a r i e d than those of o t h e r s u r f a c e

phenomena.
I t i s p o s s i b l e f o r a m o t i v i c segment t o o c c u r i n s e v e r a l v o i c e s and
even to b~e used p o l y p h o n i c a l l y f o r

may
example i n i m i t a t i o n .
Some m o t i v i c segments
be used p r i m a r i l y as accompaniment w h i l e a t times assuming a s i g n i f i c a n t melo-
dic role.
M e l o d i c and accompanimental m o t i v i c segments may
or may
not be
related.
42
A segment i s m o t i v i c i f :
(1) i t i s immediately
r e p e a t e d and/or v a r i e d so as t o g i v e prominence
to a p a r t i c u l a r m e l o d i c / r h y t h m i c
pattern;
(2) a non-immediate r e p e t i t i o n o c c u r s a t (a) analogous

l e v e l s , f o r example, a t the s t a r t of two p h r a s e s , two
l a r g e s e c t i o n s , i n which case the motive may
places at higher
s m a l l s e c t i o n s , or
two
be s u b s t a n t i a l l y v a r i e d , or
(b) non-analogous p l a c e s a t h i g h e r l e v e l s and the r e p e t i t i o n i s exact or n e a r exact
( i . e . , compensation
f o r non-immediate r e p e t i t i o n o c c u r s e i t h e r by
t u a l a s s o c i a t i o n o f s i m i l a r l o c a t i o n w i t h i n h i g h e r l e v e l s , o r by c l o s e
contexidentity);
or,
(3) i t i s t r a n s f o r m e d t o f u l l y occupy
a timespan a t a h i g h e r l e v e l
through
some o p e r a t i o n t h a t p r e s e r v e s the e s s e n t i a l m e l o d i c / r h y t h m i c p a t t e r n of the

tivefor
An
example, by
augmentation.
i l l u s t r a t i o n of type (1) above i s found i n example 2, the Serenade i n
C Minor, K. 388.
The
segment from m.
5(3) to m.
immediate sequence a t h i r d h i g h e r (oboe 1 ) .

1-bar
suspension motives.
7(2) becomes m o t i v i c through
Each segment i s d i v i d e d i n t o
The grouping of these s u s p e n s i o n motives
segments i s c r e a t e d by s e v e r a l f a c t o r s :
two
into motivic
(1) the second and f o u r t h motives c o n t a i n
r e s o l u t i o n s to t o n i c t r i a d members, making them h a r m o n i c a l l y more important

the f i r s t
and
t h i r d motives; and
(2) s e v e r a l d e t a i l s of o r c h e s t r a t i o n
to 2-bar g r o u p i n g , f o r example, the octave l e a p i n bassoon

An
mo-
i l l u s t r a t i o n of motive
p h r a s e o f example 2, i n mm.
than
contribute
2.
type 2(a) i s found i n the opening
eventa
1-5(2), which c o n t a i n s , i n e f f e c t , two m o t i v i c seg-
ments, i n mm.
1-3(2) and 3 ( 3 ) - 5 ( 2 ) .
i a t i o n a t mm.
22-26(2), where new
small s e c t i o n t h e t r a n s i t i o n .
These segments become m o t i v i c through v a r -
motives are added; t h i s
i s the s t a r t
They are a l s o m o t i v i c by r e f e r e n c e t o
of a
new
43
mm.
130-134(2), the s t a r t of the r e c a p i t u l a t i o n .
The presence
of exact
t i t i o n as w e l l as the use of the motive a t the s t a r t of a s e c t i o n at m.

make t h i s o c c u r r e n c e more m o t i v i c than the v a r i a t i o n a t m.
P a r t of the c o n c l u d i n g segment i n t h i s phrase,
repe130
22.
i n mm.
4-5(2), becomes
m o t i v i c when t r a n s p o s e d , harmonised, and v a r i e d w i t h the a d d i t i o n of a t r i l l

mm.
13-14
and
15-16.
T h i s i s an i l l u s t r a t i o n of type 2(b) above.
c o n c l u d i n g motive becomes an opening

at
mm.
one a t m.
13.
10-12(1) i s remote because i t i s an opening
and because i t i s v a r i e d
as opposed to a c l o s i n g
i n both p i t c h and rhythm.
mm.
9 and
into a level-(b) eventthe
12 i s o l a t e t h i s event
phrase
Here, a
The v a r i a t i o n of t h i s motive
T h i s i s a type
because of the l e n g t h e n i n g of and a d d i t i o n t o the motive i n mm.

transformed
in
i n mm.
10-12.
event
(3) motive
12(2-3):
i t is
(The r e s t s i n
i n the manner of a phrase, not of a m o t i v i c
segment.)
Grouplets
A g r o u p l e t i s a l e v e l - ( a ) segment which i s e i t h e r not r e p e a t e d o r i s
repeated o n l y i n a l o c a l c o n t e x t and
s i m i l a r pattern formation.
a pervasive melodic
i n an obvious way,
A m o t i v i c segment has
influence.
i n v o l v i n g sequence
long-range
significance
A g r o u p l e t , on the o t h e r hand, i s o n l y a
event and need not even be r e p e a t e d .
Whereas a m o t i v i c segment i s n o r m a l l y
e v e n t s , a g r o u p l e t u s u a l l y has fewer note v a l u e s
one or a prominent one

(Although t h e r e may
patterns.)
among two
sur-
(often either only
or t h r e e ) and fewer s i g n i f i c a n t p i t c h e s .
be many p i t c h e s , they are o f t e n merely
s c a l e or
arpeggio
A l s o , g r o u p l e t s o f t e n occur i n immediate r e p e t i t i o n w i t h o u t
t i o n by r e s t s .
and
local
c h a r a c t e r i s e d by a v a r i e t y of rhythms and p i t c h e s , s e t o f f by r e s t s from

rounding
and
separa-
In g e n e r a l , a m o t i v i c segment i s more i n t e r e s t i n g than a g r o u p l e t
44
both i n t r i n s i c a l l y
and
a l s o i n how
i t i s used.
of m o t i v i c segments as b e i n g n o r m a l l y
in
l e n g t h , w i t h i n a range of one
composed of s t i l l
The
obvious.
at
two
bars
Whereas i t i s p o s s i b l e to speak
l o n g , g r o u p l e t s are more v a r i a b l e
to t h r e e measures.
A grouplet
s m a l l e r sub-groups, d e l i n e a t e d by m e l o d i c or rhythmic
d i s t i n c t i o n between a m o t i v i c segment and
a grouplet
grouplet.
have some c h a r a c t e r i s t i c s of a motive and
F o r example, a segment might have the i n t r i n s i c
but be used i n a more developmental way
separated
by r e l a t i v e l y
the f i r s t
t h r e e b a r s , or by
ten bars
to g r o u p l e t s begins
i n mm.
10(4)-14(2).
to weaken the m o t i v i c n a t u r e
t h e r e i s no
The
doubt t h a t these b a r s
The
6 and
i n m.
a l l of
l i n k i n g matopening
a t the same time
i n t r i n s i c a l l y motivic, t h e i r o v e r a l l motivic character

are almost i d e n t i c a l , immediately a d j a c e n t without
motive.
14(4)-17 i s a d i f f e r e n t
these
separated
and
used w i t h a s i m i l a r , simple
This i s a r e l a t i v e l y
local
cadential progression
i n d i c a t i o n of the f a c t t h a t one
they
by r e s t s or
4
long notes,
kind
t h r e e segments a r e
i s weakened because
being
in
gradual
are a v a r i a t i o n of a p r e v i o u s l y - h e a r d
Here, a l t h o u g h
the
8) r a t h e r than
4.
sixteenth-note
12(3)-14, w h i l e
statement of a motive t h r e e times i n mm.
of weakening of m o t i v i c c h a r a c t e r .
333,
i s used i n t h i s v a r i a t i o n of the
of mm.
segments
i s , the d o t t e d q u a r t e r - n o t e s
of which i s found h e r e ,
e r i a l , a s t r i n g of equal note v a l u e s ,
segment.
Here the segments are
s u b s i d i a r y l i n k m a t e r i a l ( i n mm.
by r e s t s between m o t i v e s , o n l y one
grouplet
grouplet.^
are m o t i v i c .
l o n g note v a l u e s t h a t
other,
some of a
f e a t u r e s of a
In example 3, from the Piano Sonata i n B - f l a t Major, K.

segments i n the f i r s t
always
of l e v e l - ( a ) n o n - c a d e n t i a l
between the common extremes of m o t i v i c segment and
non-cadential
factors.
or the
c h a r a c t e r i s t i c of a m o t i v i c
In s h o r t , t h e r e i s a range of p o s s i b l e types
four bars
i s not
While t h e r e a r e many segments which w i l l be c l e a r l y one
times a segment may
shift
is typically
(F:
6
- I ).
must o f t e n go beyond
45
the segment l e v e l to determine m o t i v i c c h a r a c t e r .

m o t i v i c but
the way
these
A segment which has

be
t h r e e segments are used i n the l a r g e r u n i t i s n o t .

some f e a t u r e s of motives and
termed a m o t i v e / g r o u p l e t
i n mm.
14(4)-17.
Each i n d i v i d u a l segment i s
segment.
T h i s i s how
(The m a t e r i a l here i s d i s c u s s e d
ence to t r a n s i t i o n
some of g r o u p l e t s
may
I would d e s c r i b e the
segments
in detail
in refer-
i n note 30
structure.)
The weakening of the m o t i v i c c h a r a c t e r of t h i s a r e a of the movement i s

f u r t h e r accomplished by
the two
grouplets
m o t i v i c segments and m o t i v e / g r o u p l e t
a beginning
and
i n mm.
18-22.
segments began w i t h an a n a c r u s i s and
16(3)-18(1).
The
two
grouplets
a n a c r u s i s and have b e g i n n i n g s
and
than i n t e r n a l l y by cadences.
That i s , each of these
those
mm.
i n m.
i n mm.
20.
through m.
i n separate
(the l a t t e r are c o m p l e t e l y
of o n l y two
b a r s ) , and
sage-work i n mm.
(Outer-voice
had
have no
(except
rather
grouplets begins
only with
18 and
the use
i n mm.
the s t a r t of the
second
20,
of p a r a l l e l t e n t h s
than
s e l f - c o n t a i n e d , i n t h a t they
39-42).
(and
these not
i n combination
forming
The
use
end
thus i n v o l v e
A l s o c h a r a c t e r i s t i c of
20, which i s found i n many p i e c e s .

18 and
here
so as the model g r o u p l e t s i n
the downbeat harmony, and
note v a l u e s
on a
f o r the e x t e n s i o n
the use of common f i g u r a t i o n p a t t e r n s , t h a t i s ,
sequencing of the f i g u r e i n mm.

g r o u p l e t s , and
two
22), o v e r l a p p i n g w i t h
o v e r l a p p i n g , a f e a t u r e not p r e s e n t
i s the use
18-22
A l t h o u g h these u n i t s have more f e a t u r e s of g r o u p l e t s
on I, whereas the former can end
grouplets
later
14-17, they are not as completely
39-40 and 41-42
i n mm.
endings t h a t are e x t e r n a l l y c r e a t e d
ends on a downbeat t h r e e b a r s
of the second g r o u p l e t
grouplet
previous
ending t h a t were c l e a r , except f o r the ending of the motive/
g r o u p l e t segment i n mm.
downbeat and
Each of the
these
but
the pas-
of l o w - l e v e l
a s e r i e s of 1-beat l o n g
sub-
throughout a r e a l s o common f e a t u r e s .
p a r a l l e l i s m i s a f e a t u r e of g r o u p l e t s because i t i s the
opposite
46
of the standard
motive/accompaniment t e x t u r e found i n m o t i v i c segments;
ism i s thus a way

lets.)
of g e n e r a t i n g
O v e r a l l , then,
parall-
the e q u a l i z e d t e x t u r e c h a r a c t e r i s t i c of grou-
t h e r e has been a g r a d u a l
change from m o t i v i c
segments
to
g r o u p l e t s over these b a r s , mm.
11-22.
Cadences
Cadences are s p e c i a l types
m o t i v i c segments.
of g r o u p l e t s c l o s i n g g r o u p l e t s t h a t
They are n o r m a l l y
harmonic and m e l o d i c senses.
to
eight bars, with
Cadences may
formations,
conventional
Such expansions u s u a l l y occur
i n the
are
context
( b ) : f o r example, a phrase might be expanded from f o u r
i t s cadence segment b e i n g expanded from two
have m o t i v i c a s s o c i a t i o n s and
may
be preceded by
C o o r d i n a t i o n of harmony, melody, rhythm, and

t h e r e to be a cadence.
in
Expansions of cadence norms a r e p o s s i b l e , as
expansions of o t h e r segment norms.

of an expansion at l e v e l
conventional
follow
to f o u r
bars.
(neutral) grouplets.
texture i s necessary
for
There are a l i m i t e d number of harmonic and m e l o d i c c l o -
s u r a l p a t t e r n s , mentioned below, t h a t are used at cadences.
Rhythmically,
ces occur a t the end
i s u s u a l l y m e t r i c - _-
ally
of h i g h e r - l e v e l u n i t s .
s t r o n g , o f t e n on a downbeat ( a l t h o u g h ,
The
final
chord
caden-
somewhat c i r c u l a r l y , m e t r i c a l
s t r e n g t h at cadences, and meter i n g e n e r a l , are p a r t l y d e f i n e d by c a d e n t i a l

accent
at
out
and
placement).
cadences.
dimension of t e x t u r e and
E s s e n t i a l l y , one
the cadence.
destroy
The
t e x t u r e and
one
A change of t e x t u r e or timbre
timbre
timbre
i s the l e a s t v a r i a b l e
must be maintained
d u r i n g a cadence w i l l not
throughtotally
the cadence but w i l l , weaken i t to a c e r t a i n e x t e n t .

T h i s l a t t e r statement i n d i c a t e s t h a t cadences are g e n e r a l l y p e r c e i v e d
have v a r y i n g degrees of s t r e n g t h or weakness, depending on the e x t e n t

a t i o n of the v a r i o u s
dimensions and
of
on the a c t u a l l e n g t h of the cadence.
to
coordinA
cad-
47
ence t h a t uses o n l y two harmonies over two b e a t s i n a common-time a l l e g r o

not be as s t r o n g as a cadence
or
even,
i n extended
s e r v e to i l l u s t r a t e these c h a r a c t e r i s t i c s ;
examples w i l l be seen l a t e r .
9-10
mm.
8-9
t h a t uses s e v e r a l harmonies over s e v e r a l b e a t s ,
c a s e s , over s e v e r a l measures.
Some examples w i l l
mm.
will
of example 3.
An
of example 2.
A p e r f e c t a u t h e n t i c cadence
i m p e r f e c t a u t h e n t i c cadence
H a l f cadences
3 ( i n F m a j o r ) , and i n mm.
(PAC)
i s found i n
(IAC) i s found i n
(HC) a r e found i n mm.
110-111(1) of example 1.
further
29-30 of example
Other types of
cadences
9
are
rare.
D i s c u s s i o n of a l l segment types
While the d i s c u s s i o n of c a d e n t i a l and n o n - c a d e n t i a l endings w i l l assume
g r e a t e r s i g n i f i c a n c e a t h i g h e r l e v e l s , a few more m u s i c a l examples and
sons w i t h m o t i v i c segments and g r o u p l e t s w i l l h e l p to c l a r i f y
what i s n o t , a cadence.
The c e n t r a l p o i n t i s t h a t cadences
g e n e r a l , the weaker the cadence,

All
segments may
j u s t what i s , and
are endings.
the more open-ended i s the h i g h e r - l e v e l
unit.
discrete
Normally, however, the term cadence w i l l be a p p l i e d o n l y to those
l e v e l - ( a ) endings t h a t e x h i b i t c o o r d i n a t e d c l o s u r e i n most
In
example 1, the opening
cause i t b e g i n s a new
is s t i l l
theme i n a new
p r i m a r i l y m o t i v i c but has
17 from the end of one
ending of the segment i n mm.
dimensions.
segment of the a l l e g r o , i n mm.
m o t i v i c r a t h e r than c a d e n t i a l because
i n m.
In
be regarded as h a v i n g some c a d e n t i a l p r o p e r t i e s , because a l l
segments must have some k i n d of ending i n o r d e r to be p e r c e i v e d as

events.
compari-
the harmonic motion

tempo.
14-15(1), i s
i s v e r y weak and
The next segment, i n mm.
be-
15(1)-17(2),
some c a d e n t i a l f e a t u r e s : the change of t e x t u r e
segment t o the s t a r t of another makes s t r o n g e r the

15(l)-17(2)..
However, t h i s t e x t u r a l change o c c u r s
48
a f t e r the segment ends and t h e r e f o r e c o n t r i b u t e s t o c l o s u r e o n l y by h i n d s i g h t .

( I f the bass had F - B - f l a t
would be much
i n octaves
on b e a t s one and two of m. 17 the ending
stronger.)
There i s a h a l f cadence a t mm.
20-21 o f example 1 because (1) t h e r e i s
/\
A .
s t r o n g harmonic motion: the bass p a t t e r n 3-4-5 i s f r e q u e n t l y heard a t s t r o n g
6
h a l f and a u t h e n t i c cadences, w i t h
the harmonies I
m e l o d i c sequence i n m. 20 a r r i v e s a t ^ c o o r d i n a t e
6
- I V ( o r i i ) - V; (2) the
with
the a r r i v a l of the dom-
i n a n t harmony, and the sequence breaks o f f a t t h i s p o i n t , the melody d i s s o l v i n g

i n t o a common passage-work f i g u r e ;
beat,
specifically,
the downbeat o f the e i g h t h b a r of the a l l e g r o ( h i g h e r - l e v e l
c o o r d i n a t i o n w i l l be d i s c u s s e d
and
(3) the dominant harmony a r r i v e s on a down-
later);
(4) these
two bars a r e t e x t u r a l l y
(5) the s i n g l e ' b a s s note i n m. 21 punctuates the c a d e n c e . ^

The
musical
s u r f a c e may be seen as a s e r i e s of segments o f v a r i o u s
Most segments have some degree o f both melodic and harmonic a c t i v i t y :

it
is,
unified;
kinds.
that i s ,
i s r a r e to f i n d a segment which has no melodic o r no harmonic f u n c t i o n .
There
i n s t e a d , a melodic-harmonic continuum i n which some segments have more mel-
o d i c d i s t i n c t i v e n e s s than harmonic, some segments about the same s t r e n g t h s of

these
two a s p e c t s , and some segments more harmonic than m e l o d i c
E s s e n t i a l l y , those
segments t h a t a r e p r i m a r i l y m e l o d i c a r e l i k e l y
or g r o u p l e t s , and those which a r e p r i m a r i l y harmonic a r e l i k e l y

I t should be apparent t h a t the m o t i v i c segment i n mm.
p r i m a r i l y m e l o d i c r a t h e r than harmonic.
event on the m u s i c a l
but
to be motives
t o be cadences.
14-15(1) o f example 1 i s
A m o t i v i c segment may be d e f i n e d as an
s u r f a c e t h a t i s p r i m a r i l y melodic as opposed t o harmonic.
Almost any segment, o r fragment of m u s i c a l

As
strength.
d i s c u s s e d above, motives tend
m a t e r i a l , may be m o t i v i c .
t o have a v a r i e t y of note v a l u e s
sometimes the b a r e s t o f m a t e r i a l may be made m o t i v i c
and p i t c h e s ,
(e.g., the opening mo-
49
t i v e of example 2).
on
and
The
intrinsic qualitiesis
the m a t e r i a l i n t e r e s t i n g enough to be
on e x t r i n s i c r e l a t i o n s w h e r e
example, does i t b e g i n
An
does the motive occur
i n higher
motivic?
levels;
texture.
The
i s i t saturated with
texture
them.
style lies
i n the b a l a n c e between elements
i s n e i t h e r devoid
of m o t i v i c r e l a t i o n s h i p s
A t y p i c a l work by Mozart w i l l have a v a r i e t y of
motives which w i l l be used i n a v a r i e t y of ways, never dominating the

L o c a l and
one
long-range m o t i v i c r e l a t i o n s h i p s w i l l be p r e s e n t ,
aspect
of the t e x t u r e .
i n a t e d by one
for
a phrase?^
achievement of the c l a s s i c a l
of the m u s i c a l
nor
c h a r a c t e r i z a t i o n of a segment as m o t i v i c depends b o t h
Rarely w i l l
form o n l y
even a s m a l l s e c t i o n of a work be dom-
motive or by motives i n g e n e r a l .
o l d m o t i v e s , g r o u p l e t s , and
but w i l l
texture.
cadences w i l l
exist
U s u a l l y a combination of new
and
i n a b a l a n c e d t e x t u r e , the s o r t
12
of t e x t u r e c h a r a c t e r i s t i c of the l a t e c l a s s i c a l
Level
style.
( b ) : Phrases, Groups, and
Timespans
Phrases
The
s i m p l e s t model f o r a phrase i n t h i s music i s t h a t of a m o t i v i c
l e a d i n g to a cadence.
Sometimes t h e r e may
e i t h e r l i n e a r l y or v e r t i c a l l y j o i n e d .
worked i n t o the cadence.
interest
a cadence, one
ceding motives.
motivic
segment,
In a d d i t i o n , i n i t i a t i n g motives may
U s u a l l y , however, the m o t i v i c
i n a phrase, while
That i s , i n the s i m p l e s t
be more than one
the cadence serves
be
segment i s of prime
to c l o s e o f f m o t i v i c
case, where a phrase c o n s i s t s of a m o t i v i c
continuation.
segment
m e l o d i c f u n c t i o n of the cadence i s o f t e n to l i q u i d a t e the

T h i s can b e s t be
segment
seen i n an i l l u s t r a t i o n
and
pre-
i n which the cadence
50
i s a l e n g t h y one.
I n example 1, the phrase from m. 41(3) t o m. 50(1) i n c l u d e s
a sequence o f a 1-bar motive
( I x 3) , a r e p e a t o f another 1-bar motive
and a 5-bar cadence from m. 46 t o m. 50.
(1x2),
T h i s cadence b e g i n s w i t h some u n d i s -
t i n c t i v e f i g u r a t i o n which has some s l i g h t c o n n e c t i o n t o p r e v i o u s m o t i v e s , and

concludes w i t h a c o m p l e t e l y n o n - m o t i v i c b a r of t r i l l .
Of c o u r s e , the cadence f u n c t i o n s m e l o d i c a l l y t o c l o s e the e n t i r e phrase,
whether
o r n o t t h e r e a r e any m o t i v i c c o n n e c t i o n s w i t h the p r e v i o u s motive.
c a d e n t i a l f u n c t i o n , as d i s t i n c t
from p r i o r m o t i v i c f u n c t i o n s , i s b e s t
This
illustrated
by a case i n which the motive and cadence a r e s e p a r a t e d by a r e s t o r a l i n k .

example 3, the phrase from m. 4(4) t o m. 10 i s made up o f a 2-bar m o t i v i c
r e p e a t e d w i t h s l i g h t v a r i a t i o n s , and the cadence, i n mm.
c o n t a i n s a v a r i e d form o f the motive.
See diagram 2.
segment,
9-10, which i n t h i s case
Here t h e cadence m e l o d i c -
a l l y c l o s e s the phrase by s t a t i n g t h e motive an o c t a v e h i g h e r i n the soprano

v o i c e , which p r e v i o u s l y had o n l y an i m p l i e d p e d a l tone on s c a l e degree 5.
Diagram
Piano Sonata K. 333: A n a l y s i s of measures 4(4) t o 10(1)
phrase
9.1
---)
aif r f
Lr r
~T f f
* ' i
-m
~M
~M
-I
V.i b
f f f T Afi
motivic
segment
r>
2
s
f f f T Jf
^ -
f
f
m o t i v i c segment
1-
=f=
-\
-\
, f
In
s
3 1
cadence
(remote v a r i a t i o n of
m o t i v i c segment)
51
In a d d i t i o n t o the m o t i v i c segment and cadence of a phrase b e i n g d i f f e r e n t i a t e d by m o t i v i c and g e n e r a l l y by m e l o d i c means, t h e r e i s u s u a l l y

t i a t i o n by harmonic means.
it
i s c l e a r t h a t the f i r s t
In the phrase d i s c u s s e d i n the p r e v i o u s paragraph,

two
statements of the m o t i v i c segment are non-
c a d e n t i a l not o n l y because of the F (5) l e f t

but a l s o because
The t h i r d
differen-
"hanging" i n the soprano
voice,
the harmonic motion i s weak due to the use of i n v e r s i o n s .
statement puts the f i n a l dominant
and t o n i c chords i n t o r o o t
position,
thereby making the cadence p e r f e c t a u t h e n t i c , and i t does so i n the normal

register,
bass
i n c o n t r a s t to the two p r e v i o u s statements which were an o c t a v e h i g h e r .
The phrase r e p r e s e n t e d i n diagram 2 i s a good example of a phrase t h a t

13
may
be seen as an expansion of a 4-bar one.
Here the expansion o c c u r s as a
r e s u l t of the r e p e t i t i o n of the 2-bar m o t i v i c segment.
O m i t t i n g mm.
would produce a p e r f e c t l y a c c e p t a b l e 4-bar phrase (mm.
4[4] combined
mm.
8-10)
t h a t would
A r e s t i n one or more v o i c e s w i l l
of a phrase i s u s u a l l y a l s o c l e a r l y
phrase.
with
f i t i n w e l l w i t h the l a r g e r thematic c o n t e x t .
The demarcation of the end of a phrase by the cadence

ocal.
6 and 7
i s n o r m a l l y unequiv-
even f o l l o w the cadence.
The b e g i n n i n g
i n d i c a t e d , o f t e n by a r e s t p r e c e d i n g the
Normally a phrase i s i n one key, and has c l e a r l y d e f i n e d t o n a l

14
and
m e l o d i c motions, the cadence b e i n g almost always a u t h e n t i c or h a l f .

The normal m o t i v i c or c a d e n t i a l r e l a t i o n s h i p s may
i s used a t a cadence.
be a l t e r e d when a motive
In such cases the models f o r the normal uses of m o t i v e s ,
cadences, and phrases are i n a p p l i c a b l e .
Another case r e q u i r i n g new
models
o c c u r s when c a d e n t i a l m a t e r i a l becomes m o t i v i c : when c a d e n t i a l segments become

m o t i v i c , when m a t e r i a l p r e v i o u s l y heard i n a p i e c e as c a d e n t i a l i s used as
m o t i v i c , o r when m a t e r i a l n o r m a l l y used i n the s t y l e as c a d e n t i a l becomes m o t i vic.
A well-known example of the l a t t e r case i s the opening of the t r i o
from
52
the
Symphony no. 41
( J u p i t e r ) , reproduced as example 4.
b e f o r e the h o r s e , so to speak: a motive masquerading

and a motive i n c o r p o r a t i n g a r e a l cadence second.
Here the c a r t
i s put
as a cadence i s heard
first,
T h i s would have been a p a r t i e s
u l a r l y good example of the phrase model of " m o t i v i c segment p l u s cadence" i f

mm.
to
2 ( 3 ) - 6 ( l ) were taken as the p h r a s e .
the l i s t e n e r , the motive and the cadence must be more c l e a r l y
as such than i n the average p h r a s e .

of
In o r d e r f o r Mozart's j o k e to be
clear
distinguished
That i s , the average phrase has a p r o c e s s
g r a d u a l l i q u i d a t i o n of m o t i v i c f e a t u r e s l e a d i n g from the m o t i v i c segment t o
the
cadence, " m o t i v i c segment p l u s cadence" b e i n g somewhat a s i m p l i f i c a t i o n of
the
phrase
model.^
An example of m a t e r i a l p r e v i o u s l y heard as c a d e n t i a l s u b s e q u e n t l y becoming

m o t i v i c i s found i n example 1, a t the opening of the development
mm.
66-69.
The two 2-bar sequences a r e based on the f i n a l
closing section.
What was
first
the
c a d e n t i a l bar of the
heard as ending a phrase (and s e c t i o n ) i s now
heard as opening a phrase (and s e c t i o n ) .

opposed
section, i n
Because
i t now
opens (and c l o s e s ) as
to o n l y c l o s i n g , t h i s m a t e r i a l a c q u i r e s more m o t i v i c s i g n i f i c a n c e ,
listener
i s more l i k e l y
to hear the m e l o d i c t h i r d s , f o r example,
and
F-A-flat-F,
and the o c t a v e l e a p s i n the bass as m o t i v i c , t h a t i s , as based on motives i n

mm.
14-17
Groups and
from the opening of the main theme.
timespans
A group i s a l e v e l - ( b ) u n i t t h a t i n c o r p o r a t e s two g r o u p l e t s and i s not

punctuated by a cadence.
Whereas phrases a r e i n t e r n a l l y c l o s e d , groups a r e
open-ended and a r e o f t e n d i s t i n g u i s h a b l e p r i m a r i l y by a s s o c i a t i o n w i t h immed i a t e l y a d j a c e n t g r o u p s p a r t i c u l a r l y when a group i s r e p e a t e d b e c a u s e

l a c k the s t r o n g i n t e r n a l c l o s u r e of cadences.
See example 3, mm.
groups
39-42, which
53
c o n t a i n s two
In
I will
identical grouplets.
order to c l a r i f y
the term group, and to d i s t i n g u i s h i t from
introduce a t h i r d termthe
timespanwhich
A l t h o u g h i t i s p o s s i b l e to speak of timespans
levels
(b) and
level
i s not
level-specific.
o c c u r r i n g a t any
(c) t h a t they a r e of most v a l u e i n a n a l y s i s .
(a) would u s u a l l y be e q u i v a l e n t to two measures.
phrase,
level,
i t i s at
A timespan a t
One may
t h i n k of time-
spans as the next h i g h e r l e v e l of m e t r i c p a r t i t i o n i n g beyond the measure: as

measures are d i v i d e d
i n t o b e a t s , so timespans
are d i v i d e d
i n t o measures; as
measures have p e r i o d i c a l t e r n a t i o n of s t r o n g and weak b e a t s , so timespans
have
p e r i o d i c a l t e r n a t i o n of s t r o n g and weak measures; as measures have phenomenolo g i c a l a c c e n t s on t h e i r weak beats
(syncopated b e a t s ) , so timespans may
have
accented weak-measure downbeats.

Measures u s u a l l y o c c u r i n a s e r i e s where a l l measures are the same l e n g t h
(i.e.,
a movement i s u s u a l l y w r i t t e n i n one meter t h r o u g h o u t ) .
bar or s e r i e s of bars w i l l be a l t e r e d , a u r a l l y
i f not v i s u a l l y on the s c o r e ,
such t h a t not a l l bars w i l l be of equal l e n g t h .

s e r i e s are more common.
1
As w i l l
Occasionally a
S i m i l a r a l t e r a t i o n s i n timespan
be seen l a t e r i n the d i s c u s s i o n of l e v e l ( c ) ,
a s e r i e s of timespans which f e a t u r e s compression
or e x p a n s i o n of i t s l e n g t h
16
may
a t times be
normative.
A timespan
i s more than j u s t a c o l l e c t i o n of a d j a c e n t measures: i t i s a
frame w i t h i n which phrases and groups move.

are
d e l i n e a t e d by a v a r i e t y of f a c t o r s .
criteriathat
i.s, a t l e v e l s
i n c r e a t i n g timespans.
One
(b) and
In these works of Mozart,
T y p i c a l l y , i t i s middleground
(c)that
are the most important
timespans
harmonic
factors
important reason f o r i n t r o d u c i n g the concept of
timespan here i s t h a t timespans

than i n o t h e r s m a l l s e c t i o n s .
are o f t e n more prominent
in closing
sections
In p a r t i c u l a r , the r e l a t i o n between the events
54
and the timespans

section.
i n c l o s i n g s e c t i o n s i s o f t e n one t h a t i s unique
S i n c e many of these p i e c e s have s i m i l a r r e l a t i o n s h i p s w i t h i n the
c l o s i n g s e c t i o n , d i s c u s s i n g timespan r e l a t i o n s h i p s i s a way
some of the unique f e a t u r e s of c l o s i n g
of f o c u s s i n g
sections.
A l t h o u g h the main a t t r i b u t e of p h r a s e s , and t o a l e s s e r e x t e n t of

is
a s e r i e s of e v e n t s , phrases and groups a l s o have l e n g t h , a l e n g t h not
sarily
i d e n t i c a l t o or c o i n c i d e n t w i t h the timespans
Phrases and groups w i l l
neces-
of those phrases and
Timespans w i l l
groups.
be
sumbolized
Timespan A would be t h a t a s s o c i a t e d w i t h phrase o r group
The d i s t i n c t i o n between the l e n g t h of a phrase o r group

ted
groups,
t h e r e f o r e be symbolized by lower case l e t t e r s whether
t h e i r events o r t h e i r l e n g t h a r e b e i n g d i s c u s s e d .
by c a p i t a l l e t t e r s .
on
timespan, w h i l e a p p e a r i n g a t f i r s t
u s e f u l f o r the a n a l y s i s of t h i s music.
to be a t r i v i a l
a.
and t h a t of i t s a s s o c i a one,
i s i n fact
quite
T h i s s h o u l d become c l e a r l a t e r i n the
dissertation.
In
example 1, the c l o s i n g s e c t i o n timespan of mm.
u n i t : i t i s the f i n a l
the end of m.
tonic prolongation.
of
(The p r e v i o u s timespan concludes a t
49 and w i l l be d i s c u s s e d l a t e r . )
s e c t i o n s i n which the f i r s t
50-65 i s a 16-bar t o n i c
Other movements have c l o s i n g
phrase or group b e g i n s d i r e c t l y on the f i r s t
the f i r s t bar of the c l o s i n g s e c t i o n timespan.
That i s , the timespan
beat
and
group b e g i n s i m u l t a n e o u s l y , u n l i k e i n example 1, where the phrase begins on beat

t h r e e o f m.
of
50.
The
timespan
t h i s movement because
i s more obvious here than i n o t h e r s m a l l s e c t i o n s
i t b e g i n s i n d e p e n d e n t l y of the m e l o d i c
structure.
Compare the b e g i n n i n g s of the o t h e r s m a l l s e c t i o n s of t h i s movement.
In the
i n t r o d u c t i o n , the timespan and events b e g i n t o g e t h e r (m. 1 ) , as a l s o i n the main

theme (m.
i n m.
29.
14).
The
s u b o r d i n a t e theme b e g i n s a t m.
However, m.
30 w i t h a m e l o d i c a n a c r u s i s
29 i s p r i m a r i l y the end of a 16-bar u n i t begun i n m.
14,
55
and t h e r e f o r e i t i s not l i k e l y t h a t m. 29 would be heard as p a r t o f the subo r d i n a t e theme timespan, which
i n s t e a d b e g i n s w i t h m. 30.
In m. 50, on the
o t h e r hand, t h e r e i s a d i f f e r e n t k i n d o f a n a c r u s i s , one t h a t takes p l a c e
after
the timespan has b e g u n . ^

The c o n c l u d i n g event/timespan r e l a t i o n s h i p i s a l s o o f t e n d i f f e r e n t i n
each s m a l l s e c t i o n o f a movement.
The main theme o f example 1 c o n c l u d e s on
beat two of the f i n a l b a r o f i t s 16-bar
timespan, m. 29.
The s u b o r d i n a t e theme
of example 1 c o n c l u d e s i n the f i r s t b a r s of the s u c c e e d i n g timespan, m. 50.

And
the c l o s i n g s e c t i o n c o n c l u d e s w i t h the f i n a l b a r o f i t s 16-bar
m. 65.
timespan,
In summary, each s m a l l s e c t i o n i n the e x p o s i t i o n of example 1 has a
d i f f e r e n t event/timespan r e l a t i o n s h i p .
See diagram 3.
Diagram 3
V i o l i n Sonata K. 454: Event/Timespan
Main
events:
theme
timespan:.
Subordinate
events:
theme
timespan:
Closing
events:
section
timespan:
R e l a t i o n s h i p s i n the E x p o s i t i o n
T5T
16
(mm.
14-29)
(mm.
30-49)
(mm.
50-65)
21
h
20
15i
16
The r e l a t i o n o f events t o timespans i s a f a c t o r i n the d e l i n e a t i o n of

18
f u n c t i o n of u n i t s a t a l l l e v e l s , n o t a b l y a t l e v e l " - ( c ) .
level-(b) units
There a r e f o u r
4-bar
( a , b_, c_, d) i n the c l o s i n g s e c t i o n o f example 1, c o r r e s p o n d i n g
56
to
the f o u r 4-bar timespans
(bar
(A, B, C,.D)
numbers i n d i c a t e t i m e s p a n s ) .
first
i n mm.
50-53, 54-57, 58-61, and 62-65
Each u n i t b e g i n s on the t h i r d beat of i t s
timespan, c o n c l u d i n g on the f i r s t
and second b e a t s of the f o l l o w i n g
span, except f o r the f i n a l u n i t , which ends i n the f o u r t h b a r
time-
(m. 65) of i t s
timespan.
There a r e t h r e e types of phrases o r groups
first,
found i n the two groups
i n t h a t i t i s the normal
shape, i t has
cadencea
i n mm.
i n this closing section.
50-58, i s the n e a r e s t to b e i n g a phrase,
4-bar phrase l e n g t h , i t has a d i s c e r n a b l e melodic
some m o t i v i c i n t e r e s t , and i t has a weak but
cadence
The
distinguishable
t h a t b r i n g s the p r e c e d i n g m a t e r i a l to a c l o s e .
type, found i n the two groups
i n mm.
The
second
58-62, i s f u r t h e r removed from b e i n g a
phrase i n t h a t i t i s o n l y two b a r s l o n g and c o n t a i n s o n l y one b a r of the b a r e s t

of melodic m a t e r i a l p r i o r to the 1-bar
cadence
f o r m u l a found f o u r times i n mm.
not a p p l y t o the t h i r d
to
cadence.
t y p e t h e 1-bar
the second t y p e t h e 2-bar group.
type, and i t does so i n p a r t because

D e v i s i n g new
62-65.
cadence
of
The
third
type i s the
term phrase s h o u l d o b v i o u s l y
formula.
Neither should i t apply
the two phrases i n mm.
t e r m i n o l o g y t o s u i t each type of group
Instead, I w i l l
i s not p r a c t i c a l
be-
some types have some phrase f e a t u r e s
d i s c u s s groups
they have f e a t u r e s of phrase s t r u c t u r e .
first
50-58 form a p e r i o d .
t h e r e f o r e a t times be c o r r e c t l y regarded as p h r a s e s , as i n mm.
example 1.
1-bar
I t a p p l i e s i n a weakened sense t o the
cause t h e r e a r e so many types and because

and might
The
50-58
i n terms of the e x t e n t to which
I f the thematic phrase i s taken as a
norm f o r t h i s s t y l e , then groups become phrases as they a c q u i r e more f e a t u r e s

of
normal
phrases.
There
i s thus a continuum
of p o s s i b l e group
v a r y i n g w i t h the number of phrase f e a t u r e s p r e s e n t .
structures,
57
The terms group and phrase r e f e r , i n my approach, t o m o t i v i c - m e l o d i c

u n i t s , one d i s t i n c t i o n between the two terms b e i n g the e x t e n t t o which the
u n d e r l y i n g timespan i s prominent: the r i c h e r the m o t i v i c - m e l o d i c c o n t e n t , the
l e s s e v i d e n t the timespan, p a r t i c u l a r l y on the m u s i c a l s u r f a c e , and the more
a p p l i c a b l e i s the term phrase.
A d i s c u s s i o n o f a t h e o r e t i c a l case a t an extreme
end o f the group
t u r e continuum w i l l h e l p f u r t h e r t o c l a r i f y my t e r m i n o l o g y .
c h a r a c t e r i z e d by m e l o d i c and harmonic
all
struc-
I f phrases a r e
a c t i v i t y on the m u s i c a l s u r f a c e , then
groups a r e t o a c e r t a i n e x t e n t p h r a s e s , because no m u s i c a l s u r f a c e i s com-
p l e t e l y devoid of a c t i v i t y .
However, the extreme
w i t h o u t any m e l o d i c o r harmonic motion would
example o f a f o r e g r o u n d u n i t
still
possess one m u s i c a l f e a t u r e :
i t would be a p r o l o n g a t i o n of a s i n g l e harmony f o r the d u r a t i o n o f t h a t
unit.
In o t h e r words, such a group would be a timespan.

In a g i v e n l e v e l - ( b ) u n i t ,
the g r e a t e r the number o f phrase f e a t u r e s the
more a p p l i c a b l e i s the term phrase.
The s m a l l e r the number of phrase
the more a p p l i c a b l e i s the term group.
Timespans
a r e always p r e s e n t , but t h e i r
presence may be masked as the number o f phrase f e a t u r e s
Level
features
increases.
19
( c ) : Small S e c t i o n s
Phrases and groups combine t o form s m a l l s e c t i o n s such as themes, t r a n s i t i o n s , and c l o s i n g s e c t i o n s .
The d i v i s i o n of movements i n t o a v a r i e t y of d i f -
f e r e n t l y f u n c t i o n i n g s m a l l s e c t i o n s i s more apparent i n music o f the c l a s s i c a l

p e r i o d than o f o t h e r p e r i o d s .
characteristic feature.
Levels
Sonata form c o u l d not have a r i s e n w i t h o u t
this
(a) and "(b) of sonata form tend t o be p e r c e i v e d
58
i n the c o n t e x t
motivic
of s m a l l
sections
r e l a t i o n s h i p s at higher
e x p o s i t i o n or r e c a p i t u l a t i o n we
is
(notwithstanding
levels).
And
prominent e x c e p t i o n s
i n conceptualizing
tend to r e l a t e the s m a l l
an e n t i r e
s e c t i o n s of which i t
comprised.
T h i s s p e c i a l n a t u r e of s m a l l
c l o s u r e of s m a l l
sections.
s e c t i o n s has
to do w i t h a h i g h e r
are o t h e r s .
A phrase may
i t s e l f be
cent
as b e i n g more c l o s e d .
to o t h e r
level
(c).
s i m i l a r small
And
c l o s e d , but because i t i s u s u a l l y
because s m a l l
sections
s e c t i o n s , closure at l e v e l
In summary, l e v e l
(c) d i f f e r s from other
f e r e n t i a t i o n of i t s u n i t s , a d i f f e r e n t i a t i o n so g r e a t
level.
s i m i l a r small
different
At
tend not
(d) i s not
to be
adja-
as g r e a t
as
l e v e l s i n the g r e a t e r
that l e v e l
(c) has
does
at
dif-
more
any
no
(For example, an e x p o s i t i o n i s comprised of a s e r i e s of
sections.)
s e c t i o n i s not
c l o s e d merely due
I t i s the r e l a t i o n between u n i t s w i t h i n a s m a l l
est c l o s u r a l f o r c e s .
In g e n e r a l ,
to a s t r o n g cadence at i t s
s e c t i o n that creates
c l o s u r e of a s m a l l
a s t r o n g cadence a t i t s c o n c l u s i o n ;
a strong
i n t e r r u p t i o n model of Schenker; and
more of these f a c t o r s t h a t are p r e s e n t ,
the
end.
strong-
s e c t i o n i s dependent upon
g o a l - d i r e c t e d harmonic p l a n , such as
e l i m i n a t i o n of m o t i v i c
the s t r o n g e r
example, a theme ends w i t h a h a l f cadence r a t h e r
continuation.
c l o s u r e w i l l be.
b a l a n c e the weakened sense of harmonic c l o s u r e .
In such c a s e s ,
At
The
If, for
than a p e r f e c t a u t h e n t i c
t h i s w i l l o b v i o u s l y weaken the c l o s u r e of the theme.

may
adjacent
(d) then, w i t h i n each type of l a r g e s e c t i o n t h e r e are
sections.
small
A small
level
than
(c) t h a t i s
types of commonly-occurring u n i t s t h e m e s , t r a n s i t i o n s , e t c . t h a n
other
closed,
s e c t i o n s are more c l o s e d
to l i k e p h r a s e s , i t i s the u n i t f o r example, a t h e m e o n l e v e l
perceived
degree of
Each l e v e l of sonata-form s t r u c t u r e i s i t s e l f
but because of r e l a t i o n s h i p s between l e v e l s , s m a l l
the
such as
other
times, c l o s u r e w i l l
one,
factors
be
59
a f f e c t e d by
r e l a t i o n s h i p s between, and by
be d i s c u s s e d below as to l e v e l
l o c a t i o n of, small s e c t i o n s : t h i s
(d).
Small s e c t i o n s are f u n c t i o n a l l y d i f f e r e n t because of the d i f f e r e n t

of u n i t s w i t h i n them and
the r e l a t i o n s among those u n i t s .
i n standard
sequences, coupled
r e c a p i t u l a t i o n s than w i t h
opments because c l o s i n g s e c t i o n s are p a r t of the two
the o t h e r
to be
two
deal here, with

recapitulations.
sections.
In
addi-
to be d i v i d e d i n t o s m a l l s e c t i o n s as c l e a r l y
respect
the l e n g t h of s m a l l s e c t i o n s .
to l e v e l
I will
leave
( c ) , with
For
as
tend
these reasons I w i l l
s m a l l s e c t i o n s of e x p o s i t i o n s
the i s s u e of r e c a p i t u l a t i o n forms of
s m a l l s e c t i o n s to the d i s c u s s i o n of l e v e l
The
outer
devel-
l a r g e s e c t i o n s a r e , and Mozart's development s e c t i o n s o f t e n
s h o r t enough to be
dealt with
sections
with a more-or-less f i x e d tonal plan.
I am more concerned w i t h e x p o s i t i o n s and
t i o n , the development tends not
kinds
Position-finding
w i t h i n sonata-form music i s made p o s s i b l e by d i f f e r e n t l y f u n c t i o n i n g

t h a t occur
will
and
exposition
( d ) , where r e c a p i t u l a t i o n s w i l l
be
in their entirety.
s m a l l s e c t i o n s w i l l be
discussed
t r a n s i t i o n s , r e t r a n s i t i o n s , codettas,
i n the f o l l o w i n g o r d e r :
c l o s i n g s e c t i o n s , codas, and
I t should be noted t h a t i n some p i e c e s
be a l e v e l between t h a t of the s m a l l s e c t i o n and

i n connection
introductions.
these s m a l l s e c t i o n s combine to form
l a r g e r p a r t s t h a t are s h o r t e r than l a r g e s e c t i o n s .
T h i s w i l l be d i s c u s s e d
themes,
with
level
In such p i e c e s
there
will
t h a t of the l a r g e s e c t i o n .
( d ) , a l t h o u g h some s h o r t e r
20
p a i r i n g s w i l l be mentioned h e r e .
Themes
Four d i f f e r e n t c a t e g o r i e s of themes w i l l be
periods,
s m a l l t e r n a r i e s , and
unique s t r u c t u r e s .
considered
The
h e r e : sentences,
models I use
f o r the
first
60
three are l a r g e l y based on previous work i n thematic and formal theories of

c l a s s i c a l period music, i n p a r t i c u l a r on an approach used mainly by many
21
twentieth-century German and A u s t r i a n t h e o r i s t s .
Thematic structures are used, obviously, i n those small sections termed
main theme (MT), or f i r s t theme, and subordinate theme (ST), or second theme.
They are also sometimes used i n v a r i e d form i n the other small sections.
It is
important then to d i s t i n g u i s h between the thematic modelssentence, period, and

small t e r n a r y a n d the thematic small sectionsMT and ST. I w i l l discuss the
models i n some d e t a i l here because they are used throughout the sonata form.
Two g e n e r a l i z a t i o n s may be made concerning thematic small sections:
(1)
modulations do not normally occur i n them, and (2) t o n a l i t i e s may be
s p e c i f i e d : major mode expositions have the MT i n the t o n i c , the ST i n the dominant,, w i t h the r e c a p i t u l a t i o n s having both themes i n the- t o n i c ; minor mode expos i t i o n s have the MT i n the t o n i c , the ST i n the r e l a t i v e major, w i t h the recapi t u l a t i o n s having both themes i n the t o n i c .
Sentence.
The model f o r the sentence i s shown i n diagram 4.
The normal
8-bar length i s sometimes doubled to s i x t e e n bars, and v a r i a n t s occur which i n volve lengths other than these.
noted i n diagram 4.
Some examples of common motivic s t r u c t u r e are
The motive-forms of mm. 3 and 4 of the sentence are often
v a r i e d with respect to the motives i n mm. 1 and 2 to conform to minimal harmonic

a l t e r a t i o n s which may, at times, give the ( f a l s e ) impression of cadences.
That
i s , commonly the f i r s t 2-bar u n i t moves from tonic to dominant w i t h the second

u n i t reversing t h i s motion, the motivic a l t e r a t i o n s being only those required
to have the second u n i t conform to the change i n harmony.
Normally, however,
c a d e n t i a l i m p l i c a t i o n s w i l l be weakened by the use of inverted harmonies.
(A
61
Diagram
Sentence Model of Thematic
Structure
Phrase/group l e n g t h , l e v e l
(b)
Segment l e n g t h , l e v e l
(a)
(2
+
2)
or
or
ab
ab
Motives
Harmony and
cadences
common bass l i n e f o r the f i r s t

first
h a l f of a sentence may
- V
(1
a
ab
V - I
1
a
+
1
ab
7-1.)
PAC
or HC
T h i s means t h a t the
(1) a phrase, i f the second u n i t ends w i t h a
s t r o n g enough cadence, or (2) two 2-bar p h r a s e s , i f the c a d e n t i a l

i n mm.
2)
b
I - -
f o u r b a r s i s 1-2,
be
implications
2 and 4 a r e b o t h s t r o n g , or (3) a group h a v i n g motives i n s t e a d of group-
l e t s , and t h e r e f o r e b e i n g more l i k e a phrase w i t h o u t a cadence.

The second h a l f of the sentence, w h i l e p o s s e s s i n g the c l e a r timespan and
motivic d i v i s i o n
means.
(1+1+2),
is unified
i n t o one phrase by harmonic and m e l o d i c
U s u a l l y the second h a l f c o n t r a s t s w i t h the f i r s t by h a v i n g a more a c t i v e
harmonic
s t r u c t u r e , i f o n l y because of the s t r o n g cadence, and t h i s more a c t i v e
harmony i s u s u a l l y a r t i c u l a t e d by a more a c t i v e bass l i n e .

of
Whereas the harmony
the f i r s t h a l f o f the sentence i s u s u a l l y c h a r a c t e r i z e d by the mere i n t e r -
change of t o n i c and dominant,

goal-directed.
the harmony of the second h a l f
Whereas the f i r s t
i s usually
h a l f p r e s e n t s the main motive i n two
strongly
closely-
r e l a t e d forms, the second h a l f d e v e l o p s the motive, o f t e n i n f r a g m e n t a t i o n ,

t h a t i s , as (1 + 1 ) ,
or p r e s e n t s c o n t r a s t i n g
material.
A good i l l u s t r a t i o n of a sentence i s g i v e n i n example 5, the main theme

from the S t r i n g Q u a r t e t i n A Major, K. 464.
The doubled l e n g t h s i x t e e n bars
62
i n s t e a d of e i g h t i s m i t i g a t e d by the s h o r t e r b a r l e n g t h 3 / 4
i n s t e a d of the
u s u a l 4 / 4 a n d by the obvious grouping of b a r s i n t o 2-bar timespans

3-4,
(mm.
e t c . ) , so t h a t the theme c o u l d e a s i l y be heard as e i g h t b a r s of
1-2,
6/4.
M o t i v i c a l l y , t h i s theme c o u l d be r e p r e s e n t e d as f o l l o w s :
( 4
4 )
^ u
a + b a
(2
, i
+ b
+
1
2
a
+
1
4)
a
The a^ and b_ motives are combined i n the f i r s t h a l f , forming two
4-bar phrases
which a l t e r n a t e t o n i c and dominant as i n the model, h a v i n g v e r y weak cadences.

The a motive
i s s e p a r a t e d from b and sequenced
and i s used i n a lengthened v a r i a t i o n i n mm.
i n a v a r i e d form i n mm.
12(3)-16.
h a l f of the sentence i s more a c t i v e than the f i r s t ,
The bass of the
Period.
archetypal
are
The
i s the p e r i o d .
A
The
second
22
type of thematic s t r u c t u r e I am c o n s i d e r i n g
See diagram 5.
(1) the b a l a n c e between, and
by p a r a l l e l m o t i v i c
and
second
phrase.
second
i l l u s t r a t i n g a common
p a t t e r n i n which i t r i s e s stepwise from 1 to 5, c a d e n c m g on 1..

h a l f of t h i s sentence i s one
8(3)-12(l)
as
The e s s e n t i a l f e a t u r e s of a p e r i o d
s i m i l a r s t r u c t u r e o f , the two p h r a s e s ,
created
s t r u c t u r e (a . . . + a_ . . . ) and e q u a l l e n g t h of p h r a s e s ,
(2) the use of two cadences,
the second of which i s s t r o n g e r than the
There are a number of d i f f e r e n t p o s s i b i l i t i e s
f o r m o t i v i c and timespan
w i t h i n p h r a s e s , some of which a r e shown i n diagram 5,
first.
structure
However, more important
as an e s s e n t i a l f e a t u r e than the i n t e r n a l s t r u c t u r e of each phrase i s the m o t i v i c

p a r a l l e l i s m between the b e g i n n i n g s of the two p h r a s e s , i f not between the e n t i r e
two
phrases.
L i k e the sentence, the p e r i o d i s sometimes found doubled or o t h e r w i s e
altered i n length.
In some of these c a s e s , t h e r e may
be f o u r 4-bar phrases
63
Diagram 5
P e r i o d Model of Thematic
Phrase
Structure
4
length
Motives
or
Harmony and
cadences
i n s t e a d of two
8-bar ones;
these cases the f i r s t

ond phrase, which w i l l
(See example 3, mm.
+
1
HC
4
a
b
b^" (or a . . . c)
such s t r u c t u r e s may
PAC
be termed
double p e r i o d s .
and t h i r d phrases w i l l have weaker cadences

i n t u r n have a weaker cadence
than the s e c -
than the f o u r t h phrase.
23-38.)
U n l i k e the sentence, the p e r i o d i s a more s t a b l e , l e s s

structure.
developmental
T h i s i s due to the p e r i o d ' s p a r a l l e l phrase s t r u c t u r e ; the sentence,
on the o t h e r hand, has a b u i l t - i n imbalance of timespan, m o t i v i c , and

structures.
(a
In
The r e p e t i t i o n of motives
harmonic
i n the p e r i o d o c c u r s over e i g h t b a r s
. . . + a. . .. . ); the sentence does t h i s i n f o u r b a r s and then develops or
contrasts this
(aa,
embles a p e r i o d .
or b ) .
The f i r s t h a l f of a sentence i n f a c t o f t e n
(See example 1, mm.
1-4,
which
res-
i f taken out of c o n t e x t might
be c o n s i d e r e d t o have many of the f e a t u r e s of a p e r i o d . )

A f u r t h e r cause of s t a b i l i t y
i n the p e r i o d i s the u s u a l presence of an

23
interruption
( i n the S c h e n k e r i a n s e n s e ) .
That i s , the melodic-harmonic
struc-
t u r e of the two phrases i s n o r m a l l y as

A f oAl l o w/\s :
/N3 - 2
3 - 2 - 1
I - V
I - V - I
T h i s c r e a t e s s t r o n g c l o s u r a l f o r c e s a t the s m a l l s e c t i o n l e v e l , f o r c e s
absent from the sentence, which r a r e l y has
such i n t e r r u p t i o n s t r u c t u r e .
usually
This
64
c o r r e l a t e s w i t h my o b s e r v a t i o n t h a t sentences
a r e more c h a r a c t e r i s t i c of main
themes than of s u b o r d i n a t e themes and t h a t p e r i o d s a r e more c h a r a c t e r i s t i c o f

s u b o r d i n a t e themes than o f main themes; i n o t h e r words, the more open s t r u c t u r e
the
s e n t e n c e i s more common a t t h e s t a r t o f an e x p o s i t i o n , w h i l e t h e more
c l o s e d s t r u c t u r e t h e p e r i o d i s more common towards the end o f the e x p o s i t i o n .

(My
o b s e r v a t i o n s r e g a r d i n g d i s t r i b u t i o n of thematic
An
illustration
types a r e c i t e d
of the p e r i o d model w i l l be found
i n note 28.)
i n example 6, the theme

24
of
t h e Piano Sonata
i n A Major, f i r s t movement, K. 331, mm.
1-8.
embodies most of the f e a t u r e s of t h e p e r i o d as d i s c u s s e d above.

found
i n mm.
1-8; t h e remainder
sed s h o r t l y . )
of t h e theme quoted
The
antecedent-consequent
Small t e r n a r y .
form.
and
clear.
type o f thematic
25
s t r u c t u r e i s the s m a l l t e r n a r y
T h i s i s n o t seen n e a r l y as o f t e n i n sonata-form
the sentence,
i s as f o l l o w s :
1 + 1 + 2
construction i s very
The t h i r d
(The p e r i o d i s
i n example 6 w i l l be d i s c u s -
The i n t e r n a l s t r u c t u r e o f t h e two phrases

a
a
b
a
a
b1
1 + 1 + 2
movements as the p e r i o d
i t b e i n g more commonly used as the form of the theme i n theme
and v a r i a t i o n movements, and as t h e form of minuets and o f t r i o s .

The
T h i s theme
f i r s t A - s u b s e c t i o n i s o f t e n a p e r i o d , sometimes a sentence,
w i t h a PAC i n the dominant o r i n t h e t o n i c .
See diagram 6.
usually
ending
The B - s u b s e c t i o n c o n t r a s t s both
h a r m o n i c a l l y and m o t i v i c a l l y w i t h the A - s u b s e c t i o n , always ending on the dominant,

i f n o t b e i n g e n t i r e l y dominant p r o l o n g a t i o n (but n o t modulating
or
t o any o t h e r k e y ) .
t o the dominant,
The A^"-subsection i s u s u a l l y a r e p e a t of p a r t o r a l l of
the A - s u b s e c t i o n , and n e a r l y , always begins on the t o n i c , thus emphasizing t h e

r e t u r n t o t h e t o n i c and t o the o r i g i n a l motive-forms.
The s m a l l t e r n a r y i s
65
Diagram 6
Small T e r n a r y Model of Thematic S t r u c t u r e
8
(4
4)
V -
(or I)
t h e r e f o r e d i f f e r e n t from the p e r i o d and

twice as l o n g as the o t h e r two
types.
the sentence
i n that i t i s normally
In a d d i t i o n , the B - s u b s e c t i o n
contains
more of a c o n t r a s t than i s found w i t h i n e i t h e r the p e r i o d o r the sentence.
In
particular,
and
the B - s u b s e c t i o n may
c o n t r a s t t e x t u r a l l y w i t h the A - s u b s e c t i o n ,
such c o n t r a s t i s n o r m a l l y m i s s i n g from the o t h e r types of themes.

An
i l l u s t r a t i o n of the s m a l l t e r n a r y form i s found
A-subsection,
i n mm.
9-12,
A-subsection.
i n mm.
1-8,
i s a p e r i o d as d i s c u s s e d above.
i n example 6.
The
The
B-subsection,
c o n t a i n s the bare minimum of m o t i v i c and harmonic c o n t r a s t to the

One
r e a s o n f o r the s m a l l harmonic c o n t r a s t i n B i s t h a t A
was
i t s e l f e n t i r e l y d i a t o n i c , even ending on the t o n i c as opposed to ending on

dominant as i s seen more o f t e n .
weakly t o n i c i z e d w i t h
t r a s t here.
T h e r e f o r e , the f a c t t h a t B ends on the dominant,
the o n l y chromatic
note
i n the theme, i s s u f f i c i e n t
The A^"-subsection i s s i m i l a r to the second phrase
and a 2-bar c o d e t t a , o r c a d e n t i a l e x t e n s i o n , based on mm.
i s c l e a r here
t h a t the f i n a l
two bars are an e x t e n s i o n
15-16, i s added.
( i . e . , A''" i s [4 + 2 ] ) .
i n the s m a l l t e r n a r y form: i t may
full
extension.
sometimes even w i t h an
26
The
although
A wide range of v a r i a t i o n i n A''" i s found

r e p e a t of A,
con-
of the p e r i o d ,
A^==subsection d i f f e r s from the model i n t h a t i t i s hot f o u r b a r s l o n g ,

it
the
be a
66
Unique themes.
Thematic structures which are not sentences, periods, or
small t e r n a r i e s , or r e l a t i v e l y close v a r i a n t s of these three, f a l l i n t o my

fourth category, that of unique, or o r i g i n a l s t r u c t u r e s .
Obviously, a l l of
Mozart's themes are unique and o r i g i n a l i n the broad meanings of the terms,
but those which are not based on one of the three models perhaps deserve the
terms unique and o r i g i n a l i n a s p e c i a l sense.
In a d d i t i o n , t h i s category i n -
cludes those themes which are remote v a r i a n t s of the three models and those
which are based only i n part on the models.
Of course there i s no model f o r
t h i s f o u r t h category: there i s instead a wide range of p o s s i b l e s t r u c t u r e s , a l l

of which are closed, but looser i n s t r u c t u r e than the three models.
be closed i n order to be thematic.
They must
This category applies only to the two them-
a t i c small sections (MT and ST); the other three types may be found i n other
small s e c t i o n s .
The f u l l range of thematic structures i s summarized i n table 3.
Table 3
Summary of Thematic Structures
Thematic
model
Thematic
function
Used as
MT, ST
Period
Also used
i n other
small sections
x
Sentence
Small ternary
Unique themes
Used
only as
MT, ST
x
x
67
Most main themes are based c l o s e l y on the thematic models.
However, s u b o r d i n a t e
28
themes depend l e s s on models and
have a wider range of p o s s i b l e
structures.
Transitions
Transitions differ
from thematic s m a l l
s u b s i d i a r y as opposed to p r i m a r y s m a l l
s e c t i o n s i n t h a t t r a n s i t i o n s are
s e c t i o n s , and
models t h a t account f o r t h e i r m e l o d i c , r h y t h m i c , and
a l s o i n t h a t there are
harmonic f e a t u r e s .
i t i o n s have a s u b s i d i a r y f u n c t i o n because t h e i r f e a t u r e s
t i o n than are
those of themes.
are
t r a n s i t i o n s cannot be
present
explained
Trans-
looser i n
construc-
( T h i s i s p a r t i c u l a r l y apparent i n t h a t
t i o n s f o l l o w main themes, which have c l o s e d c o n s t r u c t i o n s . )
The
fact
no
transithat
by models means t h a t i t i s more d i f f i c u l t
to
an o v e r a l l view of t r a n s i t i o n s .
The
normative
l o o s e r c o n s t r u c t i o n of t r a n s i t i o n s i s generated by
the
following
features:
(1) In those cases where a thematic model i s used f o r a l l or p a r t of a

transition,
the model w i l l
into a t r a n s i t i o n .
i n v a r i a b l y be
radically altered in i t s projection
R e g a r d l e s s of whether any
thematic model i s used, the
ment s t r u c t u r e w i l l be
l o o s e r because (a) b o t h m o t i v i c
w i l l be
w i t h both phrases and
used, t o g e t h e r
from one
tively,
to the o t h e r ,
grouplets
and
usually motivic
g r o u p s ) , and
segments and
groups ( t h e r e w i l l
segments and
(b) m o t i v i c
theme and
has
and
t h e r e may
be m o t i v i c
grouplets
o f t e n be
phrases becoming,
shift
respec-
have d i f f e r e n t m o t i v e s /
a s s o c i a t i o n s w i t h b o t h the p r e c e d i n g
the s u c c e e d i n g s u b o r d i n a t e theme.
a s s o c i a t i o n s w i t h i n the t r a n s i t i o n
w i l l be weaker, to the p o i n t where each phrase/group may

grouplets,
seg-
main
In s h o r t , the t r a n s i t i o n u s u a l l y
29
a s e r i e s of m o t i v e s / g r o u p l e t s based on u n r e l a t e d m a t e r i a l s .
68
(2) T r a n s i t i o n s i n c l u d e a modulatory f u n c t i o n , a l t h o u g h t h i s
i s often attenuated
i n the r e c a p i t u l a t i o n form of the t r a n s i t i o n .
t h a t there are o f t e n two

form and
means t h a t the t r a n s i t i o n w i l l be
how
weak or s t r o n g
served
another reason why
Whatever the n a t u r e or extent
norm f o r thematic s m a l l
(The
q u i t e d i f f e r e n t forms of the t r a n s i t i o n a n
a recapitulation formis
transitions.)
function
fact
exposition
there are no models f o r
of the m o d u l a t i o n , such m o d u l a t i o n
open-ended, as opposed to c l o s e d , as i s the
sections.
A l l t r a n s i t i o n s are open-ended, no
the m o d u l a t i o n i s .
T h i s open-ended f e a t u r e
matter
i s usually
pre-
i n r e c a p i t u l a t i o n forms of t r a n s i t i o n s : where the t r a n s i t i o n ends on
i n the e x p o s i t i o n , i t w i l l u s u a l l y end
on V i n the e x p o s i t i o n
on V i n the r e c a p i t u l a t i o n ; where i t ends
( i . e . , where there
i s no m o d u l a t i o n ) , i t w i l l u s u a l l y
r e w r i t t e n i n the r e c a p i t u l a t i o n so t h a t i t s t i l l
t r a n s i t i o n not be
V/V
ends on V.
Rarely w i l l
a l t e r e d i n the r e c a p i t u l a t i o n , even though t h e r e
i s no
be
such a
appar-
30
ent need f o r such a l t e r a t i o n .
(3) The
timespan s t r u c t u r e i s not u n i f o r m l y
meaning s u c c e s s i o n s
of e q u a l - l e n g t h
units).
Whereas the
timespans t h a t are p e r i o d i c a t b o t h the 2- and

not
e n t i r e l y governed by
such p a t t e r n i n g
p e r i o d i c ( " p e r i o d i c " here
on any
thematic models employ
4-bar l e v e l s ,
t r a n s i t i o n s are
timespan l e v e l .
Normally, a
r e g u l a r i t y i s e s t a b l i s h e d , o f t e n a t the 2-bar l e v e l , at the b e g i n n i n g of

transition
( f o r example, based on the main theme o p e n i n g ) .
then upset a t some p o i n t , and
i s followed
a d d i t i o n p o s s i b l y to some s h o r t
This r e g u l a r i t y i s
by a s e r i e s of unequal timespans, i n
successions
of s i m i l a r timespans.
In summary, the m e l o d i c s t r u c t u r e , the harmonic s t r u c t u r e , and

span s t r u c t u r e of t r a n s i t i o n s are a l l i n t r i n s i c a l l y
i s responsible
the
time-
i r r e g u l a r , at l e a s t i n that
they a l l c o n t r a s t w i t h the more r e g u l a r s t r u c t u r e of the f i r s t

complex of i r r e g u l a r s t r u c t u r e s
f o r the
theme.
This
l o o s e , open n a t u r e of
69
transitions.
Retransitions
Retransitions
s e c t i o n i n the
subsidiary
One
first
follows
designation
i n some ways.
small
c l e a r l y does not
section.
i n g s , one
to proceed to the
to the
t o n i c key
opening key
N e i t h e r example 1 nor
In a d d i t i o n
of the
and
i s an
adjacent small
the
and
and
hardly
d i f f e r e n t end-
r e p e a t of the main theme, the
the
In the
t o n i c of G major i n t o the dominant of C major, i t i n c l u d e s
In example
i n the
c l o s i n g s e c t i o n and
same key
as
i t m o d u l a t e s ) , and
the
i s not
closing section
7,
converting
a development of
the opening main theme m o t i v e , here sequenced i n the bass v o i c e .
p a r t of the
recapitu-
r e t r a n s i t i o n i s found between
the
of the
second
to l e a d to a coda.
to h a v i n g the u s u a l harmonic f u n c t i o n of
end
it
have two
may
such r e t r a n s i t i o n s .
465,
the
Normally, i t
e i t h e r o m i t t e d or r e w r i t t e n
example 2 has
and
the
sections.
a r e a of the development s e c t i o n .
the
section,
rates
important one,
99 and
overlapping
exposition's
development
mm.
t i o n begins by
s e c t i o n i n (or
i s of most r e l e v a n c e here because
exposition,
S t r i n g Q u a r t e t i n C Major, K.
106.
but
However, i t s f u n c t i o n
l a t i o n , such r e t r a n s i t i o n s are
from the
end
I t i s normally very short,
r e p e a t s i g n of the
to r e t u r n
to a s m a l l
small
c l o s i n g s e c t i o n , o f t e n b e i n g connected to
b e l o n g to e i t h e r of the
occurs b e f o r e the
t h a t connect a
recapitulation.
type occurs i n f r e q u e n t l y ,
immediately upon the
closing section
sections
type o c c u r s immediately a f t e r the
A second type i s found at the
to the main theme i n the

The
small
(or o t h e r n o n - t o n i c key)
t o n i c key.
closing section.
it
short,
secondary key
s t a r t i n g i n ) the
leading
are
The
retransi-
c l o s i n g s e c t i o n ; however, i t i s not
c l o s u r a l i n f u n c t i o n because i t i s not
( i n f a c t i t i s not
because i t i s d i s t i n c t from the
i n one
key;
rather,
c l o s i n g s e c t i o n by v i r t u e of
70
d i f f e r e n t motive-forms and
monophonic t e x t u r e
i n mm.
texture
on the u s u a l
99-104 and
This
the
re-
endings because the development s e c t i o n b e g i n s
dominant but
on a dominant of the subdominant, r e p l a c i n g
t o n i c opening of the main theme.

ample
the c e l l o s o l o i n mm.
104-106 are unique to the r e t r a n s i t i o n ) .
t r a n s i t i o n does not have two

not
(e.g.,
In the r e c a p i t u l a t i o n (not i n c l u d e d
7 ) , the r e t r a n s i t i o n i s t r a n s p o s e d to the
the
in
ex-
t o n i c , a l t e r e d s l i g h t l y at i t s
32
end,
and
leads
to a coda.
Three types of c l o s i n g music

B e f o r e d i s c u s s i n g each type of c l o s i n g music i n d e t a i l , a b r i e f
of the terms i n v o l v e d may
c l o s i n g s e c t i o n may
end
be h e l p f u l .
both e x p o s i t i o n and
are o f t e n composed of c o d e t t a s ,
complex.
Obviously,
the s m a l l
summary
s e c t i o n known as
recapitulation.
Closing
sections
which i n t u r n o f t e n combine forming a
codetta-
C l o s i n g s e c t i o n s are n o r m a l l y composed of a codetta-complex, but
a t times i n c l u d e m a t e r i a l based on the thematic models.
the
C o d e t t a s and
may
codetta-
complexes are a l s o used elsewhere i n the sonata form, t h a t i s , as appendages to

themes, i n the development s e c t i o n , and
i t u l a t i o n and
are u s u a l l y formed of c o d e t t a s .
codetta-complexes, and
simply
i n codas.
i n the f o l l o w i n g o r d e r :
c l o s i n g s e c t i o n s , and
Codettas and
or more c o d e t t a s .
codettas
and
recap-
codettas,
are
These types
codetta-complexes,
codas.
codetta-complexes
C o d e t t a s and
of s h o r t
Closing sections,
codas are a l l l e v e l - ( c ) u n i t s ; codetta-complexes
l a r g e r l e v e l - ( c ) u n i t s composed of two
w i l l be d i s c u s s e d
Codas o c c u r a f t e r the
length
codetta-complexes are s u b s i d i a r y s m a l l
i n the case of c o d e t t a s
sections, normally
(about e i g h t to s i x t e e n b a r s ) ,
and
71
somewhat l o n g e r
bars).
i n the case of codetta-complexes
They f u n c t i o n i n one
sonata form: (1) they may

n o r m a l l y as c o d e t t a s
of two
(about s i x t e e n to
ways, depending on t h e i r p o s i t i o n i n the
o c c u r s i n g l y , as appendages to p r i m a r y
to themes; and
thirty-two
(2) a c o d e t t a may
e t t a s to form l a r g e r , more independent s m a l l
sections,
combine w i t h o t h e r
sections c a l l e d
p o s s i b l y i n p l a c e of or f o l l o w i n g a s u b o r d i n a t e theme, and
cod-
codetta-complexes,
as p a r t or a l l of a
c l o s i n g s e c t i o n or coda.
The
i d e n t i f i c a t i o n of a c o d e t t a
internal features
other
codettas
codettas
and
or codetta-complex i s dependent upon i t s
on i t s r e l a t i o n to (1) the
w i t h which i t combines.
depend on o t h e r
(One
the theme ends on
codetta,
other
how
regarded as
i s a l e v e l of harmonic
stability
than t h a t of themes, to the p o i n t where c o d e t t a s
are o f t e n
a c t e r i z e d e i t h e r i n whole or i n p a r t by
a pedal.
u s u a l l y l i m i t e d to simple p r o g r e s s i o n s ,
o f t e n merely a l t e r n a t i o n of t o n i c
A f e a t u r e of many c o d e t t a s
over a t o n i c p e d a l .
char-
I n t e r n a l harmonic motion i s
and
i s t o n i c i z a t i o n of the subdominant, o f t e n
T o n i c i z a t i o n of the dominant i s not
(This d i s t i n g u i s h e s codettas
the same.)
A n e c e s s a r y component of c o d e t t a s
dominant.
the
regarded as p a r t of the theme; but
the t o n i c , the subsequent m a t e r i a l might be
f a c t o r s being
usually greater
example w i l l demonstrate
(2)
s e c t i o n s : i f , i n f u n c t i o n [ 1 ] , the theme ends on
dominant, the subsequent m a t e r i a l might be

if
theme i t f o l l o w s , or to
found i n
codettas.
t o main themes from t r a n s i t i o n s t h a t f o l l o w main
themes: a main theme c o d e t t a might t o n i c i z e IV but not V, whereas a t r a n s i t i o n

would t o n i c i z e
The
timespan and
u n i t s of two
grouplet
V.)
and
group s t r u c t u r e i s u s u a l l y v e r y
four bars.
s t r u c t u r e i s common.
r e g u l a r , that i s , i n
P a i r i n g s of groups of s i m i l a r timespans and

Groups are more commonly used than are
motivic/
phrases.
72
And w h i l e g r o u p l e t s are more commonly used than are m o t i v i c segments, m o t i v i c

a s s o c i a t i o n s w i t h the p r e v i o u s theme or a d j a c e n t c o d e t t a s are common.
the c h a r a c t e r of a c o d e t t a as determined
s i g n i f i c a n t f a c t o r i n determining
used a r e n o r m a l l y
by i t s i n t e r n a l f e a t u r e s i s the most
i t s f u n c t i o n as a c o d e t t a .
c a d e n t i a l , s h o r t , and
However,
The
grouplets
repetitive.
C l o s i n g s e c t i o n s and codas a r e o f t e n made up e n t i r e l y of a s e r i e s of

codettas.
In such cases
small s e c t i o n s .
the c o d e t t a s f u n c t i o n as b u i l d i n g b l o c k s of complete
O f t e n i n such cases
the c o d e t t a s are used i n s p e c i f i c p a t t e r n s ,
as w i l l be d i s c u s s e d below.
Codetta-complexes sometimes become amalgamated w i t h o t h e r s m a l l s e c t i o n s .
That
i s , the c o d e t t a f u n c t i o n i s p r e s e n t as p a r t of a m u l t i - f u n c t i o n s m a l l
t i o n i n s t e a d of h a v i n g e x p r e s s i o n i n a d i s c r e t e s m a l l s e c t i o n of i t s own.
occurs p a r t i c u l a r l y
i n the s m a l l s e c t i o n s of the second key
secThis
area.
I l l u s t r a t i o n s of codetta-complexes f o l l o w , b e g i n n i n g w i t h an i n s t a n c e of
the type noted
i n the p r e v i o u s paragraph.
mm.
67-94 i s comprised
8 +
(8 +
[4 + 4] + 4 ) .
of an 8-bar c o d e t t a , r e p e a t e d w i t h an e x t e n s i o n , t h a t i s ,
I t i s i n t e r e s t i n g that although
have some f e a t u r e s of the sentence

is
(2 + 2) +
throughout
In example 2, the codetta-complex i n
(1 + 1 + 2 ) t h e y
modelfor
the two
example, t h e i r i n t e r n a l s t r u c t u r e
are not thematic
i n f u n c t i o n because they i n v o l v e
a heavy emphasis of the subdominant, and because they l a c k s u b s t a n t i a l
melodic-motivic m a t e r i a l .
The
first
s i x t e e n b a r s are based on o n l y one
i d e a , w i t h many r e s t s : i t i s c l e a r t h a t these measures c o u l d not

function.
However, these c o d e t t a s do show how
f e r e n t f u n c t i o n s , a c c o r d i n g to how
The
subordinate
8-bar c o d e t t a s
i s s u e i n mm.
serve a
thematic models may
motivic
thematic
acquire
dif-
they a r e used.
67-94 i s whether the codetta-complex f u n c t i o n s as a
theme codetta-complex or as a c l o s i n g s e c t i o n .
In t h i s case i t has
73
both f u n c t i o n s .
These measures do form t h e f i n a l s m a l l s e c t i o n of t h e e x p o s i -
t i o n , and t o t h a t e x t e n t they form t h e c l o s i n g s e c t i o n .
There a r e o t h e r reasons
why they a r e a c l o s i n g s e c t i o n , as w i l l be d i s c u s s e d below.

d i n a t e theme codetta-complex
because
they d i r e c t l y f o l l o w t h e s u b o r d i n a t e theme,
which l a c k s t h e u s u a l expanded c a d e n t i a l p r o g r e s s i o n .
The c o d e t t a s a r e a l s o
somewhat more a c t i v e than would be the case i n a normal

because
tions.)
the sentence model i s used.
They form a subor-
c l o s i n g section, i n part
(Sentences a r e n o t common i n c l o s i n g
sec-
And t h e subdominant t o n i c i z a t i o n i s more common t o c o d e t t a s f o l l o w i n g
themes than t o c o d e t t a s i n c l o s i n g
An i l l u s t r a t i o n
i n example 1, i n mm.
timespans,
sections.
of a codetta-complex
50-65.
forming a c l o s i n g
s e c t i o n i s found
As d i s c u s s e d above i n c o n n e c t i o n w i t h groups and
t h e r e a r e f o u r 4-bar u n i t s t h a t form t h i s c l o s i n g s e c t i o n .
two,
i n mm.
ilar
content and by the n a t u r e o f t h a t content (as p r e v i o u s l y d i s c u s s e d ) . The
second
50-58, a r e phrase/groups
The f i r s t
two, i n mm.
58-65,
t h a t form a c o d e t t a by v i r t u e o f t h e i r
a r e a s e r i e s of s u c c e s s i v e l y s h o r t e r g r o u p l e t s
sim-
(first
2- then 1-bar l o n g ) , forming one c o d e t t a by v i r t u e o f v e r y s i m i l a r m e l o d i c m o t i v i c content and harmonic-rhythmic
patterning.
An i l l u s t r a t i o n o f a t y p i c a l c o n c l u s i o n t o a movement i s a l s o found i n
example 1.
to
The c l o s i n g s e c t i o n i n t h e r e c a p i t u l a t i o n i s expanded w i t h r e s p e c t
t h e e x p o s i t i o n form: mm.
135-146 a r e s i m i l a r t o mm.
50-61, and the r e m a i n i n g
measures of the r e c a p i t u l a t i o n a r e an expansion o f t h e c l o s i n g s-ection w i t h a

f u r t h e r s e r i e s of codettas.
New c o d e t t a - f u n c t i o n f e a t u r e s o f t h i s form o f the
c l o s i n g s e c t i o n i n c l u d e a t o n i c p e d a l and subdominant
tonicization.
33
74
C l o s i n g sections
This part of chapter 2 w i l l serve as an i n t r o d u c t i o n to the i n t e r n a l
structure of c l o s i n g sections.
A d i s c u s s i o n of the r e l a t i o n of the c l o s i n g sec-
t i o n to other small sections i n the e x p o s i t i o n and r e c a p i t u l a t i o n w i l l be found

i n Level (d): Large Sections, l a t e r i n t h i s chapter.
Subsequent chapters w i l l
focus on a n a l y s i s of several c l o s i n g sections and the functions of c l o s i n g sections w i t h i n e x p o s i t i o n s , r e c a p i t u l a t i o n s , and e n t i r e movements.

Generally speaking, on the one hand there are c e r t a i n r e c u r r i n g patterns
and features i n many c l o s i n g s e c t i o n s , and on the other hand some movements
have unique c l o s i n g sections.
I have c l a s s i f i e d c l o s i n g sections i n t o four
types, on the basis of r e c u r r i n g i n t e r n a l s t r u c t u r a l patterns:

(1) The c l o s i n g model.
pp. 7-8.
See the d i s c u s s i o n of t h i s type i n chapter 1,
The f o l l o w i n g adds to that d i s c u s s i o n .
I t i s important to note that a l l u n i t s i n the c l o s i n g model ( i . e . , l e v e l

[b] u n i t s ) are groups.
Obviously,
the u n i t s of the f i r s t p a i r a a a r e
groups.
While b_ and c_ are shorter, they too are g r o u p s o f reduced l e n g t h r a t h e r than

grouplets or subgrouplets
on l e v e l ( a ) .
The c l o s i n g model thus incorporates a
s h i f t i n perception of normal group length, thereby c o n t r i b u t i n g to closure by

reducing the length of timespans (and r e i n f o r c i n g t h i s reduction through repet i t i o n ) and reducing the m a t e r i a l t h a t i s , the g r o u p s i n
the timespans.
The c l o s i n g s e c t i o n of example 1 was discussed e a r l i e r i n order to show

the d i f f e r e n t types of l e v e l - ( b ) s t r u c t u r e s .
While i t i s p o s s i b l e to see four
4-bar l e v e l - ( b ) u n i t s and timespans here, the view from l e v e l (c) shows c l e a r l y

not only the p a i r i n g of groups but a l s o the reduction i n group and timespan
length: m a t e r i a l that was
one bar.
four bars long i s compressed i n t o two bars, then i n t o
I t i s preferable to see a s e r i e s of p r o g r e s s i v e l y shorter u n i t s rather
75
than f o u r e q u a l - l e n g t h
The
ones
here.
c l o s i n g s e c t i o n of example 2, i n mm.
o r d i n a t e theme c o d e t t a .
P a r t of the reason
( T h i s was
discussed
66-94, a l s o f u n c t i o n s as a sub-
i n connection with
"Codettas"
above.)
i t f u n c t i o n s as a c l o s i n g s e c t i o n i s t h a t the sense of c l o s u r e
34
i s enhanced through use

section differs
of the c l o s i n g model.
p a i r , and
i n the d i f f e r e n t
s t r u c t u r e of
the
the
7.
Serenade K.
388:
Closing Section
Measures :
66
K.
(8 + 8) +
388:
74
82
(2) The
86
90
(4 + 4) +
(4 + 4) +
a
(1 + 1 + 1
2 .
b
(2 + 2) +
+
b
2)
b
(1 + 1)
c l o s i n g codetta.
o f t e n f u n c t i o n s more as a f i n a l
T h i s type
i s u s u a l l y o n l y a few
small s e c t i o n .
T h i s type has
the f e a t u r e s of c o d e t t a s , as d i s c u s s e d above.
w i l l be found i n example 8,
o r d i n a t e theme, i n mm.
bars
c o d e t t a to the e n t i r e s u b o r d i n a t e
as a s e p a r a t e
i n mm.
This c l o s i n g
"pair."
Diagram
Model:
diagram 7.
from the model i n i t s doubled l e n g t h , i n the r e l a t e d n e s s of
second p a i r of groups to the f i r s t

third
See
Longer examples may
long,
and
theme a r e a
than
have a more independent s t a t u s .

A clear illustration
from the Piano Sonata i n C Major, K.
35-54(1), i n c o r p o r a t e s a s i g n i f i c a n t and
309.
The
typical
sub-
expansion
43-54(1) u s i n g t h r e e statements of an expanded c a d e n t i a l p r o g r e s s i o n .
Note a l s o the i n c r e a s e i n s u r f a c e rhythmic a c t i v i t y and

c l o s i n g s e c t i o n , i n mm.
54(2)-58, i s comprised of two
the t r i l l
(m.
53).
statements of a simple
The
cad-
76
ential pattern.
truncated
i s only
c l o s i n g model: i n s t e a d
(m.
to see
t h i s c l o s i n g s e c t i o n as a
of t h r e e p a i r i n g s
as
i n the model, here t h e r e
r e c a p i t u l a t i o n form of the c l o s i n g s e c t i o n i s a l s o shown i n example 8
148(2)-155.
A s i d e from the
1 5 0 [ 2 ] ) , t h e r e i s an
the main theme, i n mm.
t r a n s p o s i t i o n and
i n s e r t i o n of
one
(a) a r e f e r e n c e
152-153(3), a motive which was
(3) The
by
type, t h e r e i s a s h o r t ,
an a d d i t i o n
within
the
to the
s i x , and
the
first
the
two
In o r d e r f o r the
There w i l l o f t e n be
i n g the b e g i n n i n g of the
a reduction
are
seen i n the
the Piano Sonata i n B - f l a t Major, K.
570,
s u b o r d i n a t e theme conclude w i t h m.
simple 8-bar p e r i o d ,
(4 + 4 ) , f o l l o w e d
r e c a p i t u l a t i o n form i s the
nordis-
first
closing codetta i s c l e a r l y
theme to be
a c l o s i n g theme as
i n surface
expanded
cadential
rhythmic a c t i v i t y mark-
69,
by
mm.
and
c l o s i n g s e c t i o n of example 9,
70-79.
the
The
timespan and
from
events of
c l o s i n g s e c t i o n comprises a
a 3-bar c o d e t t a ,
([1 +
1] + 1 ) .
same, except of c o u r s e f o r the n e c e s s a r y
(4) Unique p r o c e d u r e s .
f i t any
The
c l o s i n g theme.
Most of these f e a t u r e s
t h a t do not
phrases are
g r o u p s t h a n the
opposed to a second s u b o r d i n a t e theme, i t must o c c u r a f t e r the
the
In t h i s uncommon
c l o s i n g t h e m e a c l o s i n g theme c o d e t t a a s w e l l as a c o d e t t a
closing section.
progression.
153(4)-155.
c o d e t t a added to i t .
t i n c t l y more t h e m e - l i k e t h a t i s , they are p h r a s e s , not

dev-
the c l o s i n g model i s t h a t here t h e r e are
f o u r phrases or groups, not
groups of the
used i n the
i n mm.
c l o s i n g codetta.
simple p e r i o d w i t h a s h o r t e r
d i s t i n c t i o n between t h i s type and

mally only
the
opening motive of
heavily
(b) a d d i t i o n a l c a d e n t i a l m a t e r i a l ,
c l o s i n g theme f o l l o w e d
chromatic a l t e r a t i o n
to the
elopment s e c t i o n , and
two
highly
one.
The
i n mm.
I t might be p o s s i b l e
transposition.
A number of works e i t h e r have c l o s i n g
of the p r e v i o u s t h r e e c a t e g o r i e s ,
The
or have c l o s i n g
sections
sections
77
t h a t a r e extreme v a r i a n t s of one of these t y p e s .

are
O f t e n these unique
procedures
found i n c o n n e c t i o n w i t h unusual s u b o r d i n a t e themes; t h a t i s , the e n t i r e
second-key
a r e a w i l l be unique
i n such works (e.g., the Symphony no. 35,
cussed i n c o n n e c t i o n w i t h L e v e l ( d ) : " E x p o s i t i o n s , " and i n c h a p t e r
dis-
6.)
Codas
As d i s c u s s e d above i n "Three
a f t e r the r e c a p i t u l a t i o n s e c t i o n .
types of c l o s i n g music,"
coda i s not r e p e a t e d .
|| E x p o s i t i o n : || : D e v e l o p m e n t - R e c a p i t u l a t i o n : || , the
In such c a s e s , the r e c a p i t u l a t i o n ends w i t h the t r a n s -
When the coda f o l l o w s the r e p e a t s i g n i t w i l l

twenty
r a t h e r than l a r g e s e c t i o n s .
bars l e n g t h .
movement of the Piano Sonata
or a f t e r a b r i e f
Mozart's
codas a r e always
They are never the s i z e o f , and
i n C Major
link.
u s u a l l y be a s u b s t a n t i a l
f u n c t i o n o f , f o r example, some of Beethoven's codas
a large
after
That i s , i n the i n s t a n c e s where
posed c l o s i n g s e c t i o n , the coda f o l l o w i n g immediately
s m a l l s e c t i o n of about
occur
In such c a s e s , they are u s u a l l y found
the d e v e l o p m e n t - r e c a p i t u l a t i o n r e p e a t s i g n .
the r e p e a t s t r u c t u r e i s
codas may
new
small
they never have the
(such as t h a t i n the
first
[ W a l d s t e i n ] , op. 53, where the coda i s
section).
E x t e n s i o n s of the c l o s i n g s e c t i o n i n the r e c a p i t u l a t i o n are sometimes
found: these w i l l be q u i t e s h o r t and not t r u e s m a l l s e c t i o n s .

d i s c u s s e d here because
of t h e i r s i m i l a r i t y
to codas.
They w i l l
be
Such e x t e n s i o n s v a r y
from one or two a d d i t i o n a l t o n i c chords t o one or two a d d i t i o n a l groups.

material w i l l
be c l e a r l y
s i m i l a r to the c l o s i n g s e c t i o n m a t e r i a l ,
b e i n g r e p e t i t i o n s of the f i n a l c l o s i n g s e c t i o n groups.
two
actually
A n y t h i n g l o n g e r than
groups, h a v i n g m a t e r i a l not so c l o s e l y r e l a t e d to the c l o s i n g
l i k e l y be a coda p r o p e r .
i f not
The
section,
will
78
There a r e a l s o movements i n which t h e second key a r e a i s r e w r i t t e n i n

the r e c a p i t u l a t i o n such t h a t i t i s d i f f i c u l t
a coda.
t o i d e n t i f y what might
One o f t h e f u n c t i o n s of a coda (as w e l l as of b o t h c l o s i n g
constitute
section
e x t e n s i o n s and r e w r i t t e n second key a r e a s ) i s t o g i v e t h e r e c a p i t u l a t i o n a d i f f e r e n t ending from t h a t o f the e x p o s i t i o n , t h i s b e i n g one way i n which t h e two
large sections are d i f f e r e n t i a t e d .
R e l a t i v e l y few movementsperhaps about o n e - q u a r t e r h a v e codas.
c e r t a i n e x t e n t the presence o f a coda seems t o depend
To a
on genre: f o r example,
codas a r e more common i n the s t r i n g q u a r t e t s than i n the p i a n o s o n a t a s .
Of
the t e n s t r i n g q u a r t e t s , h a l f have codas; o f the twelve p i a n o s o n a t a s , o n l y

o n e K . 4 5 7 h a s a coda.
All
35
f o u r s t r i n g q u i n t e t s have s u b s t a n t i a l codas.
Of t h e t e n symphonies
(nos. 31-41, o m i t t i n g no. 37),. e i g h t have e i t h e r a coda o r a c l o s i n g

e x t e n s i o n , the l a t t e r b e i n g more f r e q u e n t .
section
(Numbers 35 and 38 have n e i t h e r . )
Some movements i n v o l v e a r e w r i t t e n second key a r e a w i t h some sense o f a coda

(e.g., nos. 31 and 34), and two have an extended c l o s i n g s e c t i o n t h a t i s c l o s e
to b e i n g a coda
(nos. 39 and 40).
That t r u e codas a r e n o t common i n t h e sym-
phonies may have some c o n n e c t i o n w i t h the r e p e a t s t r u c t u r e of the movements:

numbers 31-35 have no r e p e a t s i g n s ; numbers 36, 39, 40, and 41 r e p e a t o n l y the
exposition.
A s e p a r a t e coda s m a l l s e c t i o n i s more common i n works which r e p e a t
both the e x p o s i t i o n and t h e d e v e l o p m e n t - r e c a p i t u l a t i o n , such as i n t h r e e of the

four s t r i n g quintets
(K. 516, 593, and 614).
Where t h e d e v e l o p m e n t - r e c a p i t u l a -
t i o n i s r e p e a t e d , the c l o s i n g s e c t i o n must be w r i t t e n so as t o l e a d back

to the development:
first
any s u g g e s t i o n o f a coda must t h e r e f o r e be a v o i d e d u n t i l
a f t e r the r e p e a t s i g n .
Where the d e v e l o p m e n t - r e c a p i t u l a t i o n i s n o t r e p e a t e d ,
the c l o s i n g s e c t i o n can be extended f o r g r e a t e r c l o s u r a l e f f e c t , and a s e p a r a t e
79
coda i s not as l i k e l y
i n these c a s e s .
Here the r e v i s e d c l o s i n g s e c t i o n a t t a i n s
some o f the f u n c t i o n o f a t r u e coda because s i m i l a r f e a t u r e s

In movements where a coda f o l l o w s
f u n c t i o n i s found i n b o t h o f these s m a l l
does not r e p l a c e
but
a r e found i n b o t h .
the c l o s i n g s e c t i o n , the c l o s u r a l
sections.
I n such movements the coda
the c l o s u r a l f u n c t i o n n o r m a l l y found i n the c l o s i n g s e c t i o n ,
adds t o i t : such codas stand s l i g h t l y o u t s i d e
o f the l a r g e s e c t i o n s
of the
movement and, i n f a c t , c l o s e t h e whole movement.
I t might be suggested t h a t ,
i n such c a s e s , the c l o s i n g s e c t i o n f u n c t i o n s
t o c l o s e the l a r g e
only
section:
however, the c l o s i n g s e c t i o n i n these cases i s not r a d i c a l l y d i f f e r e n t from the

c l o s i n g s e c t i o n i n movements w i t h o u t a coda, where the c l o s i n g s e c t i o n e f f e c t i v e l y c l o s e s b o t h the l a r g e s e c t i o n and the whole movement.
d i f f e r e n t l y constructed
nearly
fills
There a r e a few
movements i n which the c l o s i n g s e c t i o n i s absent, o r
so, from b o t h the e x p o s i t i o n and r e c a p i t u l a t i o n , and i n which a coda

the m i s s i n g
closural function
(e.g.,
Codas and extended c l o s i n g s e c t i o n s

have more of the same c o d e t t a
features
features
ful-
the Symphony no. 3 9 ) .

have s i m i l a r f e a t u r e s :
codas s i m p l y
than do extended c l o s i n g s e c t i o n s .
These
a r e the ones u s u a l l y found i n c o d e t t a s and c l o s i n g s e c t i o n s : t o n i c p r o -
longation,
r e p e t i t i o n of simple c a d e n t i a l p a t t e r n s ,
s t r u c t u r e , use o f groups r a t h e r
r e g u l a r p e r i o d i c timespan
than p h r a s e s , and l i m i t e d use o f m o t i v i c
refer-
ence .
Example 10 i n c l u d e s
the c l o s i n g . s e c t i o n from the e x p o s i t i o n ,
f o l l o w e d by
the c l o s i n g s e c t i o n from the r e c a p i t u l a t i o n , and'then the coda, from the Piano

Sonata i n C Minor, K. 457.
ilar,
i n mm.
59-71(1) and 156-168(1).
s t a n t i a l ones, not o n l y
development
The two forms o f the c l o s i n g s e c t i o n a r e v e r y simThe 18-bar coda i s one o f the more sub-
i n l e n g t h but a l s o i n c o n t e n t .
I t features
o f the opening main theme motive, a development
t h a t was
an i m i t a t i v e
prefigured
80
i n t h e r e t r a n s i t i o n , i n mm.
71-74, and i n the r e v i s e d t r a n s i t i o n ,
i n mm.
118-120
(not shown i n example 10).
The e x p o s i t i o n , development, r e c a p i t u l a t i o n , and
coda a l l b e g i n w i t h t h i s a r p e g g i o motive on C, and t h i s lends more weight than

i s usual
t o t h e coda.
I n a d d i t i o n , i t might be suggested t h a t t h e l e n g t h and
s u b s t a n t i a l c o n t e n t of the coda might g i v e i t enough weight to b a l a n c e t h e

25-bar development s e c t i o n .
(The coda o f t e n has t h i s f u n c t i o n i n Beethoven's
works, as i n t h e W a l d s t e i n Piano Sonata.)

because t h e development a c q u i r e s
whereas t h e coda i s heard o n l y
more importance through i t s r e p e t i t i o n ,
codetta
eight barsconstructed
f o l l o w i n g s i x b a r s , mm.
i n t e r p r e t a t i o n i s weakened
once."^
T h i s coda has t h e u s u a l
the f i r s t
This
and c l o s i n g s e c t i o n f e a t u r e s ,
as (2 x 4 ) a r e
although
more a c t i v e than u s u a l .
The
176-181, a r e made up o f two s e g m e n t s ( 3 x 2 ) a n d t h e
f i n a l four bars are t o n i c prolongation.
The coda s u p p l i e s one f e a t u r e
missing
from the e x p o s i t i o n and r e c a p i t u l a t i o n : n o r m a l l y the expanded c a d e n t i a l p r o g r e s s i o n concludes w i t h a b a r of t r i l l
immediately b e f o r e
the c l o s i n g s e c t i o n .
37
This feature, missing
from mm. 58 and 155, i s found i n m. 175.
Introductions
In the works I have a n a l y s e d ,
i n t r o d u c t i o n s a r e separated
from the main
p a r t o f the movement by (1) a d i f f e r e n t tempo (the i n t r o d u c t i o n i s always i n a

slow tempo, t h e subsequent p a r t
i n a f a s t e r tempo), (2) a d i f f e r e n t meter
i n the Symphony no. 36 the i n t r o d u c t i o n i s i n 3/4, the subsequent p a r t
(e.g.,
i n C),
(3) a pause a t t h e end of the i n t r o d u c t i o n , (4) the f a c t t h a t t h e i n t r o d u c t i o n

i s not included
duction
features
i n the repeat
of t h e e x p o s i t i o n , and (5) t h e f a c t t h a t the i n t r o -
i s n o t p a r t o f t h e sonata form, and o f t e n does n o t have motives o r other

i n common w i t h the sonata form.
These f a c t o r s suggest t h a t
introduc-
81
t i o n s a r e n o t always p a r t of the f i r s t movement, and I w i l l not c o n s i d e r

ductions
with
i n any depth, even a t l e v e l
( e ) , unless
a c l e a r r e l a t i o n i s apparent
the sonata-form p a r t of the movement, and, s p e c i f i c a l l y , u n l e s s
d u c t i o n has some c o n n e c t i o n
with
Level
( d ) : Large
intro-
the i n t r o -
38
Sections
Expositions
The most important f o u r s m a l l s e c t i o n s d i s c u s s e d
with
level
(c) combine i n the f o l l o w i n g order
s i t i o n s t r u c t u r e : main theme, t r a n s i t i o n ,
above i n c o n n e c t i o n
t o form the u s u a l model of expo-
subordinate
theme, c l o s i n g s e c t i o n
(MT-TR-ST-CS), a l t e r n a t i n g primary and s u b s i d i a r y s m a l l s e c t i o n s .

a p p l i e s w e l l t o a p p r o x i m a t e l y o n e - t h i r d of the e x p o s i t i o n s I have
These e x p o s i t i o n s
exact
T h i s model
studied.
i n v o l v e a l l f o u r s m a l l s e c t i o n s used i n normal ways.
r e l a t i o n s h i p between l e n g t h s
g r e a t v a r i a t i o n , appearing
v i d u a l movements.
l e n g t h of any o t h e r
The
of i n d i v i d u a l s m a l l s e c t i o n s i s s u b j e c t to
t h e r e f o r e to be one cause of the uniqueness of i n d i -
However, a s m a l l s e c t i o n w i l l
r a r e l y be more than twice the
small s e c t i o n i n a given e x p o s i t i o n .
More commonly
a l e n t i n l e n g t h i s the MT-TR p a i r compared w i t h
the ST-CS p a i r .
h a l f of the e x p o s i t i o n i s o f t e n s l i g h t l y
than the f i r s t
longer
equiv-
The second
half.
Exposition
l e n g t h i s not a f a c t o r i n e i t h e r the l e n g t h of s m a l l s e c t i o n s or the degree of

a p p l i c a b i l i t y of the model.
Absolute
l e n g t h i s , however, o n l y one f a c t o r i n e v a l u a t i n g the s i g n i f i -
cance and i n f l u e n c e of these s m a l l s e c t i o n s .

area
The s h o r t e r l e n g t h of the t o n i c
i s b a l a n c e d by the u s u a l l y t i g h t e r c o n s t r u c t i o n of the main theme compared
82
Diagram 8
A Model of E x p o s i t i o n
Structure
Exposition
Level
(c)
main theme
transition
(b)
phrases
phrases
(a)
motivic
segments
second theme
closing
-^groups phrases
phrases & groups
motivic
^grouplets
section
segments
-^grouplets
Note: Arrow means "becoming."
w i t h the s u b o r d i n a t e theme and

small
s e c t i o n i n the t o n i c
common model of how
v a r y w i t h i n the e x p o s i t i o n .
incomplete one,
I t should
the f a c t t h a t i t o c c u r s f i r s t
u n i t s on
be
only
l e v e l s ( a ) , ( b ) , and
emphasized t h a t t h i s i s o n l y one
for exposition structure.
The
two
i n the diagram, are d i s t i n g u i s h e d by
tonality.
T h i s f a c t o r , among o t h e r s ,
the
model, and
an
themes, which appear to
c e r t a i n other
a l s o d i f f e r e n t i a t e s the
features,
two
(c)
be
such as
subsidiary
sections.
The
e x p o s i t i o n of example 1 may
be
considered
model: the main theme i s e i g h t b a r s l o n g ,

bars l o n g ,
and
i s the
T h i s p a t t e r n a l s o a p p l i e s i n l a r g e p a r t to
equivalent
small
and
key.
Diagram 8 shows one
recapitulation.
by
i n mm.
i n mm.
i l l u s t r a t i o n of
d i f f e r s from t h a t on p.
55.)
The
the
and
i n mm.
(1) the c l o s e s t r u c -
see note 25);
sectionshaving
second p a i r s 4 : 9 .
30-49;
(This i n t e r p r e t a t i o n
t r a n s i t i o n (to the p o i n t
l a r g e r theme., a p e r i o d ;
imbalance i n l e n g t h among the f o u r s m a l l

and between the f i r s t
50-65.
unusual f e a t u r e s here are
t u r a l i d e n t i t y of the main theme and

be heard as one
i n mm.
this
14-21; the t r a n s i t i o n e i g h t
22-29; the s u b o r d i n a t e theme twenty b a r s l o n g ,
the c l o s i n g s e c t i o n s i x t e e n bars l o n g ,
s e c t i o n s may
an
t h a t these
and
a r a t i o of
(2)
two
the
2:2:5:4
( T h i s i s perhaps p a r t i a l l y
compen-
83
s a t e d f o r by the t o n i c a r e a of the i n t r o d u c t i o n . )
The
e x p o s i t i o n of example 3 i s s i m i l a r to t h a t of example 1 i n some
a s p e c t s of form.
The main theme i s t e n b a r s l o n g , i n mm.
twelve bars l o n g , i n mm.

mm.
23-58; and
1-10;
the
transition
11-22; the s u b o r d i n a t e theme t h i r t y - s i x b a r s l o n g , i n
the c l o s i n g s e c t i o n o n l y f i v e bars l o n g , i n mm.
59-63.
r a t i o of s m a l l s e c t i o n l e n g t h s does not i n c l u d e as g r e a t an imbalance

example 1, but
i t is still
u n u s u a l 2 : 2 : 6 : 1 , and
4:7.
theme i s the r e s u l t of a twenty-bar codetta-complex

theme.
The
the c a s e .
That
l a r g e subordinate
i s common, when, as
a t i t s end,
as i s u s a l l y
i s , the s u b o r d i n a t e theme i s a 16-bar p e r i o d , the
theme codetta-complex
s u p p l y i n g the expansion
c a d e n t i a l p r o g r e s s i o n ( i n mm.
T h i s codetta-complex
as i n
t o the a c t u a l s i x t e e n - b a r
The a d d i t i o n of a c o d e t t a o r a codetta-complex
the s u b o r d i n a t e theme i t s e l f has no expansion
The
and,
here,
otherwise
subordinate
i n p a r t i c u l a r , the expanded
52-58) c h a r a c t e r i s t i c of s u b o r d i n a t e themes.
i s s u b s t a n t i a l enough to absorb p a r t of the c l o s i n g
f u n c t i o n , the c l o s i n g s e c t i o n b e i n g merely
section
a c l o s i n g c o d e t t a , and a p a r t i c u l a r l y
s h o r t one a t t h a t .
The
e x p o s i t i o n of example 2 may
be seen as a normal one
i f the
final
s m a l l s e c t i o n i s regarded as f u n c t i o n i n g o n l y as a c l o s i n g s e c t i o n , as opposed
to b o t h a c l o s i n g s e c t i o n and a s u b o r d i n a t e theme codetta-complex
above i n L e v e l ( c ) : " C o d e t t a s " ) .
i n mm.
1-21;
Here the main theme i s twenty-one b a r s l o n g ,
the t r a n s i t i o n twenty b a r s l o n g , i n mm.
theme t w e n t y - f i v e b a r s l o n g , i n mm.
bars l o n g , i n mm.
67-94.
The
42-66; and
cussed
i r r e g u l a r , unique
i n note
27.
The
22-41;:the s u b o r d i n a t e
the c l o s i n g s e c t i o n
twenty-eight
r a t i o of l e n g t h s i s c l o s e r t o the norm compared
w i t h the two p r e v i o u s examples; here 4:4:5:6, and

The
(as d i s c u s s e d
4:5.
s t r u c t u r e of the main theme of example 2 i s d i s -
t r a n s i t i o n b e g i n s as a v a r i a n t of the main theme
opening,
84
a v a r i a n t which i n i t i a t e s a p r o c e s s o f r e g u l a r i z i n g the l e n g t h s o f groups and

phrases by adding one b a r to the main theme's 5-bar opening phrase
mm.
22-27).
There a r e two more 6-bar phrases
i n the t r a n s i t i o n , f o l l o w e d by a
2-bar l i n k t o t h e s u b o r d i n a t e theme, which a l s o f e a t u r e s prominent

phrases.
groups,
(mm. 1-5,
use of 6-bar
The c l o s i n g s e c t i o n n o r m a l i z e s l e n g t h s even more i n i t s use o f 8-bar

c l o s i n g s e c t i o n timespans
b e g i n n i n g i n m. 66.
These a r e the timespans:
MT: (5 + 4) + 3 + (2 + 2) + (1 + 1 + 2) + 1
TR:
(6 x 3) + 2
ST: ( 6 x 4 )
CS:
(8 x 2) + (4 x 2) + 5
T h i s e x p o s i t i o n may t h e r e f o r e be viewed
as h a v i n g a p r o c e s s of p e r i o d i z a t i o n :
the main theme s e t s up a d i s s o n a n c e of timespans

small
that r e s o l v e s i n succeeding
sections.
In these t h r e e e x p o s i t i o n s t h e t r a n s i t i o n always b e g i n s as a v a r i a n t o f
the opening o f the main theme.
T h i s s o r t of c o n n e c t i o n between s m a l l s e c t i o n s
weakens t h e independence o f these s m a l l s e c t i o n s ( i n t h a t t h e i r openings

s i m i l a r m o t i v i c m a t e r i a l ) w h i l e a t the same time forming l a r g e r - s c a l e
and u n i t s
(on a l e v e l between [ c ] and [ d ] ) .
t h r e e movements i s a common one.
share
connections
The MT-TR c o n n e c t i o n seen i n these
The thematic c o n n e c t i o n , however, c o n t r a s t s
w i t h t h e harmonic and s t r u c t u r a l d i f f e r e n c e s between these two s m a l l s e c t i o n s .

As i n K. 388, harmonic and thematic a s s o c i a t i o n s between the main theme and t h e
t r a n s i t i o n d i s s i p a t e i n u n i s o n soon a f t e r t h e t r a n s i t i o n b e g i n s .
The
t h r e e e x p o s i t i o n s d i s c u s s e d so f a r t h o s e i n examples 1, 2, and 3
may be i n t e r p r e t e d i n more than one way a c c o r d i n g t o t h e p r i n c i p l e s I have s e t

f o r t h here.
shortly.)
(Other i n t e r p r e t a t i o n s o f these e x p o s i t i o n s w i l l be mentioned

Although
i t i s common f o r p i e c e s t o be s u b j e c t t o such
differing
85
i n t e r p r e t a t i o n s , t h e r e a r e some e x p o s i t i o n s which have e s s e n t i a l l y o n l y one

i n t e r p r e t a t i o n i n my approach.
I l l u s t r a t i o n s of such c l e a r l y normative expo-
s i t i o n s can be found, f o r example, i n t h e f o l l o w i n g works: t h e Symphony no. 40

(see c h a p t e r 3 ) , t h e V i o l i n Sonata K. 481 (see c h a p t e r 5 ) , and t h e S t r i n g Quart e t K. 387 (see c h a p t e r 3 ) .
Many e x p o s i t i o n s
s e c t i o n model.
incorporate
Such e x p o s i t i o n s may be c a t e g o r i z e d
those i n v o l v i n g minor m o d i f i c a t i o n s
apply,
some m o d i f i c a t i o n of t h e standard
not
possibly with a l t e r n a t i v e a n a l y t i c a l interpretations using
apply
w i l l u s u a l l y be p o s s i b l e , some
There i s , then, a s l i d i n g
s c a l e o f t h e degree o f a p p l i -
c a b i l i t y of t h e e x p o s i t i o n model: a t one extreme, some p i e c e s w i l l

t r a i t s of the model; a t the o t h e r
still
t h e model; and
o f t h e model, i n which t h e model may
i n p a r t , and i n which a l t e r n a t i v e a n a l y s e s
i n v o l v i n g the model.
classes:
t o t h e model and i n which t h e model may
those i n v o l v i n g extreme m o d i f i c a t i o n s
only
i n t o two g e n e r a l
four-small-
exhibit a l l
extreme, some p i e c e s w i l l have few, i f any,
t r a i t s of the model; and i n between f a l l s
the m a j o r i t y
of pieces,
that
involve
39
some degree o f m o d i f i c a t i o n
The
vast majority
the t r a n s i t i o n .
to t h e model.
of a l t e r a t i o n s t o t h i s e x p o s i t i o n model take p l a c e a f t e r
Some works do i n v o l v e a l t e r a t i o n s t o t h e t r a n s i t i o n and i t s con-
n e c t i o n w i t h subsequent m a t e r i a l , and a few i n v o l v e a l t e r a t i o n s i n the MT-TR r e l a t i o n s h i p , such as t h e r e b e i n g
one MT-TR s m a l l
s e c t i o n r a t h e r than two d i s c r e t e
ones ( i . e . , i n s t e a d o f s e p a r a t e MT and TR s e c t i o n s ) .
Another common a l t e r a t i o n i n v o l v e s
to the e x p o s i t i o n .
be
Occasionally
the reverse
happens, and a s m a l l
o m i t t e d from t h e e x p o s i t i o n , o r a t l e a s t s e v e r e l y
tions involve connecting

one
the a d d i t i o n of a f i f t h
small
two s m a l l
truncated.
small
section
section w i l l
Other
altera-
s e c t i o n s , t r a n s f e r r i n g normal f u n c t i o n s of
s e c t i o n t o a n o t h e r , and a v o i d i n g
sections a l t o g e t h e r r e p l a c i n g
them
86
w i t h continuous m a t e r i a l
t h a t i s not p a r t i t i o n e d i n t o l e v e l - ( c ) u n i t s .
amples of a l l of these types of a l t e r a t i o n s w i l l be

The
one
small
t i o n small
seen i n subsequent
a l t e r a t i v e a n a l y s i s of example 1 i n v o l v e s i n t e r p r e t i n g mm.
s e c t i o n (see note 25).
T h i s means t h a t t h e r e
s e c t i o n , the t r a n s i t i o n f u n c t i o n b e i n g
(Ex-
i s no
chapters.)
14-29
distinct
as
transi-
absorbed i n t o the end
of
the
40
thematic s m a l l
small
CS
one
s e c t i o n which modulates to the dominant.
s e c t i o n s , then, t h i s e x p o s i t i o n has
s i x t e e n , h a v i n g a r a t i o of 4:5:4.
only
t h r e e : MT
Instead
of
sixteen bars,
four
ST
twenty,
T h i s r a t i o i s more b a l a n c e d than i s the
i n the i n t e r p r e t a t i o n of t h i s e x p o s i t i o n i n v o l v i n g f o u r s e c t i o n s w i t h
r a t i o 2:2:5:4.
The
introduction, i f considered
the
p a r t of the e x p o s i t i o n , may
f o u r t h small
some of the f u n c t i o n s
of the m i s s i n g
of f o u r s e c t i o n s , and
second, i t does have the m o d u l a t i o n from t o n i c to dominant
t h a t would be found i n the t r a n s i t i o n .

to e x p l a i n why
there
are o n l y
In example 2 i t has
as c o n t a i n i n g
it
three
In t h i s work the
small
sections
from the
A.
bass p r o g r e s s i o n
w i t h two
continues
mm.
71-74.
mm.
66-94
However,
They have
the expanded c a d e n t i a l
no
cadence u s i n g
progres-
either
3-4-5
or an expansion.
missing
The
the
codetta-complex to the theme b e g i n s
66-70, i n which the bass ends o n ^
from the bass of the
(G), the p i t c h
second h a l f of the
theme.
The
i n a s l i g h t l y v a r i e d form of the expanded c a d e n t i a l p r o g r e s s i o n

T h i s i s then r e p e a t e d i n mm.
r u p t i o n a t m.
help
exposition.
or a c l o s i n g s e c t i o n .
s u b o r d i n a t e theme, which has
first
segments, i n mm.
c l a s s t h a t was
i n t r o d u c t i o n does
these measures f u n c t i o n i n g i n both ways.
the former f u n c t i o n i n p a r t because they supply

sion missing
i n the
i t i s the
been n o t e d t h a t i t i s p o s s i b l e to c o n s i d e r
e i t h e r a s u b o r d i n a t e theme c o d e t t a
i s b e t t e r to c o n s i d e r
section: f i r s t ,
have
82 emphasizes a g a i n
i s ornamented through m.
74-81.
the 3, and
The
dynamic and
cadential
85 where these measures are
repeated.
bass
in
inter-
progression
87
The
e x p o s i t i o n of example 3 was
a somewhat l a r g e r than u s u a l
codetta-complex i n mm.
above c o n s i d e r e d
s u b o r d i n a t e theme a r e a , due
39-58, which a l s o has
n a t i v e a n a l y s i s , suggested by
another.
23-38) one
the imbalance of s m a l l
T h i s has
four-small-section
small
the advantage not
codetta-complexes and
The
p r e t a t i o n mm.
harmonically
s e c t i o n s , an
i s to c o n s i d e r
the
the codetta-complex
An
alter-
imbalance
( i n mm.
39-58)
considered
an
codetta-
independent
i s then 3:3:4:5:1$.
small
In t h i s
inter-
38-58 f u n c t i o n i n t h r e e ways: (1) they form a codetta-complex

s e c t i o n t h a t i n c l u d e s new
melodic m a t e r i a l
w e l l as development; (2) they f u n c t i o n as a codetta-complex to the

theme, i n c o r p o r a t i n g the m i s s i n g
expanded c a d e n t i a l p r o g r e s s i o n ;
lows, a c l o s i n g s e c t i o n too s h o r t
and
(3)
to i n c l u d e a l l the c l o s u r a l f u n c t i o n .
i n t e r p r e t a t i o n of example 3 i s p r e f e r a b l e to t h a t mentioned above i n t h i s

A number of o t h e r
e x p o s i t i o n s w i l l be d i s c u s s e d
Examples of works v a r y i n g
i n some way
in detail
they
the e x p o s i t i o n
chapter.
The
i n subsequent c h a p t e r s .
( i n mm.
1-94)
This
section.
i n subsequent
( A l l of these works
None are quoted as m u s i c a l
Symphony i n D Major ( H a f f n e r ) , no.
fol-
from the model are c i t e d below,
w i t h a n n o t a t i o n s i n d i c a t i n g a s p e c t s of these v a r i a t i o n s .
w i l l be d i s c u s s e d
as
subordinate
b e g i n the p r o c e s s of c l o s u r e t h a t i s c o n f i r m e d i n the c l o s i n g s e c t i o n t h a t
(1) The
the
somewhat more s u b s t a n t i a l than most
s e c t i o n lengths
f u n c t i o n i n g as a s u b s i d i a r y s m a l l
chapters.
due
subordinate
a l s o of acknowledging t h a t the
t h e r e f o r e deserves to be
r a t i o of s m a l l
s u b o r d i n a t e theme
o n l y of r e s o l v i n g the imbalance w i t h i n
i n t e r p r e t a t i o n , but
complex i s m e l o d i c a l l y and
section.
s e c t i o n , and
to the
some c l o s u r a l f u n c t i o n .
l a r g e l y to the 36-bar s u b o r d i n a t e theme a r e a ,

theme ( i n mm.
a normal e x p o s i t i o n w i t h
35.
examples.)
Some unusual f e a t u r e s
of
of t h i s work have been mentioned e a r l i e r i n t h i s
e x p o s i t i o n model does not
sons: (a) T h i s e x p o s i t i o n i s u n u s u a l l y
a p p l y w e l l here f o r the f o l l o w i n g
c o n t i n u o u s , due
to a g r e a t
d e a l of
reaover-
88
lapping of small
s e c t i o n s and t o the l a c k of breaks i n the t e x t u r e .
are many more than f o u r s m a l l
s e c t i o n s , the f u n c t i o n s of which a r e n o t always
c l e a r , a t l e a s t n o t i n the sense o f p r i m a r y , o r t h e m a t i c , v e r s u s
small
sections.
That i s , the p r i m a r y / s u b s i d i a r y
because the thematic models a r e n o t used
dominant b e g i n s i n m. 24 b u t i s a r r e s t e d
A stronger
subsidiary
distinction i s blurred, partly
( o r a r e used as extreme v a r i a n t s ) .
(c) The m o d u l a t i o n i s accomplished i n a v e r y u n c o n v e n t i o n a l way.
t o n i c and the main motive.
(b) There
A move t o the
i n m. 41 w i t h a prominent r e t u r n o f the
move t o the dominant f o l l o w s ,
g l e motive dominates the melody, and there
i s no s t r o n g
(d) A s i n -
c a n d i d a t e f o r second
41
theme.
atic,
From m. 13 t o m. 94 t h e r e
are several small
sections
t h a t have them-
t r a n s i t i o n a l , and c l o s u r a l f u n c t i o n s .
(2) The Symphony i n C Major ( J u p i t e r ) , no. 41.
t h i s work a l s o f e a t u r e s
a very
L i k e the H a f f n e r
Symphony,
continuous e x p o s i t i o n , a l t h o u g h the g r e a t e r de-
gree of c o n t i n u i t y comes about here i n a d i f f e r e n t way and i n s p i t e of the

breaks between s m a l l
sections.
t h a t i t i s open-ended (ending
The main theme, a l t h o u g h l o n g ,
i s unusual i n
on the dominant i n m. 2 3 ) . The r e s t i n m. 80 ap-
pears t o s i g n a l the end of the s u b o r d i n a t e theme c o d e t t a , which ended

s i v e l y the b a r b e f o r e .
The f o l l o w i n g s e c t i o n , i n mm.
inconclu-
81-100, i s a c o n t i n u a t i o n
of the s u b o r d i n a t e theme c o d e t t a
i n t o a codetta-complex h a v i n g a more s i g n i f i c a n t
f u n c t i o n than t h a t o f a c o d e t t a ,
ending as i n c o n c l u s i v e l y as the p r e v i o u s
and w i t h a r e s t i n m. 100.
The f o l l o w i n g c l o s i n g s e c t i o n i s the o n l y
t i o n t o end w i t h a p e r f e c t a u t h e n t i c
cadence.
section
small
Each of the f o u r o r f i v e
sec-
small
s e c t i o n s has i t s i d e n t i t y and f u n c t i o n weakened due to i t s open-ended n a t u r e ,

1
ending on the dominant of the f o l l o w i n g s e c t i o n (except
f o r the c l o s i n g s e c t i o n ) .
(3) The Sonata f o r V i o l i n and Piano i n F Major, K. 377.

i n mm.
The main theme,
1-17, i s s i m i l a r i n form and f u n c t i o n to t h a t of example 1; both a r e
89
16-bar p e r i o d s
t h a t end
s t r o n g , however, as
on the dominant.
i n K.
454.)
f u n c t i o n s are combined i n one

section follows
i n mm.
about equal l e n g t h ,
(4) The
In K.
small
37-51.
the t r a n s i t i o n and
s e c t i o n , i n mm.
18-36.
thus o n l y
three
377
of o n l y
two
small
sections
as
The
small
normal c l o s i n g
sections,
545.
T h i s work has
considering.
the
of
a 3-bar c o d e t t a .
i s obviously
shortest
I t s t w e n t y - e i g h t b a r s are made
of o n l y a 12-bar main theme t h a t ends on the dominant, a 1-bar
12-bar s u b o r d i n a t e theme, and
i s not
h a v i n g a double f u n c t i o n .
Piano Sonata i n C Major, K.
e x p o s i t i o n of a l l those works I am
up
377
There are
the middle one
(The motion to V i n K.
The
l i n k to
the
type of e x p o s i t i o n composed
r e l a t e d to an h i s t o r i c a l l y e a r l i e r ,
and
43
s h o r t e r , model of sonata form.
(5) The
S t r i n g Quintet
i n C Major, K.
e x p o s i t i o n I have e n c o u n t e r e d a b o u t
of a number of s m a l l
f o r e i g n key
sections
145
515.
bars.
to determine, as
cisms t h a t c h a r a c t e r i z e the end

s u b o r d i n a t e theme and
expanded l e n g t h ,
The
the
main theme a r e a
t o t a l l i n g about s i x t y b a r s and
areas t h a t p r e f i g u r e the t r a n s i t i o n .
transition is difficult
T h i s work has
The
longest
i s composed
i n c l u d e s some
p r e c i s e s t a r t of
i t seems to grow out
of the main theme a r e a ,
i n mm.
of the
chromati-
57-69.
c l o s i n g s e c t i o n are r e l a t i v e l y normal a s i d e from
i n mm.
86-114 and
115-143.
The
the
The
their
e x p o s i t i o n i s somewhat
similar
to t h a t of the H a f f n e r
Symphony i n t h a t the m o d u l a t i o n i s accomplished i n stages
i n more than one
s e c t i o n , here i n the main theme and
one
reason why
small
there
t i o n s or s e c t i o n s
i s no
clear separation
i n t h i s work.
transition:
of main theme and
this is
transition
func-
90
Developments
The e s s e n t i a l f u n c t i o n of the development s e c t i o n t o act as a t e x t u r a l ,
formal, harmonic, melodic, and rhythmic contrast to the e x p o s i t i o n u s u a l l y i s
r e a l i z e d i n a r e l a t i v e l y small number of bars.
The average length i s f o r t y
bars, with the exposition:development r a t i o commonly about 2:1. Whatever the

form of a given development, d i v i s i o n s at l e v e l (c) are u s u a l l y weak due to the
lack of strong cadences and the use of overlapping.
This continuous nature of
the development, coupled with i t s r e l a t i v e l y short length, are the reasons why
t h i s section i s often on a l e v e l between that of (c) and (d).
When thematic
models are used, they are found i n s u b s t a n t i a l l y modified form.
Detailed d i s -
44
cussion of developments i s unnecessary here.
Recapitulations
The norm f o r the r e c a p i t u l a t i o n section i s the repeat of the e x p o s i t i o n
s e c t i o n , with the exception of the necessary t r a n s p o s i t i o n of the secondary key
material i n t o the t o n i c .
The form of the r e c a p i t u l a t i o n i s therefore u s u a l l y
the same as that of the e x p o s i t i o n , except f o r the t r a n s p o s i t i o n .
That i s , the
type and order of l e v e l - ( c ) sections i s normally the same i n both e x p o s i t i o n and

r e c a p i t u l a t i o n , although at times there are small d i f f e r e n c e s between the two
forms of a s e c t i o n , such as might r e s u l t from expansion or c o n t r a c t i o n .
There
are a few movements i n which there are s i g n i f i c a n t differences between the expos i t i o n and r e c a p i t u l a t i o n at l e v e l (d).
However, the percentage of movements
having differences between e x p o s i t i o n and r e c a p i t u l a t i o n r i s e s somewhat when

viewed from l e v e l s (a) and (b): f o r example, embellishments or other s l i g h t
v a r i a t i o n s of a motive or phrase are not uncommon.
91
Comparison o f l e v e l - ( d ) u n i t s would seem t o be a p p r o p r i a t e i n the d i s cussion
of l e v e l ( e ) , but because of the c l o s e
i t u l a t i o n I w i l l do some of t h i s h e r e .
and
the t e n s t r i n g q u a r t e t s w i l l
f e r e n c e s between e x p o s i t i o n s
have s i m i l a r e x p o s i t i o n s
i d e n t i t y of e x p o s i t i o n
and r e c a p -
An examination o f the t e n symphonies
s e r v e t o i l l u s t r a t e the e x t e n t and type of d i f -
and r e c a p i t u l a t i o n s .
and r e c a p i t u l a t i o n s
F i f t e e n of these twenty works
a t l e v e l s . ( c ) and ( d ) .
(The excep-
t i o n s a r e the Symphonies nos. 31, 32, 34, and 38, and the Q u a r t e t K. 465.) I f
codas and c l o s i n g s e c t i o n e x t e n s i o n s a r e c o n s i d e r e d as s i g n i f i c a n t a l t e r a t i o n s
to l e v e l s (c) and (d) w i t h i n
the r e c a p i t u l a t i o n , then s e v e r a l more movements
would be regarded as h a v i n g r e c a p i t u l a t i o n s
(See
"Codas" above, f o r a d i s c u s s i o n
s t r i n g quartets.)
Alterations
of t h i s w i t h r e s p e c t
to r e c a p i t u l a t i o n s
mon: a l l works have some such changes.

variations
follows,
d i f f e r e n t from t h e i r
A list
expositions.
t o t h e symphonies and
a t l e v e l s (a) and (b) a r e com-
of the types of r e c a p i t u l a t i o n
w i t h some examples of each type, s t a r t i n g w i t h
alterations
a t lower l e v e l s .
(1) Two works h a v i n g almost no a l t e r a t i o n s a r e t h e Q u a r t e t s K. 458 and
499.
Both have s l i g h t a l t e r a t i o n s p e r m i t t i n g
the t r a n s i t i o n t o remain i n the
tonic.
(2) D i f f e r e n c e s
This
involves
i n orchestrating
either giving
the same m a t e r i a l
the m a t e r i a l
a r e sometimes found.
to a d i f f e r e n t instrument,
possibly
i n a new r e g i s t e r , o r a l t e r i n g the d o u b l i n g of o r accompaniment t o a melody.

Assigning material
pecially
to d i f f e r e n t instruments i s a feature
i n the t h r e e S t r i n g Q u a r t e t s
(Prussian),
times t h i s can have a s i g n i f i c a n t e f f e c t .

section
i n the e x p o s i t i o n
2-bar group i n v i o l i n
of quartet s t y l e , es-
K. 575, 589, and 590.
Some-
F o r example, i n K. 575, the c l o s i n g
b e g i n s w i t h a 2-bar group i n v i o l i n
I I answered by a
I ; t h i s i s r e p e a t e d an octave lower i n the f o l l o w i n g
four
92
bars:
-___b
TT
II
(rest)
.
(rest)
a_
In the r e c a p i t u l a t i o n c l o s i n g s e c t i o n t h i s i s changed so t h a t
ested.
New
accompaniments are a l s o added i n v i o l i n

b
xxxxxxxxxx,xxxxxxxxxx
Va
sug-
II:
,
(rest)
>
II
imitation i s
(rest)
(rest)
S i g n i f i c a n t l y , group a_ i n the
diagrams above i s a d i m i n u t i o n of the opening
mo-
t i v e of the main theme of t h i s movement.

(3) The
a d d i t i o n of embellishments and
v a r i a t i o n i s sometimes found.
of the
the
first
two
For
other surface
ornamentation
example, i n the Q u a r t e t K.
segments of the main theme are c h r o m a t i c a l l y
387
the
and
endings
embellished
in
recapitulation.
(4) The
few
minor mode works u s u a l l y have a g r e a t e r
v a r i a t i o n to
the
r e c a p i t u l a t i o n than do major mode works.
(A prominent e x c e p t i o n to t h i s i s
Symphony no.
r e c a p i t u l a t i o n are v e r y
The
40,
where the
exposition
second theme of the Q u a r t e t K.
and
421
has
(mm.
similar.)
many changes i n i t s melody (mm.
94-102); the c l o s i n g s e c t i o n of t h i s work has
the
2532,
even more such a l t e r a t i o n s
32-40, 102-111).
(5) The
respect.
t r a n s i t i o n i s the
Variations
(e.g., Quartet K.
Symphony no.
41,
one
range from no
499),
to a n e a r l y
212,
i s frequently
a l t e r e d i n some
a l t e r a t i o n s beyond t r a n s p o s i t i o n to the
where, a l t h o u g h the
from m.
s e c t i o n that
t o t a l r e w r i t i n g of the
t r a n s i t i o n (e.g.,
t r a n s i t i o n ends w i t h the
the f i r s t
part,
where the
t r a n s i t i o n i s rewritten-mm. 14-24
tonic
same m a t e r i a l ,
i s h a r m o n i c a l l y v e r y d i f f e r e n t ; and
Q u a r t e t K.
as compared to 83-94).
421,
Alterations
93
i n v o l v i n g i n t e g r a t i o n of the t r a n s i t i o n w i t h o t h e r
small
s e c t i o n s are noted
below.
(6) A l t e r a t i o n s i n l e n g t h s
i n t e r e s t i n g one
of s m a l l
t h a t i s perhaps not
a l t e r s the m e t r i c
s e c t i o n s are sometimes seen.
as t r i v i a l
as i t f i r s t
p o s i t i o n of the e n t i r e subsequent s m a l l
t r a n s i t i o n of the Q u a r t e t K.
421.
An
appearsbecause i t
s e c t i o n i s i n the
As noted i n the p r e c e d i n g
paragraph,
this
t r a n s i t i o n i s g r e a t l y r e w r i t t e n : p a r t of the a l t e r a t i o n i n v o l v e s a h a l f - b a r
expansion i n l e n g t h from t e n - a n d - a - h a l f to e l e v e n b a r s .
This
lowing theme so t h a t i t s melody b e g i n s on the t h i r d beat
(of m.
of on the downbeat (of m.
25).
their exposition
94)
Another i n t e r e s t i n g movement t h a t
l e v e l - ( c ) r e c a p i t u l a t i o n expansions i s i n the Symphony no.

s u b o r d i n a t e theme, and
shifts
40:
the
instead
includes
the
transition,
c l o s i n g s e c t i o n a l l f e a t u r e expansions w i t h r e s p e c t
of the main theme, and
sometimes i n c l u d e s p a r t or a l l of
An
i l l u s t r a t i o n has
been seen i n the V i o l i n Sonata K.
ample 1, where the second h a l f of the 16-bar main theme i s r e p l a c e d

c a p i t u l a t i o n by
a s e q u e n t i a l development i n mm.
111114.
In the Symphony no.
i t i o n are r e p l a c e d
mm.
158-176 t h a t a t f i r s t
of the
the
contractions
material
i n the
by a dominant
the 20-bar main theme and

a s i n g l e 19-bar s m a l l
ends w i t h a dominant p e d a l ,
38' and
the Q u a r t e t K.
465.
pedal
some
the
pedal);
i s r e c a p i t u l a t e d l a t e r i n the r e c a p i t u l a t i o n .
small
re-
section i n
a t r a n s p o s i t i o n of
t r a n s i t i o n i n t o one
ex-
20-bar t r a n s -
ended on a dominant of the dominant
of the main theme and
seen i n the Symphony no.
98-111, and
454,
resembles the main theme, then i n c o r p o r a t e s
t r a n s i t i o n (which had
some of the m i s s i n g
ilar
34,
i n the r e c a p i t u l a t i o n by
s e q u e n t i a l development, and
end
occur
45
transition.
i n mm.
to
forms.
(7) A s p e c i a l case of expansion or c o n t r a c t i o n as development may

towards the end
fol-
section
T h i s procedure i s
Simare
obviously
94
a r a d i c a l one,
(c) and
i n that
i t gives
the
r e c a p i t u l a t i o n a d i f f e r e n t form a t l e v e l s
(d) ; t h e r e are o f t e n o t h e r f a c t o r s t h a t
should be
taken i n t o account,
however, such as
the
subsequent r e c a p i t u l a t i o n of m i s s i n g m a t e r i a l
Symphony no.
and
the p r i o r r e c a p i t u l a t i o n of m i s s i n g m a t e r i a l
phony no.
34,
38.
t o n i c key
t o n a l and
i s reached almost i n c i d e n t a l l y i n m.
s i t i o n material
177,
t r a n s i t i o n b e i n g used.
are m a i n t a i n e d through the
The
This
e x p o s i t io n .
(9) A few
throughout.
and
expo-
r e s t of the development and
the
[new]
r e c a p i t u l a t i o n s are
i n the
symphonies, and
has
a new
the F l u t e Q u a r t e t K.
285
i n p a r t i c u l a r the
The
Symphony no.
576
the
o m i t t e d , added, or
31,
s t r i n g quartets,
theme i n the
r e c a p i t u l a t i o n i n mm.
the main theme i s s h o r t e n e d , the

small
s e c t i o n , and
be
the
(b)
The
In
subo'r-
closing section i s
(c) In the
the unusual form MT-TR1-TR2-ST.
i t u l a t i o n the main theme and
the
first
t r a n s i t i o n are
(a)
t r a n s i t i o n and
has
features
involve
cited.
151-171.
some of the m i s s i n g s u b o r d i n a t e theme.
the
rear-
expositions.
do not
exposition
s e c t i o n t h a t a l s o has
(d)
however, does have many such
Some o t h e r examples may
d i a t e theme are combined to form one

lengthened to i n c l u d e
sections
r e c a p i t u l a t i o n s r e l a t i v e to the
a l t e r a t i o n s , too many to c i t e h e r e .
Sonata K.
s i g n i f i c a n t l y a l t e r e d at l e v e l s (c) and
That i s , they have whole s m a l l
375
second theme, the main theme
i s a l s o a r a d i c a l a l t e r a t i o n of l e v e l - ( d ) form compared
t h i s type of a l t e r a t i o n .
Serenade K.
208.)
4 6
ranged to d i f f e r e n t p l a c e s
Most of the
material
t o n i c key
(8) Some r e c a p i t u l a t i o n s b e g i n w i t h the

later.
separated.
with codetta
r e t r a n s i t i o n p r e p a r e s f o r the main theme r e c a p i t u l a t i o n i n m.
to the
i n the Sym-
m e l o d i c r e c a p i t u l a t i o n p r o c e s s e s are
r e p e a t e d from the main theme and
following
the
( T h i s l a t t e r work, the Prague Symphony, i s a r a r e example of
movement i n which the

The
in
In the
combined i n t o one
of a secondary development.
The
Piano
recapsmall
second theme
95
f o l l o w s , w i t h the second t r a n s i t i o n c o n c l u d i n g
because the second t r a n s i t i o n i s now
cause of i t s new
ending, and
the r e c a p i t u l a t i o n .
i n the t o n i c , because of i t s n a t u r e ,
because of i t s new
f u n c t i o n : t h a t of s u b o r d i n a t e theme c o d e t t a
and
p o s i t i o n , i t now
closing section.
the r e c a p i t u l a t i o n here n o r m a l i z e s the form of an unusual
Level
The
recapitulationand
have the same form, w i t h the e x c e p t i o n

second key
material
form movements may

as
has
In
be-
new
short,
exposition.
47
( e ) : Complete Movements
e n t i r e movement i s always comprised of the
e x p o s i t i o n , development, and
However,
to the t o n i c .
three
the o u t e r
large
two
sections
of these
often
of the n e c e s s a r y t r a n s p o s i t i o n of
A l t h o u g h I b e l i e v e most of Mozart's
be heard as t r i p a r t i t e a t t h i s l e v e l ,
some may
be
the
sonata-
analysed
. 4 8
bipartite.
Most movements have the r e p e t i t i o n p a t t e r n
R e c a p i t u l a t i o n : || .
The
r a t i o of l e n g t h s
age
about 2:1:2.
Absolute lengths
age
about 80,
and
count.
40,
|] E x p o s i t i o n : |J D e v e l o p m e n t -
of the t h r e e
large sections
i s on
aver-
i n common time a l l e g r o f o r the s e c t i o n s
aver-
85 b a r s r e s p e c t i v e l y , w i t h o u t r e p e t i t i o n s taken i n t o
ac-
4 9
The
r e l a t i v e importance of the e x p o s i t i o n
w i t h the development i s c l e a r l y
v a r i e t y i n i t s l e n g t h , and
by
i m p l i e d by
resolved
i t s greater
r e c a p i t u l a t i o n ) as
l e n g t h , by
the
compared
greater
the g r e a t e r v a r i e t y of i t s l e v e l - ( c ) s e c t i o n s .
O v e r a l l , then, the e x p o s i t i o n s e t s up
development, and
(and
a tonal dissonance, continued
i n the r e c a p i t u l a t i o n .
by
the
96
The C l o s i n g Model
Each of c h a p t e r s 3, 4, 5, and 6 d e a l s w i t h one

c l o s i n g sections discussed i n connection with l e v e l
of the f o u r types of
(c) of c h a p t e r 2.
sim-
i l a r procedure w i l l be f o l l o w e d i n each of these f o u r c h a p t e r s ; t h a t i s , a

s i d e r a t i o n of a l l movements which use a p a r t i c u l a r type of c l o s i n g
w i t h some a n a l y s e d i n depth.
i n more than one way:
Some movements w i l l
c h a p t e r because some c l o s i n g s e c t i o n s may
be
analysed
such d i s c u s s i o n of a l t e r n a t i v e approaches t o a g i v e n
movement should i l l u m i n a t e both the music and

employing.
section,
Only by a n a l y s i n g a l a r g e number of works w i l l
the wide v a r i a t i o n i n use of each type become apparent.

appear i n more than one
con-
the a n a l y t i c a l
s t r a t e g i e s I am
T y p i c a l l y , a d e t a i l e d a n a l y s i s of a movement w i l l b e g i n w i t h a
c o n s i d e r a t i o n of the form of the e x p o s i t i o n , c o n t i n u e w i t h an examination
of
the c l o s i n g s e c t i o n , and conclude w i t h a comparison of the r e c a p i t u l a t i o n forms

of
these a r e a s , i n c l u d i n g an a n a l y s i s of any coda.
i n d e t a i l w i l l be commented on b r i e f l y ,
Works which a r e not
i f o n l y to i n d i c a t e the type of
analysed
closing
s e c t i o n each has.
The
c l o s i n g model i s the most f r e q u e n t l y seen type of c l o s i n g
about s i x t y p e r c e n t of a l l works can be a n a l y s e d w i t h t h i s model.

a s p e c t s of the c l o s i n g model a r e found
as w i l l be seen i n l a t e r c h a p t e r s .
section:
i n the o t h e r f o r t y p e r c e n t of movements,
The model was
o u t l i n e d i n c h a p t e r 1, pp.
7-8,
97
and
i n c h a p t e r 2, pp.
chapter, I w i l l
usually
i n the w o r k - l i s t
For purposes of d i s c u s s i o n
36.
The
c l o s i n g model (nos.
consider
analysis
i n each
31,
i n d e t a i l here.
summarized i n diagram 9,
the
order
4-6.
c l o s i n g sections
n e a r e s t the model i s t h a t of the

will
and
group the works a c c o r d i n g to genre, f o l l o w i n g
i n t a b l e 1, pp.
Symphony no.
w i t h the
74-75.
32,
33,
34,
of s i x symphonies may
36,
and
40).
The
closing
Symphony i n C Major ( L i n z ) , no.
The
form of the
exposition
of the
corresponds to the normal e x p o s i t i o n
be
36,
analysed
section
a work I
f i r s t movement,
model a f t e r
the
introduction.
Diagram 9
Symphony
no . 36:
Exposition
Intro.
Measures:
Timespans:
Harmony:
1-19
19
TR
MT
||:
42-72
20-41
bars
I - V
(10 +
I-V
12)
30
I-I
I -
phrase and
the b e g i n n i n g of
L i k e many t r a n s i t i o n s , t h i s
r a p i d l y l e a v e s the
Measure 42
the f i r s t
88-119
120-122
(8 + 16 + 8)
I/V
8)
vi/V-I/V
The
Retr.:
I/V
Closing
model
main theme i s based on
i s at once the
group and
end of the
I/V-V
the
period
theme's
t o n i c a r e a and
introduces
new
motives.
i t i s l o n g e r and
ends w i t h a p e r f e c t
authentic
final
timespan of the t r a n s i t i o n .
one b e g i n s as i f i t were a main theme c o d e t t a ,
somewhat u n u s u a l , however, i n t h a t
t r a n s i t i o n s , and
72-87
Unique theme
i n t r o d u c t i o n . i s a normal one.
model, w i t h some e x p a n s i o n s .
CS
(8 +
Period
The
ST
This
but
transition is
more i n t e r e s t i n g than many
c a d e n c e r a t h e r than a h a l f
cad-
98
e n c e i n the dominant key.
That the t r a n s i t i o n i s a s u b s t a n t i a l one, modulating
convincingly to the dominant and ending w i t h so strong a cadence, may be explained i n part by an unusual feature of the subordinate theme, which begins
i n m. 72 i n the r e l a t i v e minor of G major.
I t would not be p o s s i b l e f o r t h i s
theme to begin i n t h i s way i f the new key had not been p r e v i o u s l y w e l l - e s t a b lished.
The subordinate theme i s n e i t h e r a period nor a sentence, but i s based
on a (1 x 4) + (4 x 1) p a t t e r n , here repeated with some variations.''"
There
are no expansions or codettas i n t h i s theme, although the r e p e t i t i o n may

considered a s u b s t i t u t e f o r such m a t e r i a l .
be
In p a r t i c u l a r , there i s no expanded
c a d e n t i a l progression, although the harmonies and bass l i n e f o r the ECP are

present i n the v a r i a t i o n , i n mm.
84-87.
The v a r i a t i o n has a stronger cadence
than the o r i g i n a l a c h i e v e d by i n c r e a s i n g the dynamic l e v e l , adding instruments,

and using a 1^ (bass ^) i n m. 84 (not present i n m. 76) as part of the unexpanded c a d e n t i a l p r o g r e s s i o n a n d thereby closes the subordinate theme area.
The 32-bar c l o s i n g s e c t i o n o n e of the longest i n these w o r k s f u l f i l l s
the expansion f u n c t i o n missing from the subordinate theme: there are expansions
i n the b_^ and
groups.
A second v a r i a t i o n i n the use of the c l o s i n g model
here i s that the bb^" subsection i s longer than the aa''" subsection. A t h i r d
v a r i a t i o n , n e c e s s i t a t e d by the length of t h i s c l o s i n g s e c t i o n , i s that the
m a t e r i a l i s more dynamic than that found i n shorter c l o s i n g s e c t i o n s .
For
example, the surface harmony i s considerably more i n t e r e s t i n g than the mere

tonic-dominant interchange c h a r a c t e r i s t i c of the c l o s i n g section i n example 1.
Nevertheless, a l l s i x groups here do end on the t o n i c , and the harmony remains
essentially diatonic.
gram 10.
The timespan and group s t r u c t u r e i s summarized i n d i a -
99
Diagram 10
Symphony no. 36: Exposition Closing Section

Measures:
86
87
88
'89
90
91
92
93
94
95
96
97
98
99
100
101
Groups:
Timespans:
Bars i n timespans:
Measures:
bL
Groups:
"l
Timespans:
10
Bars i n timespans:
102
103
104
105
106
107
108
109
Bars i n timespans:
5a
5b
5c
5d
Measures:
110
111
112
113
114
1
c
115
116
117
118
3a
3b
Measures:
Groups:
Timespans:
_c_
Groups:
Timespans:
Bars i n timespans:
~>
ECP-
119
100
The aa
p a i r a r e t y p i c a l of the c l o s i n g model.
e c t l y a f t e r the p r e c e d i n g cadence,
Each group b e g i n s
each i s f o u r b a r s l o n g , each i s s t r o n g l y
c a d e n t i a l , and t h e r e i s not a g r e a t d e a l of v a r i a t i o n from to a^,

for
the weaker cadence
of aS
except
of a,
whereas a ^ b e g i n s a f t e r the cadence
the
b group b e g i n s s i m u l t a n e o u s l y w i t h i t s timespan on the f i r s t b e a t of m.

thereby weakening the cadence
Whereas IJ i s s u b d i v i d e d as
diagram
of a^_.
(3 + 3 ) , B^ i s expanded t o (3 + 7 ) .
10, i t i s the f i f t h b a r of
ing
T h i s cadence
An u n i n t e r r u p t e d cadence
i s s l i g h t l y weakened by
(beat one of m.
I l l ) , which
The cadences
clos-
(except f o r the i n t e r r r u p t i o n of a^) .
er
than u s u a l , and t h e r e i s an e x t e n s i o n i n the
this subsection i s long-
group.
The
i a t i o n i n c ^ i s the n o v e l use of an echo i n the winds, i n m.
t h i s p a i r as
Diagram 11 l i s t s
(3 + 5 ) .
118.
significant var-
117,
and then a
T h i s adds the two e x t r a b a r s 3 a
Measures 116-119 i n c l u d e a type of
the timespans
sim-
The cc'*" p a i r d i f f e r from the model
t h r e e ways: the t o n i c p e d a l i s not used throughout,
r e p e a t w i t h a l l i n s t r u m e n t s i n m.
time-
o f the f o u r groups a r e a l s o
in
and
ECP.
of t h i s c l o s i n g s e c t i o n as w r i t t e n , a
h y p o t h e t i c a l c l o s i n g s e c t i o n s i m i l a r to t h i s one w i t h o u t expansions
c\
signal
o c c u r s o n l y a t the end of t h i s
r e t u r n to the same type of r e l a t i o n s h i p w i t h t h e i r
spans as found i n the aa"*" p a i r .
3b-grouping
shown i n
116-119.
The c c ^ groups
ilar
As
as b_.
which i s expanded to a t o t a l of f i v e b a r s ,
the f o r t e and b r a s s e n t r y on the t o n i c chord

beginning.
95,
The b_^ group b e g i n s i n the same way
thus making B^ f o u r bars l o n g e r than B_.
a new
dir-
i n b^
and
and the c l o s i n g model.

In
s p i t e o f the expansion of the BJB p a i r r e l a t i v e t o the model, the
r a t i o o f BB_ to C i s the same here as i n the model, t h a t i s , 2:1.

the r a t i o of B_ to B_^ i s the same as of t o C_\
t h a t i s , 3:5.
Furthermore,
These o b s e r v a -
101
Diagram 11
Symphony no. 36: Expansion of Closing
A
Section
A
Closing model:
(4 + 4) + (2 +
2) + (1 +
(No. 36) without expansions:
(4 + 4) + (6 +
6) + (3 + 3)
Symphony no.
(4 + 4) + (6 + 10) + (3 + 5)
36:
1)
tions suggest that expansions are not merely l o c a l events but are c o n t r o l l e d
by some l a r g e r sense of balance.
Why
does t h i s c l o s i n g s e c t i o n have a larger second subsection?
The
ma-
j o r i t y of c l o s i n g sections which have expansion of the c l o s i n g model use a normal length AA p a i r ( 4 + 4)-and then expand subsequent groups.
This suggests
that shorter r e p e t i t i v e u n i t s s i g n a l the s t a r t of the c l o s i n g s e c t i o n ,

that s i g n i f i c a n t expansion can take place only a f t e r t h i s s i g n a l l i n g of
c l o s i n g section beginning.
the
The expansion of EB^ here i s then balanced by
being i n the same r a t i o to BB^ as i n the model.

unusually long may
and
CC"*"
That t h i s c l o s i n g section i s
be p a r t l y due to the f a c t that the subordinate theme i s
short and i s not as t o n a l l y u n i f i e d as i s normal: i t o s c i l l a t e s between v i / V

and V.
Since one of the functions of the c l o s i n g section i s the
continuation
of the key of the subordinate theme, t h i s c l o s i n g s e c t i o n , by i t s very
length,
balances the tonal i n s t a b i l i t y of the subordinate theme.

A short r e t r a n s i t i o n leads f i r s t to the repeat of the exposition
then to the development, i n mm.
123-162.
s i m i l a r to that of the e x p o s i t i o n .
and
The form of the r e c a p i t u l a t i o n i s
The main theme i s exactly the same, the
t r a n s i t i o n i s a l t e r e d s l i g h t l y to end on the t o n i c , the subordinate theme has

a few surface a l t e r a t i o n s , and the c l o s i n g section i s the same except f o r a
102
few d e t a i l s , m a i n l y
i n mm.
The coda, i n mm.
241-251.
265-287, b e g i n s l i k e the r e t r a n s i t i o n , i n mm.
and c o n t i n u e s t o use the r e t r a n s i t i o n motive

in
the development, i n mm.
motive has cadences
128-137.
In the coda, however, t h i s
270-274.
The opening
f o l l o w e d by a r e p e a t e d 2-bar c o d e t t a i n mm.
first
i n a manner s i m i l a r t o i t s use
retransition
added t o i t , g i v i n g i t a c l o s u r a l r a t h e r than a t r a n s i t i o n a l
f u n c t i o n , f o r example, i n mm.
The
119-122,
275-278.
t e n b a r s form a p e r i o d ,
See diagram
12.
timespan b e g i n s i n m. 265 a c c o r d i n g to the u s u a l c r i t e r i a of
t o n i c a r r i v a l a t the end of a cadence and because a new group b e g i n s t h e r e .

In
a d d i t i o n , t h i s passage i s s i m i l a r t o t h a t a t the end of the e x p o s i t i o n ,
where the r e t r a n s i t i o n timespan b e g i n s i n m. 119.

mm.
265-269, may be s u b d i v i d e d as ( 2 + 2 + 1 )
grouplets.
parallels
The second
group, i n
i n terms of both harmony and
group i s s u b d i v i d e d e i t h e r as ( 2 + 2 + 1 ) ,
the g r o u p l e t s t r u c t u r e o f the f i r s t
monic grounds.
The f i r s t
group,
i n that i t .
o r as (3 + 1 + 1) on h a r -
A more r a d i c a l d i v i s i o n of these t e n bars a c c o r d i n g to harmony
would be ( [ 2 + 2] + 4 + 1 + 1 ) ; t h a t i s , the harmony i s I - V^/IV - i i

an unusual d e s i g n f o r a p e r i o d .
- V - I,
However, the thematic p a r a l l e l i s m o v e r r i d e s
t h i s : hence the d i v i s i o n as (5 + 5) i n diagram
12.
A d i f f i c u l t y w i t h t h i s i n t e r p r e t a t i o n of timespans
as (5 + 5) i s t h a t
the s u c c e e d i n g timespan must b e g i n i n m. 275, which means t h a t the b_ group

now b e g i n s w i t h an upbeat i n m. 274.
e t t a s i n mm.
In o t h e r words, the r e p e a t e d 2-bar cod-
274-278 ought to r e l a t e t o t h e i r c o r r e s p o n d i n g timespans
i n the
same way as the two 5-bar groups do, because a l l f o u r groups b e g i n w i t h the
same f i g u r e and w i t h t o n i c harmony a r r i v a l .
of
That i s , p a r a l l e l i s m of treatment
the same m a t e r i a l t o g e t h e r w i t h a p p l i c a t i o n of the same a n a l y t i c
ought t o r e s u l t
criteria
i n a l l f o u r groups b e i n g a n a l y s e d the same way as regards
time-
103
Diagram
12
Symphony no. 36: Coda

Measures:
265
Timespans:
(5 + 5) + (2 + 2) + (2 + [2 + 2]) + (1 + 1 + 1)
Groups:
275
span/group
279
b^"
c^"
r e l a t i o n s h i p : e i t h e r a l l groups b e g i n i n the f i r s t b a r of t h e i r
res-
p e c t i v e timespans o r a l l b e g i n w i t h an upbeat f i g u r e l e a d i n g i n t o the f i r s t

bar
o f t h e i r r e s p e c t i v e timespans.
. However, t h i s view would mean t h a t the f i r s t
two groups would
(5 + 4) timespans, thus r e d u c i n g t h e i r thematic p a r a l l e l i s m .

m. 275 sounds
so
l i k e a b e g i n n i n g o f a 2-bar t i m e s p a n d u e
many i n s t r u m e n t s .
have
to the entrance of
A f u r t h e r f a c t o r r e i n f o r c i n g timespan b e g i n n i n g s from
m. 275 i s t h a t 2-bar timespans c o n t i n u e from here t o the end o f the coda.

If m. 274 c o n t a i n s m a t e r i a l f u n c t i o n i n g as an a n a c r u s i s t o m. 275 and
m. 276 s i m i l a r l y t o m. 277, then m. 278 s h o u l d f u n c t i o n the same way t o m. 279.
However, m. 279 and m. 280 r e p e a t m. 278 w i t h o c t a v e d o u b l i n g s , e t c . , making
the
m a t e r i a l i n mm.
mm.
281-284.
278-280 an extended upbeat t o the next timespan p a i r ,
In o t h e r words, mm.
m a t e r i a l , w i t h an extended upbeat.
281-284 form the b a s i c timespan and group

T h i s supports the i n t e r p r e t a t i o n o f the two
b_ groups as h a v i n g upbeats; t h a t i s , the same m a t e r i a l used as upbeats t o the

b groups i s used i n extended form as an upbeat t o the c^ group
pair.
A s p e c t s of the c l o s i n g model can be seen i n t h i s coda, namely i n the

use of r e p e a t i n g groups and p r o g r e s s i v e l y s h o r t e r timespans.
of
Over the c o u r s e
the coda the groups become p r o g r e s s i v e l y more c a d e n t i a l , w i t h the r e t r a n s -
i t i o n motive p l a y i n g l e s s and l e s s of a r o l e , u n t i l i t i s f i n a l l y
eliminated
104
i n m.
281.
D e s p i t e some m o t i v i c
coda does not
have a developmental f u n c t i o n :
c l o s u r a l , as generated by
ment may
be
explained
as noted above.
t i o n , the
s i m i l a r i t i e s w i t h the
by
the
By
I t would appear t h a t ,
i t s exceptional
are
need f o r a coda i n t h i s move-
i n general,
sustained
character,
shorter
is primarily
the
closing
section,
l o n g e r the c l o s i n g
However, the r e v e r s e i s t r u e h e r e :
c l o s i n g s e c t i o n can be
most c l o s i n g s e c t i o n s
The
i t s function
the u n u s u a l l y a c t i v e n a t u r e of the
i n t u r n weakens the c l o s u r a l n a t u r e of the

demanded.
rather,
l e s s the need f o r a coda.
unusually long
development s e c t i o n , t h i s
only by
s e c t i o n , and
i s indeed o p t i m a l ,
of l e n g t h e n i n g the
a coda i s
shortening
therefore
ten to twenty bars i s
40.
The
s l i g h t v a r i a t i o n s i s the
level
(d)
f o r an e x c l u s i v e l y c l o s u r a l s e c t i o n .
suffi-
The
the
c l o s i n g model w i t h
Symphony i n G Minor, no.
40.
In the d i s c u s s i o n
The
i f p a r t of the
major and
the
eliminates
imant, t h i s time of the
theme i n mm.
exposition
main t h e m e a s e n t e n c e e n d s on
t r a n s i t i o n b e g i n s as
an 8-bar p e r i o d
the
i n mm.
66-72.
theme but
theme's m o t i v e s .
secondary key.
The
The
and,
only
of
of t h i s movement i s a n o r -
the dominant i n m.
20.
The
t r a n s i t i o n a l s o ends on a
dom-
s u b o r d i n a t e theme i s comprised
c o d e t t a i s m o t i v a t e d by
extended c a d e n t i a l p r o g r e s s i o n ,
4.
q u i c k l y modulates to the r e l a t i v e
44-51, i t s v a r i a t i o n i n mm.
The
effects
e f f e c t s of
o t h e r symphony u s i n g
i n c h a p t e r 2 I noted t h a t
mative one.
of the
seen i n t h i s symphony; the
why
the
the c l o s i n g s e c t i o n w i l l he, seen l a t e r , p r i m a r i l y i n c h a p t e r
Symphony no.
which
this closing section i l l u s t r a t e s
than t h i s one:
c l o s i n g s e c t i o n are
the
dynamic m a t e r i a l ,
norm f o r c l o s i n g s e c t i o n s because t h a t range of l e n g t h s i s not merely

c i e n t , but
sec-
52-66, and
a c o d e t t a to
the absence of $ from the
indeed, from t h a t of the
entire
of
the
bass
105
second phrase of the v a r i a t i o n i n mm.

D p r o m i n e n t l y i n m.
66, and a l s o i n m.
56-66.
The c o d e t t a f e a t u r e s t h i s m i s s i n g
69.
I t a l s o forms an e f f e c t i v e b r i d g e
between the theme and the c l o s i n g s e c t i o n .
However, the c o d e t t a i s p r i m a r i l y
a t t a c h e d to the theme and not t o the c l o s i n g s e c t i o n because i t completes the

expanded
c a d e n t i a l p r o g r e s s i o n and because i t uses motives from the theme
(e.g., the c h r o m a t i c a s c e n t motive i n mm.

mm.
66-68 i s an i n v e r s i o n of t h a t i n
5658).
An u n u s u a l f e a t u r e of t h i s c o d e t t a i s t h a t i t weakens the cadence ending
i n m.
66 (by s t a r t i n g so q u i c k l y and a b r u p t l y i n m.
end w i t h a s t r o n g cadence.
66) and does not
As n o t e d above, the two p r e v i o u s s m a l l
a l s o end w i t h weaker cadences (both h a l f c a d e n c e s ) .
itself
sections
A major f u n c t i o n of the
c l o s i n g s e c t i o n , then, i s to supply u n e q u i v o c a l p e r f e c t a u t h e n t i c cadences,

in
I I I i n the e x p o s i t i o n , i n the t o n i c i n the r e c a p i t u l a t i o n .
t i a l m a t e r i a l does form a l a r g e p a r t of t h i s c l o s i n g
each expanded
two timespans of the
t o e i g h t b a r s , the second two groups a r e
( u n e q u a l l y ) , and the l a s t two groups of the model a r e reduced t o one

group.
See diagram 13.
caden-
section.
The c l o s i n g model i s v a r i e d here i n t h a t the f i r s t

modelAAare
In f a c t ,
expanded
long
D e s p i t e the odd-numbered timespans, then, the model
i s b a s i c a l l y doubled i n l e n g t h from f o u r t e e n to t w e n t y - e i g h t b a r s i n t h i s
closing section.
third
The f i r s t
i s expanded by one b a r
group i s e s s e n t i a l l y r e p e a t e d (mm.
(mm.
88-94), and the f i f t h
72-87), the
i s made up of a 1-bar
c a d e n t i a l g r o u p l e t heard t h r e e times and then compressed.to a h a l f - b a r and

repeated
(mm.
95-98).
The f i r s t
that i s , pf t h e i r i n i t i a l
Two
First,
two groups a l s o f e a t u r e i n t e r n a l
2-bar g r o u p l e t s
(mm.
repetition,
72-75, 80-83).
i n t e r e s t i n g f e a t u r e s of t h i s c l o s i n g s e c t i o n deserve some comment.
the 3 m i s s i n g from the s u b o r d i n a t e theme i s s t i l l
b e i n g compensated f o r
106
Diagram
13

72
Measures:
No.
40:
([2
Section
80
88
+ 2 + 4] + [2 + 2 + 4])
91
95
99
(3 +
4)
(3
1) 2
(Model x 2 ) :
(4 +
4)
(2
2)
Model:
(2 +
2)
(1
1) R e t r .
in
the c l o s i n g s e c t i o n : the f i r s t
f o u r groups of the c l o s i n g s e c t i o n a l l
prominent use of D i n t h e i r bass l i n e s .

i s used i n the f i r s t
Second,
the opening main theme motive
two groups, a l t h o u g h i n a new
c l o s u r a l context.
Closure
i s enhanced by the r e t u r n to the opening motive, i n much the same way

is
of
ternary
In t h i s movement, the sense of r e t u r n i s c o u p l e d w i t h a t r a n s f o r m a t i o n
the. opening motive i n t o a c l o s i n g one.
S e v e r a l o t h e r movements have a
s i m i l a r use of main theme m o t i v e s , as d i s c u s s e d

A 2-bar r e t r a n s i t i o n l e a d s f i r s t
then to the development
of
as c l o s u r e
generated by the r e t u r n of the opening m a t e r i a l i n a s m a l l o r l a r g e
form.
feature
i n mm.
the end of the development
t o the r e p e a t o f the e x p o s i t i o n and
101-163.
A s i d e from the e f f e c t i v e
overlapping
w i t h the s t a r t of the r e c a p i t u l a t i o n , the main
theme i s r e p e a t e d e x a c t l y i n mm.
i s doubled i n l e n g t h .
below.
164-183.
The changes
The t r a n s i t i o n , i n mm.
take the form of a development
i t i o n m o t i v e s t h a t i s , a secondary d e v e l o p m e n t a n d
harmony to end on V / i r a t h e r than V / I I I .
183-226,
of the t r a n s -
a r e d i r e c t i o n of the
As noted i n c h a p t e r 2, t h i s movement
i s e x c e p t i o n a l among minor mode works i n t h a t the t r a n s p o s i t i o n and change of

mode o f the second key m a t e r i a l do not prompt Mozart to r e w r i t e t h i s
The second theme, i n mm.
the
227-254, i s not changed
d i f f e r e n t p o s i t i o n of the p e d a l i n mm.
material.
except f o r the t r a n s p o s i t i o n ,
241-245 (now 3 i n s t e a d of 4, as i n
107
mm. 58-62, thereby s t r e n g t h e n i n g the ECP), and the expansion i n mm. 246-254.
The c o d e t t a t o the theme, i n mm.
254-260, i s n o t a l t e r e d .
The c l o s i n g s e c t i o n , i n mm.
260-299, i s e s s e n t i a l l y v e r y s i m i l a r t o i t s
e x p o s i t i o n form except f o r an e x t e n s i o n .
in
t o n i c i z a t i o n a t the end o f the f i r s t
in
the e x p o s i t i o n , mm.
An i n t e r e s t i n g d e t a i l i s the change
two groups, i n mm.
265-266 and 273-274:
77-78 and 85-86, v i / H I was t o n i c i z e d , thereby p r o v i d i n g
3 i n the bass as p a r t of the ECP as noted above, as w e l l as a l l o w i n g the

E - f l a t - D motive t o be used.
I f t h i s were t r a n s p o s e d t o G minor i n the r e c a p i -
t u l a t i o n , the semitone motive would be changed
t o a whole t o n e C - B - f l a t .
Mozart t h e r e f o r e rewrote t h i s passage, t o n i c i z i n g i v / i , which p e r m i t s the semitone A - f l a t - G t o be used.

mm.
T h i s , however, removes 3 from the bass v o i c e o f
265 and 273; on the o t h e r hand,. 3 was used i n the s u b o r d i n a t e theme p e d a l
i n mm.
241-245where i t was n o t i n the c o r r e s p o n d i n g p l a c e i n the e x p o s i t i o n ,
as noted i n the p r e v i o u s paragraph.

These f i r s t
changed.
i n mm.
two groups i n the c l o s i n g s e c t i o n a r e o t h e r w i s e l i t t l e
The next two timespans, p r e v i o u s l y
276-286.
( 3 + 4 ) , a r e expanded
to ( 3 + 8 ) ,
Diagram 14 i n c l u d e s a s k e t c h of the second o f each o f these
two groups as they appear i n the e x p o s i t i o n and r e c a p i t u l a t i o n .
To a c e r t a i n
e x t e n t , the added m a t e r i a l i n the r e c a p i t u l a t i o n i s an expansion o f t h a t which

i t r e p l a c e s i n the e x p o s i t i o n .
h a l f o f m. 94, which becomes mm.
expanded
t o two b a r s .
The most obvious expanded
element i s the second
285-286: both harmony and melody have
The r e l a t i o n o f mm.
281-284 t o mm.
93-94(2) i s n o t so ob-
v i o u s ; however, i t i s p o s s i b l e t o hear an i n n e r v o i c e i n mm.

i n diagram 14 w i t h i n b r a c k e t s b a s e d on the melody o f mm.
posed t o G minor.
been
281-283indicated
93(2)-94(l)
trans-
108
Diagram 14
Symphony no. 40: P r i n c i p a l V o i c e s i n mm.
^r-T! "
91-95 and 279-287
,V T
II
13
IV
-4
fFfff
Mi
--i=n
JD
=2=1--
fftrr
m\- ~ T t ~ S "
*=
E
4 t=t=
The end of t h i s expansion o v e r l a p s w i t h a new g r o u p b u t

s p a n i n mm.
pedal.
-Q.
0
7^-
n o t a new
-
1
time-
287-293, based on i m i t a t i o n of the main theme motive over a t o n i c
The use o f a t o n i c p e d a l and t h e subdominant t o n i c i z a t i o n i n mm.
(and i n the f i r s t
two groups
i n mm.
265-266 and 273-274) a r e f e a t u r e s of c l o s i n g
s e c t i o n s t h a t s t r e n g t h e n c l o s u r e here because
sition closing section.
287-289
The f i n a l group,
f o r the a d d i t i o n o f two bars o f t o n i c
they were absent from the expo-
i n mm.
293-299, i s unchanged except
chords.
Three o f the f o u r s m a l l s e c t i o n s o f the r e c a p i t u l a t i o n f e a t u r e expansions

r e l a t i v e t o t h e i r e x p o s i t i o n forms, as noted i n c h a p t e r 2.
In the case of the
c l o s i n g s e c t i o n , the e x p a n s i o n / e x t e n s i o n i s p a r t i a l l y prompted by the a d d i t i o n
109
of p r e v i o u s l y m i s s i n g
normative f e a t u r e s .
The r e s u l t a n t l o n g e r c l o s i n g s e c t i o n
may be termed a c l o s i n g s e c t i o n e x t e n s i o n ,
a l t h o u g h the new m a t e r i a l i n
mm.
of a coda.
285-292 g i v e s
i t some o f the c h a r a c t e r
One f i n a l p o i n t should
be mentioned r e g a r d i n g
d i s c u s s i n g the c l o s i n g s e c t i o n o f the p r e v i o u s
that, at thirty-two bars,
i t was u n u s u a l l y
this closing section.
In
w o r k t h e L i n z SymphonyI noted
long, that t h i s length r e s u l t e d i n
changes t o the n a t u r e o f the c l o s i n g s e c t i o n m a t e r i a l , and t h a t a coda was

thereby demanded.
At twenty-eight bars,
the e x p o s i t i o n form o f the c l o s i n g
s e c t i o n i n t h e Symphony no. 40 i s n e a r l y as l o n g as t h a t o f the L i n z .

length
no.
i s p a r t i a l l y compensated f o r by the f a s t e r tempo (molto a l l e g r o i n
40, a l l e g r o i n no. 3 6 ) , and by the c l o s e adherence t o the c l o s i n g model
(more so than i n the case o f no. 3 6 ) .

no.
The m a t e r i a l o f the c l o s i n g s e c t i o n i n
40 i s somewhat more a c t i v e than t h a t o f the average c l o s i n g s e c t i o n , a l -
though l e s s a c t i v e than t h a t of the c l o s i n g s e c t i o n i n the L i n z

The
This
c l o s i n g s e c t i o n of no. 40 i s more n o r m a t i v e t h a t
than i s t h a t o f no. 36, a l t h o u g h s t i l l

f o r the a d d i t i o n o f standard
longer
Symphony.
i s , more c l o s u r a l
than u s u a l .
One more r e a s o n
c l o s u r a l m a t e r i a l t o the r e c a p i t u l a t i o n i s t o
compensate f o r any weakness i n the c l o s u r a l f u n c t i o n of the c l o s i n g s e c t i o n .
Symphony no. 31.
Four o t h e r
symphonies may be a n a l y s e d
w i t h the c l o s i n g
model, a l t h o u g h a l l employ extreme v a r i a n t s o f i t , and two may be a n a l y s e d i n

other
categories.
I w i l l b r i e f l y d i s c u s s each, p r i m a r i l y t o e x p l a i n the n a t u r e
of the v a r i a t i o n i n use of the c l o s i n g model.

no.
31, has a v e r y
l o o s e l y organized
i n mm.
long e x p o s i t i o n
i n mm.
(Paris),
(119 b a r s ) brought about mainly by a l o n g ,
s u b o r d i n a t e theme a r e a .
1-26, w i t h a c o d e t t a
The Symphony i n D Major
26-32.
The main theme i s a sentence v a r i a n t ,

The t r a n s i t i o n i s r e l a t i v e l y
short
110
and weak, i n mm.
32-51.
The
subordinate
theme a r e a i s composed of two
themes connected by a c o n t r a s t i n g a r e a .
The
first
composed of a (1 + 4 + 2) phrase, r e p e a t e d .
monic c o n t r a s t by
i n t r o d u c i n g new
o r d i n a t e theme a r e a i n mm.
74-83 use
93-104.
c l o s i n g s e c t i o n begins
the main theme c o d e t t a , r e p e a t e d

grouplet
i s repeated
motive, the f i r s t
105
111.
In mm.
i s extended
p a i r of r e p e a t e d
two
group based
117-118 a
bar of w h i c h 1 1 9 c o n c l u d e s the c l o s i n g s e c t i o n and

The
with
on
1-bar
statement of the opening main theme

overlaps
c l o s i n g model a p p l i e s o n l y i n t h a t
g r o u p s a a a n d not
three.
The
remainder of
the
117-119, i s not based on the c l o s i n g model.

the p r e c e d i n g
s e c t i o n , d e s p i t e the a l r e a d y g r e a t l e n g t h of the s u b o r d i n a t e
mm.
sub-
there i s a r e t u r n
with a ( 2 + 2 + 2 )
S e v e r a l f a c t o r s connect t h i s c l o s i n g s e c t i o n w i t h
employment of 2-bar g r o u p l e t s and
continues
ECP.
e x a c t l y from m.
l e a d i n g to a f i n a l
(1) The
as
second theme w i t h i n the
This l a t t e r subsection
i n m.
the s t a r t of the development.
t h e r e i s one
The
84-92 f u n c t i o n as a c o n t r a s t , and
so.has some of the f e a t u r e s of an
The
with
motives.
har-
7 4 - 1 0 4 r e s e m b l e s the s m a l l t e r n a r y form model:
the i m i t a t i o n i d e a i n mm.
bars and
Measures 66-73 f u n c t i o n as a
the opening main theme " r o c k e t " motive i n i m i t a t i o n , ending
an i n t e r r u p t e d cadence; mm.
to
52-65is
i n t r o d u c i n g a p e d a l on the dominant (of A m a j o r ) , and
m e l o d i c c o n t r a s t by
mm.
of t h e s e i n mm.
unique
almost to the end
(2+2+2)
of the c l o s i n g s e c t i o n .
small
theme a r e a .
groups, begun i n m.
(2) The
74,
s m a l l segments of
74-104 a r e more l i k e g r o u p l e t s than m o t i v e s , d e s p i t e the f a c t t h a t a v a r -
i a t i o n of the opening main theme motive i s used; t h e r e f o r e , t h i s s e c t i o n i s

connected to the c l o s i n g s e c t i o n because g r o u p l e t s are used through both
tions.
The
c l o s i n g s e c t i o n does, however, i n c l u d e a s i m p l i f i c a t i o n of
t e x t u r e by removing the i m i t a t i o n c h a r a c t e r i s t i c of the p r e v i o u s
sec-
the
section.
Ill
(3) In mm.
and new
228-295 of the r e c a p i t u l a t i o n these two
material
s e c t i o n s are
integrated
i s added.
Symphony no.
32.
a p e r i o d i s i n mm.
In the
1-12,
Symphony i n G Major, no.
the t r a n s i t i o n i n mm.
32,
the main t h e m e
12-32, the s u b o r d i n a t e
a l s o a p e r i o d i n mm.
33-49, and
15.
i s u n u s u a l i n i t s v a r i a t i o n f o u r times of one
The ji s u b s e c t i o n
the c l o s i n g s e c t i o n i n mm.
i m i t a t i o n , over a p e d a l , and w i t h a c r e s c e n d o .
the model i n i t s doubled l e n g t h and
The
b_ s u b s e c t i o n
more complex s t r u c t u r e .
based on the o v e r a l l s t r u c t u r e of the a s u b s e c t i o n ,

The
new
meter, and w i t h new
material.
r e t u r n to the f i r s t
tempo and
meter i s i n m.
t r a n s i t i o n m a t e r i a l , ending i n m.
Diagram
i n the t o n i c i n mm.
changes.
219
from
c_ g r o u p l e t
is
scale.
The
in a closural
Symphony no.
32:
Exposition Closing
Measures:
49
Timespans:
(2x4)
a a
1 2
a
+
a
(2 + 2)
context.
65
+
(2 + 2)
(2 + 2)
c
236-256,
some of the m i s s i n g
Section
57
The
256-274 i s based on
t r a n s i t i o n m a t e r i a l , now
110-207).
w i t h what i s e s s e n t i a l l y
on the dominant.
220-236, and
A coda i n mm.
208,
(mm.
15
Grouplets:
differs
In t h i s sense i t i s not
a c o n t r a s t , a l t h o u g h i n the t o n i c key
theme and
diagram
motive i n
that i s , a r i s i n g
r e c a p i t u l a t i o n , but
w i t h few
The
See
r e c a p i t u l a t i o n of t h i s movement i s unusual i n t h a t i t b e g i n s i n a
tempo, i n a new
returns
49-69.
theme
main
112
Symphony no.
33.
In the Symphony i n B - f l a t Major, no.
t h e m e a sentence v a r i a n t i s
subordinate
i n mm.
1-25,
the t r a n s i t i o n i n mm.
t h e m e a l o n g , unique s t r u c t u r e i n mm.
s e c t i o n i n mm.
96-138.
The
subordinate
c a d e n t i a l p r o g r e s s i o n i n mm.
89-96.
55-96, and
See diagram 16.
108-128 are v a r i a n t s w i t h e x t e n s i o n s
groupsaaof
subsections
(mm.
The
the
final
of mm.
96-107.
In o t h e r
of the f i r s t
s u b s e c t i o n , i n mm.
In the r e c a p i t u l a t i o n t h e r e a r e e x t e n s i o n s
33: E x p o s i t i o n C l o s i n g S e c t i o n
108
Timespans:
( t l x 4]
Grouplets:
a a a a
Measures:
117
Timespans:
[2x3]+
2 +
Grouplets:
bb
+ [2 x 2] + 4)
a
1
a
([1 x 2]
a
+ [2 x 2] + 3 +
a
129
[2 x 2])
d
([2 x 2] + [ l x l ] +
e
using
of s e v e r a l groups
364-365).
96
two
129-138, more
Diagram 16
Measures:
a_ r e s p e c t i v e l y , o r ,
of the c l o s i n g m o d e l c w i t h e x t e n s i o n s
323-324, 336-337, 342-357, and
Symphony no.
closing
3
4
Note t h a t a , a , and
seen as an expansion
the c l o s i n g model.
c l o s e l y resembles the end

t o n i c chord.
can be
25-54, the
are v a r i a n t s by i n v e r t i b l e c o u n t e r p o i n t of a, a_, and
words, these two
the main
theme ends w i t h a s u b s t a n t i a l expanded
o v e r a l l , mm.
33,
'
4)
the
113
Symphony no. 34.
The f i n a l
symphony t h a t may be a n a l y s e d w i t h the
c l o s i n g model i s t h a t i n C Major, no. 34.

is
i n mm.
The main t h e m e a unique
1-16, w i t h a l i n k t o the t r a n s i t i o n , the l a t t e r i n mm.
s u b o r d i n a t e theme i s composed o f an 8-bar unique

w i t h an e x t e n s i o n i n c l u d i n g an E C P i n
theme i n mm.
mm. 48-64.
structure
20-40.
The
40-48, v a r i e d
See diagram
17.
This
c l o s i n g s e c t i o n i s s i m i l a r t o t h a t o f the Symphony no. 32 i n i t s f i r s t two

s u b s e c t i o n s , t h a t i s i n the use o f a 2-bar g r o u p l e t i n i m i t a t i o n over a t o n i c
p e d a l w i t h a crescendo
t e r n i n mm.
i n mm.
74-82.
i n mm.
64-74, and i n the use o f a r e p e a t e d
The t h i r d s u b s e c t i o n b e g i n s w i t h a 6-bar c a d e n t i a l group
82-86, v a r i e d w i t h a l o n g e x t e n s i o n , and w i t h a more s u b s t a n t i a l ECP
than was i n the s u b o r d i n a t e theme i n mm.

mm.
(2 + 2) p a t -
104-112, more c l o s e l y resembles
86-104.
The f i n a l
subsection, i n
the end o f the model, as i n the Symphony
no. 33.
In
the r e c a p i t u l a t i o n the main theme i s a l t e r e d , shortened, and ends on
the dominant i n s t e a d of the t o n i c

theme t o f o l l o w immediately,
(mm. 158-176).
T h i s p e r m i t s the s u b o r d i n a t e
f o r the t r a n s i t i o n i s e n t i r e l y o m i t t e d .
The
c l o s i n g s e c t i o n i s a l s o a l t e r e d s u b s t a n t i a l l y : the f i r s t i m i t a t i v e s u b s e c t i o n
i s o m i t t e d , t h e c l o s i n g s e c t i o n b e g i n n i n g i n s t e a d i n m. 200 w i t h the (2 + 2) + 2
groups.
The t h i r d
(2 x 2), i n mm.
mm.
subsection follows with only i t s f i r s t
233-236.
four bars, that i s ,
Then the main theme r e t u r n s i n i t s o r i g i n a l form i n
237-249, b u t w i t h a s t r o n g e r cadence, and the movement
e r a l bars of c a d e n t i a l f l o u r i s h e s i n mm.
249-264.
concludes w i t h
sev-
114
Diagram
17
Symphony no.
34:
Measures:
64
Timespans:
(2
^
i .
Grouplets:
Exposition Closing Section

74
x
) +
([2 + 2] x 2) +
1 2 3 4
a a a a
,
b
E i n e k l e i n e Nachtmusik.
K.
525,
has
104
(6 + 16) +
([2 x 2] +
,1 , , 1
b b
The
[1 x
same l e n g t h .
.1
d d
Serenade i n G Maj or ( E i n e k l e i n e Nachtmusik),
The
s m a l l s e c t i o n s , each h a v i n g
first,
a subsection that begins

then on V/V,
an 8-bar p e r i o d .
i n mm.
i n mm.
has
f u n c t i o n s , and
The
See diagram 18.
The
each about
a unique main theme, i n mm.
as a main theme c o d e t t a but
18-27.
The
1-27,
two
second s e c t i o n , i n mm.
m a t e r i a l s t a r t i n g i n m.
35 has
s t r u c t u r e of the r e p e a t e d
1-18,
t o n i c i z e s pedals,
28-55, b e g i n s
the
and
first
on
with
some f e a t u r e s of a sub-
o r d i n a t e theme c o d e t t a , some of a c l o s i n g s e c t i o n , and
some of a sentence.
8-bar u n i t , , i n mm.
43-50, resembles the sentence model i n i t s timespans, but not
35-42 and
i n the
character
of the m a t e r i a l , which i s comprised of g r o u p l e t s as opposed to m o t i v i c

On
4])
an e x p o s i t i o n of o n l y 55 b a r s , s h o r t enough t h a t i t i s i n f a c t com-
p r i s e d of o n l y two
V,
82
segments.
the o t h e r hand, some of the m a t e r i a l i s too a c t i v e f o r a c l o s i n g s e c t i o n or
c o d e t t a , i n p a r t i c u l a r the
8-bar u n i t i s repeated
(1 + 1) segments.
the f a c t t h a t
the
g i v e s t h i s s u b s e c t i o n a f e a t u r e of the c l o s i n g model.
A 5-bar c a d e n t i a l c o d e t t a concludes
The
Nevertheless,
the e x p o s i t i o n .
a n a l y s i s of s h o r t movements i s o f t e n more d i f f i c u l t
than t h a t of
l o n g e r ones because d i f f e r e n t f u n c t i o n s a r e combined i n t o fewer s e c t i o n s , and

some s t a n d a r d
f e a t u r e s may
even be absent.
F o r example, t h i s e x p o s i t i o n does
not have an expanded c a d e n t i a l p r o g r e s s i o n , one
of the most common f e a t u r e s of
115
Diagram 18
Eine k l e i n e Nachtmusik: E x p o s i t i o n Second-Key Area
Measures:
Timespans:
Grouplets:
43
35
([2 x 2] + [1 + 1 + 2]) x
a
second-key areas.
51
(1 x 3) + 2
I t i s true that the second-key area does have a c l e a r l y
defined themethe period i n mm. 28-34but the m a t e r i a l that follows has

thematic, codetta, and c l o s u r a l f u n c t i o n s , a l l i n one subsection.
In the r e c a p i t u l a t i o n , the main themein mm. 7 6 - 9 3 i s unchanged;
the
t r a n s i t i o n i n mm. 93-100has i t s second t o n i c i z e d p e d a l t h e one on V/V

simply omitted, so that the t r a n s i t i o n now ends on V; the subordinate theme
i s b a s i c a l l y unchanged, now i n the t o n i c , i n mm. 101-107; and the c l o s i n g sect i o n i n mm. 108-137has
i t s f i n a l group expanded, so that the c l o s i n g s e c t i o n
i s now more r e l a t e d to the c l o s i n g model.
See diagram 19.
I t i s the a d d i t i o n
of two new 2-bar grouplets i n p a i r s , together with other c l o s u r a l features such

as more cadences and a t o n i c pedal, that substantiates use of the c l o s i n g model
i n the a n a l y s i s of t h i s passage.
Diagram 19
Eine k l e i n e Nachtmusik: R e c a p i t u l a t i o n F i n a l Section
Measures:
124
132
Timespans:
([1 x 3] + [2 x 2] + 1) + (2 x 2) + 2
Grouplets:
. .1
d d d
j2
1 2
e e
116
The Serenade i n C Minor, K. 388

tail
(example
2 ) , has been c o n s i d e r e d i n de-
i n c h a p t e r 2: pp. 72-73, 75, 83-84, 86; notes 27, 28, 31, 32, 34, and
47.
In the Q u i n t e t f o r C l a r i n e t and S t r i n g s i n A Major,
K. 581,. the main theme ( i n mm.
1-19)
and the t r a n s i t i o n
( i n mm.
19-41), a r e
more s t r o n g l y connected than i s u s u a l , f o r m i n g a s e c t i o n on a l e v e l between

(c) and
(d).
One
r e a s o n f o r t h i s s t r o n g c o n n e c t i o n i s the smooth, g r a d u a l
n a t u r e of the m o d u l a t i o n , the t r a n s i t i o n c o n c l u d i n g on the V/V p e d a l i n

mm.
34-41.
The main theme i s a unique s t r u c t u r e and the s u b o r d i n a t e theme i s
a sentence c o u p l e d w i t h a v a r i a t i o n ,
p r o g r e s s i o n ending the v a r i a t i o n .
i n mm.
42-65, a p a r t i a l expanded
cadential
65-79, i s based
on the c l o s i n g model t o the e x t e n t t h a t t h e r e i s one p a i r of r e p e t i t i v e
groups,
and t h i s i s f o l l o w e d by a s i n g l e c a d e n t i a l group, t h a t i s , xx^y, o v e r a l l .
element m i s s i n g from the E C P t h e

mm.
67 and 71.
bass tone 3 i s
The f i n a l group, i n mm.
The
used i n the xx
groups i n
75-79, i s based on the opening main
theme m o t i v e , here used i n i m i t a t i o n .

The form o f the r e c a p i t u l a t i o n i s s i m i l a r to t h a t of the e x p o s i t i o n ,
a l t h o u g h many d e t a i l s on l e v e l s
(a) and
(b) a r e changed.
themes a r e o m i t t e d and the c l o s i n g s e c t i o n , i n mm.
P a r t s of the two
169-197, i s extended.
e x t e n s i o n comes i n the second of the r e p e a t e d groups; see diagram 20.

words, the g r o u p l e t t h a t was
expanded
i s seen i n some o t h e r c l o s i n g s e c t i o n s .
i n mm.
185-193.
In o t h e r
i n the second group, t h a t i s , b_ to b \ .
i s the s u b j e c t of even g r e a t e r expansion i n the r e c a p i t u l a t i o n .
ECP,
The
This
effect
The expansion i n c l u d e s a much l o n g e r
117
Diagram
20
C l a r i n e t Quintet: Closing
Exposition
Section
closing section:
([2 +
2] +
a
Recapitulation
closing section:
([2 +
f u l l y a n a l y s e d w i t h the
cause each has
515.
interesting variations
analyse
o n l y the
closing
s i t i o n was
v e r y l o n g , and
within
four
the
515,
(2) The
(4 + 4)
The
1).
18]
+ 5
s t r i n g quintets
169-197)
may
The
be
exposition
89,
and
success-
i n part
28-bar c l o s i n g
(1) The
by
the use
section,
group i s two
than (2 + 2) , and
the
additional
of
be-
the
therefore I w i l l
I noted i n c h a p t e r 2 t h a t
(3) There i s an
(mm.
consider a l l three i n d e t a i l
d i s c u s s e d on p.
rather
65-79)
the model.
t h i s length arises
small sections.
than (1 +
of
s e c t i o n here.
bb'*' p a i r i s (3 + 3)
rather
four
(mm.
c
I will
was
employs t h r e e methods of e x t e n s i o n .
a_.
the
+5
b^
[2 +
Three of
S t r i n g Q u i n t e t i n C Major, K.
2] +
S t r i n g Q u i n t e t K.
[2 + 4]
of
t h i s expoextensions
i n mm.
115-143,
bars l o n g e r
than
cc^ p a i r i s
p a i r of groups beyond
2 2
the normal s i x : c c
grouped as
This c l o s i n g section
s i o n and
trill,
closing
section
e x t e n s i o n of
m.
125,
115,
The
i t s t h i r d bar,
s u b s e c t i o n and
weakening the
m.
&~
aa/J":
See
diagram
the
variation,
21.
u s u a l expanded c a d e n t i a l
which i s a l s o
121,
the
i n mm.
first
bar
The
I t i s the
of
the
first
and
I i n t o the b_
b_ groups o v e r l a p
p a i r i n g of bb'*" t h a t
i f b_ were o m i t t e d i t would be
progres-
119-125, employs a 2-bar
p r o l o n g i n g the D i n v i o l i n
cadence of
thereby j o i n i n g aa^" to b b \
these groups from
2).
i s preceded by
ending a t m.
timespan.
(2 +
in
separates
c l e a r t h a t b_^was not
118
Diagram 21
S t r i n g Q u i n t e t K. 515: E x p o s i t i o n C l o s i n g S e c t i o n
Measures:
115
125
Timespans:
(4 + 6) + (3 + 3) + (4 + 4) + (2 + 2)
1
Groups:
separate
131
group b u t was i n s t e a d an e x t e n s i o n of a .
o v e r l a p m . 128 i s h a r m o n i c a l l y
of
139
t h e b_^ g r o u p t h e r e
Although
the end of the b_ group and a l s o the b e g i n n i n g
i s n o t so s i g n i f i c a n t a melodic
m. 128 i s p r i m a r i l y a b e g i n n i n g ,
o v e r l a p h e r e because
as i s made e v i d e n t from the exact repeat o f
m. 125, t h e l e a p i n the f i r s t v i o l i n
change (piano t o f o r t e , mm.
(A t o D, mm.
127-128), and the dynamic
127-128).
A d i f f e r e n t k i n d of o v e r l a p i s found
i n the c o n n e c t i o n between b^ and c
i n t h i s example: t h i s can be c a l l e d accompaniment o v e r l a p .

of
c_ b e g i n s
i n m. 132, the accompaniment p a t t e r n o f c_ b e g i n s
the same b a r t h a t the b ^ group c o n c l u d e s .

mon b o t h
the two b groups
t o groups b_^ and c _ t o
Although
the melody
a bar e a r l i e r , i n
I n o t h e r words, a l l of m. 131 i s com-
m e l o d i c a l l y and h a r m o n i c a l l y , and t o c_ a c -
companimentally and h a r m o n i c a l l y .
2
The
c _ groups a r e i d e n t i c a l , each now b e g i n n i n g
d u r i n g the f i r s t b a r of
t h e i r r e s p e c t i v e timespans, o v e r l a p p i n g w i t h the f i n a l notes

preceding
groups (mm. 139, 141). The s u b s e c t i o n i s g r e a t l y expanded w i t h
r e s p e c t t o the model, n o r m a l l y
(1 + 1 ) .
In s p i t e o f t h i s expansion,
c l e a r from the t o n i c p e d a l c h a r a c t e r i s t i c o f the f i n a l

is
and
indeed
of t h e i r r e s p e c t i v e
i t is
subsectionthat
this
the f i n a l p a r t o f the c l o s i n g s e c t i o n .
N e a r l y h a l f o f t h i s c l o s i n g s e c t i o n i s taken up by a t o n i c p e d a l .
The c_
1
.
2
c _ s u b s e c t i o n s a r e c o n s t r u c t e d as (1 + 1 + 2) groups, w i t h c echoing the
119
Diagram 22
S t r i n g Q u i n t e t K. 515: R e c a p i t u l a t i o n
Closing
Measures:
305
322
Timespans:
(4 + 6) + (3 + 3) + 1 + ([2 + 1 + 2] + [2 x 3]) +
Groups:
315
Section
327
3 . .
imitation
Measures:
333
Timespans:
([2 x 4] + [2 x 6]) + ([4 + 4] + [2 + 2 + 2] + 2)
Groups:
ST m a t e r i a l
341
end o f the c _ v a r i a t i o n .
the
353
The l e n g t h o f t h i s c l o s i n g
l e n g t h o f the t o n i c p e d a l i s
sectionand
i n particular
perhaps n o t s u r p r i s i n g because t h i s
i s one of the l o n g e s t Mozart wrote.
exposition
In s p i t e o f the a l t e r a t i o n s here t o the
c l o s i n g model, t h e r e remains an o v e r a l l a c c e l e r a t i o n
four
t o t h r e e t o two b a r s , w i t h a r e g r e s s i o n
i n timespan l e n g t h s from
t o f o u r b a r s between those o f
t h r e e and two b a r s .
The r e c a p i t u l a t i o n
section
i s s i m i l a r i n form t o the e x p o s i t i o n .
i s the s m a l l s e c t i o n
that
where i t has some coda f u n c t i o n .

material
as i n the e x p o s i t i o n
i s most changed: i t i s expanded
(diagram 21).
a motive based on i s used i n f u g a l

section
Essentially, this closing
group and two b a r s of t o n i c .
First,
i n mm.
section
321-332,
r e s e m b l i n g the s u b s e c t i o n
Second, i n mm.
333-352,
material
2 7 3 - 3 0 5 i s reworked i n a c a d e n t i a l
353-368 the s u b s e c t i o n i s r e c a p i t u l a t e d
2
c
imitation,
i n the e x p o s i t i o n .
from the s u b o r d i n a t e t h e m e s e e mm.

In mm.
t o the p o i n t
I n diagram 22 the symbols r e f e r t o the same
i s expanded by the i n s e r t i o n of two types o f m a t e r i a l .
of the c l o s i n g
The c l o s i n g
context.
and extended w i t h an a d d i t i o n a l
120
the
There are
S t r i n g Q u i n t e t i n G Minor, K.
ationship
between the
theme, i n mm.
the
516.
first
t i o n and
the
second.
the
The
cially
s u b s e c t i o n , aa
The
theme l e v e l m m .
closing
rel-
subordinate
t r a n s i t i o n to be based
i n s t a n c e s where the
the
on
transi-
impression i s that
the
(based on
the
f i r s t motive of the main theme).
c l o s i n g model i s o p e r a t i n g on
a t the
two
l e v e l s h e r e : a t the
64-71, w i t h an
group l e v e l t h e
s t a r t s o f f l i k e bb^"
the
an u n u s u a l l y dense t e x t u r e , espe-
72-84 are based d i r e c t l y on mm.
section
the
t r a n s i t i o n seem more important than
c l o s i n g s e c t i o n has
e n t i a l p r o g r e s s i o n added, and
The
30-48, and
makes the
s u b o r d i n a t e theme.
diagram 23.
i n mm.
close
t r a n s i t i o n ; t h i s procedure r e v e r s e s the normal p r i m a r y /
d i s t i n c t i o n , and
first
l e a s t of which i s the
In those r a r e
s u b o r d i n a t e theme share the
i n the
the
i n t e r e s t i n g features i n
I t i s much more common f o r the
theme than on
subsidiary
not
transition material,
49-64.
theme i s based on
See
516,
a number of
8-bar
expanded c a d -
c o d e t t a i n mm.
85-90.
(2 + 2) of a. c l o s i n g model but
evolves
i n t o a sentence which i s r e p e a t e d .
The
section
recapitulation
i s s i m i l a r i n form to the
exposition,
i n p a r t i c u l a r i s v e r y s i m i l a r to i t s e x p o s i t i o n
t r a n s i t i o n , a coda begins i n m.
235
w i t h main theme m a t e r i a l
c l o s i n g model i s used f o r the next s u b s e c t i o n i n mm.

o r d i n a t e theme, t h a t
Diagram
i s , (3 + 3) +
form.
(2 + 2) +
and
the
After
closing
the
re-
in imitation.
243-254, based on
the
The
sub-
2.
23
Measures:
Timespans:
Grouplets:
516:
Exposition
Closing
64
([2 x 2] +
a a
Section
72
[1 +
b
1 + 2]) +
1
c
([2 x 2] +
1 1
a a
85
[1 +
b
1 + 7]) +
1 2
c
91
(3 +
3)
2
a a
Retr.
121
593.
The
S t r i n g Q u i n t e t i n D Major, K.
i n t r o d u c t i o n t h a t r e c u r s i n the coda.
T h i s unusual
593,
has
an
f e a t u r e means t h a t the
i n t r o d u c t i o n must be c o n s i d e r e d p a r t of the movement and perhaps p a r t of the

exposition i n particular.
i t i o n and
terial.
The
s e c t i o n s i n mm.
34-63 and 64-75 have some t r a n s -
s u b o r d i n a t e theme f e a t u r e s but are based

Due
to these unusual
p r i m a r i l y on main theme
f a c t o r s , the models of e x p o s i t i o n and
movement forms are not s u f f i c i e n t to a n a l y s e t h i s movement.

view of the o v e r a l l form would r e q u i r e v e r y extended
will
entire-
Even a c u r s o r y
discussion; therefore, I
c o n s i d e r o n l y the c l o s i n g s e c t i o n , which, d e s p i t e the unusual
f e a t u r e s of
the movement, i s e a s i l y i d e n t i f i a b l e and even r e l a t i v e l y normal, i n mm.

By comparison
75-97.
w i t h the c l o s i n g model, t h i s c l o s i n g s e c t i o n i s expanded
w i t h r e s p e c t to i t s t o t a l l e n g t h 2 2 b a r s a n d
number of g r o u p s f o u r .
omitted.
c o n t r a c t e d w i t h r e s p e c t to the
I t i s the b_b s u b s e c t i o n of the model which i s here
The aa^ p a i r i s expanded to ( 6 + 8 ) , and
then the t o n i c p e d a l
appears.
(An e x p l a n a t i o n of the p o s i t e d v a r i a t i o n r e l a t i o n s h i p of these groups w i l l

offered shortly.)
Since the t o n i c p e d a l i s n o r m a l l y a s s o c i a t e d w i t h the
p a i r i n g , these two
final
groups might be named cc^" as i n the model.
to a v o i d p o s s i b l e m i s u n d e r s t a n d i n g ,
They a r e expanded here
i n comparison
T h i s c l o s i n g s e c t i o n has
p r e v i o u s examples.
not a f u l l ECP.
ma-
final
However,
I have shown them as bb'*" i n diagram

w i t h the model to (4 +
be
24.
4).
some i n t e r e s t i n g d i f f e r e n c e s from some of the
The end of the s u b o r d i n a t e theme has a s t r o n g cadence, but
The a-group b e g i n s
some of the p r e v i o u s examples.

an i n t e r r u p t i o n because new
s i m u l t a n e o u s l y w i t h i t s timespan, u n l i k e
T h i s o v e r l a p i n m.
m a t e r i a l begins
75 i s b e t t e r d e s c r i b e d as
the i n s t a n t the t o n i c chord
thus weakening the a s s o c i a t i o n between the t o n i c and
appears,
the p r e v i o u s dominant: the
e x t e n t to which the cadence i s t h e r e f o r e weakened i s the e x t e n t to which an i n -
122
t e r r u p t i o n occurs.
This c l o s i n g s e c t i o n can then be seen as a progression t o -
wards a stronger cadence.
The a^ group begins with an i n t e r r u p t i o n as d i d the
a_ group; hence there i s no c a d e n t i a l f u l f i l l m e n t here.
This cadence i s f u r t h e r
weakened due to the replacement of the expected major t o n i c w i t h a minor one i n

m. 81.
I t i s the cadence at mm.
8 7 - 8 9 w i t h i t s prominent d e s c e n d i n g - f i f t h
A,
l i n e and 3 i n the bass, both absent from previous cadenceswhich s a t i s f i e s the

need f o r a strong cadence.
The b_ group now begins a f t e r i t s timespan does, thus f u r t h e r strengthening
the cadence by a l l o w i n g the tonic harmony to be associated w i t h the a~
group.
The pedal also adds to the weight of t o n i c harmony: i n f a c t , the need
for extended t o n i c harmony may e x p l a i n why the pedal i s used here, i n place of
the
usual bb p a i r found i n the model.
Another reason f o r the omission of the
middle p a i r of the model i s that the aa"*" p a i r i s unusually long.

Yet another d i f f e r e n c e here i s the character of and r e l a t i o n between the
a_ and a^_ groups.
One of the archetypal features of c l o s i n g sections i s that
groups are p r i m a r i l y c a d e n t i a l , o f t e n employing only t o n i c and dominant harmonies.
The f i r s t two groups here are not so strongly c a d e n t i a l , p a r t l y because
each i s longer than the normal 4-bar a-group length.
The aa^" p a i r i s somewhat
more dynamic i n character than i n a normal c l o s i n g s e c t i o n .
This p a i r i s a l s o
remarkable f o r the remoteness of the v a r i a t i o n from a^ to a^_: whereas the a

group i s based on a descending-thirds sequence, bar by bar, the a_^ group
ploys f i r s t a (2 x 2) sequence and then a ( i x 8) quasi-sequence.
em-
Another
d i f f e r e n c e i s that a. and a^ are not the same lengthsomething quite unusual.

And whereas^the a group i s one 6-bar u n i t , the a^ group may e a s i l y be heard
as (4 + 4 ) .
The a''" group may also be heard as (6 + 2 ) , the f i n a l two bars
being an extension necessitated i n part by the r e d i r e c t i o n of the harmony i n
123
Diagram
24
Measures:
75
Timespans:
(6
Grouplet lengths:
(1x6)+
Groups:
m.
Section
89
) + ( 4
([2 x 2] + [1 x 4]) +
a"*"
4 )
(2 x 2) + (2 x 2)
b
b''"
86, where the second chord i s a V2 r a t h e r than a r o o t p o s i t i o n
(That i s , the cadence c o u l d e a s i l y have o c c u r r e d i n mm.

been D-sharp-E o r D-E
i n m. 86.)
dominant.
86-87 i f the bass had
The two groups t h e r e f o r e a r e s i m i l a r i n t h a t
a}~ i s an e x t e n s i o n of a group the same l e n g t h as a_.
They a r e a l s o s i m i l a r from
a t e x t u r a l p o i n t of view, i n t h a t each has a p r i m a r y melody of c o n s t a n t

notes.
mm.
eighth
The motives of the two groups a r e somewhat s i m i l a r , f o r example, as i n
75 and 82.
The
group has the s t r o n g e r cadence and so the two groups
may
be heard as a simple p e r i o d , the r e l a t i o n between many g r o u p - p a i r s i n c l o s i n g

sections.
The b_ and
groups may
be heard as (2 + 2) i m i t a t i o n s of a 2-bar motive.
The v a r i a t i o n t e c h n i q u e of borrowing p i t c h c l a s s e s from the p a r a l l e l minor mode

i s common t o b o t h the bb^ p a i r and the aa^" p a i r .
Many of the c l o s i n g s e c t i o n s d i s c u s s e d e a r l i e r used the opening main
theme motive; t h i s c l o s i n g s e c t i o n does n o t . In f a c t , t h e r e i s no o v e r t
ref-
erence to any p r e v i o u s m a t e r i a l , p r o b a b l y because main theme m o t i v e s p r i m a r i l y

those i n mm.
20(4)-22(3) and 3 0 - 3 3 ( 1 ) h a v e dominated so much of the e x p o s i t i o n
up to the c l o s i n g
section.
In the r e c a p i t u l a t i o n the c l o s i n g s e c t i o n i s r e w r i t t e n to a c e r t a i n
tent.
The aa"*" p a i r , i n mm.
200-216, has i t s main voice/accompanying v o i c e s
ex-
124
i n v e r t e d w i t h r e s p e c t to the e x p o s i t i o n , t o g e t h e r w i t h some f u r t h e r
The
group i s extended
by two b a r s , t h a t i s , i t i s now
The bb'*" p a i r i s extended
(2 x 3) +
rewriting.
(1 x 4 ) .
i n t o a r e t r a n s i t i o n p r e p a r i n g f o r the coda, which, as
noted above, b e g i n s w i t h the l a r g h e t t o , and concludes w i t h p a r t of the main

theme a t tempo I.
S t r i n g Q u a r t e t K.
model i n some way.
387.
Rather
S i x of the t e n s t r i n g q u a r t e t s use the
closing
than go i n t o d e t a i l on a l l or even some, I w i l l
offer
o n l y b r i e f remarks on the n a t u r e of the v a r i a t i o n i n the use of the c l o s i n g model

i n each.
The
c l o s i n g s e c t i o n of the S t r i n g Q u a r t e t i n G Major, K.
summarized as i n diagram
movement e x p l a i n s why
units.
25.
The
f o r h e a r i n g t h i s movement i n 2/4
on a r e d u c t i o n of the
(At the same time, a case c o u l d be made
as opposed to the n o t a t e d common time,
d o u b l i n g the number of b a r s i n the c l o s i n g s e c t i o n .
i n the model than the a b s o l u t e l e n g t h of u n i t s i s the
between the l e n g t h s of u n i t s , whether 4:2:1
o r 2:1:$.
Diagram 25
387:
Measures:
38(3)
42(3)
49(3)
Timespans:
(2 + 2) +
(2 + 5) +
(1$ + 1$) +
Grouplets:
T-
b b
T-
($+ J )+ 2
1
thus
T h i s would h e l p e x p l a i n
the c l o s i n g section,, u n u s u a l l y , b e g i n s on the t h i r d b e a t .
be
the c l o s i n g s e c t i o n begins w i t h 2- r a t h e r than w i t h 4-bar
In o t h e r words, t h i s c l o s i n g s e c t i o n i s based
important
may
s h o r t e r l e n g t h of a l l the s e c t i o n s i n t h i s
c l o s i n g model to h a l f the u s u a l l e n g t h .
why
387,
1
c
However, more
relationship
125
The bb
p a i r o f the model i s doubled
i n l e n g t h and expanded i n t h i s
c l o s i n g s e c t i o n ; a l t e r n a t i v e l y , one c o u l d see the bb^" s u b s e c t i o n as an i n s e r t i o n i n t o the model: without
these groups the l e n g t h s o f the o t h e r s a r e p r o -
g r e s s i v e l y reduced, i n a manner s i m i l a r t o t h a t of the model.

g r o u p c i i s a c u r i o u s a d d i t i o n , o f a type
ments.
The f i n a l
2-bar
seen o n l y i n one o r two o t h e r move-
I n the r e c a p i t u l a t i o n the aa"*" s u b s e c t i o n i s expanded by t h r e e
bars,
the bb^ s u b s e c t i o n i s a l s o expanded by t h r e e b a r s , and the c^c^" s u b s e c t i o n

i s expanded by one b a r .
Quartet
The S t r i n g Q u a r t e t
i n D Minor, K. 421, l i k e the
i n G Major, has s h o r t e r than u s u a l s e c t i o n s and has a c l o s i n g s e c t i o n
that beings
on the t h i r d b e a t .
See diagram 26.
v a r i a t i o n here i n the use of the c l o s i n g model..
The l e n g t h s of groups i s the

The use of exact
i n each p a i r e x a c t a s i d e from, the c o n s i s t e n t use of octave

unusual.
As noted
of the aa p a i r a r e " n o r m a l i z e d "
t o two b a r s
group i s expanded by a h a l f - b a r , i n m. 109.

means t h a t the movement c o u l d be c o n s i d e r e d
i n G Major.
i n mm.
The r e t r a n s i t i o n m a t e r i a l , i n mm.
Measures:
32(3)
35(3)
Timespans:
(1$ + l i ) + (2 + 2) + ( i + i )
a
39(3)
little
expansions
l-bar
lengths
102-105, and the second b_
i n 2/4, another
S t r i n g Q u a r t e t K. 421: E x p o s i t i o n C l o s i n g S e c t i o n
The unusual
T h i s emphasis on h a l f - b a r u n i t s
Diagram 26
Groups:
shiftsis
on pp. 92-93 t h i s movement has some i n t e r e s t i n g
i n l e n g t h s o f s m a l l s e c t i o n s i n the r e c a p i t u l a t i o n .
the Quartet
repetition
similarity
with
111(3)-112, i s used
126
here t o l e a d f i r s t
to the r e p e a t of the d e v e l o p m e n t - r e c a p i t u l a t i o n
sections,
and the second time to the coda.
There a r e a number of unusual f e a t u r e s i n the
S t r i n g Q u a r t e t i n B - f l a t Major, K. 458, n o t a b l y the c o m b i n a t i o n of

and s u b o r d i n a t e theme f u n c t i o n s i n one s m a l l s e c t i o n i n mm.
ECP
i n mm.
77-90.
See diagram 27.
On l e v e l
only two groups, the second an expansion of the f i r s t .

1
(b) t h e r e a r e
On l e v e l
(a) the group-
form a p a i r ; m_ b e g i n s as i f r e p e a t i n g m but l e a d s to a new
In
grouplet
t o n ^ and r e p e a t e d .
the r e c a p i t u l a t i o n t h e r e i s a s l i g h t v a r i a t i o n i n the n^n^" p a i r , i n -
e l u d i n g s u b s t i t u t i o n of 3 f o r 6 m
the
A f t e r the
n; n i s s i m p l i f i e d
er
18-77.
71-77, the c l o s i n g s e c t i o n l o o s e l y based on the c l o s i n g model on
two l e v e l s i s heard i n mm.
l e t s mm
transition
f i n a l cadence.
development
One
the bass of m.
228, which makes f o r a s t r o n g -
reason f o r the presence of a s u b s t a n t i a l coda
involves
s e c t i o n , the l a t t e r c o n d i t i o n e d by the need t o b e g i n w i t h a
theme i n compensation f o r the l a c k of a t r u e theme i n the dominant i n the exposition.
F o l l o w i n g t h i s theme i s "new"
i n v e r s i o n of the opening motive.
m a t e r i a l , based on a slow
The development
never d e a l s a t a l l w i t h the
opening music, the s t r e t t o p o s s i b i l i t i e s o f which a r e so o b v i o u s .
Diagram 27
Measures:
77
81
83
Timespans:
(2 x 2) +
(2 +
[2 x 3] +
Groups:
i Grouplets:
a
m m
89
a
1
n n
1
1 1
n
2)
Section
(half-speed)
This i s
127
p r o b a b l y why
Mozart w r i t e s a coda b e g i n n i n g w i t h the f i r s t
theme i n s t r e t t o ,
2
hence speeded up,
r a t h e r than slowed
K. 464,
was
464.
down as m
the development.
The main theme of the S t r i n g Q u a r t e t
d i s c u s s e d as a model sentence
i n c h a p t e r 2, pp. 61-62.
c o n n e c t i o n between the end of the s u b o r d i n a t e theme and

L i k e the Q u a r t e t K. 458,
has p a i r i n g of u n i t s on b o t h l e v e l s
(a) and
The c l o s e
the b e g i n n i n g of the
68-69, means t h a t the c l o s i n g s e c t i o n may
a s u b o r d i n a t e theme c o d e t t a .
i n A Major,
be c o n s i d e r e d
this closing
( b ) ; see diagram
section
28.
Most c l o s i n g s e c t i o n s b e g i n w i t h some degree of o v e r l a p w i t h the end

the s u b o r d i n a t e theme: here
i s o m i t t e d a l t o g e t h e r and
of
m.
69.
the o v e r l a p i s so extreme t h a t the t o n i c harmony
the group b e g i n s w i t h i t s timespan
In f a c t , the cadence i s e l i d e d : i t i s i n c o r r e c t
as a d e c e p t i v e cadence, d e s p i t e the harmonies i n mm.

c u s s i o n of the DC,
see c h a p t e r 2, note
G r o u p l e t m i s based
cedure
68-69:
on the f i r s t
to speak of
beat
this
(For a b r i e f
dis-
9.)
on the opening motive of the main theme.
This pro-
i s common t o many c l o s i n g s e c t i o n s : h e r e , however, the e x a c t p i t c h e s
from the v i o l i n I l i n e i n mm.

d e s p i t e the new
Diagram
of
key.
1-2
are used
i n the same instrument
G r o u p l e t o i s a v a r i a n t of n as w e l l as of the
28
S t r i n g Quartet K.
Measures:
Timespans:
Groups:
Grouplets:
464:
69
mn
73
+
i n mm.
79
([2 x 3] +
1 2
m m
83
[2 x 2]) +
1
a
3
m o
4
b
4
2
mo
+ 1
69-70,
cadential
128
g r o u p l e t a t the end of the s u b o r d i n a t e theme, i n mm.
67-68.
V a r i a n t o_ i s a
v a r i a n t because i t s main n o t e s B and D - s h a r p a r e the same as those of o, and

because i t i s used i n the same p o s i t i o n a t a c a d e n c e a s o.
In the r e c a p i t u l a t i o n , the a ^ group i s expanded by e i g h t e e n b a r s and the
_b group by f o u r b a r s .
In summary, t h i s c l o s i n g s e c t i o n i s d i s t i n g u i s h e d by i t s
r i c h m o t i v i c a s s o c i a t i o n s , b o t h w i t h i n the c l o s i n g s e c t i o n and between

s i n g s e c t i o n and o t h e r s e c t i o n s , p r i m a r i l y the main theme.
of the segments
the c l o -
T h i s means t h a t many
c o u l d be r e f e r r e d t o as m o t i v e / g r o u p l e t segments;
t h a t i s , many
g r o u p l e t s assume more m o t i v i c s i g n i f i c a n c e than i s u s u a l .
The S t r i n g Q u a r t e t i n D Major, K. 499,
has an
unusual s u b o r d i n a t e theme a r e a which i n c l u d e s a canon i n A major i n mm.

a passage t h a t b e g i n s as i f i t were a theme i n F-sharp minor i n mm.
t h e r p a s s a g e i n F major i n mm.
mm.
70-73.
40-56,
57-64, ano-
65-70, and f i n a l l y a cadence i n A major i n
A r e l a t i v e l y normal c l o s i n g s e c t i o n f o l l o w s n o r m a l i n the sense
t h a t i t i s based on the c l o s i n g model; see diagram 29.

The v a r i a t i o n here i s i n the use of a d d i t i o n a l groups and
l e n g t h s of groups than i n the model.
different
Nevertheless, this c l o s i n g section
illus-
t r a t e s w e l l two of the s t a n d a r d f e a t u r e s o f the model, t h a t i s , the p r o g r e s s i v e

r e d u c t i o n i n group l e n g t h ( i n the model, 4-2-1; here 5-4-2-1), and the c o n s i s -
Diagram
29
S t r i n g Q u a r t e t K. 499:
Measures:
73
Timespans:
(5 + 5) +
Groups:
Exposition Closing
83
a''"
91
Section
95
([4 x 2] + [2 x 2] + [1 x 2] +
b
b^
b^
b^
b^
2)
129
t e n t p a i r i n g of groups.
s u b s e c t i o n i n mm.
based e x a c t l y
on
groups w i t h i n
these b a r s ; t h a t
ialband
(4 + 4) +
extra
the
The
(1 +
p r o l o n g a t i o n of
The
1).
the
215-240).
previous sections,
due
to the use
of
b a r s , mm.
i n the
final
and
i n the
the
241,
the
section
closing section),
closing
590.
model i n both the
i s based on
opening of
The
altered
few
(see
e x t e n s i o n of
closing section.
between the
the
In
contexts.
closing
section
s u b o r d i n a t e theme a r e a , thus
the
coda does combine the
s e c t i o n w i t h main theme m a t e r i a l
590,
exposition
and
i t follows
recapitulation.
diagram 30.
a l l are based on
the
the
The
also
respects).
p r e c e d i n g q u a r t e t s , the
i s normal, as
and
material
(this
coda resembles i n some
U n l i k e many of the
only four,
form
four-
closing
I n s t e a d of
same m a t e r i a l
six
from
the main theme.
closing section
174-183.
a common
except f o r a
used i n c a d e n t i a l
a reduced c l o s i n g model; see
groups, here t h e r e are
same mater-
i n p a r t i c u l a r none w i t h the main theme ( t h i s perhaps
S t r i n g Q u a r t e t i n F Major, K.
small-section
and,
i s based on an
f i n a l group of the
development s e c t i o n , which the
of
model
i n p a r t i c u l a r i s not
strong motivic r e l a t i o n s h i p s
group of the
o c c u r r e d i n the
the
97-98, are
exposition,
the main theme motives i n the
demanding c o n t r a s t
mm.
two
249-266 the main theme motive i s added and
and
the
final
coda, b e g i n n i n g i n m.
A l t h o u g h t h e r e are no
of
(The
association
based on
i d e n t i c a l to those i n the
closing section
r e t r a n s i t i o n i t s e l f based on
mm.
groups are
i s s i m i l a r to the
( a ) , the
The
i s , a l l the
the
as
tonic.)
recapitulation
d e t a i l s at l e v e l
mm.
c l o s i n g model: t h i s i s supported by
group l e n g t h s are
(2 + 2) +
83-98 c o u l d e a s i l y be viewed
i n the
I t l e a d s i n t o the
recapitulation
i s almost unchanged, i n
retransition material,
as
i n the
exposition,
130
Diagram
30
590:
Exposition Closing
Measures:
63
Timespans:
(3 + 3) + (2 + 2)
Grouplets:
and
69
i n t o a coda t h a t i s v e r y
i n mm.
184-198.
Section
s i m i l a r to the opening of the development s e c t i o n ,
T h i s coda does not
i n c l u d e any
as i s common i n codas (compare the Q u a r t e t K.

i s of course t r a n s f o r m e d p r i m a r i l y
reference
499).
to the main theme,
In the coda the
harmonicallyso
as to be
entirely cadential.
T h i s i l l u s t r a t e s w e l l the p r i n c i p l e t h a t the f u n c t i o n of a g i v e n
termined more by how
t u r e of t h a t
563,
more than one
has
way
The
a very
long s u b o r d i n a t e theme area
according
thirty-one b a r s a
p a r t by
31.
the ECP
i n mm.
to f o r m a l
very
na-
function.
interpretation I w i l l
long c l o s i n g s e c t i o n .
44,
in
con-
thereby making
T h i s view i s supported i n
See
diagram
some s i m i l a r i t i e s w i t h t h a t i n the Q u a r t e t K.
of 5-bar groups i n the f i r s t
the use
The
Cello in E-flat
40-43, which c l o s e s the s u b o r d i n a t e theme.
sequences i n the f i r s t
cadence; and
de-
the
t h a t can be a n a l y s e d
the c l o s i n g s e c t i o n b e g i n a t m.
T h i s c l o s i n g s e c t i o n has
t h a t i s , the use
1-bar
i n t h a t s e c t i o n i s used r a t h e r than by
D i v e r t i m e n t o f o r V i o l i n , V i o l a , and
s i d e r here i n v o l v e s h e a r i n g
itat
section is
material.
String Trio.
Major, K.
the m a t e r i a l
material
p a i r , aa"*"; the use
499:
of a s c e n d i n g
t h r e e b a r s of the <a group, f o l l o w e d by a 2-bar
of i n v e r t i b l e c o u n t e r p o i n t
i n the v a r i a t i o n from a_ to
However, here the a"*" group i s g r e a t l y expanded due

adding a cadence s i m i l a r to t h a t i n mm.
to e x t e n s i o n s
42-43and due
i n mm.
53-57
to an a d d i t i o n a l ECP
in
131
Diagram
31
S t r i n g T r i o K. 563: E x p o s i t i o n C l o s i n g
Section
Measures:
44
49
68
Timespans:
(5 +
[9 + 4]) + (3 + 3 )
Groups:
mm.
58
58-61.
62
+ (1 + [ 2 x 2 ] +
U n u s u a l l y , a b a r w i t h no m a t e r i a l beyond
and an accompaniment p a t t e r n m . 6 8 p r e c e d e s
1)
a s u s t a i n e d t o n i c harmony
the f i n a l p a i r ;
t h i s bar c o u l d
a l s o be seen as added t o the p r e v i o u s t i m e s p a n t h e r e b y making i t f o u r b a r s

long.
The c l o s i n g s e c t i o n i n the r e c a p i t u l a t i o n i s almost
V i o l i n Sonatas K. 304, 377, and 454.
unchanged.
Of the f i v e sonatas f o r keyboard
and v i o l i n which I am c o n s i d e r i n g , t h r e e use the c l o s i n g model.

t h r e e use the model w i t h v e r y l i t t l e v a r i a t i o n , and I w i l l
In f a c t , a l l
t h e r e f o r e comment
o n l y b r i e f l y on each.
The Sonata f o r V i o l i n and Piano i n E Minor, K. 304, has unusual t h e m a t i c
s e c t i o n s : the main theme i s one of the few examples
s u b o r d i n a t e theme, i n mm.
of a s m a l l t e r n a r y , and the
28-59, i s an extreme v a r i a n t of a sentence.
l a t t e r theme i n c o r p o r a t e s a good example of an ECP, mm.

of the p r e v i o u s s i x b a r s .
(4 + 4) + (3 + 3) +
51-58
This
b e i n g an e x p a n s i o n
59-77,. has timespans of
(2 + 2) , and groups of aaVb^cc.
In the r e c a p i t u l a t i o n the c l o s i n g s e c t i o n , i n mm.
159-183, i s lengthened
by the a d d i t i o n of two more c_ groups and a f u r t h e r 2-bar group.

t r a n s i t i o n the main theme reappears as the coda: t h i s may
A f t e r the r e -
be due t o the s h o r t -
ened and a l t e r e d form of the main theme used a t the s t a r t of the r e c a p i t u l a t i o n .
132
The e x p o s i t i o n of the Sonata f o r V i o l i n and Piano i n F Major, K.

was
d i s c u s s e d on pp. 88-89.
spans of (3 x 2) +
(2 x 2) +
The t h i r d
s m a l l s e c t i o n , i n mm.
of l e v e l
s e c t i o n does not escape t h i s rearrangement,

as a s m a l l s e c t i o n and remains
endas
i n the e x p o s i t i o n .
37-51, has
(2 x 2) + 1, and groups aa^'bbcc'*".
l a t i o n i s unusual f o r i t s rearrangement
(c) and
377,
The
time-
recapitu-
(b) u n i t s ; the c l o s i n g
a l t h o u g h a t l e a s t i f remains
i n the same l e v e l - ( d ) l o c a t i o n t h a t
intact
i s , a t the
However, whereas i n most works any change i n the
r e c a p i t u l a t i o n c l o s i n g s e c t i o n u s u a l l y i n v o l v e s e x p a n s i o n , i n t h i s movement
the o p p o s i t e o c c u r s : the b_b p a i r
is
omitted.
C o n t r a c t i o n of the c l o s i n g s e c -
t i o n i s a v e r y unusual p r o c e d u r e .
The
Sonata f o r V i o l i n and Piano i n B - f l a t Major, K. 454, has been d i s -
cussed i n c h a p t e r 2: pp. 47-48, 50, 52, 54-56, 63, 73-75, 82-83, 86; notes
10, 25, 28, 32, 37, and
Piano Sonatas K.
9,
38.
284,
311, 310,
330, 457, and 533.
This chapter w i l l
conclude w i t h b r i e f remarks on the s i x p i a n o sonatas t h a t f e a t u r e the c l o s i n g

model.
The e x p o s i t i o n of the Piano Sonata i n D Major, K.
i n t o two
s e c t i o n s a t nr. 21.
C l o s i n g m a t e r i a l b e g i n s a t m.
284, d i v i d e s
38, a l t h o u g h t h i s
m a t e r i a l i s s t r o n g l y connected to the p r e c e d i n g thematic statement.

model a p p l i e s o n l y t o the f i r s t
(3x2)
+ 6 + 2 , w i t h group
primarily
The
closing
two groups; the o v e r a l l timespan s t r u c t u r e i s
s t r u c t u r e aabc, where b_ i s an
ECP.
In the r e c a p i t u l a t i o n the a p p l i c a t i o n of the c l o s i n g model i s s t r o n g e r

due
to the replacement of the s i n g l e b_ group w i t h two v a r i a n t s of i t b
a 4-bar compression of b_ i n mm.
1 2
b ;
116-119 i s f o l l o w e d by a 6-bar v a r i a t i o n .
1 2
.
T h i s expansion of b_ to b_ s t r e n g t h e n s the i m p r e s s i o n of an ECP, which, c o u p l e d
w i t h the a d d i t i o n a l cadence
1
.
( i n b ) and the a d d i t i o n a l p a i r i n g
12
( b b ), streng-
133
thens c l o s u r e .
The
Piano Sonata i n D Major, K.
b i n i n g main theme and

then f o l l o w e d by
311,
b e g i n s w i t h a 16-bar s e c t i o n com-
t r a n s i t i o n functions.
An
8-bar s u b o r d i n a t e theme i s
another 16-bar s e c t i o n t h a t combines s u b o r d i n a t e theme
and
c l o s i n g s e c t i o n f u n c t i o n s , as w e l l as i n t r o d u c i n g a prominent
mm.
2 8 - 2 9 t h a t i s used e x t e n s i v e l y i n t h i s and
diagram 32.
The
because i t has
motivein
i n subsequent s e c t i o n s .
See
bb'*" p a i r a c q u i r e s more s i g n i f i c a n c e because i t i s r e p e a t e d
some m o t i v i c
f u n c t i o n to t h a t a t the end
The
codetta
features.
The
d group i s an e x t r a one
of the c l o s i n g s e c t i o n i n the
r e c a p i t u l a t i o n i s r e a r r a n g e d at l e v e l s (b) and
the second theme; mm.
87-99 r e c a p i t u l a t e mm.
small
similar in
( c ) : mm.
99-112 form one
new
c o n t i n u a t i o n , e n d i n g w i t h a v a r i a n t of the c; and
387.
79-86 v a r y
24-36 of the c l o s i n g s e c t i o n ;
mm.
and
and
s e c t i o n i n c o r p o r a t i n g p a r t of the main theme w i t h a

d_ groups from the c l o s i n g
section.
Diagram
32
Piano Sonata K.
311:
Exposition Closing
Measures:
24
Timespans:
(2 + 2) +
Groups:
The
A Minor, K.
28
a''"
Section
36
([2 + 2] x 2) + 2 +
b
b^" b b^
2
d
c l o s i n g model i s used i n a s h o r t e n e d form i n the Piano Sonata i n

310:
aa^bb'*", i n mm.
i n s t e a d of s i x groups t h e r e are f o u r ,
35-49.
(5 + 5) +
(2 + 2) +
1,
Here b_ i s based on the opening motive of the main theme.
In the r e c a p i t u l a t i o n a c a d e n t i a l e x t e n s i o n
wise the c l o s i n g s e c t i o n , i n mm.
of t h r e e bars i s added to b^;
116-133, i s o n l y
s l i g h t l y r e w r i t t e n , and
otherthe
134
few
small a l t e r a t i o n s
are
l i k e l y due
to the
In the Piano Sonata i n C Major, K.

the
s u b o r d i n a t e theme, and
mm.
19-34
The
period
theme.
the
has
the
34-42 i s thus e i t h e r
Because expansion has

i n mm.
42-58 c o u l d be
ever, i t could a l s o f u n c t i o n
(6 + 6) +
pairing
the
(2 + 2) +
addition
of a new
The
the
first
section
considered a t r a n s i t i o n .
or the
second
subordinate
c o d e t t a s have not
occurred,
seen as a codetta-complex to the p e r i o d .
The
the
1) +
( J+
) , xxyy.
In the
of the Piano Sonata i n C Minor, K.
i s , i n mm.
t h e r e are
59-70, (4 + 4) +
the bb'*' p a i r i s a l t e r e d
grouplet
recapitulation
the
o n l y two,
(2 +
457,
and
not
2 ) , aa^bb^.
i n o r d e r to l e a d
i n t o the
is similar
three,
In
the
coda, which
79-80.
closing section
a l o n g expanded c a d e n t i a l
of the Piano Sonata i n F Major, K.

progression that
i s a c l e a r i l l u s t r a t i o n of the model, and

i n which a l l groups are
based on
the
ends i n m.
89.
533,
This c l o s i n g
i s a l s o a good example of
comes a f t e r
the
section
type
so t h a t w i t h each s u c c e s s i v e
112
In the
section
How-
c l o s i n g model:
6-bar groups f e a t u r e i n t e r n a l
p r e c e d i n g sonata i n t h a t
p a i r the m a t e r i a l
in
codetta.
i s d i s c u s s e d on pp.
The
c o u l d a l s o be
transition,
i s s i m i l a r except f o r a change to the x g r o u p l e t and
p a i r s of groups; t h a t
recapitulation
i s p r o b l e m a t i c . The
as a c l o s i n g s e c t i o n based on
1, aa^bb^.
closing section
of the
i d e n t i f i c a t i o n of the
taken p l a c e and
i n t h e i r f i r s t h a l v e s : (1 +
closing section
to t h a t
not
330,
section
some thematic f e a t u r e s but
i n mm.
section
closing
change of mode.
i s reduced: (3 + 3) +
recapitulation
several
remains b a s i c a l l y the
sections
same.
(2 +
are
2) +
( 1 + 1 + 1 + 1 ) ,
somewhat r e w r i t t e n ,
but
2 2
aaa
a a a a .
the
closing
135
Having d i s c u s s e d
a l l of the works t h a t are based on the c l o s i n g model,
i t would seem a p p r o p r i a t e
model and
to o f f e r some g e n e r a l i z a t i o n s on the use
on c l o s u r e as generated by
t h i s model i n these works.
such d i s c u s s i o n u n t i l c h a p t e r 7, by which p o i n t
cerning
this
I can
t h i s model.
then not
compare and
I will
re-
seen i n subsequent chapcon-
In a d d i t i o n , I want to d i s c u s s c l o s u r e o v e r a l l i n these
t h i s i s best
l e f t u n t i l a l l movements have been mentioned:
o n l y summarize the c l o s i n g model and
contrast
defer
c l o s i n g model i n f a c t
i s another r e a s o n I wish to w a i t to make g e n e r a l i z a t i o n s
works of Mozart, and
and
The
some a p p l i c a t i o n to the other models, as w i l l be
t e r s , and
this
I w i l l have examined the
maining movements, the ones based on o t h e r models.

has
of
t h e i r a p p l i c a t i o n , prevalence,
the o t h e r models, but
also
variation, relationship,
c l o s u r a l strength.
I t should
number, and
a t l e a s t be
a l a r g e p e r c e n t a g e (60%)
model i s r e v e a l e d
w i t h i t , but
apparent t h a t the c l o s i n g model i s used i n a
not
of p i e c e s .
The
validity
That i s , no
two
p i e c e s use
model s t i l l
a p p l i e s to a l l of them w i t h o u t b e i n g
the c l o s i n g model i n the
model t h a t i t t e l l s us n o t h i n g
number of p i e c e s has
of the c l o s i n g
j u s t because a l a r g e number of p i e c e s may
a l s o because i t a p p l i e s to so many p i e c e s
about each p i e c e .
i t been p o s s i b l e to observe
be
analysed
t h a t are d i f f e r e n t .
same way,
y e t the c l o s i n g
so watered-down and
Only by
this.
large
vague a
considering a
large
136
The
Closing
Codetta
A second type of c l o s i n g s e c t i o n may

The
be named the c l o s i n g c o d e t t a .
t y p i c a l r e p r e s e n t a t i v e c o n s i s t s of a s i n g l e c o d e t t a , of l e n g t h f o u r to
eight bars.
o n l y one
In form i t i s o f t e n l i k e a shortened
c l o s i n g model, c o n t a i n i n g
p a i r of s i m i l a r groups; t h a t i s , (2 + 2) or
(4+4).
Such
codettas
h a r d l y r a t e the d e s i g n a t i o n " s m a l l s e c t i o n , " but, w h i l e many a r e not
true
s m a l l s e c t i o n s , they have some independence i n the sense t h a t they a r e n e i t h e r

e x c l u s i v e l y codettas
to the p r e v i o u s
r e t r a n s i t i o n s or developments.
(c)usually
(I w i l l
subordinate
theme n o r p a r t s of subsequent
Such c o d e t t a s o n
f u n c t i o n as c o d e t t a s
to s u b o r d i n a t e
a l e v e l between (b)
themes and
and
as c l o s i n g s e c t i o n s .
r e t a i n the term " c l o s i n g s e c t i o n " d e s p i t e the s h o r t l e n g t h of
this
type.)
The
c l o s i n g c o d e t t a commonly o c c u r s
to the s u b o r d i n a t e
i n two
theme, c o n t e x t s which I w i l l
(x) T h i s type i n v o l v e s a s u b o r d i n a t e
closing codetta.
There are few
k i n d s of c o n t e x t s
term (x) and
relative
(y):
theme f o l l o w e d d i r e c t l y by
examples of t h i s type, and most are
the
relatively
short i n length.
(y) More common i s the l o n g e r type
by a codetta-complex t h a t n o r m a l l y
i n v o l v i n g a subordinate
i n c l u d e s an ECP,
theme f o l l o w e d
then by the c l o s i n g c o d e t t a .
137
With type
subordinate
( y ) , c l o s u r e i s o f t e n d i s t r i b u t e d between t h e end of the
theme and t h e v a r i o u s c o d e t t a s , u n l i k e i n the case o f works u s i n g
the c l o s i n g model, where the c l o s i n g s e c t i o n ' s r o l e i n g e n e r a t i n g

i s more e x c l u s i v e and s e l f - c o n t a i n e d .
way
closure
(This observation provides a d i f f e r e n t
t o c l a s s i f y c l o s i n g s e c t i o n s , i . e . , on the b a s i s o f how t h e c l o s u r a l
f u n c t i o n i s d i s t r i b u t e d : i n one s e c t i o n , i n two s e c t i o n s , o r i n a s e r i e s of
codettas
t h a t do n o t form c l e a r l y - d e f i n e d s e c t i o n s . )
Type (y) o f t e n o c c u r s w i t h e x p o s i t i o n s t h a t have l o n g second-key

i n which i t may n o t always be p o s s i b l e t o d i s t i n g u i s h thematic
material.
from c o d e t t a
I n o t h e r words, such second-key areas have a s e r i e s of s m a l l
t i o n s which have both
thematic
and c l o s u r a l f u n c t i o n s .
areas,
sec-
The c o d e t t a m a t e r i a l
i s u s u a l l y c l o s u r a l i n f u n c t i o n no matter whether i t o c c u r s as a c o d e t t a t o
the theme o r as a c l o s i n g c o d e t t a .
The d i s t i n c t i o n between a c o d e t t a t o t h e
theme and a c l o s i n g c o d e t t a i s made a c c o r d i n g t o t h e presence o f f e a t u r e s

c h a r a c t e r i s t i c of one o r t h e o t h e r of these
ded
c a d e n t i a l p r o g r e s s i o n w i l l be found
sections.
F o r example, the expan-
i n a c o d e t t a t o the theme b u t n o t i n
a c l o s i n g c o d e t t a ; and p a i r i n g o f s i m i l a r groups (as i n a t r u n c a t e d
closing
model) w i l l be more common i n a c l o s i n g c o d e t t a than i n a c o d e t t a t o t h e theme.

Sometimes t h e r e i s no s u b o r d i n a t e
a s e r i e s of c o d e t t a s
theme and the second-key a r e a i s made up o f
grouped as one o r more codetta-complexes.
E x p o s i t i o n s i n which t h e c l o s i n g model i s used f o r t h e c l o s i n g s e c t i o n

n o r m a l l y have a c l e a r s e p a r a t i o n between t h e s u b o r d i n a t e
section.
theme and the c l o s i n g
T h i s i s n o t t h e case w i t h t h e c l o s i n g c o d e t t a : t h e r e i s more v a r i a n c e
i n movements u s i n g t h i s type o f c l o s i n g s e c t i o n than

I t might be u s e f u l , then, f o r the r e a d e r
small s e c t i o n s i n chapter
2, note 28.
t o review
i n t h e c l o s i n g model works.
t h e d i s c u s s i o n of thematic
138
D e t a i l e d d i s c u s s i o n must be g i v e n to more of the movement i n cases where

the c l o s i n g c o d e t t a i s used, because i t i s obvious
i s i n i t i a t e d p r i o r to the c l o s i n g s e c t i o n .
number of works may
sion.
substantial
i n d e t a i l as many works as were so examined i n the
pre-
In f a c t , I have s e l e c t e d o n l y f o u r works f o r extended d i s c u s -
In the cases of the Quartet K.
K. 614,
Therefore, although a
be c o n s i d e r e d to have t h i s type of c l o s i n g s e c t i o n , I w i l l
not be a b l e to a n a l y s e
vious chapter.
t h a t i n these works c l o s u r e
575
and,
to a l e s s e r e x t e n t , the Q u i n t e t
I have used p i t c h r e d u c t i o n i n the a n a l y s i s , p a r t l y because i t seemed
a p p r o p r i a t e f o r these works and because i t p r o v i d e s an o p p o r t u n i t y to a n a l y s e

c l o s u r e from a d i f f e r e n t p e r s p e c t i v e as w e l l as to e v a l u a t e t h i s p e r s p e c t i v e .
A f t e r these f o u r works have been a n a l y s e d , b r i e f mention w i l l be made of
remaining works which may
Symphony- no.
i n E - f l a t Major, no.
i n mm.
and
39.
39.
be c o n s i d e r e d to have c l o s i n g
codettas.
A work t h a t has not y e t been d i s c u s s e d i s the Symphony

There i s an i n t r o d u c t i o n , f o l l o w e d by
26-54, the t r a n s i t i o n i n mm.
i n t o two
97-109 and
54-97, the s u b o r d i n a t e
135-142.
s e c t i o n s , the f i r s t t h e
The
subordinate
theme p r o p e r i n mm.
a p e r i o d i n mm.
the main theme
theme i n mm.
97-119 ( i t s e l f
i n mm.
mm.
T h i s second s e c t i o n i s not so much a c o d e t t a to the
thematic m a t e r i a l as i t i s a s e p a r a t e
section.
110-119), and
the change to a f o r t e dynamic), and
repeated
c a d e n t i a l group i n mm.
a l s o due
125-129 and
comprised
the second i n
previous
I t i n i t i a t e s c l o s u r e due
the i n c r e a s e i n t e x t u r a l d e n s i t y ( r e s u l t i n g from the a d d i t i o n of

and
97-135,
theme a r e a d i v i d e s
of a sentence
119-135.
the
to the ECP
130-134).
to
instruments
(especially
the
139
Diagram
33
Symphony no.
39: E x p o s i t i o n and R e c a p i t u l a t i o n C l o s i n g S e c t i o n s
C l o s i n g model:
(4 + 4) +
CS
135
( E x p o s i t i o n ) measures:
timespans:
CS
timespans:
The
121,
etc.).
1)
(1 x 2) +
292
299
303
(2 + 5) +
(2 x 2) +
(1 x 3) + 4
c l o s i n g c o d e t t a i n mm.
135,
2)
135-142 has
w i t h the p r e v i o u s c o d e t t a , l a r g e l y due
(mm.
(1 +
139
(2 x
( R e c a p i t u l a t i o n ) measures:
(2 + 2). +
a s t r o n g e r than u s u a l
connection
to the use of a s i m i l a r v i o l i n motive
T h i s weakens the independence of the c l o s i n g c o d e t t a ,
making i t f u n c t i o n as an e x t e n s i o n of the p r e v i o u s m a t e r i a l .
Elements of
c l o s i n g model a r e c l e a r l y p r e s e n t , t h a t i s , i n the p a i r i n g of s i m i l a r
having
timespans (2 + 2) +
p r e v i o u s c o d e t t a i n mm.
(1 + 1) + 2.
125-134.)
ence t o a t r a n s i t i o n motive
(mm.
The
83-90.
The
i n the
f i n a l 2-bar group i s an obvious
refer-
89-90, e t c . ) .
The
r e f e r e n c e to the
transition
be seen as based
on
development s e c t i o n then c o n t i n u e s a l o n g l i n e s s i m i l a r to the
subsequent b a r s of the
transition.
These f a c t o r s of c o n n e c t i o n w i t h
transitionmean
At the same time,
t h a t mm.
the p r e c e d i n g s e c t i o n and w i t h
t h i s c o d e t t a i s important
the p r e c e d i n g c o d e t t a .
the
135-142 a r e weakened i n terms of m o t i v i c independence.

harmonically i n that i t provides
s e v e r a l measures of s t a b i l i t y on the t o n i c i n c o n t r a s t t o , and

of,
groups
(Such elements a r e a l s o found
i s i n f a c t q u i t e s t r o n g , as the e n t i r e c l o s i n g c o d e t t a may
mm.
the
in resolution
Here, therr, i s the main reason f o r the presence
of
the c l o s i n g c o d e t t a (not o n l y f o r t h i s work but, g e n e r a l l y , i n many o t h e r s t o o ) :

the p r e c e d i n g c o d e t t a c l e a r l y aims towards c l o s u r e as i m p l i e d by the l o c a l
to-
140
n i c , and
the c l o s i n g c o d e t t a
t o n i c harmony.
s u b s t a n t i a t e s the i m p l i c a t i o n by extending
the
That s e v e r a l measures of t o n i c are needed i s obvious a f t e r
the dominant harmony of the t y p i c a l expanded c a d e n t i a l p r o g r e s s i o n : r e p l a c i n g

mm.
135-142 w i t h a s i n g l e bar of t o n i c would be u n s a t i s f a c t o r y .

That the main f u n c t i o n of the c l o s i n g c o d e t t a
d i a t e l y obvious from t h i s work.
i s harmonic i s not
However, many c l o s i n g c o d e t t a s
are i n f a c t
composed of r e l a t i v e l y i n s i g n i f i c a n t m a t e r i a l t h a t i s , s h o r t groups
g r o u p l e t s without
motivic referencecoupled
with
example 3, the Piano Sonata i n B - f l a t Major, K.

i s i n mm.
59^63.
and
tonic prolongation.
333,
imme-
See
where the c l o s i n g c o d e t t a
In somewhat e x c e p t i o n a l works such as the Symphony no.
on the o t h e r hand, Mozart adds m o t i v i c r e f e r e n c e s
39,
to the c l o s i n g c o d e t t a ,
g i v i n g t h i s s e c t i o n a m e l o d i c f u n c t i o n as w e l l as harmonic and
rhythmic
f u n c t i o n s (the l a t t e r t h a t of p r o l o n g i n g a harmony f o r a r e q u i r e d l e n g t h of
time).^
The
two
codettas
i n mm.
119-135 and
c e r t a i n f e a t u r e s of the c l o s i n g model.
135-142 bear some resemblance to
I t w i l l be
recalled
t h a t the c l o s i n g
model i n c o r p o r a t e s a r e d u c t i o n i n harmonic and m e l o d i c a c t i v i t y n o r m a l l y the

f i n a l p a i r or the l a s t
two
p a i r s of the model i s / a r e b u i l t
In t h i s sense, the two
codettas
on a t o n i c p e d a l .
here form an expanded c l o s i n g model.
Further-
more, the second c o d e t t a reduces the group l e n g t h , a f e a t u r e a l s o found i n

the model.
(The
c l o s i n g s e c t i o n cannot be c o n s i d e r e d
because the s u b o r d i n a t e
progression.
of any
theme a r e a n o r m a l l y
Expansion i n p a r t i c u l a r
ends w i t h
to b e g i n
i n m.
119
i s not a f e a t u r e of c l o s i n g s e c t i o n s
type.)
In t h i s work, then, one
codetta, understanding
may. say t h a t c l o s u r e i s i n i t i a t e d
t h a t the c l o s i n g model i s not r e s t r i c t e d
i n the
first
141
s e c t i o n proper.
The
two
c o d e t t a s share c l o s u r a l p r o c e s s e s and may
be c o n s i d -
ered t o g e t h e r t o be an extreme v a r i a n t of the c l o s i n g model.

In the r e c a p i t u l a t i o n the c l o s i n g c o d e t t a i s more than doubled i n l e n g t h ,
i n mm.
292-309.
The a d d i t i o n s here r e s u l t
section,, and i t now

has
something
i n g r e a t e r independence
f u n c t i o n s more c l e a r l y as a c l o s i n g . s e c t i o n , and
of the c h a r a c t e r of a coda.
F l u t e Q u a r t e t K.
i n D Major, K.
285,
(The m a n u s c r i p t
for this
285.
See diagram
even
33.
The Q u a r t e t f o r F l u t e , V i o l i n , V i o l a , and
Cello
i s one of the e a r l i e s t works I am c o n s i d e r i n g h e r e .
i s d a t e d Dec.
25, 1777.)
The
e a r l y date may
e x p l a i n the
d i f f i c u l t y of e s t a b l i s h i n g , u n e q u i v o c a l f o r m a l f u n c t i o n s f o r the d i f f e r e n t
s e c t i o n s of the movement.
h e r e , t h i s one
More than i n most of the works I am
i s subject to d i f f e r e n t
method o f f o r m a l a n a l y s i s I am u s i n g .
considering
i n t e r p r e t a t i o n s a c c o r d i n g to the
At any r a t e , the p a r t i c u l a r
p r e t a t i o n on which I have s e t t l e d o u t l i n e d
i n diagram 3 4 p r o v i d e s
intera framework
f o r d i s c u s s i o n of the movement.
The main theme, i n mm.
tence model: t h a t i s , mm.
of the sentence, and mm.
1-12,
1-4
5-8
appears
to b e g i n as an expansion of the sen-
double the u s u a l 2-bar opening m o t i v i c segment

form the b a l a n c i n g second
model, a l s o doubled i n l e n g t h .
mm.
7-8.
The t h i r d phrase, i n mm.
1-4,
by the l a c k of
in
these e i g h t bars f u n c t i o n m e l o d i c a l l y to s u s t a i n
9-12,
i n t h a t a 16-bar sentence was

of mm.
i n mm.
i n these measures, and by the m e l o d i c a l l y weak cadence
Indeed, note how
the
(That these e i g h t b a r s do n o t form a p e r i o d
i s c l e a r from the l a c k o f s t r o n g harmonic motion

a s t r o n g cadence
segmentof
b r i n g s the sentence to an end
A.)
prematurely
expected based on the i m p l i c a t i o n s of the c o n t e n t
1 - 8 w i t h a s t r o n g e r cadence
t h a t i n c l u d e s melodic
closure.
142
Diagram
34
F l u t e Q u a r t e t K. 285: E x p o s i t i o n and
Measures:
Sections:
MT(1)
Measures:
Sections:
13
Recapitulation
25
43
ST(1)[25-32]
TR(2)[33-43]
ST(2) + c o d e t t a s
CC
100
124
139
MT(l)[l-8]
MT(2)[14-17]
TR(2)[33-43]
ST(2) + c o d e t t a s
T h i s premature
. MT c o d e t t a
MT(2)
TR(1)
51
58
132
c l o s u r e has i m p l i c a t i o n s f o r the subsequent
starts
12(4) as a c o d e t t a to the main theme: t h i s i s suggested by the
t o n i c i z a t i o n i n mm.
14-15
(coda)
[13 + 25]
section.
I n s t e a d of f u n c t i o n i n g as a s t r a i g h t f o r w a r d t r a n s i t i o n , the s e c t i o n
i n m.
CC
146
subdominant
c h a r a c t e r i s t i c of such c o d e t t a s as w e l l as by the
need f o r f u r t h e r m a t e r i a l i n the t o n i c key due t o the s h o r t e n e d main theme.

A d d i t i o n a l c o n n e c t i o n s w i t h the main theme as w e l l as s u g g e s t i o n s of thematic
status f o r this section result
(2 + 2) m o t i v i c segments,
from the use of 4-bar timespans arranged as
and from the t o n i c i z a t i o n of IV i n the f i r s t
f o l l o w e d by the t o n i c i z a t i o n of V i n the second

of
t h e s e a n d only theseharmonies
in
the main theme).
of
the p e r i o d model, w i t h mm.
consequent
i n the f i r s t
phrase
(expanding on the weaker use

and second phrases r e s p e c t i v e l y
As a theme, t h i s s e c t i o n might be heard as a v a r i a n t

13-16
as antecedent and 17-25(2) as extended
( i n c l u d i n g a r e p e a t e d u n i t i n mm.
17-19, 20-22).
Transition
f u n c t i o n s a r e r e p r e s e n t e d by i n i t i a t i o n of i r r e g u l a r timespans i n mm.
20-21, 22-25, and by r e p e a t e d t o n i c i z a t i o n s of the dominant,
ending w i t h t h i s harmony.
17-19,
the s e c t i o n
143
D e s p i t e the m u l t i p l e f u n c t i o n s of the s e c t i o n i n mm.

onably c l e a r t h a t i t ends p r i m a r i l y as a t r a n s i t i o n .
to
clarify
of
the f o l l o w i n g s e c t i o n a s the s u b o r d i n a t e theme.
mm.
13-25, i t i s r e a s -
T h i s , of c o u r s e , h e l p s
the f u n c t i o n of the f o l l o w i n g s e c t i o n o r a t l e a s t the b e g i n n i n g

The e i g h t b a r s i n
2 5 ( 2 ) - 3 3 ( l ) are based on the sentence model w i t h the e x c e p t i o n of the
e n d i n g : i t i s more common f o r themes to end on the t o n i c , and i t easy t o

2
imagine how
t h i s one c o u l d have ended
on I o f A major
the
o v e r l a p to non-thematic c o d e t t a m a t e r i a l i n m.
the
p e r c e p t i o n of mm.
i n m.
33.
33 i s u n u s u a l , and weakens
25-33 as a thematic statement because of the l a c k of
cadence.
Measures 33-43 do not f u n c t i o n as an e x t e n s i o n of the theme, as i n the
manner o f , f o r example, the t y p i c a l e x t e n s i o n s or expansions o f t e n found i n

second-key
activity
the
areas (such as the ECP).
increase i n surface
to s i x t e e n t h - n o t e s , the p a i r i n g of i d e n t i c a l groups
l a c k of cadences
dominant
I n s t e a d , the sudden
( u n t i l mm.
a l l suggest a second
(mm.
33-34, 35-36),
41-43), and the p e d a l on the dominant

transition.
O v e r a l l , then, the s e c t i o n i n mm.
25-43 i s comprised of an incomplete
theme connected t o a s u b s e c t i o n h a v i n g some of the f u n c t i o n s of a

transition.
(or
A second t r a n s i t i o n i s perhaps needed
l a c k of modulation) i n the f i r s t
(second)
due t o the weak m o d u l a t i o n
t r a n s i t i o n , a l t h o u g h such weak mod-
u l a t i o n s are common i n e a r l i e r works of Mozart.
That the f i r s t
transition
had a weak m o d u l a t i o n i s i n t u r n p o s s i b l y due to the need f o r f u r t h e r

in
the t o n i c caused by the shortened main theme.
i t i o n i s o n l y f u n c t i o n i n g as such because
the
m.
dominant.
24
In f a c t , mm.
of the
Of c o u r s e , t h i s second
trans-
i t s t r e n g t h e n s the m o d u l a t i o n t o
33-43 c o u l d e a s i l y have f o l l o w e d d i r e c t l y
( i f the f o u r t h beat of m.
material
24 were changed
to t o n i c harmony):
after
from
this
144
v i e w p o i n t , mm.
transition
25-32 f u n c t i o n as a thematic
larger
complex.
A second
subordinate t h e m e t h i s
T h i s i s i n f a c t the f i r s t
thematic models.
thematic
The
one
a p e r i o d f o l l o w s i n mm.
statement
c l e a r l y based
43(3)-51(l).
on one of
the
Another d i f f e r e n c e w i t h p r e v i o u s themes i s t h a t i t i s
h a r m o n i c a l l y more a c t i v e and
(m. 51).
interpolation within a
first
the o n l y t o n i c harmony o c c u r s a t the v e r y
s u b o r d i n a t e theme, i n mm.
c e n t e r e d around the A major harmony.
end
25-33, i s on the o t h e r hand
O b v i o u s l y , the f i r s t
must f o c u s on A because t h i s key has been o n l y t e n t a t i v e l y e s t a b l i s h e d ,

whereas the second
s u b o r d i n a t e theme does not have such a c o n s t r a i n t because
the key of A major has by t h i s time been u n e q u i v o c a l l y e s t a b l i s h e d .

The
Here, the f i r s t
f o u r b a r s reduced
i n mm.
57-58.
of
for
on the
f o u r b a r s are p a i r e d (2 + 2) due
second
monies, and
51-58(1) i s based
The
to a timespan
(1 x 4) +
(4 x 1) model.
to the i m i t a t i o n , and
of t h r e e bars l e n g t h due
t o the o v e r l a p
c o d e t t a - t y p e m a t e r i a l , the use of t o n i c and dominant h a r - r
the s t r o n g cadence (note the repeated 3-4-5
which c o n t r a s t w i t h the p r e c e d i n g theme, suggest
bass m o t i o n ) , a l l
a subsidiary function
this subsection.
I t might appear t h a t the c o d e t t a s b e g i n n i n g
i n m.
51 have a r e l a t i o n
to
the p r e c e d i n g theme s i m i l a r t o t h a t of the c o d e t t a s b e g i n n i n g
to
the theme b e g i n n i n g i n m.
25.
f a c t v e r y d i f f e r e n t from the one

i s much s t r o n g e r than the one
m.
the
of
the
51, whereas i n m.
However, the boundary a t mm.

a t mm.
i n mm.
32-33.
33 they immediately
go on to new
51,
50-51
33
is in
the cadence i n mm.
32-33; and a l l instruments
p i t c h e s of the dominant cadence harmony.

m a t e r i a l i n m.
First,
i n m.
50-51
cadence i n
material despite reaching
Then, w h i l e t h e r e i s an o v e r l a p
i t i s a p p r e c i a b l e o n l y by h i n d s i g h t : the h a l f - n o t e A
145
i n m.
51
( f l u t e ) i s heard
first
as the end of the p r e v i o u s phrase, but i s
r e i n t e r p r e t e d as the b e g i n n i n g of a 2-bar group a f t e r the i m i t a t i o n

i n m.
52.
In o t h e r words, the n a t u r e of the o v e r l a p i n mm.
t h a t c l o s u r e of the p r e v i o u s 8-bar theme i s accomplished,

i n mm.
50-51
begins
i s such
where i t was
not
32-33.
The o v e r l a p a t mm.
p r e c e d i n g one,
57-58 i s s i m i l a r t o the one j u s t d i s c u s s e d .
51-58
was
so t h i s next
s u b s i d i a r y i n comparison w i t h the
s u b s e c t i o n , i n mm.
p a r i s o n w i t h the one p r e c e d i n g i t .
As
immediately
58-65, i s s u b s i d i a r y i n com-
T h i s c l o s i n g c o d e t t a i s comprised
of
a 2-bar group, r e p e a t e d , then compressed to one b a r , r e p e a t e d , and a

two b a r s of t o n i c c h o r d s .
the
final
In o t h e r words, t h e r e are no i n t e r n a l l y c o n t r a s t i n g
groups w i t h i n t h i s c o d e t t a .
M e l o d i c and harmonic motion d e c r e a s e s , then, i n two
second
the
s u b o r d i n a t e theme, which enhances t h i s decrease by b e i n g the most
h i g h l y o r g a n i z e d melodic
s e c t i o n t h e o n l y one based
e n t i r e l y on a
m o d e l a n d by b e i n g the most h a r m o n i c a l l y a c t i v e s e c t i o n .
mm.
stages a f t e r
51-58
r e t r a c e the melodic motion of the p e r i o d
use m a i n l y
t o n i c and dominant harmonies i n t h a t key.
The
thematic
codettas i n
i n A major) and
The c l o s i n g
codetta
m e l o d i c a l l y d e c o r a t e s the t o n i c note A, and uses o n l y a t o n i c p e d a l
(or
V / I V - IV - V - I over t h i s p e d a l ) .
7
The
rearrangement of t h i s e x p o s i t i o n m a t e r i a l i n the r e c a p i t u l a t i o n
was
b r i e f l y d i s c u s s e d i n c o n n e c t i o n w i t h r e c a p i t u l a t i o n s i n c h a p t e r 2: l e v e l ( d ) ,
p.
mm.
94.
The
100-107.
first
two
phrases
of the main theme a r e r e p e a t e d e x a c t l y i n
P a r t of the t h i r d phrase
main theme m a t e r i a l i n mm.

and r e w r i t t e n form of mm.
108-114.
33-43 i n mm.
i s combined w i t h p a r t of the
This leads d i r e c t l y
into a
second
transposed
115-124(1), s u p p o r t i n g the view of
146
t h i s m a t e r i a l as t r a n s i t i o n .
based on most of the f i r s t
Essentially,
then, mm.
100-124 form one
main theme, and on some o f the second
section
transition.
The second s u b o r d i n a t e theme, i t s codetta-complex, and the c l o s i n g

f o l l o w i n mm.
124(3)-146, w i t h a few a l t e r a t i o n s , a l l a t l e v e l
to
(mm.
following
12[4]ff.),
s u b o r d i n a t e theme p r e v i o u s l y o m i t t e d from the r e c a p i t u l a -
25[3]-26[l]).
These m a t e r i a l s a r e , however, r e a r r a n g e d i n new ways
form a s e c t i o n not heard i n the e x p o s i t i o n , a s e c t i o n t h a t f u n c t i o n s as a
s h o r t coda.
xx^yy--and
T h i s s e c t i o n i s composed of two p a i r s of s i m i l a r g r o u p s t h a t i s ,
t o t h i s e x t e n t resembles the c l o s i n g model.
S t r i n g Q u i n t e t K. 614.
c h a p t e r 3.
Three o f the f o u r s t r i n g q u i n t e t s were a n a l y s e d i n
The f o u r t h , t h e . S t r i n g Q u i n t e t
i n E - f l a t Major, K. 614,
the
o t h e r s i n t h a t i t has a type 2(y) c l o s i n g s e c t i o n .
mm.
1-19
and the t r a n s i t i o n i n mm.
discussion.
The f i r s t
f r o m mm.
the
19-38.
i s unlike
The main theme i s i n
R e f e r to diagram 35 f o r the f o l l o w i n g
s u b o r d i n a t e theme i s a double p e r i o d , i n mm.
and p r o v i d e s a welcome r e l i e f
38(3)-54(l),
from the almost c o n s t a n t use of the opening motive
1 - 2 i n the p r e c e d i n g two
sections.
A l t h o u g h m.
54 i s the s t a r t of
next theme's timespan, i t i s a l s o the end o f the l a s t phrase of the f i r s t
The second ST r e t u r n s t o the opening m o t i v e , t h i s
then v a r i e d
original
i n mm.
i n mm.
( e . g . , the Vn. I I l i n e
The v a r i a t i o n i s a t f i r s t
i n mm.
s e c t i o n i s a 6-bar t o n i c u n i t
(84T86) as r e t r a n s i t i o n .
54-62(1).
(mm.
The groups i n t h i s
T h i s theme
q u i t e c l o s e to the
62-68[l] i s i d e n t i c a l
5 4 - 6 0 [ l ] ) , but becomes more remote w i t h the ECP
The c l o s i n g
bars
62-78(1).
ST.
time used to form a s i n g l e
8-bar phrase composed of f o u r 2-bar m o t i v i c segments i n mm.

is
The
146-154, i s based on p a r t of the second main theme (m.
and p a r t of the f i r s t
tion
(a).
codetta
i n mm.
to the Vn. I l i n e
70-78.
78-83), w i t h t h r e e
additional
s e c t i o n a l l b e g i n on the
third
147
Diagram 35
Measures:
614:
E x p o s i t i o n Dominant-Key A r e a
39
Timespans:
([4 + 4] +
Phrases/groups:
Small s e c t i o n s :
47
54
62
[4 + 3])
(8 +
[6 + 4 + 6]) ([2 x 2] +
ST 1
e i g h t h - n o t e of the b a r , and
) (
72
t *
68
ECP
ST 2
84
[1 x 2]) + 3
c c
c1
) ( Closing codetta )
they are arranged as a p a i r of l e n g t h ( 1 + 1 )
s u c c e e d i n g , compressed p a i r of l e n g t h ( $ + $ )
as based
78
T h i s c l o s i n g c o d e t t a may
on the c l o s i n g model to the e x t e n t t h a t t h e r e a r e two p a i r s of
Three f e a t u r e s suggest m.
Retr.
and
be
seen
groups.
54, a l t e r n a t i v e l y , as the s t a r t o f the c l o s i n g
s e c t i o n , an expanded c l o s i n g model.
(1) I t i s common f o r the c l o s i n g model to b e g i n i n the b a r of t o n i c i n
which the s u b o r d i n a t e theme f i n a l cadence ends;
t h a t i s , the o v e r l a p i n m.
54
i s c h a r a c t e r i s t i c of c l o s i n g s e c t i o n b e g i n n i n g s .
(2) The n e a r - e x a c t r e p e t i t i o n
of 2-bar u n i t s w i t h i n mm.
54-61
( i n the sense of the s i m p l e s t of sequences)
i s s u g g e s t i v e of g r o u p l e t / g r o u p
r a t h e r than m o t i v i c segment/phrase s t r u c t u r e .
structure
I f the m o t i v i c segment used
here were not so s t r o n g l y based on the opening main theme motive,

(a) and
(b) l e v e l u n i t s might be r e g a r d e d as g r o u p l e t s and groups,
Even w i t h the m o t i v i c r e f e r e n c e , t h e r e i s s t i l l
on the b o r d e r l i n e between the two
(3) The
the
respectively.
a s u g g e s t i o n t h a t they a r e
types of u n i t s on b o t h of l e v e l s
(a) and ( b ) .
i n i t i a t i o n of r e p e t i t i o n of these e i g h t b a r s suggests an expanded
c l o s i n g model; t h a t is,.mm. 54-61

an
then
b e g i n to be r e p e a t e d i n m.
(8 + 8) p a i r i n g t h a t would be the f i r s t
expanded by a f a c t o r of two.
With the ECP,
62,
suggesting
two u n i t s of the c l o s i n g model

however, i t becomes c l e a r
that
148
such i s not the case and that m. 78 i s the end of a separate theme or codetta
having the primary f u n c t i o n of c l o s u r e .
The c l o s i n g codetta, then, has the f u n c t i o n of prolonging the l o c a l
tonic harmony, as d i d the c l o s i n g codetta i n the Symphony no. 39.
The
simil-
a r i t y between these two works a l s o extends to the f u n c t i o n of the preceding

two sections; that i s , i n both works the dominant-key area i s comprised of
three sections: (ST) (ST2 or ST codetta [ECP]) (CC).
The r e c a p i t u l a t i o n i s very s i m i l a r to the e x p o s i t i o n except f o r the necessary t r a n s p o s i t i o n .
204-212, i s lengthened by two
bars w i t h the a d d i t i o n of a t h i r d (1 + 1) group i n the f i r s t subsection: instead

of repeating, each of the three 2-bar groups i n mm.
204-210 i s now on a d i f f e r -
ent tonal l e v e l , the goal being the t o n i c i z a t i o n of the dominant i n preparation

for
the repeat of the exposition-development, and then f o r the coda.
This tonal
a l t e r a t i o n of the c l o s i n g s e c t i o n makes i t end as i t d i d i n the e x p o s i t i o n , i n stead of ending on I as i t would have had i t been transposed e x a c t l y .
The a n a l y s i s of timespans i n the coda i s d i f f i c u l t due to c o n f l i c t i n g
features.
One i n t e r p r e t a t i o n i s shown i n diagram 36.
of the e x p o s i t i o n , mm.
By analogy w i t h the end
212 and 214 are beginnings (of 2-bar timespans).
How-
ever, by analogy with the s t a r t of the development, as w e l l as with the s t a r t

of the e x p o s i t i o n (and, f o r that matter, with the s t a r t of the r e c a p i t u l a t i o n
i n m. 125), m. 215 would be a beginning (and not the second bar of a timespan
from m. 214).
Two-bar timespans begin at m. 215, then, and continue to m.
222:
here, the second bar of the timespan beginning i n m. 221 i s r e i n t e r p r e t e d as a

f i r s t bar.
One reason supporting the hearing of 2-bar timespans i n mm.
217-218
and 219-220 i s the repeated octave-doubled motive i n the v i o l i n s : m. 216 i s an

anacrusis to mm.
217-218confirmed by the repeat of 217-218 i n 219-220and the
149
Diagram
36
S t r i n g Q u i n t e t K. 614: Coda
Measures:
215
224
Timespans:
(2 + [ 2 x 2 ] + 1 + 2) +
([1+1]
Grouplets:
2
m
absence of downbeat a t t a c k s
densed t o one b a r i n m.
G o c t a v e now
PAC
1 1
n
i n 218 and 220 makes them weak.
221suggesting a reduction
a r r i v e s on the downbeat (of m.
towards i n t e r p r e t i n g m.
x 3) + 3
222 as a b e g i n n i n g .
an ECP which ends on the downbeat of m.
T h i s motive i s con-
of timespan l e n g t h a n d the
222) : b o t h of these f e a t u r e s
In a d d i t i o n , mm.
222-223
224 w i t h t o n i c a r r i v a l .
spans c o n t i n u e to the end ( i n p a r t by analogy w i t h mm.
work
initiate
Two-bar time-
78-83).
The main r e a s o n a coda i s p r e s e n t here i s t h a t the c l o s i n g s e c t i o n i s so

short
that f u r t h e r closure
i s needed.-
The c l o s i n g s e c t i o n i s s u f f i c i e n t
c l o s e the e x p o s i t i o n , but not the e n t i r e work.

mm.
224-232the
I f mm.
transposed c l o s i n g s e c t i o n a r e
t h a t t h i s proposed ending i s n o t q u i t e adequate.

c l o s i n g s e c t i o n i n mm.
to
204-223 a r e o m i t t e d and
substituted,
i t i s apparent
Furthermore, r e w r i t i n g the
204-214 so t h a t i t ends on the dominant has the added
b e n e f i t of e f f e c t i n g a smooth t r a n s i t i o n (1) to the r e p e a t of the development

and r e c a p i t u l a t i o n , i n a manner s i m i l a r to t h a t of the end of the e x p o s i t i o n ,
and
(2) to the coda.
In e f f e c t , the harmonic changes
to mm.
204-214 g i v e
this
s e c t i o n the f u n c t i o n of a r e t r a n s i t i o n , as w e l l as of r e - o p e n i n g the music a f t e r

temporary c l o s u r e a t m.
204(1).
The coda b e g i n s as a v a r i a n t of the main theme, f o l l o w i n g

a f t e r the r e t r a n s i t i o n group i n mm.
212-214.
logically
( T h i s r e t r a n s i t i o n group
used p r i o r to a l l statements of the main t h e m e i . e . , i n the
exposition
was
150
Diagram 37
S t r i n g Quintet K. 614: P i t c h Reduction of C l o s i n g Section and Coda
and r e c a p i t u l a t i o n e x c e p t , of course, f o r the very f i r s t statement.)

The v a r i a n t only begins l i k e the theme, then has a d i f f e r e n t c o n t i n u a t i o n .
This continuation supports harmonic closure through r e p e t i t i o n of V-I
4
6
2 " 3
217-218, 219-220, and 221-222 lead to the f i r s t bass element
progressions, and by suggesting and then s t a t i n g an ECP; that i s , the

motions i n mm.
t h e G o f the ECP, which i s completed i n mm.
222-224(1).
The second subsection of the coda i s e s s e n t i a l l y a " c o r r e c t " statement

of the c l o s i n g s e c t i o n ; that i s , i t presents the c l o s i n g s e c t i o n i n the t o n i c
key throughout, u n l i k e the statement i n mm.
204-211.
A d i f f e r e n c e with the
o r i g i n a l c l o s i n g s e c t i o n i s that there are three statements of the (1 + 1)

u n i t here and not two as i n the e x p o s i t i o n .
This may
statements at the end of the r e c a p i t u l a t i o n (mm.
be to balance the three
204-209); however, the l a t t e r
151
came about f o r harmonic r e a s o n s ,

harmonically
identical.
and
the t h r e e statements i n the coda a r e
They are more v a r i e d r e g i s t r a l l y than both
previous
s e t s were; i t i s as i f they are b e i n g used to c l o s e o f f a l l r e g i s t e r s of
the
work.
A p i t c h r e d u c t i o n of the c l o s i n g s e c t i o n and
coda i s shown i n diagram
T h i s shows t h a t , a f t e r the s t r o n g harmonic and melodic

the music i s kept
open h a r m o n i c a l l y , by
the i n v e r s i o n s i n mm.
the sequences i n mm.
the wrong r e g i s t e r and not supported

224;
and
204-210 and
215
by
( i n c o n c l u s i v e because i n
by a r o o t p o s i t i o n t o n i c c h o r d ) ,
and
r h y t h m i c a l l y , because the V-I p r o g r e s s i o n s
at f i r s t beginning-accented
r a t h e r than
575.
are
end-accented.
In the S t r i n g Quartet
theme i s s t r o n g l y based on any

(mm.
204,
215-222; m e l o d i c a l l y , by the r i s e to B - f l a t a f t e r which
the soprano descends to 1 i n c o n c l u s i v e l y i n m.
c o n c l u s i v e l y i n m.
c l o s u r e at m.
37.
of the thematic
i n D Major, K.
models.
1-17[1]) i s c o n s t r u c t e d of a 6-bar phrase h a v i n g
575,
neither
The main theme

a v e r y weak cadence
and
a 2-bar e x t e n s i o n , the whole r e p e a t e d w i t h some a d d i t i o n s and v a r i a t i o n s .

t r a n s i t i o n begins
t h i s beginning
The
The
as i f i t were a c o d e t t a to the theme (mm.
i s repeated
subordinate
f i n a l phrase (mm.
w i t h the p r e v i o u s
and
extended, and
theme (mm.
3 2 [ 3 ] - 4 9 [ l ] ) resembles a double p e r i o d .
c o d e t t a to t h i s theme (mm.
be c o n s i d e r e d a s e p a r a t e
i s thus
long.
A l l cadences
one.
4 9 [ 2 ] - 6 4 [ l ] ) i s s u b s t a n t i a l enough to
e x t e n s i o n and v a r i a t i o n , and
bar i n comparison
which are a l l f o u r bars
i n t h i s theme are weak, even the l a s t

The
but
ends w i t h a dominant p e d a l .
4 4 [ 3 ] - 4 9 [ l ] ) i s extended by one
t h r e e phrases,
17[3]-21[2]),
The
I t i s comprised of a phrase and i t s
s i m i l a r to the t r a n s i t i o n i n c o n s t r u e -
152
tion.
However, whereas the t r a n s i t i o n ended w i t h a dominant
c o d e t t a ends w i t h an
p e d a l , the
ECP.
M o t i v i c r e f e r e n c e s a r e p a r t i c u l a r l y abundant
i n t h i s movement.
For
example, the s u b o r d i n a t e theme b e g i n s w i t h a v a r i a n t o f the main theme's f i r s t

motive, a v a r i a n t a l r e a d y used i n the main theme i t s e l f
(m. 13).
The
sub-
o r d i n a t e theme c o d e t t a opens w i t h the same m o t i v e - p a i r as i s used to c l o s e the

two h a l v e s of the main theme.
the
of
But the most obvious m o t i v i c r e f e r e n c e i s
use of the f u l l opening motive
(mm.
the c l o s i n g s e c t i o n , t h a t i s , i n mm.
1-5[1]) i n d i m i n u t i o n as the b a s i s
64-66(1), r e p e a t e d two b a r s
The o t h e r motive used i n the c l o s i n g s e c t i o n , i n v i o l i n
I , may
as based on a motive from the s u b o r d i n a t e theme ( e . g . , i n mm.

to
later.
be heard
33[2]-35[l])
the e x t e n t t h a t b o t h are d e s c e n d i n g s c a l e p a t t e r n s and use s t a c c a t o bowing.
In a d d i t i o n , b o t h f u n c t i o n i n a s i m i l a r way,
t h a t i s , as a response
subsidiary
to an immediately p r e c e d i n g motive.
The c l o s i n g s e c t i o n i s t h e r e f o r e based on elements of the two
themes,
the
element from the s u b o r d i n a t e theme b e i n g secondary t o the element
the
main theme.
of
I t resembles the c l o s i n g model i n t h a t t h e r e i s one
r e p e a t i n g groups
A l o n g e r than average
retransition
72-77.
T h i s c l o s i n g s e c t i o n i s u n u s u a l not o n l y i n i t s s t r o n g m o t i v i c
but
a l s o i n how
pair
(4 + 4 ) , but i s i n e f f e c t so s h o r t t h a t i t s h o u l d be
seen as a c l o s i n g c o d e t t a , type ( y ) .
f o l l o w s i n mm.
from
i t i s s u b s e q u e n t l y used.
references
A l t h o u g h i t i s common f o r g r o u p l e t s
from the c l o s i n g s e c t i o n to appear i n the f i r s t
few s u b s e c t i o n s of the d e v e l -
opment, the appearance of the e n t i r e c l o s i n g s e c t i o n , here i n mm.
105-113(1),
f o l l o w e d by f o u r b a r s of r e t r a n s i t i o n m a t e r i a l , i s so unusual t h a t I cannot
recall
i t happening elsewhere i n Mozart's oeuvre.
A f t e r the chromatic
dominant
153
preparation
i n the b a r s p r e c e d i n g
105,
the use
of the c l o s i n g s e c t i o n a t
same p i t c h l e v e l as i n the e x p o s i t i o n means t h a t i t f u n c t i o n s
i n mm.
as the r e t r a n s i t i o n of the development s e c t i o n .
small
i s being
used a t the end
of two
A l t h o u g h one
105-113
section
l a r g e s e c t i o n s , i n each case i t i s f u n c t i o n i n g
i n a d i s t i n c t manner: i n the f i r s t
second, to r e t u r n to the t o n i c key
case to c l o s e the e x p o s i t i o n , i n the

and
the main theme.
Another unusual f e a t u r e of t h i s movement i s the e x t e n t

r e c a p i t u l a t i o n i s s i m i l a r to the e x p o s i t i o n .
p o s i t i o n , a few
the
l e v e l - ( a ) changes, and
to which
the
Except f o r the n e c e s s a r y
a s l i g h t l y a l t e r e d end
s e c t i o n , the r e c a p i t u l a t i o n i s the same as the e x p o s i t i o n .

which almost always undergoes some r e w r i t i n g , i s not
trans-
Even the
transition,
a l t e r e d : because i t ends
on a dominant, w i t h o u t m o d u l a t i n g to or even t o n i c i z i n g t h a t dominant,
the
s u b o r d i n a t e theme can
32
48).
f o l l o w , t r a n s p o s e d to the t o n i c key
This p o s s i b i l i t y
l e a s t to t h i s
for l i t e r a l
restatement of the
made up
of r e l a t e d m a t e r i a l ; i n p a r t i c u l a r , the
concludes w i t h m a t e r i a l
tion
(mm.
transition,
113-116, 190-192).
the r e t r a n s i t i o n a t the end

ending i s n e c e s s a r y .
by a
smaller
development
s i m i l a r to t h a t i n the f i n a l bars of the r e c a p i t u l a This creates
appearance of the c l o s i n g s e c t i o n w i l l be
an
i m p l i c a t i o n t h a t the
followed
by
final
something, but
since
of the e x p o s i t i o n i s not u s a b l e h e r e , a d i f f e r e n t
Mozart a l t e r s the f i n a l
two
b a r s of the c l o s i n g s e c t i o n
p r o p e r 1 8 6 - 1 8 7 t o put more emphasis on the dominant, and

based on the e i g h t h - n o t e s c a l e motive.
mm.
V.
extent.
Appearances of the c l o s i n g s e c t i o n thus f a r were f o l l o w e d

subsection
and
e x i s t s wherever a non-modulating t r a n s i t i o n ends on
Mozart r a r e l y takes the o p p o r t u n i t y

at
(compare mm.
190-192, a f u r t h e r r e f e r e n c e
adds s i x bars
When t h i s motive i s i n v e r t e d i n
to the opening main theme motive i s apparent,
Diagram 38
String"Quartet K. 575: P i t c h Reduction (1)
MT (8 + 8) TR(4
n i l
D:
Dev.
78
86/ ^
G^/vi v i V / v i IV
l
4) ST(4
94
i i
.29
+ 8 + 1 1
165
ST cdta(6
102
bVI
+
| ll)5 ,
'v
( 8 + 4 )
171
177 180
186
190
3) CS(4+2+4 + 4)
155
t h a t i s , a f i l l i n g - i n o f the t r i a d
as i n m. 180.
i n m. 190 i n the same rhythm
A l s o , one more r e f e r e n c e t o t h i s motive i s added
p a r t of m. 188.
(d i J )
i n the v i o l a
The a l t e r a t i o n s and e x t e n s i o n s which r e p l a c e the r e t r a n s i -
t i o n add a u t h e n t i c cadences which were absent from the o r i g i n a l c l o s i n g
sec-
tion.
A summary o f melodic and harmonic motion, form, and timespans i s
p r o v i d e d i n diagram 38.
diagram.
Harmonically, there i s a gradual increase i n a c t i v i t y
w i t h changes
articulation;
is
A number o f c o n c l u s i o n s can be drawn from
this
coincident
i n s m a l l s e c t i o n s : the main theme has v e r y l i t t l e harmonic

the t r a n s i t i o n i n t r o d u c e s the dominant;
i n the dominant
the s u b o r d i n a t e theme
and i n c l u d e s some harmonies w i t h i n t h a t key as w e l l
as a r t i c u l a t i n g each phrase w i t h a d i f f e r e n t p a i r o f c h o r d s ; and t h e subo r d i n a t e theme c o d e t t a has the most v a r i e d harmonic
s u r f a c e of any s e c t i o n
thus f a r , w i t h o n l y i t s most important harmonies b e i n g shown i n the diagram.

The c l o s i n g s e c t i o n r e t u r n s t o harmonic
stability;
t h i s i s a sim-
i l a r i t y w i t h the main theme which i s supported by the unusual m o t i v i c p a r a l l e l i s m s as noted above, as w e l l as by the p e r i o d i c i t y o f t i m e s p a n s t h e
main theme and the c l o s i n g s e c t i o n a r e the o n l y two s e c t i o n s h a v i n g e x c l u sively identical-length, paired
timespans.
A further structural
similarity
between these two s e c t i o n s i s t h a t b o t h a r e s i m p l i f i e d p e r i o d s i n the sense

t h a t the second h a l f o f each i s based c l o s e l y on the f i r s t h a l f o f each:
t h a t i s , i n b o t h cases t h e i r s t r u c t u r e i s aa^.
The timespan and phrase
s t r u c t u r e s a r e connected i n t h a t the m e l o d i c d i m i n u t i o n o f the main theme

motive i n the c l o s i n g s e c t i o n i s c o u p l e d w i t h a h a l v i n g o f the timespan
length.
156
M e l o d i c a l l y , i n the e x p o s i t i o n , a f t e r the stable 1 i n the main theme,

the t r a n s i t i o n r i s e s to ^, at f i r s t supported by I , then by V.
Now i n the
dominant key, the subordinate theme melodic motion i s e s s e n t i a l l y 5-%- 3,

/
while the subordinate theme codetta motion i s o v e r a l l
S-^-T.
The c l o s i n g
s e c t i o n prolongs 1, and the r e t r a n s i t i o n introduces natural-7 * 4 m

t o n i c key.
the
In the e x p o s i t i o n , then, the l e v e l s of melodic a c t i v i t y p a r a l l e l
those i n the harmonic sphere.

The development s e c t i o n a l t e r n a t e s a c t i v e and stable areas, harmonically,
m e l o d i c a l l y , and r h y t h m i c a l l y .
statement i n G major (mm.
The two stable areas are (1) a new theme-like
8 6 - 9 4 [ l ] ) , and (2) the restatement of the c l o s i n g
s e c t i o n as the r e t r a n s i t i o n (mm.
105-116).
This suggests that the main har-
monic motion of the development i s IV-V, and that i n p a r t i c u l a r the IV acts

as a lower neighbor to the two dominant-key
sections.
The connection between
the ends of the e x p o s i t i o n and development i s e s p e c i a l l y strong i n t h i s

work because of the i d e n t i t y of both m a t e r i a l and key.
While i t i s true
that harmonic i d e n t i t y i s common between these two areas of Mozart's sonata

form movements, i t i s not usual f o r such a large part of the development to
be given to r e t r a n s i t i o n (12 of 39 bars, nearly one-third).
This connection
between the e x p o s i t i o n and development explains why there i s no repeat of the

dev.-recap.: the harmonic and melodic neighbor motion would be absent.
With the t r a n s p o s i t i o n i n the r e c a p i t u l a t i o n , the a s s o c i a t i o n of formal
functions and s p e c i f i c melodic motions i s more evident than i n the e x p o s i t i o n :
the ascent to A i n the t r a n s i t i o n , the descent from A to F-sharp i n the subordinate theme, the descent from F-sharp to D i n the subordinate theme codetta,
and a sustained D i n the c l o s i n g s e c t i o n e x t e n d e d now v i a a neighbor note
supported by a dominantthat balances the D of the main theme.
157
Diagram
39
S t r i n g Q u a r t e t K. 575: P i t c h R e d u c t i o n (2)
(16 + 15 + 17
MT
TR
ST
15 +
STcdta
14)
CS
(27 + 12)
Dev
retr
(16 + 1 5 + 17
MT
TR
ST
15 +
STcdta
A h i g h e r - l e v e l summary of the movement i s g i v e n i n diagram 39.

diagrams 38 and 39 the G of the development
the e x p o s i t i o n r e s o l v e s
14)
CS
In b o t h
m e l o d y s u s t a i n e d from the end of
to F-sharp a t the s t a r t of the main theme (m.
117).
Both the D and the F-sharp a r e important i n the main theme melody, and a
case can be made f o r e i t h e r b e i n g the p r i m a r y tone.
Either a difference
can be p e r m i t t e d i n the soprano tones f o r the two v e r s i o n s of the main t h e m e

perhaps on the b a s i s o f the n e c e s s i t y of a r e s o l u t i o n f o r the s u s t a i n e d G
of the d e v e l o p m e n t o r
to
the soprano tone of the i n i t i a l
statement can be
changed
1
A f e a t u r e of the s k e t c h shown i n diagram 39 i s t h a t i t i s not h i g h l y
piece-specific.
In o t h e r words, many o f Mozart's sonata-form movements c o u l d

.
be shown to have s i m i l a r s t r u c t u r e s a t t h i s l e v e l .
On the one hand, t h i s
would be e v i d e n c e f o r p o s i t i n g a s i n g l e model of melodic-harmonic
structure
f o r Mozart's sonata forms; on the o t h e r hand, such a model would not
reflect
and e x p l a i n the g r e a t d i v e r s i t y of t h e s e works.

F o r c l o s i n g s e c t i o n s i n p a r t i c u l a r , the m a j o r i t y a n d perhaps
would have the same m e l o d i c and harmonic
a l l
f u n c t i o n s as i n d i c a t e d i n diagram 39.
158
That
i s , melodic
and harmonic c l o s u r e are n e a r l y always reached
immediately
p r i o r t o the c l o s i n g s e c t i o n , the f u n c t i o n s of the c l o s i n g s e c t i o n i n these

areas b e i n g to s u s t a i n these g o a l s to b a l a n c e the main theme and
w i t h the a c t i v i t y between the two
need f o r s t a b i l i t y and
stable areas.
I f any demonstration
of the
c o n t r a s t i s needed, i t can be shown by i m a g i n i n g
o m i s s i o n of the main theme and c l o s i n g s e c t i o n : t h i s

p o s s i b l e i n terms of diagram 3 9 ,
b e g i n i n the t o n i c key,
closing section.
to c o n t r a s t
i s at l e a s t
as t r a n s i t i o n s l i k e
and melodic
remotely
the one- h e r e o f t e n
and harmonic g o a l s a r e reached b e f o r e the
The d i s r u p t i o n i n t o n a l b a l a n c e , and
expose e s s e n t i a l m o t i v i c and
the f a i l u r e to simply
thematic m a t e r i a l t h a t would r e s u l t from
o m i s s i o n of these s e c t i o n s , should make i t apparent

t a i n e d , d e s p i t e t h e i r apparent
the
l a c k of m e l o d i c
the
t h a t they must be r e -
and harmonic motion.
Schenker might m a i n t a i n t h a t the absence of m e l o d i c
and harmonic
mo-
t i o n w i t h i n s e c t i o n s i s evidence f o r d i s m i s s i n g the a n a l y s i s of music i n

4
terms of f o r m a l f u n c t i o n s and
sections.
I would c o u n t e r t h a t t h i s l a c k
of motion i s a fundamental f e a t u r e of these s e c t i o n s .

sonata-form
I f a l l of
Mozart's
movements have t h i s f e a t u r e , then t h e r e i s no p o i n t i n p u r s u i n g
t h i s a n a l y t i c a l approach w i t h o t h e r movements.
Although
I have a n a l y s e d t h i s movement i n terms d i f f e r e n t from
those
used f o r the p r e v i o u s works i n t h i s c h a p t e r , s i m i l a r c o n c l u s i o n s have been

reached
regarding closing section function.
In a l l f o u r works the
subor-
d i n a t e theme i s f o l l o w e d by a s e c t i o n c o n t a i n i n g an expanded c a d e n t i a l
g r e s s i o n and
then by a s h o r t type
c l o s i n g c o d e t t a a l s o has
(y) c l o s i n g c o d e t t a .
s t r o n g thematic
pro-
In t h i s work, the
c o n n e c t i o n s as w e l l as f o r m a l
harmonic c o n n e c t i o n s w i t h o t h e r s e c t i o n s of the movement.
and
159
Symphonies nos.
analysed
of type
i n chapter
(2).
32 and
34; E i n e k l e i n e Nachtmusik.
3 as type
I w i l l g i v e one
(1) c l o s i n g s e c t i o n s may
example i n d e t a i l and
what f o l l o w s to o t h e r works which may

to works not y e t
In c h a p t e r
Major, no.
32,
s i n g model.
be r e i n t e r p r e t e d as
r e f e r only b r i e f l y i n
s i m i l a r l y r e i n t e r p r e t e d as w e l l as
considered.
3 I considered
to b e g i n a t m.
the c l o s i n g s e c t i o n of the Symphony i n C

49 and
to be an extreme v a r i a n t of the
An a l t e r n a t i v e a n a l y s i s would see mm.
the s u b o r d i n a t e
theme, and mm.
t a t i o n i s supported
(1) The
be
A number of works
by
clo-
49-64 as a c o d e t t a to
65-69 as a c l o s i n g c o d e t t a .
This interpre-
the f o l l o w i n g p o i n t s :
subordinate
theme does not end
either with a p a r t i c u l a r l y
strong
cadence o r w i t h an expanded c a d e n t i a l p r o g r e s s i o n , thereby making s t r o n g e r
the
c o n n e c t i o n w i t h the subsequent m a t e r i a l as c o d e t t a to the theme.

(2) The
c o d e t t a i n mm.
t i o n s m i s s i n g from the end

(3) F e a t u r e s
49-64 f u l f i l l s
the expansion
and
cadential func-
theme.
of the c l o s i n g model appear o n l y i n mm.
49-64, too s h o r t a
span f o r c o n v i n c i n g a p p l i c a t i o n of the model.

(4) The
cadence ending
on the downbeat of m.
65 i s one
of the
i n the movement, as a r e s u l t of which subsequent b a r s are heard

t i n c t from the p r e v i o u s
strongest
as a u n i t
dis-
codetta.
Measures 65-69, viewed as a c l o s i n g c o d e t t a , a r e seen to r e p r e s e n t

common type based on a r e d u c t i o n of the c l o s i n g model to one
p a i r of
the
repeated
groups.
The-Symphony i n C Major, no.
i n t h i s new
34,
can a l s o be
I n s t e a d of b e g i n n i n g
i n t e r p r e t a t i o n begins
a t m.
a t m.
104,
seen as h a v i n g
64,
ending
type
the c l o s i n g s e c t i o n
as b e f o r e i n m.
112(1).
160
In t h i s case mm.
theme.
64-103 f u n c t i o n as a codetta-complex
T h i s c l o s i n g c o d e t t a i s based
model, as was
t h a t i n the Symphony no.
In the serenade
i n mm.
on a shortened
to the
subordinate
form of the
closing
32.
E i n e k l e i n e Nachtmusik, K.
525,
the r e p e a t e d
35-51(1) c o u l d be heard as p r i m a r i l y a c o d e t t a t o the
codetta
subordinate
theme r a t h e r than as p a r t of the c l o s i n g s e c t i o n .
In t h i s case, the
measures of the e x p o s i t i o n 5 1 - 5 5 w o u l d
As was
noted
be a type
i n c h a p t e r 2, the c o d e t t a s i n mm.
ways: d e t e r m i n i n g which f u n c t i o n i s primary
S t r i n g Q u a r t e t s K.
i n E - f l a t Major, K.
428
428,
and 589;
35-51(1) f u n c t i o n i n s e v e r a l
i s a matter
S t r i n g T r i o K.
has an unusual
of
563.
interpretation.
The
e x p o s i t i o n form o n l y
String
12-24
and
In the r e c a p i t u l a t i o n , the two

remaining almost
The
The
12-40
would be found
40-56
a r e combined, the
64-68.
rest
unchanged.
i t s c o d e t t a i n the S t r i n g Q u a r t e t i n B - f l a t
A f t e r the s u b o r d i n a t e theme, the type
f i r s t phrase
i n mm.
c l o s i n g c o d e t t a i s i n mm.
589, were remarked on i n c h a p t e r 2, note 33.
very strong.
The
56-64.
i n t e r e s t i n g main theme and
Major, K.
However the
24-40 a r e a n a l y s e d , a theme i s heard
f o l l o w e d by a c o d e t t a t o i t i n mm.
Quartet
indirectly
r e l a t e d t o the u s u a l model i n c o r p o r a t i n g f o u r s m a l l s e c t i o n s .
two
remaining
i n mm.
The
t r a n s i t i o n here i s
(x) c o d e t t a i s i n mm.
61-71.
61-71(1) i s h a r m o n i c a l l y and m e l o d i c a l l y more a c t i v e
i n most c o d e t t a s , and
t h e r e f o r e has
some thematic f e a t u r e s . ( T h i s
CS might almost be c o n s i d e r e d i n c h a p t e r 5: the c l o s i n g theme f o l l o w e d by the

In the d i s c u s s i o n of the D i v e r t i m e n t o , or S t r i n g T r i o i n E - f l a t
K. 563,
i n c h a p t e r 3, I noted
more than one way
t h a t the second-key a r e a may
according to formal f u n c t i o n .
than
Major,
be a n a l y s e d i n
I t h e r e c o n s i d e r e d the
sub-
CC.)
161
o r d i n a t e theme and
s e c t i o n to be
mm.
i t s c o d e t t a to be
i n mm.
43(2)-73.
i n mm.
2 6 ( 4 ) - 4 3 ( l ) , and
the
closing
An a l t e r n a t i v e i s to see the c o d e t t a s
43-62(1) as a s e p a r a t e codetta-complex s m a l l s e c t i o n , o r as f u r t h e r
codettas
to the s u b o r d i n a t e
theme.
T h i s i n t e r p r e t a t i o n i s supported
the s i m i l a r cadences i n mm.
41(4)-43(1) and
the subsequent c o d e t t a
(mm.
58-62[l])
the p r e v i o u s cadence.
I t f o l l o w s , a c c o r d i n g to t h i s a l t e r n a t i v e ,
c l o s i n g s e c t i o n i s i n mm.
30-bar type
type
(1) noted
(y) c l o s i n g
Piano
62-73 and
i n my
at m.
38.
thematic
50-51
55(4)-58(l).
earlier interpretation.
284,
309,
311,
333,
However, because mm.

statement, they may
545,
570.
that
the
the
i t is a
38-43 and by
I t would be
C l o s u r e i s generated
the subsequent
reasonable
to b e g i n
preceding
a t m.
to see a l l of mm.
o n l y one
thematic
and
22-51
complete cadence.
closural
functions
t h i s s e c t i o n i s somewhat
mainly
309,
by
the r e p e a t e d
codetta
21(1).
the main t h e m e a p e r i o d ,
The
t r a n s i t i o n ends a t m.
i s f o l l o w e d by a 2-bar l i n k to the s u b o r d i n a t e
of t h i s e x p o s i t i o n , a type
284,
ECP,
Sonata i n C Major, K.
extended w i t h a c o d e t t a e n d s
3 I consid-
be c o n s i d e r e d a c o d e t t a to the theme, l e a v i n g
(the d u a l f u n c t i o n f e a t u r e b e i n g the reason why
ST.
of
38-50(1) are s t r o n g l y r e l a t e d to the
as a c l o s i n g codetta..
loose i n s t r u c t u r e ) .
In c h a p t e r
Sonata i n D Major, K.
I t i s apparent t h a t t h i s l o n g s e c t i o n has both
and
Here, then,
forming
codetta.
Sonatas K.
In the Piano
cadence
i s e s s e n t i a l l y a strengthening
as a s i n g l e s e c t i o n , l a r g e l y because t h e r e i t has
i n mm.
The
by
i s of a more common l e n g t h than
ered the c l o s i n g s e c t i o n of the Piano
mm.
in
theme.
The
32
closing section
(x) c l o s i n g c o d e t t a , f o l l o w s immediately
In the absence of the u s u a l c o d e t t a between the s u b o r d i n a t e
after
theme and
the
the
162
c l o s i n g s e c t i o n , the s u b o r d i n a t e theme i s here lengthened
t o i n c l u d e an ECP
( i . e . , one s e c t i o n does what i s more commonly done i n two).
The s u b o r d i n a t e
theme and c l o s i n g s e c t i o n , as w e l l as the r e c a p i t u l a t i o n form o f the c l o s i n g

s e c t i o n , a r e d i s c u s s e d on pp. 75-76 and shown i n example 8.
In the d i s c u s s i o n of the Piano Sonata
mm.
i n D Major, K. 311, i n c h a p t e r 3,
24-39 were c o n s i d e r e d one s e c t i o n t h a t combined s u b o r d i n a t e theme c o d e t t a and
closing section functions.
An a l t e r n a t i v e a n a l y s i s would see mm.
as p r i m a r i l y a s u b o r d i n a t e theme c o d e t t a , and mm.

codetta.
24-36(1)
36-39 as a type
(y) c l o s i n g
T h i s i n t e r p r e t a t i o n i s supported by some m o t i v i c a s s o c i a t i o n s be-
tween the theme and i t s c o d e t t a ( e . g . , the cadences i n mm.

are s i m i l a r t o the cadence ending
the theme i n mm.
the theme i s s h o r t and i s w i t h o u t
expansions.
p r e t a t i o n i s found
31-32 and 35-36
23-24).
Support
f o r t h i s second
i n the r e c a p i t u l a t i o n , which, as I noted
i s c o n s i d e r a b l y d i f f e r e n t from t h e e x p o s i t i o n .
i n c h a p t e r 3,
In p a r t i c u l a r , mm.
are s e p a r a t e d from the c l o s i n g c o d e t t a , the f i r s t
inter-
24-36(1)
theme b e i n g heard between
the two; t h a t i s , the r e c a p i t u l a t i o n form i s : s u b o r d i n a t e theme and c o d e t t a complex (mm.
79-98), main theme (mm.
Here i t i s obvious
t h a t the codetta-complex
the s u b o r d i n a t e theme.
Sonata
p o i n t s i n c h a p t e r 2.^
109-112).
i s associated primarily
The main theme has a new ending,
of s i m i l a r 2-bar groups (mm.

The Piano
99-108), c l o s i n g c o d e t t a (mm.
105-108) l e a d d i r e c t l y
with
i n which a p a i r
i n t o the c l o s i n g
section.
i n B - f l a t Major, K. 333, was d i s c u s s e d a t v a r i o u s

In p a r t i c u l a r , I draw the r e a d e r ' s a t t e n t i o n t o
pp. 83 and 87 o f c h a p t e r 2, where the form o f the e x p o s i t i o n was
analysed
i n two d i f f e r e n t ways.
In both i n t e r p r e t a t i o n s the c l o s i n g s e c t i o n i s i n
mm.
59-63 and i s a type
a s p e c t s o f the c l o s i n g model a r e found
D e s p i t e the f a c t t h a t some
i n the codetta-complex
i n mm.
39-59(1),
163
the c l o s i n g s e c t i o n cannot be considered
to begin i n m. 39; nor can i t begin
somewhere between m. 39 and m. 59, since mm. 39-59 form one s e c t i o n .
This
s e c t i o n does, however, i n i t i a t e closure with some c l o s i n g model features.

Aside from an expansion i n the codetta-complex and some a l t e r a t i o n s to the
t r a n s i t i o n , the r e c a p i t u l a t i o n i s s i m i l a r to the e x p o s i t i o n .
The e x p o s i t i o n of the Piano Sonata i n C Major, K. 545, was discussed i n
chapter 2, p. 89 and note 43. A few comments here w i l l elaborate on that
previous summary.
There are a number of i n t e r e s t i n g s i m i l a r i t i e s between
the two themes, i n p a r t i c u l a r the f a c t that both are twelve bars long and
are constructed with ( 4 + 4 + 4 ) timespans.
Measure 13 has the f u n c t i o n ,
then, of breaking up the otherwise smooth flow of 4-bar timespans, and

takes the place of a t r a n s i t i o n . Measures 26-28 f u n c t i o n both as a subordinate theme codetta and as a type (x) c l o s i n g codetta.
The e x p o s i t i o n
timespan summary i s thus: ( 4 + 4 + 4 ) + 1 + (4 + 4 + 4) + 3.
Measures 13
and 26 to 28 add up to one more 4-bar u n i t ; these bars are the two s u b s i d i a r y
"sections."
These two short, i r r e g u l a r u n i t s serve to h i g h l i g h t the two
themes by c o n t r a s t i n g with the more p e r i o d i c nature of the themes: i n other

words, even though they are not s e c t i o n s , they r e t a i n the c o n t r a s t i n g f u n c t i o n
of such subsidiary sections.
The i r r e g u l a r length of the c l o s i n g codetta
also sets o f f the e x p o s i t i o n from the development, which i s constructed
with
(4 + 4 + 4) + 1 timespans, based at f i r s t on the closing-codetta m a t e r i a l .

Here again the primary part of the development i s the same length as the
two themes, and there i s an a d d i t i o n a l i r r e g u l a r u n i t s e t t i n g o f f the development, i n t u r n , from the r e c a p i t u l a t i o n . ^
In the Piano Sonata i n B - f l a t Major, K. 570, the main theme i s i n
mm. 1-20, the t r a n s i t i o n i n mm. 21-40, the subordinate theme i n mm. 41-69(1),
164
and
bar a f t e r i t s f i r s t
immediately
i n m.
69-79.
4-bar timespan,
69.
The
c l o s i n g s e c t i o n melody b e g i n s a
but the new
T h i s c l o s i n g s e c t i o n i s based
i n t h a t t h e r e a r e two p a i r s of r e p e a t e d groups,
(1 + 1) + 1.
T h i s c l o s i n g s e c t i o n may
type ( x ) .
h a v i n g timespans (4 + 4)
69,
s e c t i o n ; that
the c l o s i n g c o d e t t a i s of
There i s a g r e a t e r degree of u n i f o r m i t y i n the n a t u r e of type

s e c t i o n s than i n those of type
closing codettas.
( 1 ) , p r i m a r i l y due
Most c l o s i n g c o d e t t a s are based
the c l o s i n g model, the most common h a v i n g one
(2)
on shortened forms of
o r two
p a i r s of r e p e a t e d
c o u r s e , i n most w o r k s n o matter what type of c l o s i n g s e c t i o n i s
The
Of
used
c l o s u r e i s i n i t i a t e d b e f o r e the c l o s i n g s e c t i o n : as has been seen,

c o n c l u d i n g the s u b o r d i n a t e theme a r e a i s n o r m a l l y one
groups.
prior
to the c l o s i n g s e c t i o n i n most works which have the c l o s i n g c o d e t t a .
i n the movement.
closing
to the s h o r t l e n g t h of
T h i s s h o r t l e n g t h means t h a t s i g n i f i c a n t c l o s u r e i s i n i t i a t e d
or ECP
(x) c l o s i n g
i t s c o d e t t a form one
t o the e x t e n t t h a t the theme ends i n m.
starts
on the c l o s i n g model
be c o n s i d e r e d a type
c o d e t t a because the s u b o r d i n a t e theme and

is,
accompaniment f i g u r e
the cadence
of the s t r o n g e s t
s h o r t l e n g t h of the c l o s i n g c o d e t t a , however, means
t h a t c l o s u r e takes p l a c e p r i m a r i l y b e f o r e , r a t h e r than d u r i n g , the
closing
s e c t i o n , e s p e c i a l l y i n the s h o r t e s t c l o s i n g s e c t i o n s .
That
t h i s i s t r u e i s c o n f i r m e d by the p r e v a l e n c e of type
c o d e t t a s , those w i t h a codetta-complex
and
The
(y) c l o s i n g
between the s u b o r d i n a t e theme
c o d e t t a s of t h i s complex e i t h e r f u n c t i o n as
e x t e n s i o n s of the s u b o r d i n a t e theme a r e a , or they group t o g e t h e r as a separate small section
( t h e r e may
be some of b o t h types i n a g i v e n work);
165
also,
they i n i t i a t e c l o s u r e ,
primarily
through the use of the expanded
p r o g r e s s i o n and p a i r i n g of r e p e a t e d groups
emble the c l o s i n g model).
(many such codetta-complexes
A l t h o u g h the i n t e r n a l s t r u c t u r e
cadential
res-
of c l o s i n g c o d e t t a s
i s f a i r l y u n i f o r m , the c o n t e x t s i n which they are found v a r y w i d e l y .
166
The
The
C l o s i n g Theme F o l l o w e d
Codetta
f e a t u r e s of the c l o s i n g theme f o l l o w e d by the c l o s i n g c o d e t t a were
o u t l i n e d i n chapter
may
by the C l o s i n g
2: l e v e l
wish to review.
( c ) : c l o s i n g s e c t i o n s , p. 76, which the
F i v e of the works I have a n a l y s e d
fall
reader
into this
category
of c l o s i n g s e c t i o n .
Symphony no.
no.
41, was
41.
The
e x p o s i t i o n of the Symphony i n C Major
discussed i n chapter
2:
level
( d ) : e x p o s i t i o n s , p. 88.
i s a f e a t u r e of the s e v e r a l s u b s e c t i o n s of the s u b o r d i n a t e
(1) The
theme p r o p e r a
expanded by t h r e e b a r s ;
p e r i o d i n mm.
(Jupiter),
Expansion
theme a r e a :
5 6 - 7 1 ( 1 ) h a s i t s second h a l f
t h a t i s , the theme i s c o n s t r u c t e d w i t h
(6 +
9)
timespans.
(2) The
s t a r t i n g i n m.
i n m.
80;
first
75 as a r e p e a t
of m.
(3) The
i t s second
7 1 g r e a t l y expanded, and
(4 +
group
even i n t e r r u p t e d
[6 + 8 ] ) .
The
ECP.
f o l l o w i n g c o d e t t a , i n mm.
two b a r s ; t h a t i s , the timespans a r e

The
71-89(1), has
t h a t i s , the timespans of t h i s s u b s e c t i o n a r e
8-bar group i s an
by
codetta-complex, i n mm.
unique ending
89-100, has
i t s second group expanded
(5+7).
of t h i s l a t t e r c o d e t t a deserves
some comment: no
o t h e r c l o s i n g s e c t i o n examined here i n v o l v e s such an approach.
Normally,
167
codettas end w i t h cadences or at l e a s t w i t h t o n i c harmony, often w i t h t o n i c

pedals: the group i n mm.
89-94(1) i s t y p i c a l .
The group i n mm.
94-100 i s
therefore not f u n c t i o n i n g as a codetta to the extent that i t has a weaker

cadence than the preceding group.
(This p a i r of groups thus reverses the
normal c a d e n t i a l p a t t e r n i n g found i n such codettas; i . e . , when the cadences

of group p a i r s are not i d e n t i c a l , the second one i s u s u a l l y stronger than
the f i r s t .
Often the second one i s or has an
ECP.)
One e f f e c t of t h i s unusual codetta ending i n m. 100 i s that the c l o s i n g

section i s strongly a r t i c u l a t e d .
The harmonic motion, the change of melodic
m a t e r i a l , the change of dynamic l e v e l , the change of instrumentation, and the

use of r e s t s c o n t r i b u t e to t h i s formal a r t i c u l a t i o n .
A reason f o r t h i s s p e c i a l
treatment of t h i s d i v i s i o n i s that the c l o s i n g s e c t i o n begins i n m. 101 with

m a t e r i a l that i s more theme-like than usual.
I f standard codetta m a t e r i a l
were to be used i n m. l O l f f . , then the ending of the previous codetta would

be inappropriate.
(For example, imagine the omission of mm.
the codettas i n mm.
111[2]-120 d i r e c t l y f o l l o w i n g m. 100.)
101-111[1] w i t h
The nature of
the c l o s i n g s e c t i o n has i n part determined the s t r u c t u r e of the preceding

s e c t i o n , i n p a r t i c u l a r the unusual ending of the codetta preceding the c l o s i n g
section.
As an a l t e r n a t i v e to seeing m. 101 as the s t a r t of the c l o s i n g s e c t i o n ,
m. 89 might be considered the s t a r t because (1) the subordinate theme and i t s
codetta have taken place, (2) the ECP ends on the downbeat of m. 89, and
(3) mm.
89-100 form a c l o s u r a l p a i r of s i m i l a r groups.
The main f a c t o r
working against t h i s i n t e r p r e t a t i o n i s the strong formal d i v i s i o n i n

mm.
99-101 which makes the m a t e r i a l s t a r t i n g i n m. 101 appear as a new s e c t i o n .
168
Diagram
40
Symphony no.
41: E x p o s i t i o n C l o s i n g S e c t i o n
Measures:
101
107
111
117
Timespans:
([2 x 3] +
[2 x 2]) +
(3 x 2) +
(1 x 3) + 1
Groups:
a a a
The
b b
c l o s i n g theme (CT)
i s i n mm.
on a thematic
the way
model.
However, i t has
i t i s prepared
i n t r o d u c t i o n of new
by
from i t s s u r r o u n d i n g s
101-111(1) and
i s not o b v i o u s l y based
the c h a r a c t e r of a theme because (1) of
c o d e t t a , as d i s c u s s e d above, (2) of
t e x t u r a l change: the CT
by a piano
statements a r e u s u a l l y g i v e n by
See
d d d
motives not o b v i o u s l y r e l a t e d to any
(3) of the dynamic and
the case here.
diagram
dynamic and
preceding
material,
i s u n i f i e d and d i s t i n g u i s h e d
d i f f e r e n t t e x t u r e , and
s t r i n g s , with
(4)
40.
i n the p a i r i n g of s i m i l a r groups and
more f e a t u r e s of c o d e t t a s .
thematic
the melody i n the v i o l i n s , as i s
C e r t a i n l y t h e r e a r e some resemblances to the c l o s i n g model h e r e ,

cially
The
espe-
the move towards m a t e r i a l t h a t
c l o s i n g model c o n t a i n s
detta, this progression

subsection.
In the case of the CT
i s a m p l i f i e d by
I t w i l l be r e c a l l e d
f o l l o w e d by
the more thematic
t h a t the f i r s t
has
such a p r o g r e s s i o n , i n
p a r t because of the s h o r t e n i n g of group l e n g t h : the s h o r t e r the group the

space f o r m o t i v i c m a t e r i a l .
the
less
the c l o s i n g c o -
nature
of the
first
p a i r of groups i n the c l o s i n g
model i s o f t e n l i k e a s i m p l i f i e d p e r i o d : the c l o s i n g theme-closing
codetta
may
thus be viewed as a m o d i f i c a t i o n or s p e c i a l case of the c l o s i n g model i n which

the f i r s t
The
s u b s e c t i o n i s more thematic
t h r e e a groups are v e r y
ample, the oboe entrance
i n m.
103,
than usual.''"
s i m i l a r except f o r a few
and
the bassoon d o u b l i n g
details, for
i n m.
105ff.
exThe
169
l a t t e r r e c a l l s the s u b o r d i n a t e theme; see m.

i n a s i m i l a r way,
6 2 f f . , where the bassoon
t h a t i s , to double the v i o l i n melody two
i s used
o c t a v e s lower, i n
v a r i a t i o n of preceding m a t e r i a l .
The two b_ groups
a r e v e r y s i m i l a r except f o r the a d d i t i o n of the
d o u b l i n g of the melody i n the second b_ group.
T h i s a g a i n i s s i m i l a r t o the
a d d i t i o n of the f l u t e i n the s u b o r d i n a t e theme, m.

are more connected
similarities
The
67ff.
The a and b_ groups
than i n the c l o s i n g model, l a r g e l y because
b_ group b e g i n s i n m.
flute
of the way
107 as a c o n t i n u a t i o n of the a_ group, and because
the
of
i n harmonic rhythm and t e x t u r e .
two groups, a l t h o u g h t h r e e bars l o n g , are made up of two
1-bar u n i t s , f o l l o w e d by a 1-bar
cadence.
They are c l e a r l y s e p a r a t e d from
the p r e c e d i n g m a t e r i a l by the r e s t , sudden f o r t e , a d d i t i o n of b r a s s

ments, and change i n t e x t u r e i n m.
sequenced
instru-
111.
The i m p l i c a t i o n s of the s i m i l a r i t i e s
i n o r c h e s t r a t i o n noted above between
the s u b o r d i n a t e theme and c l o s i n g s e c t i o n a r e worth c o n s i d e r i n g because

unusual s i m i l a r i t i e s
seem more than c o i n c i d e n t a l .
the
Diagram 41 i s incomplete
i n t h a t i t omits the f a c t t h a t i n b o t h s e c t i o n s the bassoon
and f l u t e
are
added as d o u b l i n g s of the melody i n v a r i a t i o n of immediately p r e c e d i n g m a t e r i a l .

In the case o f the s u b o r d i n a t e t h e m e w h i c h here f o r convenience
to i n c l u d e the c o d e t t a s up t o m.
b r a s s to a b a s i c a l l y
i n mm.
1 0 0 t h e p r o c e s s of a d d i t i o n of winds and
s t r i n g t e x t u r e i s begun g r a d u a l l y , but then
71-80, and then i s a b r u p t l y completed
of the f u l l
o r c h e s t r a i n m.
81.
w i t h the unexpected
without
interrupted
forte
entrance
In the case of the c l o s i n g s e c t i o n , however,
the a d d i t i o n of i n s t r u m e n t s , begun the same way

i s completed
I take
interruption.
as i n the s u b o r d i n a t e theme,
170
Diagram 41
Symphony no. 41: O r c h e s t r a t i o n of E x p o s i t i o n Subordinate
Theme and C l o s i n g S e c t i o n
Measures:
Instrumentation:
Dynamics:
forte
Measures:
81-99
CS:
101
f winds
Instrumentation:
105
109
flute
oboe
bsn.
to
120
winds
brass
Dynamics:
111
brass
strings-
-strmgs-
forte
-piano
-f o r t e -
P a r t l y because of t h i s o r c h e s t r a t i o n a l r e l a t i o n s h i p between the two s e c t i o n s ,

the c l o s i n g s e c t i o n may
be heard as brought
the s u b o r d i n a t e theme.
T h i s r e l a t i o n s h i p i s somewhat l i k e t h a t of a p e r i o d ,
i n which two
what was
s u b s e c t i o n s begin: the same way,
i m p l i e d i n the f i r s t ,
a l s o found
but o n l y the second,
i s heard as c l o s e d .
Support
the f i r s t
completing
f o r t h i s view i s
99-100); t h i s i s , of c o u r s e , s i m i l a r to the u s u a l
ending
h a l f of a p e r i o d .
A g r e a t d e a l of the development s e c t i o n i s based

A f t e r a 2-bar i n t r o d u c t i o n modulating
stated completely
E-flat
by
i n the f a c t t h a t the s u b o r d i n a t e theme ends, u n u s u a l l y , w i t h dom-
i n a n t harmony ( i n mm.
of
to a more s a t i s f y i n g c l o s e than
i n t h i s new
key
to E r f l a t ,
i n mm.
on the c l o s i n g theme.
the c l o s i n g theme i s i n f a c t
123-132(1).
One
reason the key
of
sounds so c o n v i n c i n g here i s t h a t the c l o s i n g theme melody has a p r o -
171
Diagram 42
Symphony no. 41: C l o s i n g Theme i n E x p o s i t i o n and Development
j
-e-
1
o
1 = 3
o
4Wy
3
o
BO
n-
:
b z -
mment use of 3-2-1, and the 3 of E - f l a t

The m o d u l a t i o n i n mm.
CT i n Dev.
(e.g., mm.
125[1])
modulation
mm. 121-123
n
. _ r
^
CT ( e . g . , mm.
101103[1]).and c o d e t t a
(e.g., mm. 113-114[1]
,
hit
YV
vo
123-
bn
i s the t o n i c of the p r e v i o u s t o n a l i t y .
121-123 i s based on t h i s same 3-2-1
p r o g r e s s i o n ; the
2
theme's melody i s thus heard as an echo of the m o d u l a t i o n .
See diagram
M o t i v e s from the CT a r e used i n the development up t o the f a l s e

s t a r t i n g i n m.
mm..
181-188.
161 and
they r e c u r a g a i n towards the end of the
The main theme i s r e p e a t e d w i t h o u t change i n mm.
42.
recapitulation
retransition,
189-211.
The
t r a n s i t i o n i s r e w r i t t e n to a c e r t a i n e x t e n t : the changes p r i m a r i l y i n v o l v e
t i n g i n C minor r a t h e r than i n C major, and a l t e r i n g m.
pedal.
One
2 3 5 f f . to s t a y on G as
8-bar c o d e t t a of the s u b o r d i n a t e theme i s r e w r i t t e n : mm.
a r e s i g n i f i c a n t l y d i f f e r e n t from mm.
at the end of the c l o s i n g theme i s extended by one b a r , mm.
m.
120.
289-313.
The
304-306(1),
cadence
and
309-313 r e p l a c e the one bar of t o n i c i n
Some a s p e c t s of o r c h e s t r a t i o n are a l t e r e d i n the s u b o r d i n a t e theme
and c l o s i n g s e c t i o n .
of horns
section.
Both have a s l i g h t l y
t h i c k e r t e x t u r e due
i n the s u b o r d i n a t e theme, and trumpets
to the a d d i t i o n
and t i m p a n i i n the
closing
A l t h o u g h the sequence of a d d i t i o n of i n s t r u m e n t s i s n o t the same
i n both s e c t i o n s as i t was
i n how
269-276
81-88.
The c l o s i n g s e c t i o n i s b a s i c a l l y unchanged, i n mm.
f i v e b a r s of t o n i c a r p e g g i o s i n mm.
star-
the two
i n the e x p o s i t i o n , t h e r e are s t i l l
s e c t i o n s are o r c h e s t r a t e d .
similarities
172
K.
465,
465.
The a l l e g r o of the S t r i n g Q u a r t e t
b e g i n s w i t h a 22-bar main theme i n mm.
23-44.
i n C Major,
Despite i t s length, this
theme i s t i g h t l y o r g a n i z e d i n i t s use of both p e r i o d and
sentence models.
o t h e r words, the e n t i r e theme i s c o n s t r u c t e d as a p e r i o d (8 + 14), and

s u b s e c t i o n as a sentence
(4 + 4) +
(4 + 10).
O b v i o u s l y , the second
has an e x t e n s i o n i n the manner of a c o d e t t a .

mm.
44-55,. o v e r l a p p i n g the f i n a l
is s h o r t i t
modulation
it
mm.
56-71(2).
The
The
bar of the main theme.
Although
first
s u b s e c t i o n i s the s t a n d a r d
99-106 was
w i t h sequences and an
d i s c u s s e d on pp.
i n t e r p r e t a t i o n s of the timespan
prominent t o n i c a r r i v a l a n d
spans a t m.
67.
69-70.)
71(3)-79(1).
99.
(The r e -
See diagram 43.
72
The
Various
For
( w i t h an o v e r l a p a t
on the b a s i s of p r i o r e s t a b l i s h m e n t of 4-bar
Whatever the d e t a i l e d view of timespans here, the o v e r a l l
Diagram 43
465:
Measures:
71
Timespans:
(4 + 4) +
a

87
79
([5 + 3] + 4) +
b
ex-
71 on the b a s i s of harmonym. 71 b e i n g a
t e r n i s (8 + 12 + 8 ) .
Groups:
the
ECP.
c o u l d be s t a r t e d a t m.
79); however, I have d e c i d e d on m.
because
in
lengths are p o s s i b l e i n t h i s s e c t i o n .
ample, the c l o s i n g theme timespan
strong
(2 + 2) p a t t e r n , but
c l o s i n g theme i s a normal 8-bar p e r i o d i n mm.
t r a n s i t i o n i n mm.
transition
has a f a i r l y
c l o s i n g s e c t i o n then c o n t i n u e s w i t h a s e r i e s of c o d e t t a s to m.
m.
the
s u b o r d i n a t e theme i s a 15-bar sentence
i s c o n s i d e r a b l y extended
The
subsection
t o the dominant because i t moves v e r y q u i c k l y towards V and

pedal.
each
t r a n s i t i o n follows i n
i s h a l f the l e n g t h of the p r e c e d i n g t h e m e i t
ends on a V/V
second
The
In
91
(4 +
e
4)
e
timepat-
173
This i s one of the few c l o s i n g sections i n which there i s almost no use

of any features of the c l o s i n g model.
aa\
The only group p a i r s are the period
and the f i n a l p a i r ee^" ( t h i s l a t t e r p a i r based on the opening main theme
motive).
There i s some r e p e t i t i o n i n each of the b_, c_, ci, and e_ groups, that
i s , at the 1-bar l e v e l .
However, there i s no o v e r a l l pattern of reduction of
group length.
In the r e c a p i t u l a t i o n the main theme and t r a n s i t i o n are combined to form
one s e c t i o n i n mm.
155-175.
The f i r s t seventeen bars of the theme are repeated
w i t h a number of surface a l t e r a t i o n s to which are added the f i n a l four bars

of the transposed t r a n s i t i o n .
The subordinate theme f o l l o w s i n mm. 176-191(2):
although i t i s the same length and has the same m a t e r i a l as i n the e x p o s i t i o n ,

some d e t a i l s are r e w r i t t e n , e s p e c i a l l y i n mm.
182-190 (e.g., the i n t e r v a l of
t r a n s p o s i t i o n i s changed to d i r e c t the theme towards the key of F major).

The c l o s i n g theme i s then repeated i n C major without a l t e r a t i o n .
remainder of the c l o s i n g s e c t i o n follows i n mm.
changes.
In p a r t i c u l a r , the cadence i n mm.
199-219 w i t h some surface
208-211 i s strengthened due to
the use of 3-4-#4-5-l as the bass v o i c e , compared to b7-6-#4-5-l i n mm.

The r e t r a n s i t i o n i n mm.
The
88-91.
219-226 i s s i m i l a r to that i n the e x p o s i t i o n ,
and so moves towards the key of F major ( i . e . , as the r e t r a n s i t i o n i n the

e x p o s i t i o n moved from G major to C major, so i n the r e c a p i t u l a t i o n i t moves
from C major to F major). The f i n a l b a r 2 2 6 i s a l t e r e d so that the coda
w i l l begin as the development does, with a v a r i a n t , i n F major, of the beginning of the main theme.
This main theme motive i s q u i c k l y l i q u i d a t e d and a
cadence closes o f f f u r t h e r motivic development i n mm.

s i m i l a r 3-bar groups i n mm.
227-235(1).
A p a i r of
235-240 i s followed by a p a i r of a c t i v e 2-bar groups
over a tonic pedal i n mm. 241-245, then by a bar of t o n i c arpeggio.
Overall,
174
the timespans i n the coda are 8 +

s i m i l a r groups and
(3 + 3) +
then,
The
p a i r i n g of
the r e d u c t i o n i n timespan l e n g t h are b o t h f e a t u r e s of
c l o s i n g model, f e a t u r e s t h a t were not

To an e x t e n t ,
(2 + 2) + 2.
s t r o n g l y present
the
i n the c l o s i n g s e c t i o n .
the coda s u p p l i e s c l o s u r a l f e a t u r e s absent from
the
closing section.
V i o l i n Sonata K.
i n E - f l a t Major, K.
481.
481,
The
was
e x p o s i t i o n of the Sonata f o r V i o l i n and
c i t e d i n chapter
2: l e v e l
example of normative s m a l l s e c t i o n s t r u c t u r e .
i s a sentence v a r i a n t w i t h a c o d e t t a ,
t r a n s i t i o n , i n mm.
i n mm.
t h a t i s , (6 + 6 + 4) +
s u r f a c e rhythm.
37-68, c o n t r a s t s s t r o n g l y w i t h the p r e c e d i n g
reasons.
In a d d i t i o n , the s u b o r d i n a t e
of e x t e n s i o n s
11
Groups cdc d -ECP
gram 44.
The
motives and
subordinate
The
theme
theme,
s e c t i o n s f o r these same
i n an ECP
periodhas
i n mm.
69-84(1), i s a double p e r i o d 8
sections.
O v e r a l l , then,
a series
63-68.
See d i a -
+ 8 i n which
t h i s e x p o s i t i o n has
degree of c o n t r a s t between the f o u r s m a l l s e c t i o n s .
44
481:
Measures:
37
Timespans:
(4 + 4) +
Phrases:
The
1-24,
s u r f a c e rhythm a g a i n are r e s p o n s i b l e f o r c r e a t i n g s t r o n g c o n t r a s t
w i t h the p r e c e d i n g
Diagram
an
(4 + 4 ) .
form a secondary u n i t w i t h i n the theme.
c l o s i n g theme, i n mm.
as
themea modified
to i t s second h a l f c u l m i n a t i n g
85,
The main theme, i n mm.
25-36, forms a s t r o n g c o n t r a s t w i t h
by v i r t u e of t o n a l i t y , m o t i v e s , and
( d ) , p.
Piano
41
E x p o s i t i o n Subordinate
45
49
53
57
(4 + 4 + 4 + 4 +
a*
c"*"
Theme
61
[2 +
6])
d^
ECP
The
a high
c l o s i n g theme and
175
Diagram
45
V i o l i n Sonata K. 481: E x p o s i t i o n C l o s i n g
69
Measures:
Timespans:
([4
Phrases/groups:
73
+
4] +
b
HC IAC
Cadences:
c l o s i n g c o d e t t a may
77
81
Section
85
[4 + 4]) + ([2 + 2] + [1 + 1])

a
HC PAC
be summarized
as i n diagram 45.
Phrase b i s a v a r i a n t of a_ ( i . e . , where a. ends on V, b_ ends on I ) ,

but
r a t h e r than l a b e l b_ as a ^ i t i s more important to i n d i c a t e t h a t the
two p h r a s e s i n mm.
77-84(1) a r e v a r i a n t s o f the two p r e c e d i n g ones.
1 1 .
.
12 3
o t h e r words, aba b
i s more i n f o r m a t i v e than aa a a .)
(In
The c l o s i n g
model
a p p l i e s t o a s u b s t a n t i a l e x t e n t to t h i s c l o s i n g s e c t i o n : a l l p h r a s e s and
groups a r e p a i r e d w i t h s i m i l a r ones
( i . e . , mmnnoopp) and t h e r e i s a r e d u c t i o n
i n timespan bar l e n g t h of 4 t o 2 t o 1.
A 2-bar r e t r a n s i t i o n i n mm.
90(2)-92
c o n v e r t s the B - f l a t harmony t o a dominant.

The main theme i s r e c a p i t u l a t e d i n mm.
140-155(1), w i t h the 8-bar c o -
d e t t a o m i t t e d and r e p l a c e d w i t h a sequence of the f i n a l p h r a s e of the theme,

i n mm.
155-159.
T h i s sequence t o n i c i z e s the subdominant, p e r m i t t i n g the
t r a n s i t i o n to be t r a n s p o s e d up a f o u r t h so t h a t i t now
of
on V/V.
ends on V i n s t e a d
T h i s i n t u r n a l l o w s the s u b o r d i n a t e theme to appear i n the t o n i c ;
t h e r e a r e v e r y few a l t e r a t i o n s to t h i s theme.
The c l o s i n g theme i s r e p e a t e d i n E - f l a t w i t h o u t change i n mm.
The c l o s i n g c o d e t t a i s , however, r e p l a c e d by a new
204-219(1).
219-229(1)
t h a t b e g i n s w i t h sequences based on the 2-bar c l o s i n g c o d e t t a group.
After
t h i s s e c t i o n cadences, the m i s s i n g c o d e t t a t o the main theme i s heard i n
176
Diagram
46
V i o l i n Sonata K. 481: R e c a p i t u l a t i o n Ending

Measures:
220
Timespans:
230
mm.
245
(2 + 2 + 2 + 4) + (4 + 4) + 7 + (2 + 2) + (1 + 1) + 2
1
Groups:
238
,
b
,1
b
A d Ad
2 2 9 ( 2 ) - 2 3 7 ( l ) ; the o n l y changes here a r e the a d d i t i o n of a new
f i g u r e i n m.
229 and the o v e r l a p w i t h the s u c c e e d i n g s e c t i o n i n m.
l a t t e r , e x t e n d i n g t o m.
245,
i s a new
anacrusis
237.
The
s e c t i o n based on the m a t e r i a l i n the
c e n t r a l s e c t i o n o f the development, mm.
104-121; whereas i n the
development
t h i s m a t e r i a l i s used i n modulatory sequences, i n the r e c a p i t u l a t i o n i t i s

used i n an e s s e n t i a l l y d i a t o n i c way
c l o s i n g c o d e t t a r e t u r n s w i t h a new
i n mm.
245-252.
w i t h the key of E - f l a t .
Finally,
the
accompaniment and a s l i g h t l y changed
The s e c t i o n s from m.
219 to m.
ending
252 form an ending "to the
r e c a p i t u l a t i o n d i f f e r e n t from t h a t of the e x p o s i t i o n ; they do not form a

coda, a l t h o u g h some f u n c t i o n s of a coda a r e p r e s e n t .
'here, l o c a t i n g i t s b e g i n n i n g would be d i f f i c u l t . )
One
( I f there were a coda
See diagram
of the s t r o n g e s t c r i t e r i a f o r timespan i n i t i a t i o n
46.
i s harmonic
arrival.
O f t e n , however, o t h e r f a c t o r s work i n c o n c e r t to o v e r r i d e harmony: t h i s o c c u r s

f r e q u e n t l y i n the p r e s e n t movement, and i s i n f a c t a c h a r a c t e r i s t i c
of i t .
feature
V a r i o u s f a c t o r s a r e seen to c o u n t e r a c t the normal tendency of the
f i n a l chord and bar o f a phrase to be a c c e n t e d , f a c t o r s which, w h i l e o c c u r r i n g

i n o t h e r works,
a r e more f r e q u e n t h e r e .
F o r example,
the 6-bar phrase l e n g t h s
i n the main theme p e r m i t the f i n a l c a d e n t i a l harmony to a r r i v e a b a r e a r l y

(i.e.,
i n mm.
( O m i t t i n g mm.
5 and 11), thus making the f i n a l bar of each phrase unaccented.

3-4
and 9-10
would make the theme h a r m o n i c a l l y " s q u a r e " and
177
would make the c a d e n t i a l harmonies a r r i v e too e a r l y . )
I n s t e a d of
subsequent
phrases c o n t i n u i n g w i t h the p r e v a i l i n g harmony o r o v e r l a p p i n g w i t h the p r e c e d i n g phrase, phrases o f t e n s t a r t w i t h a new
harmony or have a r e s t between
phrases or o t h e r a r t i c u l a t i o n such as t e x t u r e s e p a r a t e the two p h r a s e s .
For
example, see m.
25
17 which i s s t r o n g compared w i t h m.
compared w i t h m.
The
the ECP,
first
16, and s i m i l a r l y m.
24.
d i s r u p t i o n to timespans
where mm.
s t a r t i n g on odd-numbered b a r s o c c u r s i n
64 and 66 a r e a c c e n t e d
( i . e . , mm.
63-68 a r e
The alignment
of harmony w i t h timespans
cadence.
c l o s i n g theme, however, r e t u r n s t o timespans
The
numbered b a r s i n m.
m.
84,
69.
And,
t h a t measure remains
i s a f a c t o r i n the s t r e n g t h o f
d e s p i t e the change of dynamics and
unaccented
i n t r o d u c t i o n to the development (mm.
(mm.
97-118).
Note i n p a r t i c u l a r mm.
of A - f l a t major t o n i c harmony and
the l e f t - h a n d octaves and
violin articulations.
105
c i t e d as one of Mozart's
l i n e , c r e a t i n g a 4-note motive
104
do
from
(This subsection
etc.by
t h a t o f t e n has
f a v o r i t e s , r e c u r r i n g i n o t h e r works such as
f i n a l e of the Symphony no.
odd-
i s clear primarily
a t a h i g h e r l e v e l i n t o 4-bar t i m e s p a n s 1 0 5 - 1 0 8 ,
the r e s t s i n the v i o l i n
the
s t a r t i n g on
t e x t u r e i n m.
b e g i n i n m.
been
the
41.)
A s i g n i f i c a n t change o c c u r s i n mm.
extended
through
104-105, where a r r i v a l
not c r e a t e an a c c e n t : t h a t timespans
i s a l s o grouped
texture i n
90-96), i t i s c l e a r
i n i t i a t i o n of a new
subsequent
odd-
and f u n c t i o n s as an upbeat b a r to m.
t h a t the main p a r t of the development has, 2-bar timespans

numbered b a r s
this
b e g i n n i n g on
Whether or not odd-numbered, bars c o n t i n u e to.be a c c e n t e d

r e t r a n s i t i o n and
1 + 2 + 2 + 1 ) .
119-121: t h i s i s a 3-bar
by one b a r from the 2-bar norm by the h e m i o l a
c l e a r l y puts a s t r o n g a c c e n t on m.
122,
initiating
i n mm.
timespan,
120-121.
2-bar timespans
now
This
on
85.
178
even-numbered b a r s , and
i n mm.
122-139.
i t f u n c t i o n s to a r t i c u l a t e the r e t r a n s i t i o n
(Bar 122
i s one
l o c a t i o n where timespan i n i t i a t i o n i s i n f l u -
enced by harmonic a r r i v a l , of course

v i o l i n a r t i c u l a t i o n and
The
subsection
i n c o n c e r t w i t h o t h e r f a c t o r s such
as
rhythm.)
r e c a p i t u l a t i o n thus d i f f e r s from the e x p o s i t i o n by h a v i n g
timespans
s t a r t on even-numbered b a r s , a f a c t which i s remarkable o n l y by v i r t u e of

the extreme c o n s i s t e n c y of the 2-bar hypermeter l e v e l .
the
r e c a p i t u l a t i o n otherwise
This p a t t e r n continues
c l o s e l y r e l a t e d to the e x p o s i t i o n , as
a b o v e t o the s u b s e c t i o n i n mm.
238-244.
I t i s w i t h i n these e i g h t b a r s
a s h i f t back to timespans b e g i n n i n g on odd-numbered b a r s b e g i n s .

is
104ff.
a r t i c u l a t i o n to two
238
(compare m.
105).
2-bar ones i n mm.
p a t t e r n i s not c l e a r on i t s own
238-240, 241-242, 243-244.
except
t h a t m.
240
i s l i k e m.
The
analogy
and
the 2-bar u n i t s i n 241-242 and
243-244, and
237-244 have timesparts o f , from m.
236,
The
239,
t h a t mm.
form a 2-bar u n i t based on s i m i l a r a r t i c u l a t i o n and p a t t e r n i n g .
b a r s i n mm.
238
The v i o l i n changes from a 3-bar
an e x t e n s i o n s u p p o r t i n g the v i o l i n ' s 3-bar g r o u p i n g ,
supports
that
The bass and v i o l i n a r t i c u l a t i o n s are n o t , however, the same
c o n t i n u i n g from m.
bass
suggesting
243-244
The harmony
t h e r e f o r e these e i g h t
( 2 + 3 + 2 + 2 ) .
s h i f t back to a c c e n t u a t i o n of odd-numbered bars would seem to be
negated i n m.
245,
which, by analogy w i t h m.
a comparison of the s u b s e c t i o n s i n mm.

which reduce t h e i r s i m i l a r i t y
patterning.
84,
s h o u l d be unaccented.
245-252 and mm.
81 and
to the p o i n t where they have o p p o s i t e
i n the r e c a p i t u l a t i o n , mm.
83 a r e a c c e n t e d ,
241
and
243
However,
84-90 r e v e a l s d i f f e r e n c e s
. F i r s t , the p r e c e d i n g m a t e r i a l i s not the same f o r b o t h
i n the e x p o s i t i o n , mm.
87;
Bar
s t r o n g by c o n t i n u a t i o n of even-numbered bars a c c e n t u a t i o n and by
w i t h m.
noted
timespan
subsections:
l e a d i n g to a c c e n t u a t i o n of 85
are accented,
and
supporting accentuation
179
of 245, 247, e t c .
Second, the bass supports d i f f e r e n t 2-bar patterns i n each
case: i n the e x p o s i t i o n , patterns begin on the second and f o u r t h bars (mm.
85,
87); whereas, i n the r e c a p i t u l a t i o n , patterns begin on the f i r s t and t h i r d

bars (mm.
245, 247).
T h i r d , the endings of each subsection are d i f f e r e n t :
i n the e x p o s i t i o n , a change to even-numbered bar accentuation i s p o s s i b l e

i n mm.
88 and/or 90; i n the r e c a p i t u l a t i o n , no such change i s l i k e l y ,
odd-
numbered bar accentuation continuing to the end.

Whereas much of the movement i s c h a r a c t e r i z e d by timespan i n i t i a t i o n
that i s not influenced by harmonic a r r i v a l , the f i n a l sections of the movement reverse t h i s feature to have timespan i n i t i a t i o n and harmonic a r r i v a l
i n synchrony.
This i s f u r t h e r supported by dynamics, which change i n m.
245
w i t h the new timespan and harmonic u n i t .
The Piano Sonata i n F Major, K. 332, i s char-
a c t e r i z e d by a large number of thematic statements; that i s , there are

themes and theme-like constructions i n places where such statements
not normally found.
are
The main theme, of unique c o n s t r u c t i o n , i s i n
mm.
1-12(1) and i s followed by i t s c o d e t t a a s i m p l i f i e d p e r i o d i n
mm.
13-22.
As i n the v i o l i n sonata j u s t discussed, the t r a n s i t i o n here strongly
contrasts w i t h the preceding theme and codetta.
To the extent that t h i s
t r a n s i t i o n introduces and prominently features new m o t i v e s t h a t i s , i n

mm.
2 3 - 2 6 i t i s more thematic than usual f o r a t r a n s i t i o n .
(For example,
compare the t r a n s i t i o n i n the previously-discussed v i o l i n sonata, c o n s i s t i n g

l a r g e l y of sixteenth-note patterns.)
These motives are l i q u i d a t e d as the
t r a n s i t i o n moves to the dominant of the p a r a l l e l minor of C, ending i n m.
40.
180
Diagram
47
Piano Sonata K. 332: E x p o s i t i o n C l o s i n g
Measures:
71
Timespans:
82
([6 + 6] +
Phras es/groups:
a^
Section
86
90
[2 + 2]) +.(2
b
b^"
+ 2) + 4
c^
The s u b o r d i n a t e theme, a double p e r i o d
( 4 x 4 ) , f o l l o w s i n mm.
The next s e c t i o n , i n mm.
56-70, r e t u r n s t o the key of C minor, uses
and ends w i t h a dominant
pedal.
41-56(1).
sequence,
In t h e s e r e s p e c t s i t resembles a second
transition.
The c l o s i n g theme then f o l l o w s i n mm.
i n mm.
82-93.
See diagram 47.
71-82(1) and the c l o s i n g
The c l o s i n g theme i s i n the form of a
p e r i o d i n which the f i r s t h a l f ends w i t h an i m p e r f e c t a u t h e n t i c

(mm.
codetta
82 i s the b e g i n n i n g of the
the
(mm.
81-82).
first
( 2 x 2 ) , which c o u l d a l s o be c o n s i d e r e d an e x t e n s i o n of the c l o s i n g
theme, as i t l e a d s t o the t o n i c c h o r d i n m.
m.
simplified
cadence
75-76), the second w i t h an i m p l i e d p e r f e c t a u t h e n t i c cadence
The e l i s i o n of the expected t o n i c i n m.
codetta
82(1).
8 6 ( 1 ) t h a t was
expected i n
The c l o s i n g theme uses a motive t h a t i s a s i m p l i f i c a t i o n of one i n
s u b o r d i n a t e theme; t h a t i s , mm.
71-72
resemble mm.
41-42
i n the use of a
r e p e a t e d note i n the f i r s t b a r and a descent by a whole tone on the t h i r d beat

of
the next b a r .
transition
In a d d i t i o n , the c o d e t t a i n mm.
82-85 resembles the second
( f o l l o w i n g the s u b o r d i n a t e theme).
From diagram 47 i t i s apparent t h a t the p a i r i n g of s i m i l a r groups

embles
the
the c l o s i n g model.
res-
However, the b_ and a_ groups form a l a r g e r u n i t ,
timespan l e n g t h s do not c o r r e s p o n d to those i n the model.
and
Another p o s s i b l e
i n t e r p r e t a t i o n of t h i s c l o s i n g s e c t i o n i s as a type ( 2 ) ( y ) ; t h a t i s , mm.
71-86
181
would be a second s u b o r d i n a t e theme and the remainder would be the c l o s i n g

section
(a c l o s i n g c o d e t t a ) .
The development
s e c t i o n b e g i n s w i t h y e t another theme i n mm.
T h i s one resembles the CT, but i t i s t r a n s f o r m e d i n v a r i o u s ways,

here a sentence, r e p e a t e d .
94-109(1).
becoming
A s i d e from a few d e t a i l s , the r e c a p i t u l a t i o n i s
v e r y s i m i l a r t o the e x p o s i t i o n .

considered
The Piano Sonata i n B - f l a t Major, K. 570,
i n c h a p t e r 4 t o have a c l o s i n g c o d e t t a
to hear the f i r s t
two groups, i n mm.
i n mm.
69-79.
It i s possible
69-77(1), as a s i m p l e p e r i o d
to the e x t e n t
t h a t the groups a r e phrases and have motives r a t h e r than g r o u p l e t s .

s h o r t e r c l o s i n g c o d e t t a would f o l l o w i n mm.
An e x p l a n a t i o n
was
A much
77-79.^
f o r t h i s r e i n t e r p r e t a t i o n i s suggested by the f a c t
the s u b o r d i n a t e theme i s based on the opening motive of the main theme.

c l o s i n g theme then forms the more c o n t r a s t i n g theme i n the dominant
The c l o s i n g theme i s a f u r t h e r c o n t r a s t
that
The
key.
i n t h a t i t i s a p e r i o d whereas the
p r e v i o u s two themes were s e n t e n c e s .

A s i m i l a r i t y w i t h the p r e v i o u s l y - d i s c u s s e d
i s the l a r g e number of themes.
work, the Piano Sonata K.
Even the t r a n s i t i o n , a f t e r i t s two
introductory
b a r s , has a more t h e m e - l i k e statement than i s normal f o r a s u b s i d i a r y

Note, however, t h a t Mozart compensates
each of the f o u r s m a l l
332,
section.
f o r t h i s abundance of themes by ending
sections with a codetta
T h i s paradigm of theme/codetta f o r s m a l l
or c o d e t t a - l i k e m a t e r i a l .
s e c t i o n s c o n t i n u e s even i n the d e v e l -
opment s e c t i o n and through the r e c a p i t u l a t i o n .
See t a b l e
4.
182
Table 4
Piano Sonata K.
570: Theme/Codetta Paradigm at L e v e l (c)
Small S e c t i o n
Theme:
Main theme
Sentence:
Transition
23-34
Subordinate theme
Sentence:
Closing
Period: 69(2)-77(l)
77-79
(1)
(TR):
95-100
(2)
( S T ) : 101-116
117-132
Main theme
Sentence:
144(2)-152
Transition
155-164
Subordinate theme
Sentence:
Closing
Period:
Dev.
section
sec.
section
In comparison
not common.
primarythat
mm.
Codetta:
12(2)-20
1-12(1)
35-40
41-57(1)
57-69(1)
81-94
133-144(1)
165-170
171-187(1)
199(2)-207(1)
w i t h types
T h i s i s due
(1) and
187-199(1)
207-209
( 2 ) , c l o s i n g s e c t i o n s of type (3) a r e
to the p r e v a l e n c e of the e x p o s i t i o n model i n which
i s , t h e m a t i c s e c t i o n s a l t e r n a t e w i t h s u b s i d i a r y ones, the
c l o s i n g s e c t i o n n o r m a l l y thus b e i n g a s u b s i d i a r y t h a t
section.
mm.
i s , non-thematic
I t i s i n t e r e s t i n g t h e r e f o r e t o note t h a t some of the type
s e c t i o n s use themes throughout
(3)
closing
the e x p o s i t i o n ( e . g . , the two p i a n o s o n a t a s ) ,
the CT thus o c c u r r i n g as p a r t of an o v e r a l l thematic d e s i g n .

Elements of the c l o s i n g model, however, c o n t i n u e to be used
CT-CC type of c l o s i n g s e c t i o n .
the use of r e d u c t i o n of timespan
sidered i n this
chapter.
i n the
The use of p a i r i n g of s i m i l a r groups and/or

l e n g t h a r e found i n most of the works con-
183
C l o s i n g S e c t i o n s Not Based on Models
T h i s f o u r t h and
final
type of c l o s i n g s e c t i o n i s i n f a c t not a type a t
a l l , but i s a c a t e g o r y f o r c l o s i n g s e c t i o n s which do not f i t any of the p r e vious three types.
In o t h e r words, i n t h i s c h a p t e r I w i l l
consider closing
s e c t i o n s which are the most a t y p i c a l , i n the same sense of a t y p i c a l

a p p l i e d to those themes t h a t were thematic w i t h o u t b e i n g based
thematic models (see c h a p t e r 2: l e v e l
[ c ] : themes, p.
that I
on any of the
66).
T h i s c a t e g o r y a l s o i n c l u d e s those works i n which the c l o s i n g
section
i s d i f f i c u l t to i d e n t i f y as w e l l as those i n which the c l o s i n g s e c t i o n combines

with other s e c t i o n s .
A few works d i s c u s s e d i n the p r e v i o u s t h r e e c h a p t e r s
had one o f o t h e r of these f e a t u r e s , a l t h o u g h not to the e x t e n t t h a t the works

to be d i s c u s s e d here have them.
i n more than one
F o r example, s e v e r a l works were c o n s i d e r e d
c h a p t e r because they c o u l d be a n a l y s e d i n more than one
regarding c l o s i n g section l o c a t i o n
i n c h a p t e r s 3 and
found
(e.g., Symphonies 32 and
way
34 were a n a l y s e d
4 ) ; however, a t l e a s t i n those cases evidence c o u l d be
f o r s u p p o r t i n g each i n t e r p r e t a t i o n .
The p r e s e n t c a t e g o r y a l s o i n c l u d e s
those cases i n which no c l e a r c l o s i n g s e c t i o n emerges.

Although
few of the movements c o n s i d e r e d i n the p r e v i o u s c h a p t e r s have
e x p o s i t i o n s t h a t do not conform to the f o u r - s m a l l - s e c t i o n model ( l e v e l [ d ] ) ,

most of the works t o be a n a l y s e d here do have unusual
e x p o s i t i o n forms.
184
As w i l l be
seen, then, most of these works have u n u s u a l f e a t u r e s
of l e v e l s , and
not
just in their closing sections.
F i n a l l y , t h e r e are v e r y
f o l l o w any
analysed
of the models.
In f a c t , o n l y
35, was
35.
discussed
The
on pp.
not
s i x of the f o r t y - s e v e n works I have
considered
in this
chapter.
e x p o s i t i o n of the Symphony i n D Major
(Haffner),
86-87 as an example of a work i n which the
s m a l l - s e c t i o n model does not

why
few works h a v i n g c l o s i n g s e c t i o n s which do
f o r t h i s d i s s e r t a t i o n w i l l be
Symphony no.
no.
on a v a r i e t y
apply very w e l l .
Reasons were g i v e n
the e x p o s i t i o n model a p p l i e s weakly; here I w i l l
four-
t h e r e as
to
d i s c u s s what the form i s ,
r a t h e r than what i t i s not.^"

The
i n mm.
o n l y p r i m a r i l y thematic statement i n the movement i s the main theme
1-13.
T h i s theme i s a v a r i a n t of the- sentence model: i n s t e a d of h a v i n g
timespans (2 + 2) +
(3+2)
(1 + 1 + 2 ) , the theme has
(2+2+3).
o r , more l i k e l y ,
Measures 13-23
as the f i r s t
not v a r i a n t s of p r e c e d i n g
may
be
p a r t i a l l y doubled timespans of
seen as a c o d e t t a
p a r t of the t r a n s i t i o n .
to the
(Codettas are
theme,
usually
thematic m a t e r i a l , whereas t r a n s i t i o n s o f t e n
are.
Furthermore, the a d d i t i o n of i n s t r u m e n t s coupled w i t h the sudden f o r t e i n m.

are
s i g n a l s t h a t the t r a n s i t i o n i s b e g i n n i n g .
tions i s discussed
the Symphony no.
i n Batt,
39,
"Function
and
[ T h i s common f e a t u r e of
s t r u c t u r e of t r a n s i t i o n s ; "
i n which the t r a n s i t i o n b e g i n s i n m.
transisee
usual
(There may
also
54.])
A f t e r the dominant i s t o n i c i z e d i n the f o l l o w i n g b a r s 2 4 - 3 5 a

theme c o u l d emerge.
not be a s t r o n g m o d u l a t i o n , but
second
i t i s not
un-
f o r a second theme to f o l l o w so weak a move towards the dominant.)
Instead,
the dominant, which might have become a t o n i c , r e t a i n s i t s dominant
f u n c t i o n w i t h the a d d i t i o n of the G - n a t u r a l s ,
and
13
a prominent r e t u r n to
the
185
Diagram 48
Symphony no. 35: E x p o s i t i o n
Measures:
13
35
48
Timespans:
(5 + 4 + 3)
(6 + 4 + 6 + 6) (6 + 7)
(11)
Keys :
main theme
MTcdta/TRl
Small
sections:
strings
(V)
Orchestration:
tutti;
Dynamics:
Measures:
59
67
Timespans:
(4+4)
(4+3)
MT v a r . 3
v a r . o f MT v a r . 3
Orchestration:
tutti
winds
Dynamics:
; P
I
MTvar.1/TR2
MTvar.2/TR3
str.;tutti
strings
tutti
f
;f
74
( 6 + 4 + 4 + 7 )
Keys:
Note:
The i n i t i a l move towards
hence the use of p a r e n t h e s e s .
t o n i c ensues i n m. 41.
CS
tutti
f
the harmonic a r e a o f V i s t e n t a t i v e ;
That t h i s a r e a i s d e f i n i t e l y n o t l e a d i n g immediately t o
a second theme i s c o n f i r m e d by the e q u a l l y conspicuous r e t u r n o f the opening main

theme m o t i v e .
(Mozart's second themes a r e r a r e l y based on main theme motives.)
The r e t u r n o f the opening motive i n the t o n i c key i n m. 4 1 f f . , a l t h o u g h

prominent, i s s h o r t - l i v e d .
the-dominant p e d a l i n mm.
still
A sequence of the motive l e a d s t o a dominant-of48-57.
N e v e r t h e l e s s , the main theme motives a r e
u s e d i n the v i o l a p a r t a l t h o u g h w i t h a new counter-melody i n the
violins.
A t the end o f t h i s p e d a l we expect the second theme.
An i n d i c a t i o n
186
t h a t we a r e n o t going t o get i t ( y e t ) i s t h a t t h e p e d a l ends w i t h a cadence:

n o r m a l l y , t r a n s i t i o n s end on t h e dominant, n o t t h e t o n i c , o f the secondary
key,
t h a t i s , t h e p e d a l would c o n t i n u e r i g h t up t o the s t a r t of t h e theme,
where the t o n i c would appear.

When t h e theme does s t a r t ,
harmony.
I/I;
i n m. 59, i t i s once a g a i n on a D-major
T h i s time, however, the D-major chord i s heard as IV/V, n o t as
t h a t i s , i t i s p a r t o f a p l a g a l p r o g r e s s i o n i n t h e dominant key.
t h e l e s s , t h e r e i s a c e r t a i n weakness t o t h e r e c e n t m o d u l a t i o n
when, so soon a f t e r t h i s m o d u l a t i o n ,
tonic.
Furthermore,
Never-
t o t h e dominant
a new s e c t i o n b e g i n s on t h e p r e v i o u s
t h i s 8-bar t h e m e a s e n t e n c e - v a r i a n t i s based, once
more, on t h e opening main theme m o t i v e s .
T h i s theme i s weakened as such
by b e g i n n i n g on t h e subdominant, by i t s s t r o n g r e l a t i o n t o main theme

motives,
and by i t s context:-when so many s e c t i o n s a r e based
m a t e r i a l , none b u t the f i r s t
stands out as p a r t i c u l a r l y
on the same
thematic;
The f o l l o w i n g 8-bar s e c t i o n , i n mm. 67-74, i s a v a r i a n t i n t h e p a r a l l e l

minor mode o f the p r e c e d i n g theme.
full
statement
ended w i t h o u t
w i t h t h e s t a r t o f t h e next
The
used the
final
c o n s i s t e n t use o f the f u l l
cadence, t h a t ending
f i g u r e i n octaves
i n mm.
o v e r l a p i n m. 66, the second
o v e r l a p s i n m. 74
section.
four subsections (codettas).
74-94, i s a l o n g codetta-complex
I t i s one u n i f i e d
divided
into
s e c t i o n l a r g e l y due t o (1)
o r c h e s t r a and f o r t e dynamic, and (2) use o f o n l y
i n m. 88.
74-80(1);
f i g u r e i n mm. 80-83; the t h i r d

and
statement
o r c h e s t r a , . f o r t e , t h e v a r i a n t uses m a i n l y winds, p i a n o ; whereas t h e
first
one
Whereas t h e f i r s t
The f i r s t
t h e second
s u b s e c t i o n i s the r i s i n g
i s a r e p e a t e d 2-bar c a d e n t i a l
i s a s t r o n g e r c a d e n t i a l c o d e t t a i n mm.
t h e f o u r t h i s the p e d a l t h a t p r o l o n g s
scale
the c a d e n t i a l t o n i c , i n mm.
84-88(1);
88-94,
187
and
t h a t i n c l u d e s a p a i r of r e p e a t e d groups i n mm.
88-91.
T h i s f i n a l s e c t i o n f u n c t i o n s as a c l o s i n g s e c t i o n i n s p i t e of the almost
complete absence of the u s u a l models or p r o c e d u r e s , f o r the t h r e e reasons
as
noted below:
(1) T h i s i s the o n l y s e c t i o n not based on main theme m o t i v e s .
makes i t notJso much a c l o s u r a l as a c o n t r a s t i n g
This
section.
(2) I t s o v e r a l l harmonic p l a n i s s t r o n g l y o r i e n t e d towards, and

e n t i r e l y w i t h i n , the t o n i c (A m a j o r ) , u n l i k e most of the p r e v i o u s
is
sections,
many of which were p a r t l y i n D major (or minor) and
p a r t l y i n A major.
f i r s t codetta
80),
r i s e s s t r o n g l y to the dominant (to: m.
the dominant w h i l e i m p l y i n g
a perfect authentic
i s e s s e n t i a l l y c a d e n t i a l ( t o m.
a pedal
( t o m.
(3) The
88), and
the second p r o l o n g s
cadence ( t o m.
83),
the
third
the f o u r t h p r o l o n g s the t o n i c w i t h
94).
fourth subsection
2-bar groups and
use
of a t o n i c
resembles a c l o s i n g c o d e t t a
i n i t s p a i r i n g of
pedal.
T h i s o v e r a l l view of the e x p o s i t i o n form i s summarized i n diagram

In d e c i d i n g
The
48.
the b o u n d a r i e s of s m a l l s e c t i o n s a p r o c e s s more d i f f i c u l t i n t h i s
movement than i n most I am
c o n s i d e r i n g h e r e I added o r c h e s t r a t i o n and
dynamics
to the u s u a l c r i t e r i a of cadences, m o t i v i c u n i t y , thematic c o n s t r u c t i o n ,

I t seems t h a t o r c h e s t r a t i o n and
dynamics work i n u n i s o n to a s s i s t i n shaping
the form of the e x p o s i t i o n , r e p l a c i n g to a l a r g e extent

of theme and
key.
the u s u a l
Of c o u r s e , i n most works o r c h e s t r a t i o n and
i m p o r t a n t t h e former e s p e c i a l l y i n works scored

i n t h i s work they are more important than u s u a l
In p a r t i c u l a r , changes of o r c h e s t r a t i o n and
the b o u n d a r i e s of s m a l l
etc.
s e c t i o n s , and
factors
dynamics
are
f o r larger ensemblesbut
as f o r m - g e n e r a t i n g elements.
dynamics s t r o n g l y a r t i c u l a t e
only two
s e c t i o n s have such changes
188
internally.
I t might be argued
that d i f f e r e n t s e c t i o n boundaries
f o r m u l a t e d w i t h emphasis put on o t h e r c r i t e r i a ;
be regarded as a s e p a r a t e s m a l l s e c t i o n
f o r example, mm.
that
And,
However,
thematic models,
e t c . , i s s t r o n g enough to support d i v i s i o n as noted i n diagram

above.
88-94 might
(i.e., a closing codetta).
the c o r r e l a t i o n between o r c h e s t r a t i o n , 'dynamics, cadences,
paragraphs
c o u l d be
48 and
as s t a t e d i n c h a p t e r 2, t h i s movement i s so
i s , lacking i n strong section demarcationthat
i n the
continuous
any d i v i s i o n w i l l
be
tentative.
The key of the dominant i s weakened by the f a c t t h a t r e l a t i v e l y few
or groups b e g i n on t o n i c harmony i n the dominant key, and
f i r s t phrase
a t m.
phrases
i n p a r t i c u l a r that
the
to b e g i n on I i n A major w i t h a t u t t i and f o r t e dynamic s t a r t s o n l y
74, the b e g i n n i n g of the c l o s i n g s e c t i o n .
a s u b s t a n t i a l amount of t i m e a t
key of the dominant, t h i s key
In o t h e r words, a l t h o u g h
l e a s t h a l f the e x p o s i t i o n i s
spent i n the
i s weaker than i n e x p o s i t i o n s o f comparable l e n g t h
i n o t h e r works f o r these reasons and because t h e r e i s no r e c o g n i z a b l e theme

i n the dominant.
R e p l a c i n g t h i s l a c k o f a theme i n V i s the development of the
main theme motive, which i s used
the c l o s i n g s e c t i o n b e g i n s .
opening
i n a v a r i e t y of ways w i t h o u t c e s s a t i o n u n t i l
R e p l a c i n g the n o r m a l l y s t r o n g dominant key i s
the e x p e c t a t i o n of the dominant's a r r i v a l : educated
l i s t e n e r s i n the
classical
p e r i o d as w e l l as i n modern times expect works i n sonata form t o modulate to

the dominant; t h i s p i e c e p l a y s w i t h our e x p e c t a t i o n of such a
modulation.
The development s e c t i o n b e g i n s , u n u s u a l l y , w i t h a s u b s e c t i o n i n mm.
95-104
t h a t seems to have the f u n c t i o n of a r e t r a n s i t i o n , a t l e a s t h a r m o n i c a l l y .

The dominant p e d a l would appear t o be p r e p a r i n g a r e t u r n to the t o n i c
the main theme.
However, i n movements of such l a r g e dimensions
and
as t h i s
one
189
the
l i s t e n e r w i l l know t h a t
the main theme cannot r e t u r n
In o t h e r words, to l a b e l mm.
i n the
1 0 5 f f . a f a l s e r e c a p i t u l a t i o n would be
because a r e c a p i t u l a t i o n would never o c c u r at t h i s p o i n t

movement, and
one
A f t e r the
to r e t u r n
would not
t o n i c i n m.
f o r i t to be h e a r d as
i n m.
129
the
merely as one
129.
This
s e c t i o n of the
the
development was
i s too
suggests e i t h e r
i n s e r t i o n between the
the
(2)
t h a t m.
129
the
main theme t h a t would c o n s t i t u t e

l e a s t , however, i t can
be
and
(1)
i s not
that
t h a t mm.
development and
-,
than i s normal.
This
the
(or an
extension
r e t r a n s i t i o n i s too
the
the
tonic
At
of
the
early,
and
very
r e c a p i t u l a t i o n s t a r t i n g i n m.
i s , the
129
boundary
i s l e s s s i g n i f i c a n t here
decreased s i g n i f i c a n c e of b o u n d a r i e s between s m a l l
boundary between the
sition-retransition,
the
an
d i m i n i s h e d importance of the d e v e l o p m e n t / r e c a p i t u l a t i o n boundary
The
i n the
opening sub-
a r e a l r e c a p i t u l a t i o n beginning.
r e c a p i t u l a t i o n sections
important than u s u a l because (1)
as
properly
c o r r e l a t e s w i t h the
tions.
the
appears
105-128 form
i s l e s s important than the u s u a l type of r e c a p i t u l a t i o n ; t h a t

between the
e a s i l y made,
tonic
prominent subsequent a r r i v a l of
concluded t h a t
tonic.
s t a r t of a f a l s e r e c a p i t u l a t i o n .
These p o s s i b i l i t i e s are u n c o n v i n c i n g , however, as

t h e r e i s no
f o r the
a b r u p t , too
recapitulation
i s the
error
105-116, a sequence i s used
element of a c i r c l e of f i f t h s ,
This
as noted above, and
105
s t a r t of a t r u e r e c a p i t u l a t i o n : the
prepared with a r e t r a n s i t i o n .
r e t r a n s i t i o n ) , or
return
an
soon.
i n a l o n g sonata form
mistake the F-sharp chord at m.
s u b s e c t i o n i n the mediant, i n mm,
to the
t o n i c so
last
(3)
the
exposition
and
t h e r e are no
development i s a l s o
repeats,
development c o n t i n u e s the
s u b s e c t i o n of the
exposition,
same a l t e r n a t i o n of t u t t i / s t r i n g s and
and
(4)
forte/piano
(2)
sec-
less
t h e r e i s no
expo-
same dominant p e d a l
the
development c o n t i n u e s
as c h a r a c t e r i z e d
the
190
exposition.
(The boundary between the e x p o s i t i o n and the development would
be more e v i d e n t i f mm.
95-104 were removed and m. 1 0 5 f f . f o l l o w e d d i r e c t l y
a f t e r the c l o s i n g s e c t i o n . )
In g e n e r a l , then, t h i s movement f e a t u r e s more
c o n t i n u i t y than d i v i s i o n a t b o t h o f l e v e l s
(c) and ( d ) .
The main theme i s r e p e a t e d e x a c t l y i n mm.

codetta/transition
ending i n mm.
p e d a l i n mm.
129-141(1).
The main theme
(1) i s r e w r i t t e n so as t o l e a d towards the subdominant,
154-165 w i t h a dominant p e d a l , which corresponds

48-58 ( i . e . , MT v a r . [2]/TR
[3]).
t o t h e V/V
The m a t e r i a l b e g i n n i n g
a t m. 165 might have sounded l i k e
the r e a l r e c a p i t u l a t i o n o f the main theme
except t h a t the p e d a l i s cadenced
(mm.
IV, n o t I .
The remainder
163-164), and m. 1 6 5 f f . b e g i n s w i t h
of the r e c a p i t u l a t i o n i s s i m i l a r t o the e x p o s i t i o n
except t h a t the f i n a l c o d e t t a o f the c l o s i n g s e c t i o n i s a l t e r e d

although s t i l l
beginning with
(2 + 2) r e p e a t e d g r o u p s a n d
somewhat
f o u r b a r s of
c a d e n t i a l m a t e r i a l a r e added.
Symphony no. 38.
The Symphony i n D Maj or (Prague, o r Symphony
without
M i n u e t ) , no. 38, i s i n c l u d e d here because the c l o s i n g s e c t i o n i s not

based
on any model and because i d e n t i f i c a t i o n o f the s t a r t of the c l o s i n g
section i s d i f f i c u l t .
In a d d i t i o n , the r e c a p i t u l a t i o n i s unusual
i n that
i t b e g i n s i n t h e development s e c t i o n , as was d i s c u s s e d i n c h a p t e r 2 i n conn e c t i o n w i t h r e c a p i t u l a t i o n s , pp. 93-94.

T h i s movement
H a f f n e r Symphony.
i s o n l y s l i g h t l y more d i v i s i b l e
A brief
i n t o s e c t i o n s than i s the
o u t l i n e here w i l l have t o s u f f i c e ;
s e c t i o n w i l l be d i s c u s s e d i n d e t a i l .
the c l o s i n g
The movement b e g i n s w i t h a s u b s t a n t i a l
and v e r y h a r m o n i c a l l y a c t i v e i n t r o d u c t i o n .
The main theme b e g i n s i n m. 37,
but i d e n t i f y i n g i t s ending i s p r o b l e m a t i c because the theme i s n o t based
on a
191
thematic model and
because i t merges i n t o the t r a n s i t i o n .
the theme seems to end

material
a t m.
51(1); t h i s i s f o l l o w e d
by
The
main p a r t
f o u r b a r s of
to a t u t t i / f o r t e passage t h a t would appear to s i g n a l the
the t r a n s i t i o n , but
ends on V and
remains i n the t o n i c u n t i l
a s u b o r d i n a t e theme c o u l d
i t ends i n m.
71.
f o l l o w : instead there
p o s i t i o n to V of the main theme opening and
connecting
start
of
There i t
is a
the r e a l t r a n s i t i o n
of
trans-
follows,
3
ending i n m.
Unlike
97(3).
the main theme, the s u b o r d i n a t e theme i s based on a thematic model
t h e periodbut,
l i k e the main theme, i t s ending c o u l d be
places.
partthe
it
The
first
i s arranged as
to be
two
period
itselfis
8-bar p h r a s e s .
clearly
Rosen c o n s i d e r s
i n t e r n a r y form based on harmonic c r i t e r i a
105-111 i n minor, and
112-121 i n m a j o r ) , and
he
i n one
i n mm.
of
several
97-111, t h a t i s ,
the s u b o r d i n a t e theme
( i . e . , mm.
97-104 i n major,
appears not
to n o t i c e
the
4
period
structure.
t h a t s t r o n g and
In f a c t , the harmonic c o n t r a s t of the t o n i c minor i s not
i s overridden
by
the thematic p a r a l l e l i s m i n h e r e n t
p e r i o d s t r u c t u r e , so t h a t , i n e f f e c t , the t h i r d s u b s e c t i o n
i s f u n c t i o n i n g as a c o d e t t a
to the p e r i o d .
a sentence, t h a t i s , (2 + 2) +
m.
112:
the
s i x t e e n t h bar
(1 +.1.+
the bassoon p a r t s : mm.
m.
97
i s a c c e n t e d , m.
The
use
I l l i s not,
97-101[l];
t h e r e f o r e m.
supported by
The
period
i s i n the form of
bar of the
in
sentence.
e a r l i e r i s suggested
however, whereas
I l l i s an
of a t e x t u r e , motive ( i n the b a s s o o n s ) , and
to the p e r i o d .
t h i s would be
and
112-121[1])
(An e l i s i o n takes p l a c e
sentence y e t a bar
111-115 resemble mm.
s i m i l a r to those i n the p r e c e d i n g
a codetta
1 + 2).
of the p e r i o d becomes the f i r s t
In a d d i t i o n , the b e g i n n i n g of the
by
This codetta
(mm.
i n the
anacrusis.)
dynamic i n mm.
i s evidence f o r c o n s i d e r i n g
these bars
c l o s i n g s e c t i o n , then, might b e g i n i n m.
the change i n m o t i v e s , o r c h e s t r a t i o n , and
112-120
121:
dynamics.
192
Diagram
49
Section
Measures:
121
Timespans:
(4
Groups:
55ff.
66ff.
3 7 f f . 63-65
Motivic
origin:
125
+
4)
129
+
(7
136
+
7)
d
On the o t h e r hand, t h e r e i s no expanded c a d e n t i a l p r o g r e s s i o n p r i o r t o m.

and no use of s t a n d a r d c l o s i n g : model f e a t u r e s from m.
mm.
121.
The s u b s e c t i o n i n
121-129 r e c a l l s the l a s t p a r t of the main theme a r e a , t h a t i s , mm.
a l t h o u g h the cadence ending i n m.
second s u b s e c t i o n , i n mm.
55-71,
129 i s s t r o n g e r than any i n the main theme,
and i s one o f the s t r o n g e s t i n the e x p o s i t i o n .

The
121
See diagram
129-142, i s based f i r s t
49.
on the opening
motive of the main theme, c o n s i d e r a b l y t r a n s f o r m e d , and then on a s h o r t motive

from the end of the main theme i n mm.
63-65.
Rosen notes t h a t t h i s
closing
s e c t i o n i s thus comprised of elements from the t u t t i / f o r t e a r e a of the main

theme, t h a t i s , from mm.
55-71: "What i s most o r i g i n a l h e r e , however, i s the
p e r m u t a t i o n o f the elements."
In p a r t i c u l a r , the c l o s i n g s e c t i o n ends w i t h
the most " s t a b l e " of t h e s e e l e m e n t s t h e one i n mm.
63-65, now
Both Rosen and L a r s e n (see note 5) overemphasize

main theme.
i n 136-142.^
the c o n n e c t i o n w i t h - t h e
There i s a g r e a t d i f f e r e n c e between the e n t i r e theme o r even
s u b s e c t i o n s of i t b e i n g r e - u s e d s o m e t h i n g which does not happen h e r e , and

never does i n Mozart's e x p o s i t i o n s a n d i s o l a t e d motives or a t most phrases
b e i n g re-used--and
so many elements
t h i s happens q u i t e o f t e n .
What i s unusual here i s t h a t
( i . e . , motives of the main theme) are used t o form the c l o s i n g
s e c t i o n , and t h a t they s h o u l d be r e a r r a n g e d to s u i t
the d i f f e r e n t f o r m a l
193
f u n c t i o n of the c l o s i n g s e c t i o n .
T h i s c l o s i n g s e c t i o n i s not a restatement
of the main theme, as b o t h Rosen and L a r s e n
imply:
r a t h e r , i t i s a new
s e c t i o n which uses motives from the main theme i n new

it
(a) and
u n i t s , but no
level
p o s s i b l y some l e v e l
(c)
then the s u b s e c t i o n
the s u b o r d i n a t e
i n mm.
129
t h e r e was
theme or as a s e p a r a t e
the t r a n s i t i o n ;
i n t e r e s t i n g and
T h i s view i s supported
129),
by
the m a t e r i a l
i n the e x p o s i t i o n ,
between the main theme
might p o s i t a s i m i l a r d i v i s i o n at m.
a s i g n i f i c a n t change of t e x t u r e and
unusual r e c a p i t u l a t i o n p r o c e s s e s
The
c l o s i n g model i s now
considered
dynamthis
270-302, undergoes some expansion
i s otherwise
suggested by
s i m i l a r to i t s e x p o s i t i o n form.
some r e p e t i t i o n and
l i q u i d a t i o n of m a t e r i a l .
A number of p r e v i o u s l y - d i s c u s s e d works might a l s o
works or because a l t e r n a t i v e views p r e s e n t

the Q u i n t e t
in
d i s c u s s the r e -
here because models might not have a p p l i e d c o n v i n c i n g l y to
such work here,
129.
here a r e d i s c u s s e d
In a d d i t i o n , b o t h Rosen and L a r s e n
(e.g., group a i s r e p e a t e d ) , but
one
used e a r l i e r
(here m.
to
129.
2, as n o t e d above.
capitulation.^
The
71
ECP,
T h i s would mean the
71, a change which s t r o n g l y i n f l u e n c e d the f o r m a l d i v i s i o n ;
change i s absent from m.
chapter
129.
t h e r e f o r e , one
the o t h e r hand, t h e r e was
The
the e q u i v a l e n t of an
125-135: when t h i s m a t e r i a l was

a major d i v i s i o n a t m.
i c s i n m.
i s considered
121-129 might be heard as a f u r t h e r c o d e t t a
c l o s i n g s e c t i o n would s t a r t i n m.
used i n mm.
(b) r e p e t i t i o n of e q u i v a l e n t main theme
repetition.
I f the cadence ending a t m.
On
In o t h e r words,
i s a q u e s t i o n of the l e v e l of r e p e t i t i o n : t h i s c l o s i n g s e c t i o n i n c o r p o r a t e s
some l e v e l
and
ways.
small
themselves.
f o r C l a r i n e t and
I will
only
be
these
consider
S t r i n g s i n A Major, K.
581.
194
In c h a p t e r
extent
3 I analysed
t h a t t h e r e i s one
t h i s work as based on the c l o s i n g model to
p a i r of s i m i l a r groups ( i . e . ,
f o l l o w e d by a s i n g l e group i n mm.
important
i n mm.
65^75).
the
This i s
75-79 based on the main theme motive.
a t t r i b u t e s of the c l o s i n g m o d e l r e d u c t i o n
Two
i n group l e n g t h and
con-
s i s t e n t p a i r i n g of s i m i l a r g r o u p s a r e absent here, b r i n g i n g i n t o q u e s t i o n
the a p p l i c a t i o n of the model.
T h i s c l o s i n g s e c t i o n cannot be
because i t i s too l o n g .
type
seen as a type
( 2 ) a closing codetta
However, i t i s j u s t p o s s i b l e to c o n s i d e r i t as a
( 3 ) a c l o s i n g theme f o l l o w e d by a c l o s i n g c o d e t t a .
have s u f f i c i e n t f e a t u r e s of phrases to be c o n s i d e r e d
Replacing
i n mm.
the expected s t r o n g cadence a t the end
(i.e.,
i n mm.
T h i s c l o s i n g s e c t i o n can
e i t h e r t y p e . ( l ) or type
of the second group
thus be c o n s i d e r e d
(3); i n t h i s case,
discussed
these models apply
groups
(i.e.,
cadence.
as an extreme v a r i a n t of
"extreme v a r i a n t " means t h a t

The
point i s that,
to t h i s c l o s i n g s e c t i o n , I have, i n ' e f f e c t , ,
the f e a t u r e s of i t . To c o n s i d e r t h i s c l o s i n g s e c t i o n w i t h o u t
ence to any model ( i . e . , as a type
[4]) would be
such as the group p a i r i n g and
A f u r t h e r reason why
models, because f e a t u r e s
the f i n a l group f u n c t i o n i n g as a c o d e t t a
to the p a i r would have to be
refer-
to a r r i v e a t much the same
r e s u l t as c o n s i d e r i n g i t as extreme v a r i a n t s of two
extension
two
i n the form of a
75-79) which s u p p l i e s the m i s s i n g
n e i t h e r approach i s c o n v i n c i n g as an a n a l y t i c a l method.
i n s e e i n g how
first
a rudimentary p e r i o d .
74-75) i s an o v e r l a p which l e a d s to an e x t e n s i o n
1group c o d e t t a
The
or
discussed.
t h i s c l o s i n g s e c t i o n may
be c o n s i d e r e d
of type
(4)
i s t h a t i t s r e c a p i t u l a t i o n form i s s i g n i f i c a n t l y v a r i e d : a 12-bar expansion

t o g e t h e r w i t h f u r t h e r r e w r i t i n g (e.g., the ECP
to
the CS)
and
trill
a r e moved from the
r e s u l t s i n the c l o s i n g s e c t i o n a p p r o a c h i n g the s t a t u s of a coda.
ST
195
Piano Q u a r t e t K.
i n G Minor, K.
478.
478,. has
The Q u a r t e t f o r V i o l i n , V i o l a , C e l l o , and
a most unusual
the main theme and a b r i e f
diagram
s u b o r d i n a t e theme and
closing
section.
50.
The main theme i s a good i l l u s t r a t i o n of a sentence,

w i t h each 4-bar phrase
d i v i d e d as
(2 + 2) + 4, r e s e m b l i n g another
l e n g t h of the o v e r a l l sentence
(2 + 2 ) , and
(4+4)
the second
(here, l o w e r - l e v e l ) sentence.
(i.e.,
the n o t a t e d 4/4
+8,
half divided
The
as
doubled
from the 8-bar norm t o s i x t e e n b a r s
h e r e ) at the o u t s e t of the work, g i v e s the i m p r e s s i o n of 4/2
notes).
after
t r a n s i t i o n , t h e r e i s a s u b o r d i n a t e theme and
c l o s i n g s e c t i o n f o l l o w e d by another
See
e x p o s i t i o n form: put s i m p l y ,
Piano
r a t h e r than
meter ( t h a t i s , the main beats a r e h a l f r a t h e r than q u a r t e r
T h i s i m p r e s s i o n i s r e i n f o r c e d by the opening motive, which a c c e n t s
half beats.
Subsequent s e c t i o n s e i t h e r c o n t i n u e t h i s emphasis on 2-bar
timespans or c o u n t e r a c t i t w i t h timespans of d i f f e r e n t
the movement may
l e n g t h s : i n o t h e r words,
be regarded as a s e r i e s of s e c t i o n s t h a t a l t e r a t e l y
and weaken the 2-bar g r o u p i n g
i n t o l a r g e r timespans.
strengthen
( T h i s i n t e r e s t i n g hypo-
t h e s i s can be o n l y b r i e f l y mentioned here.)

The modulation
transition
(mm.
t o the r e l a t i v e major i s weakened by the b r e v i t y of the
17-22), by the c o n t i n u e d use of 2-bar timespans
the l a r g e r grouping
i n t o t h r e e u n i t s c o n t r a s t s w i t h the p r e v i o u s
i n which the timespans were grouped e v e n l y ) , and by the i n i t i a l

of I I I as merely
one
element of the sequence (mm.
section starting
i n m.
17-24).
(although
section,
appearance
Of c o u r s e ,
23 might be regarded as p a r t of the t r a n s i t i o n ;
the
this,
however, would be unusual because t r a n s i t i o n s r a r e l y i n c o r p o r a t e a p e d a l

the t o n i c of the new
l e a d to the new
key,
on
the f u n c t i o n of the t r a n s i t i o n n o r m a l l y b e i n g t o
key w i t h o u t
stating i t s tonic
(at l e a s t
i n so
extended
196
Diagram 50
Piano Quartet K. 478: E x p o s i t i o n
Measures:
17
23
Timespans:
(8 + 8)
(9 + 5 + 8)
Keys :
(III)
TR
ST1
Small sections: MT
Notes:
45
+ 12
57
65
88
(4 + 4) (9 + 14) (8 + 2) + 2
III
cdta
CS1
ST2
CS2
-+
Retr.
Arrow i n d i c a t e s modulation; parentheses i n d i c a t e t e n t a t i v e modulation.
a manner as here).
The s e c t i o n s t a r t i n g i n m. 23 i s therefore only weakly
harmonically i n d i c a t i v e of the subordinate theme; i t i s only weakly melo d i c a l l y i n d i c a t i v e of the subordinate theme because i t i s not strongly c o n t r a s t i n g w i t h the main theme i n m o t i v i c m a t e r i a l , because i t i s not cast i n a
thematic model, and because i t has
no c l e a r l y defined ending.
(There i s no
cadence u n t i l mm. 44-45.)

Bar 37 may be considered the s t a r t of a new s e c t i o n due to the use of
tonic harmony ( i n B - f l a t major), t h i s harmony being prepared by the immediately
preceding dominant pedal, and by the change i n dynamics.
The a d d i t i o n of f u r -
ther c o n t r a s t i n g motives, stronger surface harmonic motion, and a sentence

model strengthen the i n t e r p r e t a t i o n of these eight b a r s 3 7 - 4 5 ( 1 ) a s the
subordinate theme proper.
Bars 23 through 36, then, have some t r a n s i t i o n a l and some thematic funct i o n s , and bars 37 through 45(1) are more strongly thematic.
The status of
the former s e c t i o n as t r a n s i t i o n a l i s supported f u r t h e r i n that i t introduces

the f i r s t d i s r u p t i o n i n 2-bar timespans.
(Although i t i s an even number of
bars long, i t i s arranged i n t e r n a l l y as [ 2 + 2 ] + 1 + 2 + 2 +
[2 + 2 + 1 ] J
197
The
subsequent
The
theme r e t u r n s to e x c l u s i v e l y 2-bar
c e d i n g theme.
45-57(1) f u n c t i o n s as a c o d e t t a and ECP
thus f a r .
I t s timespan
and
structure i s irregular
one of the s t r o n g e s t
(5+4+3).
The
three small
23-57 t h a t combine forming a u n i t on a l e v e l between t h a t of
(d) a r e u n i f i e d by v i r t u e of the s t r o n g f i n a l
cadencewhich
the whole to a c l o s e , by: s i m i l a r m o t i v e s , and by a common harmonic

all
initial
I t becomes somewhat more a n i -
50 and c o n c l u d e s w i t h a s u b s t a n t i a l cadence,
(c)
to the p r e -
I t s s t a t u s as a c o d e t t a i s generated p r i m a r i l y by the
s t a t i c harmony and s h o r t r e p e t i t i v e g r o u p i n g .
mated i n m.
timespans.
brings
paradigm:
t h r e e s e c t i o n s b e g i n s with, t o n i c p r o l o n g a t i o n s , t o n i c i z e the subdominant
and f e a t u r e i t p r o m i n e n t l y , and conclude w i t h the dominant (the f i n a l
section
ends on I ) .
The
it
57-65(1) f u n c t i o n s as a c l o s i n g s e c t i o n because
f o l l o w s a thematic statement
and a c o d e t t a which concluded w i t h an
(1)
ECP,.
(2) h a r m o n i c a l l y , i t e s s e n t i a l l y f e a t u r e s a t o n i c p e d a l w i t h f a i r l y weak
cadences, and
resembles
(3) i t i s i n the form of a s i m p l i f i e d p e r i o d
the f i r s t
p a i r of the c l o s i n g model.
(4 + 4) and
so
That i t f e a t u r e s some rhythmic

g
i r r e g u l a r i t i e s has been noted by s e v e r a l a u t h o r s .

At
m.
65, then, one would expect a c o n t i n u a n c e of the c l o s i n g model.
I n s t e a d , a new
theme i s heard based on the sentence model ( 2 + 2 + 5 ) ,
lowed by i t s v a r i a t i o n
( 2 + 2 + 4 + 6 )
p a r t of the c l o s i n g s e c t i o n because
of
t o m.
88(1).
T h i s s e c t i o n i s not
the sentence model i s not
c l o s i n g s e c t i o n s i n g e n e r a l : sentences are n o r m a l l y too
to be c l o s u r a l .
characteristic
developmental
In a d d i t i o n , t h i s thematic a r e a ends as so many o t h e r
o r d i n a t e themes do,
t h a t i s , w i t h an ECP
(mm.
82-88).
fol-
sub-
198
The
mm.
final
88-98.
arranged as
contrast
s e c t i o n of the
exposition
i s the
second c l o s i n g s e c t i o n
I t i s based on a 2-bar c a d e n t i a l group heard f o u r

(2 + 2) +
(2 + 2) by
generated by
93 and
95.
96-97, where the group l e n g t h
from the p r e v i o u s two. ( i . e . ,

s e c t i o n ..ends on
a change i n i n s t r u m e n t s i n m.
the G - f l a t s i n mm.
model i s found i n mm.
times,
t h e r e are
the downbeat of m.
98,
A feature
and
91 and
by
of the
closing
i s reduced to one
groups h e r e ) .
in
two
1-bar
This
the
retransition following
the
bar
closing
i n mm.
98-99.
A f t e r an e x t e n s i o n of the r e t r a n s i t i o n , the development p r o p e r b e g i n s

w i t h a new
theme i n mm.
of the development.
summarized as
(1) mm.
141-156: T h i s
a new
except t h a t
157-164: T h i s
t o n i c key
178-185: T h i s
186-211: T h i s
s u b o r d i n a t e theme (mm.
instead
of
the
coda may
(9 +
14).
first
be
e i g h t b a r s of the main
connecting with a very abridged
the
version
dominant.
37-44
deceptive.
i s s i m i l a r to mm.
4 5 - 5 6 t h e c o d e t t a to ST
submediant i n s t e a d
i n the
of i n the expected
(1)
tonic.
second group r e s u l t s i n an a d d i t i o n a l
instead
of
bar;
(5+4+3).
s e c t i o n i s s i m i l a r to the
r e w r i t i n g of the
c i t e d i n note 8 seems to have
(5) mm.
r e c a p i t u l a t i o n and
f o r most
(5+5+3)
57-64) except f o r the
writers
the b a s i s
s e c t i o n i s a t r a n s p o s i t i o n to G minor of mm.
i t begins i n the
t h a t i s , i t i s now
(mm.
theme serves as
s e c t i o n r e p e a t s the
cadence now
165-177: T h i s
change to the
(4) mm.
of the
continuation
[ 1 ] ) , w i t h the f i n a l
(3) mm.
The
sections
17-36, which here ends on

(2) mm.
(ST
The
This
follows:
theme, then has

of mm.
104-111(1).
first
s t r i n g parts
closing
section
(which none of
the
noticed).
s e c t i o n i s b a s i c a l l y a t r a n s p o s i t i o n of
65-87) w i t h some e x t e n s i o n s ; t h a t
the
i s , i t i s now
second
(11 +
5)
199
(6) mm.
212-223: T h i s second c l o s i n g s e c t i o n i s v e r y s i m i l a r to i t s
e x p o s i t i o n form (mm.
(7) mm.
88-97).
The 2-bar r e t r a n s i t i o n
follows.
224-251: The coda i s based on the main theme motives and i s perhaps
o c c a s i o n e d by the s h o r t e n e d v e r s i o n s of the main theme and t r a n s i t i o n i n the

recapitulation.
I t b e g i n s w i t h a statement of the f i r s t
theme f o l l o w e d by a development
itulation
(see
(mm.
148-150).
of the new
e i g h t b a r s of the
c o n t i n u a t i o n found i n the r e c a p -
T h i s c o n t r a s t i n g s u b s e c t i o n a g a i n , s t a r t i n g i n VI
a l s o m.:. 1 6 5 f f . ) l e a d s back to a r e t u r n of the opening motive i n a f i n a l
f o r t i s s i m o s u b s e c t i o n : (2 + 2) +
Keyboard
(2 + 2) +
(2 + 1 + 1 + 1 ) .
The u n u s u a l f e a t u r e s of the Sonata f o r V i o l i n
and
i n D Major, K. 306, which cause i t to be i n c l u d e d h e r e , a r e t h a t
(1) t h e r e i s more of a c o n n e c t i o n than normal between the s u b o r d i n a t e theme

a r e a and the c l o s i n g s e c t i o n , and
d i f f e r e n t from the e x p o s i t i o n .
(2) the r e c a p i t u l a t i o n i s s i g n i f i c a n t l y
See diagram 51.
The main theme i s a good i l l u s t r a t i o n of a sentence (2 + 2) + (1 + 1 + 2 ) ,

f o l l o w e d by a c o d e t t a based on the second h a l f of the sentence.
Bar 8
falls
w i t h i n the timespan of the sentence, d e s p i t e i t s t o n i c a r r i v a l , because o f

the
s t r e n g t h of the 8-bar model and because m.
b e g i n n i n g p a r a l l e l . . t o m.
the
In
bar
to
5 (m. 8 b e i n g e s s e n t i a l l y an e n d i n g ) .
case w i t h the end of the c o d e t t a : m.
i t i s so a c t i v e
9 can c l e a r l y be heard as a
(compared w i t h m.
12 i s p r i m a r i l y a b e g i n n i n g because
8) and because of subsequent
o t h e r words, t h e r e i s an e l i s i o n a t m.
Such i s not
parallelism.
12: what would have been the f o u r t h
of the c o d e t t a o r the t w e l f t h b a r of the thematic a r e a i s c o n v e r t e d

the f i r s t bar of the t r a n s i t i o n .
T h i s c l o s e c o n n e c t i o n between the theme
and the t r a n s i t i o n ensures t h a t these two
s e c t i o n s a r e heard more as one
200
Diagram 51
306: E x p o s i t i o n
Measures:
Timespans:
(8 + 3) + 12
Keys:
'
larger unit
model: mm.
(mm.
12
MT
TR
1-25).
The
26
38
53
(6 + 6) +
(8 + 7)
(9 +
codetta
CS
6+7)
V
ST
t r a n s i t i o n may
be seen as based
on the
sentence
12-20(1) form a sentence, and,mm. 20-25 a c o d e t t a p r o l o n g i n g the
dominant harmony.
The
two
subsequent p a r a l l e l i s m r e f e r r e d to above b e g i n s
s i m i l a r 2-bar groups i n mm.
12-13
T h i s 2-bar g r o u p i n g c o n t i n u e s w i t h new
i n m.
25.
The modulation
and
14-15
i n m.
e s t a b l i s h m.
12: t h a t i s , the
12 as a b e g i n n i n g .
m a t e r i a l to the end of the
i s of course not s t r o n g , due
on 5 ( r a t h e r than on 5 i n the key of the
transition
to the use of a p e d a l
dominant).
In a d d i t i o n t o c o n t r a s t i n g m e l o d i c a l l y and h a r m o n i c a l l y w i t h the p r e v i o u s
s e c t i o n s , the s u b o r d i n a t e theme c o n t r a s t s r h y t h m i c a l l y w i t h i t s i n i t i a l
grouping
i n mm.
doubled:
t h a t i s , i n s t e a d of (4 + 4) +
i n mm.
two
26-31.
The
theme i s based
on the sentence model, p a r t l y
(2 + 2 + 4 ) , i t i s (3 + 3) +
(2 + 2 +
26-37 ( r e t a i n i n g a t l e a s t the f a c t o r of equal l e n g t h i n each of
subsections, i . e . , 6 + 6 ) .
A f t e r the two
then c o n t i n u e s w i t h 2-bar timespans through m.
3-bar timespans,
the
segment cadences a f t e r two measures, a t which p o i n t a new
making i t d i f f i c u l t
s e c t i o n has
f u n c t i o n s of d i f f e r e n t
t o a p p l y o n l y one
the
sentence
35, and b e g i n s a c o n c l u d i n g
segment, which i n the p r o t o t y p e would be f o u r measures l o n g , i n m.
is overlapped.This
3-bar
f o r m a l l a b e l to mm.
36.
This
s e c t i o n beginning
standard s e c t i o n s ,
38-52:
2)
201
(1) The
i n s i s t e n t dominant p e d a l i s the harmonic f e a t u r e m i s s i n g from the
transition section.
(2) The use of r e p e t i t i v e g r o u p l e t s i n mm.
2-bar s t r u c t u r e i s a b a b s u g g e s t s
section.
i n mm.
mm.
38-45the
the f u n c t i o n of a t r a n s i t i o n o r a c l o s i n g
(3) The c l o s e c o n n e c t i o n w i t h the p r e v i o u s s e n t e n c e t h e
cadence
37-38 i s v e r y w e a k a n d the s u b s i d i a r y n a t u r e o f the m a t e r i a l i n
38-52 suggest a c o d e t t a f u n c t i o n f o r t h i s s e c t i o n
a codetta-complex).
The
( i t s l e n g t h making i t
s t r u c t u r e noted i n (2) a l s o suggests the form of a
m o d i f i e d , p a r t l y doubled sentence i n mm.
38-52: xx*y, ( 4 + 4 )
T h i s i s supported by the o n l y cadence b e i n g a t the
and 5 7 - 6 2 [ l ] ) .
( i . e . , on mm.
this material i s essentially cadential i n function.

on s p e c i a l importance h e r e , because
exposition.
A way
The f i n a l
(mm.
62-68(1),
48-52);
50-52.
52-57[1]
i s based
as b e f o r e ,
The use of cadences
t h e r e have been so few cadences
subsection,, i n mm.
t o understand
i n mm.
s i m i l a r 5-bar groups
U n u s u a l l y , the next s u b s e c t i o n , i n mm.
on p a r t of the p r e c e d i n g codetta-complex
(3+3+2).
end.
The c l o s i n g s e c t i o n would be expected a f t e r the cadence

The c l o s i n g model i s suggested by the two
takes
i n the
68-74, i s l i k e a c l o s i n g c o d e t t a .
the c l o s i n g s e c t i o n here i s i n terms of the rhythmic
d i s p o s i t i o n o f the s t r u c t u r a l Iv-^-^-^-? l i n e over the c o u r s e of the s e c t i o n s

i n A major, mm.
26-74.
( R e f e r t o diagram
52 f o r the f o l l o w i n g d i s c u s s i o n . )
The p e c u l i a r f e a t u r e o f t h i s l i n e i s t h a t , whereas the f i r s t

tones o c c u r i n seven b a r s (mm.
r e s o l v i n g to the ^
o n l y i n m.
l o n g a t i o n of the 1l i s normal
T h i s d e l a y of the 2-1
i n the way
26-32),
52.
four
structural
the 2 i s p r o l o n g e d f o r twenty
bars,
A l t h o u g h the s u b s t a n t i a l subsequent
pro-
( f o r c l o s i n g s e c t i o n s ) , the p r o l o n g a t i o n i s n o t .
r e s o l u t i o n s e t s up the need f o r something
of r e s o l u t i o n beyond the cadence
a t m.
52.
more c o n c l u s i v e
T h i s i s p r o v i d e d by
the c l o s i n g s e c t i o n , which'has s e v e r a l l i n e a r d e s c e n t s to ^ .
202
Diagram 52
V i o l i n Sonata K. 306: P i t c h and Timespan R e d u c t i o n o f E x p o s i t i o n Measures 26-74
26
I
29_
J
34
| 32
36
38
r-
42
44
40
A:
'I
ST:
( 3
i i +
V
3
fT
) + ( 2
49
3fc
3
"
1'V
+ 2
+ 2
51
53
) ([2
55
+ 2] + [2
57
60
2.
+ 2 ] +
5*
V
+
A2_
(2
I I
) CS: ( 2
20
66_
+ 2
) + ( 2
) + ( 3
22
+ 2
14.
Notes: (1) The r e d u c t i o n r a t i o i s J = 1 b a r .

(2) Note v a l u e s i n t h i s r e d u c t i o n a r e r e p r e s e n t e d by i n w a r d l y
stemmed n o t e s .
S t r u c t u r a l notes a r e shown by outwardly
stemmed n o t e s .
) +
203
That most of the s t r u c t u r a l l i n e a r motion takes p l a c e

bars o f the dominant-key a r e a
i s not i n i t s e l f
i n the f i r s t few
s u r p r i s i n g : these m e a s u r e s
26-38form t h e thematic statement o f t h i s a r e a and t h e r e f o r e

a c t i v e s t r u c t u r a l as w e l l as s u r f a c e m e l o d i c motion.
should
The next s e c t i o n s a r e
l e s s thematic i n n a t u r e , and t h e r e f o r e have l e s s s t r u c t u r a l motion:

f u n c t i o n i s t o be p r o l o n g a t i o n a l
is,
the codetta-complex i n mm.
p r o l o n g s the 1.
Thus t h e r e
thematic s e c t i o n , f o l l o w e d
rather
have
their
than to be s t r u c t u r a l l y a c t i v e ; t h a t
38-52 p r o l o n g s the 2, t h e c l o s i n g s e c t i o n
i s a coordination
of f o r m a l
functionsa
primary,,
by two s u b s i d i a r y codetta-complexes, the second
of which i s a c l o s i n g s e c t i o n w i t h
structural linear a c t i v i t y t h e linear
motion takes p l a c e m a i n l y i n t h e primary s e c t i o n , t h e f i n a l
two tones p r o -
longed i n each o f the two s u b s i d i a r y s e c t i o n s , r e s p e c t i v e l y .

The
p r o t r a c t i o n o f the 2-1 r e s o l u t i o n s e t s up the need f o r something
more c o n c l u s i v e
the
surface
than the b r i e f
cadence a t m. 52.
s i g n i f i c a n c e of the c a d e n t i a l descent i s r e p r e s e n t e d
n o t e s t h e s h o r t e s t note v a l u e s
figure to this point.)
six
(Note how, i n diagram 52,
r e s o l v e d by a b a r o r
i n the diagram and the o n l y ones used i n t h i s
I t i s obvious t h a t twenty bars o f ^
bars of i i ^ followed
even a few b a r s o f
t o n i c harmony p r o l o n g i n g
of the 2, e s p e c i a l l y i n the ECP, p r o l o n g a t i o n

The p r o l o n g a t i o n
norm i n l e n g t h , and t h e r e f o r e
c l o s u r a l features
(1)
notably
supported by
by f o u r t e e n b a r s o f V, w i l l n o t be s a t i s f a c t o r i l y
C e r t a i n l y i n the normal (ST-ECP)-CS model there would be some
in
by s i x t e e n t h -
t h a t would f i n d
i\
prolongation
i t s resolution
h e r e , however, goes beyond
t h i s c l o s i n g s e c t i o n i s longer
this
and has s p e c i f i c
beyond the norm:
The c l o s i n g s e c t i o n i s c h a r a c t e r i z e d by s e v e r a l l i n e a r d e s c e n t s to i \
the f i r s t
two i n mm.
53-57, v a r i e d
A
A
i n 57-62, from 5 t o 1.
204
Diagram 53
V i o l i n Sonata K. 306: E x p o s i t i o n C l o s i n g Section
Measures:
53
Timespans:
(4 + 5) + [2 + (2 + 2)] + (4 + 3)
Groups:
57
a''"
62
64
68
c^
(2) The re-use i n m. 62ff. of m a t e r i a l from the preceding s e c t i o n a n unusual

feature, as noted a b o v e f u n c t i o n s as a sort of r e t r o s p e c t i v e i n s e r t i o n ,
r e c a l l i n g the c a d e n t i a l approach so that i t may be made stronger and more
convincing.
S p e c i f i c a l l y , mm. 62-63 are:the i n s e r t i o n i n t o the c l o s i n g model,
mm. 64-65 and 66-67 f u n c t i o n i n g as the second p a i r of the model by v i r t u e of

the r e p e t i t i o n . See diagram 53.
The cadence at mm. 64-68 i s stronger because
the t o n i c a r r i v a l i n m. 68 i s now i n an accented bar, as opposed to a weak

one at m. 52. In a d d i t i o n , the c a d e n t i a l approach i s strengthened i n mm. 66-67
by g r e a t l y increasing the length of the
and "4* that lead to the ^ i n the bass
voice (compare mm. 51 and 65).

In diagram 53 i t i s apparent that the e n t i r e c l o s i n g s e c t i o n may be considered a modified c l o s i n g model, with the f i r s t p a i r of groups expanded to
([2 + 2] + [3 + 2 ] ) , followed by the 2-bar r e t r o s p e c t i v e i n s e r t i o n , the second
p a i r of groups as normal i n mm. 64-67, and the f i n a l p a i r expanded to a separate codetta not based on the model.
Some d e t a i l s of diagram 52 may be c l a r i f i e d at t h i s p o i n t .
The timespan
organization i n t o a l t e r a t e l y 3/4 and 2/4 ( i . e . , u n i t s of three or two bars)

i s generally c l e a r except f o r a few p o i n t s :
(I) The f i r s t two bars are i n threes on the basis of phrase s t r u c t u r e ;
205
however, on harmonic grounds they might be

(2) The
sequence.
shift
to 3/4
f o r mm.
(3) The
38-41
and
shift
to 2/4
(4) The
i n m.
42-45, begun i n mm.
i n the ECP
a c c e n t e d ; h e r e , however, m.
the
27-28 and
c l o s i n g s e c t i o n , the a c c e n t u a t i o n
the s i x t e e n t h - n o t e
the
ascending
30-31,)
step through m.
48;
at
the
to the c l o s i n g s e c t i o n i s
i s weak, c o n t r i b u t i n g to the uncon-
In the re-use of t h i s cadence i n the
i s reversed.
The
2-bar g r o u p i n g a t m.
the a c c e n t u a t i o n
f i r m e d and
hence m.
continued
by
of the e q u i v a l e n t mm.
48
62-63
48-49; t h i s r e v e r s a l i s con-
the 2-bar c a d e n t i a l p a t t e r n i n mm.
64-65 and
66-67,
68 i s a c c e n t e d .
(5) The
c l o s i n g model c o n t a i n s
here t h i s does not happen w i t h

52,
i t is 4 + 5
s i m i l a r groups a c c e n t e d i n s i m i l a r ways;
the f i r s t
from m.
being
the s t a r t of the timespan were noted i n (4) above.
structural reduction
t h e r e cannot be
two
from m.
p a i r of groups ( i . e . ,
5+5
the f i r s t
62
s e q u e n t i a l p a t t e r n on beat 1, whereas i n m.
i t began on the t h i r d beat; t h a t i s , the r e t r o s p e c t i v e i n s e r t i o n i n mm.

reverses
cadence.
this.
l e a d i n g up
52
v i n c i n g n a t u r e of the cadence h e r e .
i s begun by
on the b a s i s of
o n ' l ' the sequence breaks o f f , a v o i d i n g
49 c o i n c i d e s w i t h
tonic a r r i v a l
(2+2+2).
i n diminution,
a s c e n d i n g f o u r t h s p a t t e r n descends by
the p o i n t where i t would end
normally
46-48 i s j u s t i f i e d
(Note t h a t the bass v o i c e c o n t i n u e s ,
f o u r t h s p a t t e r n i n mm.
The
grouped as
i n diagram 52,
a downbeat a t m.
59,
53).
Reasons f o r m.
t h e r e must be a 3/4
and
i n s t e a d of
53 and
not m.
In terms of
bar a t mm.
52
the
57-59 because
the a d d i t i o n of such a bar makes
groups of the c l o s i n g s e c t i o n as n e a r l y s i m i l a r l y
accented
as p o s s i b l e .
The
r e t r a n s i t i o n of the development s e c t i o n begins i n m.
with a repeat
of the f i n a l
f o u r b a r s of the t r a n s i t i o n
(mm.
107
and
22-25) i n
ends
206
Diagram
Violin
54
Sonata K.
306:
R e c a p i t u l a t i o n Main Theme (Coda)
Measures:
159
163
168
Timespans:
(2 + 2) +
(2 + 3) +
(2 + 2 +
Groups:
mm.
109-112.
theme, now
theme and
i n mm.
one
The
r e c a p i t u l a t i o n i s thus a b l e t o b e g i n w i t h the
i n the t o n i c , i n s t e a d of w i t h the main theme.
The
subordinate
subordinate
the subsequent c o d e t t a s e c t i o n are r e p e a t e d w i t h o n l y s m a l l v a r i a t i o n s
113-139(1).
The
c l o s i n g s e c t i o n then f o l l o w s i n mm.
s i g n i f i c a n t a l t e r a t i o n : the f i n a l
begins
1)
i n s t e a d i n m.
139-158 w i t h o n l y
3-bar group i s o m i t t e d .
159 w i t h a r e p e a t of the f i r s t
w i t h a g r e a t l y r e w r i t t e n form of the remainder
The main theme
four bars, continuing
of the theme.
See diagram
54.
A s p e c t s of the c l o s i n g model can be seen h e r e , namely i n . the use of

r e p e a t i n g p a i r s of groups.
In a d d i t i o n , the m a t e r i a l i s now
groups r a t h e r than p h r a s e s , due
l a r g e l y t o the shortened
to
the use of r e p e a t e d , s h o r t c a d e n t i a l u n i t s
of
themes).
This f i n a l
i n the form
l e n g t h of u n i t s
of
and
(such u n i t s are not a f e a t u r e
s e c t i o n , then, f u n c t i o n s (1) as a r e c a p i t u l a t i o n of
the main theme (more a c c u r a t e l y , of p a r t of the main theme), (2) as a
coda
because i t i s heard a f t e r the r e c a p i t u l a t i o n of the s u b o r d i n a t e theme a r e a

and c l o s i n g s e c t i o n and because i t i s i n the form of a codetta-complex
acteristic
of c o d a s ) , and
(3) as a s u b s t i t u t e f o r a normal c l o s i n g
because i t uses the c l o s i n g model which was
p r e v i o u s l y not
used.
(char-
section
207
Piano Sonata K.
i n D Major, K.
Refer
Some of the unusual f e a t u r e s of the Piano Sonata
576,. were noted i n c h a p t e r
to diagram 55
The
576.
2: r e c a p i t u l a t i o n s , pp.
f o r the f o l l o w i n g d i s c u s s i o n .
main theme i s an 8-bar p e r i o d f o l l o w e d by a v a r i a t i o n .
theme and
codetta
94-95.
i n the V i o l i n Sonata K.
of the theme i s w i t h i n i t s timespan, m.

the e i g h t h bar of the v a r i a t i o n m .
306
discussed
L i k e the main
above, the e i g h t h
9 b e i n g heard as a b e g i n n i n g ;
16is
heard as the b e g i n n i n g
timespan because of subsequent p a r a l l e l i s m .
As w i t h m.
12 of K.
however,
of a
306,
new
m.
here i s the l o c a t i o n of an e l i s i o n : what would have been the e i g h t h bar

the v a r i a t i o n i s now
as a main theme c o d e t t a and

Instead
continues
This leads
sentence but not
theme-1ike).
to c o d e t t a - t y p e
m.
(mm.
34-41
( i n the form of
of the
i s i n the form of a m o d i f i e d
and
third
20-27, which l i k e w i s e were s e n t e n c e - l i k e
theme i s f i n a l l y reached a t m.
but
functioning
dominant.
41(6),
continuing
to
p e r i o d ; t h a t i s , the second phrase
i n c l u d e s a 3-bar e x t e n s i o n .
concludes the e x p o s i t i o n (2 x 2) + 2.
been i n c l u d e d i n c h a p t e r
forms.)
m a t e r i a l i n mm.
the m o d u l a t i o n to the key
i s a v a r i a n t of the f i r s t ,
codetta
the opening motive of the main
T h i s s e c t i o n , then, i s a second t r a n s i t i o n ,
subordinate
53(1),. and
26(6)-41(4),
f u n c t i o n i n g as a theme), s i m i l a r to the second and
i n p a r t to s t r e n g t h e n
The
16-27(4)begins
of a theme i n the f o l l o w i n g s e c t i o n , mm.
groups of the t r a n s i t i o n
not
of
as a t r a n s i t i o n t h a t weakly moves to
the d e v i c e of canon i s used, u n u s u a l l y , w i t h

theme.
16
the f i r s t bar of the next s e c t i o n .
In f a c t , l i k e the V i o l i n Sonata, t h i s next s e c t i o n m m .
the dominant.
bar
A short c l o s i n g
( T h i s movement might have
4 except f o r the unusual e x p o s i t i o n and r e c a p i t u l a t i o n
208
Diagram 55
Piano Sonata K.
576: E x p o s i t i o n
1
Measures:
7)
16
28
(4+4+4)
(6 +
Timespans:
(8 +
Keys:
MT
TR(1)
42
8)
(mm.
i s not even suggested
26-27): n o r m a l l y ,
7)
TR(2)
ST
CS
In comparison w i t h most e x p o s i t i o n s , t h i s one

dominant key
(4 +
53
u n t i l half-way
i s unusual
through
the dominant key would be reached
i n t h a t the
the e x p o s i t i o n
somewhat e a r l i e r .
T h i s f e a t u r e r e s u l t s i n p a r t from the s h o r t l e n g t h of the c l o s i n g

The presence
of two
section.
t r a n s i t i o n s and a normal s u b o r d i n a t e theme would
a c l o s i n g s e c t i o n l o n g e r than t h i s one.
suggest
In o t h e r words, c l o s u r e i s weaker
i n t h i s e x p o s i t i o n than i n most by Mozart.

A p o s s i b l e a l t e r n a t i v e e x p l a n a t i o n here would be t o r e g a r d the
t r a n s i t i o n o r a t l e a s t mm.
as a type
(3) c l o s i n g s e c t i o n
codetta).
and
3 4 - 4 1 a s the s u b o r d i n a t e theme, w i t h mm.
second
42-58
( i . e . , a c l o s i n g theme f o l l o w e d by a c l o s i n g
T h i s view i s supported by the c l o s e c o n n e c t i o n between the theme
the c o d e t t a ; t h a t i s , the l a t t e r can e a s i l y be heard as a c o d e t t a to
the theme.
In a d d i t i o n , the p r e c e d i n g s e c t i o n ends w i t h a p e r f e c t a u t h e n t i c
cadence r a t h e r than a h a l f cadence ( s u b o r d i n a t e themes, not c l o s i n g s e c t i o n s ,

occur a f t e r h a l f cadences).
that expansionthe
Working a g a i n s t t h i s i n t e r p r e t a t i o n i s the
o n l y expansion
theme, and expansion n o r m a l l y

codettas
(e.g., the ECP).
p e r i o d s ..and are w i t h o u t
fact
i n the e x p o s i t i o n t a k e s p l a c e i n t h i s
i s a f e a t u r e of the s u b o r d i n a t e theme and i t s
C l o s i n g themes, a t any
r a t e , are u s u a l l y
the h i g h degree of c o n t r a s t found
i n this
simple
theme.
209
In
the r e c a p i t u l a t i o n , o n l y the f i r s t
repeated
(mm.
99-106).
A new
15-bar s e c t i o n b e g i n s i n m.
v a r i a t i o n of the main theme ( i n m.

did
i n mm.
118-121 (see mm.
106(6) l i k e
8 f f . ) , ends l i k e the f i r s t
24-27),
the
transition
but has a d i f f e r e n t c e n t r a l p a r t i n the
manner of a s h o r t secondary development.

first
e i g h t b a r s of the main theme are
T h i s s e c t i o n , then, r e p l a c e s the
transition.
I n s t e a d o f the second t r a n s i t i o n , the s u b o r d i n a t e theme f o l l o w s i n
mm.
121(6)-129, now
i n the normal
p o s i t i o n f o r such themes.
T h i s theme i s
a l t e r e d i n t e r n a l l y as w e l l as i n i t s p o s i t i o n w i t h i n the r e c a p i t u l a t i o n .
O r i g i n a l l y , i t was
now
a (4 + 7) p e r i o d w i t h an e x t e n s i o n i n i t s second
half;
i t i s reduced to a (4 + 4) p e r i o d , f o l l o w e d by a v a r i a t i o n o f the same
total
l e n g t h but ending on V / v i .
because
i t was
In the e x p o s i t i o n an expansion was
i n a p o s i t i o n where expansion was
normal.
Here, the
necessary
normal
p o s i t i o n f o r s u b o r d i n a t e themes, t h e r e i s no need f o r expansion.

The ending on V / v i i n m.
to
137 has
the e f f e c t of c o n n e c t i n g the v a r i a t i o n
the next s e c t i o n , the c a n o n i c second
a codetta-complex
t r a n s i t i o n , which now
to the s u b o r d i n a t e theme.
This section i s s l i g h t l y rewritten:
the i n t e r v a l of t r a n s p o s i t i o n i s not u n i f o r m (mm.

o t h e r b a r s ) , and the cadence
of
the o r i g i n a l
f u n c t i o n s as
137[6]-139 d i f f e r from
i s f o u r bars l o n g e r (mm.
153-154 resemble
the
the end
s u b o r d i n a t e theme: i . e . , the expansion m i s s i n g from the r e c a p -
i t u l a t i o n form of t h i s theme i s used n o w i n i t s u s u a l p l a c e t o l e a d i n t o

closing section).
One
alteration.
f u n c t i o n , then, of the r e c a p i t u l a t i o n i s to n o r m a l i z e the form of an
unusual e x p o s i t i o n .
in
The c l o s i n g s e c t i o n then f o l l o w s w i t h o u t
the
The e x p o s i t i o n form i s MT-TR1-TR2-ST-CS; t h i s
i s rearranged
the r e c a p i t u l a t i o n to MT-TR1-ST-TR2-CS, h a v i n g the f o r m a l f u n c t i o n s
MT-TR-ST-STcodettas-CS.
210
Conclusion
An important c r i t e r i o n i n a e s t h e t i c judgment of a musical work i s

the extent to which closure i s s u c c e s s f u l .
i f i t ends i n a s a t i s f y i n g way,
In simple terms, a work i s good
bad i f i t ends abruptly or i n c o n c l u s i v e l y .
In s l i g h t l y more r e f i n e d terms, a work i s successful i f i t s s t r u c t u r e i s

complete, i f i n i t i a l processes are c a r r i e d through to t h e i r l o g i c a l conclusion,
and i f the sense that nothing more need be heard i s projected at the end of
the work.
This success u s u a l l y manifests i t s e l f i n the l i s t e n e r becoming
aware that the end of a piece i s forthcoming.
The boundaries of a piece
of music are so pronouncedmusic as opposed to s i l e n c e t h a t the l i s t e n e r

must prepare himself p s y c h o l o g i c a l l y f o r the s t a r t of a piece, and the composer
must prepare the l i s t e n e r f o r the
end.
A d i s t i n c t i o n must then be drawn between the end of the piece and
the
c l o s u r a l process that leads inexorably to that end ( i n music which has such
c l o s u r a l processes).
I t i s of course the c l o s u r a l process that i s of i n t e r e s t ,
the end being merely a point that has been prepared by the process.
The
two
main v a r i a b l e s i n c l o s u r a l processes may be summarized as f o l l o w s :

(1) D i f f e r e n t s t y l e s of music u t i l i z e d i f f e r e n t methods of c l o s u r e .
For example, some music may
locate closure i n s p e c i f i c formal sections (e.g.,
the c l o s i n g s e c t i o n i n c l a s s i c a l period sonata form), while other music may
211
more c l o s e l y i n t e g r a t e the c l o s i n g p r o c e s s w i t h i n o v e r a l l s t r u c t u r e (e.g., i n

s h o r t e r works such as Chopin's P r e l u d e s ,
as Agawu has demonstrated''").
(2) D i f f e r e n t s t r u c t u r a l channels may be used t o generate c l o s u r e .

Melody, harmony, rhythm, form, e t c . , need n o t a l l be i n v o l v e d
a g i v e n work.
F o r example, i n L i s z t ' s Les P r e l u d e s ,
the main theme a t m. 405 as the f i n a l
the r e c a p i t u l a t i o n o f
s e c t i o n not only
i n the o r i g i n a l t e m p o a f t e r many o t h e r
i n the t o n i c key but
tempos, most o f which.--.are a s s o c i a t e d
w i t h d i f f e r e n t moods and t h e m e s i s a s t r o n g c l o s u r a l g e s t u r e .
tempo and mood i n g e n e r a t i n g
periods,
a l t h o u g h , even i n t h i s work, these f a c t o r s might be seen as enhancing,

p r o c e s s of r e c a p i t u l a t i o n .
A fundamental c r i t e r i o n i n a s s e s s i n g
the c l o s u r a l p r o c e s s i n a g i v e n
work i s the l e v e l on which c l o s u r e i s o p e r a t i v e .

o f music end w i t h a p e r f e c t a u t h e n t i c
i s normally i n s u f f i c i e n t
short
Use of
c l o s u r e i s almost unknown i n music o f e a r l i e r
r a t h e r than r e p l a c i n g , the formal
pieces
i n closure i n
A l t h o u g h most d i a t o n i c
cadence i n the t o n i c key, t h i s
to e f f e c t g l o b a l c l o s u r e , unless
(and even then t h e r e w i l l n o r m a l l y be o t h e r
In g e n e r a l ,
the h i g h e r
prolongation
c l o s u r a l processes
the l e v e l on which c l o s u r e o c c u r s ,
sense o f c l o s u r e w i l l be.
the piece
A work w i t h an e n t i r e f i n a l
i s very
operating).
the s t r o n g e r the
s e c t i o n devoted t o
o f ^ w i t h t o n i c harmony w i l l be more s t r o n g l y c l o s e d than a

A
work t h a t a r r i v e s a t 1/1 v e r y near the end o f the work.

It
i s apparent from the f o r e g o i n g
d i s c u s s i o n t h a t an i n v e s t i g a t i o n o f
c l o s u r a l p r o c e s s e s i n music must, i f i t i s n o t t o become unwieldy i n l e n g t h ,

or o v e r l y g e n e r a l ,
proceed a l o n g
style-specific
lines.
The s t u d i e s o f c l o s u r e
i n , f o r example, Chopin and Mahler by Agawu and Hopkins, r e s p e c t i v e l y , a r e

2
e v i d e n c e o f t h i s concern f o r s t y l e and i t s i n f l u e n c e on c l o s u r a l t y p e s .
The
present
d i s s e r t a t i o n i s o f c o u r s e another such
instance.
212
Although I have divided the study and a n a l y s i s of Mozart's
sonata-form
c l o s i n g sections i n t o four chapters, t h i s was done as much f o r o r g a n i z a t i o n a l

as f o r a n a l y t i c a l reasons; that i s , while i t i s true that I have found a v a r i e t y
of types of c l o s i n g sections i n these works, there i s a sense i n which most of
the movements analysed share important c l o s u r a l features ( e s p e c i a l l y i n comparison w i t h other types of closure i n other s t y l e s ) .
An important reason f o r
t h i s u n i f o r m i t y i s the use of a d i s t i n c t c l o s i n g s e c t i o n having the formal

f u n c t i o n of closure: a l l of the works analysed here have such a section (or a
s u b s t i t u t e f o r i t that functions i n a modified c l o s u r a l way, as i n the Piano
Sonata i n C Major, K. 545).
Another f a c t o r i s that c l o s u r a l processes do not
vary according to genre or instrumentation: the same c l o s u r a l process i s as

3
l i k e l y to occur i n , f o r example, a symphony as i n a s t r i n g quartet.
And the
use of a c l o s i n g s e c t i o n normally means that closure i s operative at the same

l e v e l i n most works, i n that d i f f e r e n t c l o s i n g sections u s u a l l y have roughly
equivalent r e l a t i o n s h i p s to other s e c t i o n s , at l e a s t i n comparison w i t h music
of other s t y l e s .
However, perhaps the most s i g n i f i c a n t f a c t o r i n the s t y l i s t i c u n i t y of
these movements w i t h respect to c l o s u r e i s that a s i m i l a r c l o s u r a l s t r u c t u r e i s
used i n most works: the c l o s i n g model i s found to some extent i n n e a r l y a l l of
the movements I have analysed here, and i s used with r e l a t i v e l y l i t t l e v a r i a t i o n
i n at l e a s t h a l f of the movements.
About s i x t y percent of the movements were
analysed i n chapter 3 which dealt w i t h works based on the c l o s i n g model i t s e l f ;

the c l o s i n g codetta, the subject of chapter 4, may be seen as a shortened c l o sing model (and several of the works analysed i n chapter 3 were a l s o considered
i n chapter 4, showing how r e l a t e d these two types a r e ) ; the c l o s i n g theme f o l lowed by the c l o s i n g codetta, the subject of chapter 5, can be considered as
213
a v a r i a n t of the c l o s i n g model i n which the f i r s t p a i r of groups are more

thematic than i n the model; and
even some of the works c o n s i d e r e d
where works not based on models were d i s c u s s e d ,
can be
i n chapter
seen as h a v i n g
6,
some
elements of the c l o s i n g model.

The
f a c t o r s t h a t make the c l o s i n g model c l o s u r a l ,
together
with
v a r i o u s channels of s t r u c t u r e i n v o l v e d i n c l o s u r e i n these works, may

be
the
now
summarized:
(1) Melody.
to phrases and
The
use
motivic
generates c o n t r a s t w i t h
i n c l o s i n g s e c t i o n s of groups and
and
the
thematic s e c t i o n s .
shortening
(2) L i n e a r motion.
The
i n s t e a d , i t p r o l o n g s *t and
and
Other f a c t o r s c o n t r i b u t i n g to
r e p e t i t i o n ( p a i r i n g of
of group l e n g t h over the model, which
whatever r e s i d u a l m o t i v i c r e f e r e n c e s
i n the e x p o s i t i o n ) .
as opposed
segments reduces the need f o r m e l o d i c c o n t i n u a t i o n
the r e d u c t i o n of c o n t i n u a t i o n are the use of exact

groups),
grouplets
are c o n t a i n e d
model c o n t a i n s
no
i n the
eliminates
groups.
s t r u c t u r a l l i n e a r motion;
I i n the r e c a p i t u l a t i o n (2 and
V, or 5^ and
V,
T h i s absence of s t r u c t u r a l motion makes the c l o s i n g
s e c t i o n a s e c t i o n of r e s t i n c o n t r a s t w i t h
other
have such motion.
have some lower l e v e l l i n e a r motion;
The
c l o s i n g s e c t i o n may
f o r example, i f the s u b o r d i n a t e
theme had
s e c t i o n might echo t h a t a t a lower

(3) Harmony.
See
(2) above.
some simple
by
form.
usually.perfect authentic,
l e a d i n g up
Contrast with
other
no
to the
possibly
cadences.
s e c t i o n s i s p a r t l y generated
the t h r e e f a c t o r s noted above, but more so by
p a t t e r n i n g of the model, which has
l i n e a r d e s c e n t , the c l o s i n g
Lower l e v e l harmonic motion i s r e s t r i c t e d
d i a t o n i c progressions
(4) Rhythm and
a ? to i
normally
level.
to r e p e t i t i v e c a d e n t i a l f o r m u l a t i o n s ,
with
s e c t i o n s , which
equivalent
the o v e r a l l h y p e r m e t r i c
elsewhere i n the sonata form.
214
The r e d u c t i o n i n timespan
by r e d u c i n g the normal
l e n g t h through the model e s t a b l i s h e s rhythmic
l e n g t h o f the u n i t on l e v e l
closure
(b) from f o u r b a r s to
two
b a r s t o one b a r : the next u n i t l e n g t h i n t h i s sequence would be z e r o , and i t s

equivalent i s of course s i l e n c e .
of s i m i l a r l e n g t h timespans
l i s h e s one
T h i s r e d u c t i o n i s emphasized
(and groups)
l e n g t h more f o r c e f u l l y
by the p a i r i n g
i n the model: the r e p e t i t i o n e s t a b -
than one
statement a l o n e would, and
the
change t o another l e n g t h i s thus e s p e c i a l l y e f f e c t i v e as a change from

e s t a b l i s h e d norm, emphasizing
the r e d u c t i o n i n timespan
lengths.
t w i c e , from f o u r b a r s to two b a r s , and then from two bars to one

(5)
T e x t u r e , r e g i s t e r , and o r c h e s t r a t i o n .
These f a c t o r s
an
( T h i s happens
bar.)
contribute
to c l o s u r e m a i n l y i n t h a t t h e r e tends not t o be a change i n them d u r i n g the

course o f the c l o s i n g s e c t i o n .
A generally s t a t i c
texture p r e v a i l s ,
homophonic w i t h a simple melody i n a moderate range and

In Mozart's
usually
i n a moderate dynamic.
sonata form c l o s i n g s e c t i o n s , then, the channels of
structure
most s i g n i f i c a n t f o r c l o s u r e a r e melody, harmony, and rhythm, as noted above.

Leonard Meyer's remarks on g e n e r a l f e a t u r e s of c l o s u r e are a p p r o p r i a t e here
i n summing up t h i s
discussion:
The s l o w i n g down which b r i n g s a p i e c e of music t o i t s c l o s e

i s n o t a s l o w i n g down i n the p h y s i c a l tempo but a s l o w i n g down
of the r a t e of m u s i c a l p r o c e s s . That i s , though the tones may
f l y by w i t h g r e a t r a p i d i t y , the m e l o d i c , harmonic, and rhythmic
changes which c r e a t e a sense of tendency are brought t o a s t a n d still.
The music no l o n g e r p r o g r e s s e s ; i t s marks time; i t i s
static.
4
The d i s c u s s i o n i n the paragraphs

s e c t i o n s by Mozart
above p e r t a i n s t o the m a j o r i t y of c l o s i n g
t h a t I have a n a l y s e d .
There are of course many v a r i a n t s
to the s t a n d a r d c l o s i n g p r o c e s s e s , v a r i a n t s too numerous to c i t e here

h a u s t i v e l y , but t h a t have been noted i n the p r e v i o u s c h a p t e r s .
the i n t r o d u c t i o n o f a more a c t i v e element
ex-
For example,
into a particular closing
section,
215
such as chromatic harmony or a r e f e r e n c e
to a main theme motive, might
a s s o c i a t e d w i t h the a d d i t i o n of another f o r m a l
An
important v a r i a n t t h a t should
presentapparently
c l o s u r e may
not
always be
In f a c t , to the extent
operating
i n o n l y one
theme and
small
i s a separate codetta
the c l o s i n g s e c t i o n , a c o d e t t a
small
s e c t i o n of a movement.
i s a normal
section.
This
is particularly
complex between the
complex t h a t may
subordinate
f u n c t i o n as a
to the theme but w i l l most l i k e l y have the main f u n c t i o n of i n i t i a t i n g

through the ECP.
The
l a t t e r i s c l o s u r a l at a high
cadences b e i n g
l i n e a r motion 2-1
infrequent
i n the
see C a p l i n ' s paper on
the ECP."')
the c l o s i n g s e c t i o n has
To. the extent
d i r e c t e d l i n e a r and
because the s t r u c t u r a l
(For f u r t h e r d i s c u s s i o n ,
t h a t the s e c t i o n
preceding
harmonic motion towards
such a s e c t i o n i s f u n c t i o n i n g i n a c l o s u r a l way
closure
to the p r e v a i l i n g t o n i c
styleand
normally occurs at t h i s p o i n t .
codetta
l e v e l because of i t s f o c u s
on a s t r o n g , c l e a r , p r o t r a c t e d harmonic p r o g r e s s i o n
such lengthy
be
the c l o s i n g s e c t i o n , a c t i v e c l o s u r a l p r o c e s s e s
s a i d to b e g i n i n the p r e c e d i n g
the case where t h e r e
t h a t may
w i t h normal c l o s i n g s e c t i o n s , i s t h a t
t h a t the expanded c a d e n t i a l p r o g r e s s i o n
f e a t u r e immediately p r e c e d i n g
can be
f u n c t i o n to the c l o s i n g s e c t i o n .
be mentioned b r i e f l y , one
paradoxicallyeven
be
1/1,
w i t h i n those channels of
structure.
An avenue f o r f u r t h e r , r e l a t e d r e s e a r c h
to which the c l o s i n g model and
One.might f i r s t
sidered
(e.g.,
pursue i s the
i t s v a r i a n t s are found i n o t h e r
i n v e s t i g a t e genres of Mozart's works o t h e r

concertos
works I d i d c o n s i d e r ,
t h a t .the use
t h a t I may
and
extent
repertories.
t h a t those I con-
v o c a l music, as w e l l as o t h e r movements i n
i . e . , slow movements and
of the c l o s i n g model i s not
finales).
My
impression
the
is
r e s t r i c t e d to f i r s t movements i n
216
Diagram 56
V i o l i n Concerto K. 216, t h i r d movement, c l o s i n g section
(Allegro
1y
it '
m.418F s t r i n g s
-mr
>
timespans: (4
) +
<>
dfc=
r<
'
obo
hon
* i
s &
T/
strir
c#"
-X5Sj
obo
horr s
s t r ings
'
(2
sonata form.
+ 2
*-*
T,
) +
1y
4
u t i l
oboes
^"j
& horns
An example of t h i s i s shown i n diagram 56, the c l o s i n g s e c t i o n
from the f i n a l e a r o n d o o f the V i o l i n Concerto i n G Major, K. 216 (1775).

The c l o s i n g s e c t i o n here serves a dual purpose: as i n most rondos, the A-section
returns at the end of the movement, and must therefore be closed
as w e l l as close the e n t i r e movement,(unless
internally
a new section or extension of the
A-section i s added at the end, which does not happen here).

sonata form the c l o s i n g section closes the exposition and
Whereas i n a
the r e c a p i t u l a t i o n ,
i n a rondo the c l o s i n g section closes the main theme (the A-section) and the
217
movement.
(1 +
The
closing
s e c t i o n here i s based c l o s e l y on
1) p a i r of the model r e p l a c e d here w i t h a 4-bar t o n i c
i s a l s o a simple form of
model and
sentence merge.
a slow movement, see

After
Mozart
(including
oque and
crete,
the
use
example of
of the
therefore,
i n Haydn and
a use
music.
The
T h i s i s to be
of
etical
issues
the
(This
the
applies
i n Mozart.
and
primarily
(See,
Baroque music and
expected because,, as
of
d i f f e r e n t i s that
dis-
the
clas-
i n the
c l a s s i c a l period,
sonata form.)
development of
of
the
mm.
5 i n C Minor,
music a f t e r Beethoven
likely
b e i n g a c h i e v e d i n o t h e r ways.
development of the
by
closing
movement,
they employ d i f f e r e n t means of
i s perhaps answered i n p a r t
to the
to music of
f o r example, a use
avenue f o r r e s e a r c h i s to i n v e s t i g a t e
involved
of
suggested e a r l i e r i n t h i s c h a p t e r , one
when d i d i t become a c h a r a c t e r i s t i c of
model r e l a t e d
116-130.)
s t a r t i n g with l a t e Bar-
1 i n C Major, f i r s t
c l o s i n g model, c l o s u r e
functions i n c l a s s i c a l period
it
mm.
c l o s i n g model i n Beethoven, Symphony no.
c l o s i n g model develop i n the

style?
595,
I would expect to f i n d somewhat s i m i l a r types of
110-124.)
s t y l e s of music are
A related
c l o s i n g model i n
model of m u s i c a l forms c o n s i s t i n g
sections
Beethoven as
of
l i t t l e use
of the
closing
c l o s i n g model i n o t h e r r e p e r t o r i e s
c l o s i n g c o d e t t a i n Beethoven, Symphony no.

100-106; and
the use
then o t h e r s t y l e s of music a l t o g e t h e r ,
d i f f e r e n t l y functioning
sections
T h i s example
sentence model: i n t h i s i n t e r p r e t a t i o n ,
(For an
final
o p e r a s ) , I would c o n s i d e r music of o t h e r c l a s s i c a l p e r i o d
Romantic p e r i o d
s i c a l period;
group.
the Piano Concerto i n B - f l a t Major, K.
s t u d y i n g the
composers, and
has
the model, the
and
why
Why
were the
sonata form?
sonata form?
theor-
did
i s i t a f e a t u r e of
a thorough d e s c r i p t i o n
Who
closure.
the h i s t o r i c a l and
first
How
reason
of how
the
this
it
composers to
i s the
use
closing
218
Finally,
i t may
be u s e f u l to b r i e f l y e v a l u a t e
c l o s u r e I have taken h e r e .
I t seems obvious to me
the type of a n a l y s i s
t h a t t h i s music i s v e r y
c l e a r l y s e c t i o n a l , to the p o i n t where t h i s s e c t i o n a l i s m i s an
stylistic
feature.
Any
a n a l y t i c a l approach t h a t aims a t
must t h e r e f o r e account f o r t h i s f e a t u r e .
In f a c t , i n my
of c o u r s e , but
here.
are b e s t
I have a l s o shown how
are coordinated.
c l o s u r e : as has
serve
considered
to p r o l o n g
view, the i s s u e of
in analysis,
i n t h e i r r e l a t i o n s to form, as I have done
a s p e c t s of c l o s u r e o p e r a t i n g
S t r u c t u r a l l i n e and
harmony are
at d i f f e r e n t l e v e l s
significant factors for
been seen, c l o s i n g s e c t i o n s o f t e n b e g i n w i t h l Y l a r r i v a l
these through the s e c t i o n .
and
However, I have a l s o drawn a t t e n t h a t are e q u a l l y
i n promoting c l o s u r e : the c l o s i n g model i s an e x p r e s s i o n

The
Other channels of
f u l l y appreciated
t i o n to lower l e v e l rhythmic and m e l o d i c f e a t u r e s
tures.
unarguable
comprehensiveness
form i s a p p r o p r i a t e l y c e n t r a l i n a n a l y s i s of t h i s music.
s t r u c t u r e such as harmony and melody must be
of
important
of these l a t t e r
fea-
c l o s u r a l success of a Mozart c l o s i n g s e c t i o n i s thus dependent
upon both lower l e v e l c o n v e n t i o n a l i z e d

which ensure a unique f o r m a l
formations,
such as groups and
f u n c t i o n f o r the s e c t i o n , and
s t r u c t u r a l f u n c t i o n which c o o r d i n a t e s /l"/1 a r r i v a l and

unique f o r m a l
function.
grouplets,
on a h i g h e r
prolongation
with
level
the
219
Notes
t o Chapter 2
(Concepts, Models,
and F e a t u r e s )
"The l i n e o f demarcation i n Mozart between the ' y o u t h f u l ' and the

'mature' i s e a s i l y reduced t o a b s u r d i t y . . . . Mozart d i d n o t e x p e r i e n c e a
p e r s o n a l development."
Blume, "Mozart's s t y l e and i n f l u e n c e , " 19, 20.
2
"The f o c u s s i n g on s t r u c t u r e i m p l i e s the c o n c e s s i o n t h a t t e c h n i c a l
a n a l y s i s o f c o m p o s i t i o n reaches a e s t h e t i c e s s e n t i a l s . "
Dahlhaus, A n a l y s i s
and Value Judgment, 17.
3
Dahlhaus, A n a l y s i s and V a l u e Judgment, 46. See a l s o pp. 13-14:
e i g h t e e n t h - c e n t u r y music i s " f u n c t i o n a l music" i n Dahlhaus's terms:
Whereas i n f u n c t i o n a l music a work i s p r i m a r i l y the exemplar o f a
t y p e a n examplar which reaches p e r f e c t i o n when i t p r o j e c t s the
marks of the type c l e a r l y and p u r e l y i n the epoch of a e s t h e t i c s ,
i n the n i n e t e e n t h c e n t u r y , a work bases i t s c l a i m t o be c o n s i d e r e d
a r t on e x a c t l y the o p p o s i t e , on i n d i v i d u a l i t y and o r i g i n a l i t y .
A d i f f e r e n t view of the use o f models i s suggested by Meyer i n Emotion
and Meaning i n Music:
Once a work i s r e c o g n i z e d as b e i n g a type f o r which an a b s t r a c t ,
normative c l a s s has been e v o l v e d , then t h a t " i d e a l t y p e " becomes
the b a s i s f o r e x p e c t a t i o n s . (P. 57)
4
Narmour, Beyond Schenkerism,
c h a p t e r 11.
Dahlhaus, A n a l y s i s and Value Judgment, 8.

^ T h i s procedure i s s i m i l a r t o t h a t used i n many textbooks of m u s i c a l
form; e.g., Schoenberg, Fundamentals o f M u s i c a l Composition, i n o r d e r from low
to h i g h l e v e l , c h a p t e r s 3, 2, 4-8, 13-20..
^ A l t h o u g h the extremes a r e n o t t h a t common, u n d e r s t a n d i n g of a l l u n i t s
on t h i s l e v e l i s f a c i l i t a t e d by d e f i n i t i o n s o f the two b a s i c types t h a t combine
i n v a r i o u s ways t o form h y b r i d s .
( T h i s approach a p p l i e s a l s o t o the next h i g h e r
l e v e l f o r t h e terms phrase and group.)
8
The d i s t i n c t i o n between m o t i v i c segments and g r o u p l e t s may be c l a r i f i e d
by r e f e r e n c e t o Rosen, The C l a s s i c a l S t y l e , 71-72, where he d i s c u s s e s " f i l l i n g "
220
and " c o n v e n t i o n a l m a t e r i a l , " i . e . , my g r o u p l e t s (and at l e v e l [ b ] , g r o u p s ) .

Kohs, i n M u s i c a l Form, makes a u s e f u l d i s t i n c t i o n between themes and " n e u t r a l
m a t e r i a l such as s c a l e s and a r p e g g i o s " (p. 264), m a t e r i a l s i m i l a r to my g r o u p l e t
(and g r o u p ) . B e r r y , i n Form i n Music, a l s o d i s t i n g u i s h e s between these two
types (p. 8 ) .
C a p l i n , i n h i s ECP paper ( d i s c u s s e d i n c h a p t e r 1 ) , uses the
term " b a s i c i d e a " f o r the 2-bar u n i t of a theme, a term r o u g h l y e q u i v a l e n t to
my " m o t i v i c segment" (p. 218; and i n note 16 [p. 254] he d i s c u s s e s the q u e s t i o n
of t e r m i n o l o g y f o r t h i s l e v e l , n o t i n g t h a t the term "motive" i s n o r m a l l y
reserved f o r a lower-level u n i t ) .
9
.
.
The d e c e p t i v e cadence i n v o l v e s the harmonic motion V-VI r e p l a c i n g an
expected a u t h e n t i c cadence, which n o r m a l l y f o l l o w s the d e c e p t i v e one.
In t h i s
sense the DC i s not a t r u e cadence.
See example 1, mm.
149(3)-153(1).
Other
types of cadences are b e s t a n a l y s e d i n o t h e r ways, f o r example as sequences of
a c a d e n t i a l p a t t e r n found i n example 1, mm.
146(3)-149(2).
^ The e f f e c t of t e x t u r a l d i s j u n c t i o n would be seen i f one were to c l a i m
t h a t the segments i n mm. 21-22 formed an a u t h e n t i c cadence: a l t h o u g h harmonic
c r i t e r i a s a t i s f y the requirements of an a u t h e n t i c cadence, the t e x t u r a l and
dynamic change i n m. 22 ensures t h a t m. 22 w i l l be heard as a b e g i n n i n g , not as
an ending.
( H i g h e r - l e v e l f o r m a l and rhythmic p a t t e r n i n g a l s o work a g a i n s t posi t i n g a cadence i n mm.
21-22.)
^
C e r t a i n m a t e r i a l i s p r o b a b l y i n h e r e n t l y and always p r i m a r i l y nonmotivic.
A l b e r t i basses and other standard bass p a t t e r n s are examples.
The
bass of the f i r s t phrase of the s u b o r d i n a t e theme of example 1, i n mm.
30-33,
i s not m o t i v i c i n the u s u a l meaning of the term, a l t h o u g h h i g h e r - l e v e l p a t t e r n i n g
r e s u l t s i n p a r t from the a s s o c i a t i o n of t h i s m a t e r i a l w i t h the motive above i t
and the r e p e t i t i o n of t h i s m a t e r i a l , as w e l l as by the octave leap which c l o s e s
the second phrase and the a s s o c i a t i o n of t h i s leap w i t h the motive i n mm.
14-15.
I f the r e p e t i t i o n of a common bass p a t t e r n g i v e s t h a t p a t t e r n some
degree of m o t i v i c d i s t i n c t i v e n e s s , the r e p e t i t i o n of a r i c h e r t r e b l e p a t t e r n i s
even more a f a c t o r i n the degree of importance of a motive.
(The former i s i l l u s t r a t e d by the f i r s t two phrases of example 1, which are r e l a t e d by the e i g h t h note r e p e a t e d bass p a t t e r n [mm.
14-15, 18-19], a r e l a t i o n s h i p m i s s i n g from the
next two phrases.) The extent of r e p e t i t i o n , the k i n d of r e p e t i t i o n v a r i a t i o n ,
development, e t c . a n d the l e v e l of r e p e t i t i o n i m m e d i a t e
through l o n g - r a n g e
are important f a c t o r s i n the s i g n i f i c a n c e of a motive.
12
C a p l i n , i n h i s ECP paper, d e s c r i b e s a cadence as " ' c o n v e n t i o n a l ' i n
the sense t h a t i t s m e l o d i c content i s common to many works w i t h i n the s t y l e , "
as opposed to the " b a s i c i d e a " ( i . e . , my m o t i v i c segment; see note 8 above),
which "normally c o n t a i n s a ' c h a r a c t e r i s t i c ' melody, one t h a t can d i s t i n g u i s h a
g i v e n theme from a n o t h e r " (p. 251).
He a l s o notes t h a t the cadence i s a "twomeasure f o r m u l a " (p. 216).
And, " I r e g a r d ' c a d e n t i a l f u n c t i o n ' as t h a t formal
f u n c t i o n r e s p o n s i b l e f o r b r i n g i n g formal c l o s u r e to a g i v e n theme" ( p e r s o n a l
communication, J u l y 5, 1988). Kohs' d i s c u s s i o n of cadences i s good, e s p e c i a l l y
t a b l e 4.2, " F a c t o r s a f f e c t i n g the weight of a cadence" ( M u s i c a l Form, 25-27).
The 4-bar phrase may be taken as a norm f o r t h i s s t y l e .
See the f o u r
4-bar phrases of the second theme, i n mm. 23-38, of example 3, the f i r s t three
221
of which have weak, s h o r t cadences as the f i n a l b a r of t h e i r second m o t i v i c

segment, the f o u r t h of which i s more c l e a r l y " m o t i v i c segment p l u s cadence."
The expansion and c o n t r a c t i o n of phrases t h a t would o t h e r w i s e be f o u r b a r s l o n g
i s , however, q u i t e common. And, as w i l l be seen l a t e r , s p e c i f i c types of exp a n s i o n and c o n t r a c t i o n are c h a r a c t e r i s t i c of s p e c i f i c s m a l l s e c t i o n s , so much
so t h a t such expansions and c o n t r a c t i o n s may be b e t t e r a n a l y s e d as norms i n
t h e i r own r i g h t .
In a f a s t tempo, a phrase of e i g h t b a r s may be e q u i v a l e n t to
the 4-bar norm, and i n a slower tempo, a phrase of two b a r s e q u i v a l e n t t o the
4-bar norm. In a d d i t i o n , phrases o t h e r than ones f o u r b a r s l o n g may sometimes
be seen as normal i n the c o n t e x t of s p e c i f i c s m a l l s e c t i o n s ( l e v e l [ c ] ) .
14
The d e f i n i t i o n of phrase t h a t I am u s i n g here i s i n f a c t a f a i r l y
r e s t r i c t i v e one, i n the sense t h a t few u n i t s of any g i v e n work by Mozart w i l l
e x h i b i t a l l the f e a t u r e s of p h r a s e s .
I n s t e a d , many u n i t s w i l l e x h i b i t o n l y
some of the f e a t u r e s of p h r a s e s , and many u n i t s w i l l be b e t t e r a n a l y s e d as
groups, as d i s c u s s e d below. The terms phrase and group a r e as inadequate here
as the terms m o t i v i c segment and g r o u p l e t were f o r l e v e l ( a ) . However, as d i s cussed i n note 7, c l e a r l y i d e n t i f y i n g the two extremes on a g i v e n l e v e l i s a
good s t a r t towards u n d e r s t a n d i n g events on t h a t l e v e l .
I f we had, f o r example,
a term f o r "phrase w i t h o u t cadence" and another term f o r "non-cadenced u n i t
combining w i t h an immediately s u c c e s s i v e cadenced u n i t f o r m i n g a l e v e l - ( b )
statement," then these two terms c o u l d be used h e r e , among o t h e r s , w i t h o u t f u r ther d i s c u s s i o n .
Of c o u r s e , I c o u l d i n v e n t such terms h e r e , but t h a t would imply
i n v e n t i n g a v a r i e t y of o t h e r terms f o r phrases t h a t l a c k f e a t u r e s o t h e r than
cadences or t h a t d e v i a t e i n some way from my d e f i n i t i o n of p h r a s e . C o n s i d e r ,
i n example 3, the phrase from m. 0(4) to m. 4 ( 2 ) , i n which the cadence i s weakened by the double s u s p e n s i o n on beat one of m. 4, by the use of the same A l b e r t !
bass f i g u r a t i o n p a t t e r n i n a l l f o u r b a r s , by the e i g h t h - n o t e r e s t on beat one of
m. 4, by the motive c o n t i n u i n g through the cadence, and by the use of a v a r i e d
form of the same motive i n mm. 1-2, where t h e r e i s no cadence, and i n mm.
3-4.
To i n v e n t a term to e x p l a i n a l l of these f e a t u r e s would be p o i n t l e s s , s i n c e few,
i f any, o t h e r phrases would e x h i b i t e x a c t l y these same f e a t u r e s .
^ A l t h o u g h t h i s example i s not taken from a f i r s t movement, i t i s worth
i n c l u d i n g here because i t i l l u s t r a t e s so w e l l c e r t a i n a s p e c t s of p h r a s e s .
Sev- -.
e r a l t h e o r i s t s have a l s o commented on the unusual phrase s t r u c t u r e of t h i s t r i o .
F o r example, the apparent d i s p l a c e m e n t of the cadence i s noted by Ratner i n
C l a s s i c Music, 39-40. See a l s o Kramer, "Beginnings and endings i n Western a r t
music," who d i s c u s s e s how the t r i o " p l a y s w i t t y games w i t h c l o s i n g p r o f i l e v e r s u s
opening placement" (p. 7 ) .
16
Another o f t e n - u s e d term f o r timespan i s hypermeasure.
Several theori s t s used t h i s term: comparing how two t h e o r i s t s use hypermeasure may h e l p to
c l a r i f y my use of timespan.
Edward Cone, i n M u s i c a l Form and M u s i c a l Performance,
comes c l o s e to d e f i n i n g h i s use of hypermeasure as f o l l o w s :
One can f i n d l o n g s t r e t c h e s i n which the measures combine i n t o
phrases t h a t a r e themselves m e t r i c a l l y c o n c e i v e d i n t o what I c a l l
hypermeasures.
T h i s i s e s p e c i a l l y l i k e l y to o c c u r whenever s e v e r a l
measures i n s u c c e s s i o n e x h i b i t s i m i l a r i t y of m o t i v i c , harmonic, and
rhythmic c o n s t r u c t i o n .
These almost demand to be counted as u n i t s .
(P. 79)
222
I t i s not c l e a r whether the "motivic, harmonic, and rhythmic c o n s t r u c t i o n " i s

a part of the hypermeasure, or whether i t merely helps to create the hypermeasure. That i s , i s Cone's hypermeasure a u n i t that includes eventswhat I
c a l l a group or a phrase, depending on other f a c t o r s o r does i t r e f e r only to
h i g h e r - l e v e l metric organization? I use the term timespan only f o r metric organi z a t i o n , bearing i n mind that melodic, rhythmic, t e x t u r a l , and harmonic events
create timespans. The events form groups or phrases, which i n turn occupy timespans. Headlam, i n "A rhythmic study of the e x p o s i t i o n i n the second movement
of Beethoven's Quartet op. 59, no. 1," goes even f a r t h e r i n d e f i n i n g large-scale
metric organization:
A meter may be organized not only i n t o measures, w i t h i n t e r n a l peri o d i c beats . . . , but a l s o i n t o hypermeasuresmetric u n i t s of
more than one measure, w i t h i n t e r n a l p e r i o d i c measures. . . .
Since a hypermeasure i s a metric u n i t , i t needs to be confirmed
by r e p e t i t i o n ; the meter r e s u l t i n g from t h i s p e r i o d i c i t y of r e peated hypermeasures i s the hypermeter. (P. 114)
Although i n t h i s passage Headlam does not state the c r i t e r i a by which h i s hypermeasures are formed, he does assert that only a repeated hypermeasure w i l l be
considered a hypermeasure.
In t h i s respect, my use of the term timespan i s simi l a r to Headlam's use of hypermeasure. Although p e r i o d i c i t y i s often a f a c t o r
i n d e l i n e a t i o n of timespans, I do not require i t as a f a c t o r , as Headlam appears
to do.
^ I am not claiming that a l l movements have these r e l a t i o n s h i p s between
events and timespans: the f i r s t theme of the Symphony i n G Minor, no. 40, f o r
example, begins with a s i m i l a r event/timespan r e l a t i o n s h i p to that i n the opening
of the c l o s i n g s e c t i o n of example 1. The point i s that d i f f e r e n t small sections
w i t h i n the same movement begin i n d i f f e r e n t ways.
18
This issue of events and timespans i s discussed by many t h e o r i s t s , a l though not using the same terminology and meaning as I have used here. For example, Berry discusses the r e l a t i o n s h i p of phraseology to meter i n S t r u c t u r a l
Functions of Music (pp. 322-324).
19
. '
A comparison of my ideas regarding phrase s t r u c t u r e w i t h those of a
few other t h e o r i s t s may help to c l a r i f y my terminology f o r l e v e l (b).
Berry, i n Form i n Music, includes a good d i s c u s s i o n of the phrase; f o r
example, he notes that the phrase i s often comprised of two 2-bar motives (p.. 12;
or i n my terminology, two motivic segments). In S t r u c t u r a l Functions i n Music,
Berry sees the phrase as m e t r i c a l l y recessive ( i . e . , beginning-accented),the
cadence being strong only at l o c a l l e v e l s (e.g.., p. 329; see a l s o note 18 above).
Caplin,. i n "The 'expanded c a d e n t i a l progression'," discusses three
types of phrases according to t h e i r f u n c t i o n i n the l a r g e r u n i t (p. 250). His
d e f i n i t i o n s of cadences are very p r e c i s e (pp. 217-218).
Cone, i n Musical Form and Musical Performance, describes the r e l a t i o n
of phrase/group to meter and timespan as f o l l o w s :
The beats seem to form a p r e - e x i s t i n g framework that i s independent
of the musical events that i t c o n t r o l s . One f e e l s that before a
223
note of the music was w r i t t e n , the beats were i n p l a c e , r e g u l a r l y

d i v i d e d i n t o a p p r o p r i a t e s u b - u n i t s , and r e g u l a r l y combined i n t o
measures.
(P. 70)
Davis, i n
i t i o n s e c t i o n s have
the dimensions of a
of "group."
In Beyond
hierarchies, metric
"Harmonic rhythm i n Mozart's sonata form," notes t h a t trans"areas of p a t t e r n e d harmonic rhythm t h a t may occupy merely
phrase " (p. 29). T h i s c l o s e l y p a r a l l e l s my d e s c r i p t i o n
Orpheus, E p s t e i n d i v i d e s m u s i c a l time i n t o two
and r h y t h m i c , the l e v e l s of which c o r r e s p o n d .
Chronometric ( M e t r i c )
Beat
Measure
Hypermeasure
M a c r o p e r i o d i z a t i o n s of
hypermeasure groups
parallel
I n t e g r a l (Rhythmic)
Pulse
M o t i v e (or motive-group)
Phrase
M a c r o p e r i o d i z a t i o n s of
phrase groups
(P. 61)
E p s t e i n ' s t h e o r y here i m p l i e s a dichotomy: the two ways of l o o k i n g a t m u s i c a l

time are m u t u a l l y e x c l u s i v e .
F o r example, a phrase i s something t h a t o c c u r s on
top of an u n d e r l y i n g hypermeasure, s u g g e s t i n g t h a t the hypermeasure e x i s t s i n d e p e n d e n t l y of the p h r a s e . My approach d i f f e r s from E p s t e i n ' s o n l y i n t h a t I am
t r y i n g to see how the two c l a s s i f i c a t i o n s of time i n t e r a c t and i n f l u e n c e each
o t h e r , e s p e c i a l l y on the l e v e l of hypermeasure/phrase, o r , i n my terms, timespan/
phrase or group.
A timespan i s not j u s t a c o l l e c t i o n of a d j a c e n t measures; i t
i s a l s o a f u n c t i o n i n g u n i t of time, not n e c e s s a r i l y begun by an a c c e n t e d b a r ,
as E p s t e i n ' s hypermeasure i s .
F a i r l e i g h , i n " T r a n s i t i o n and r e t r a n s i t i o n i n Mozart's sonata-type
movements," d i s c u s s e s the use of " i n s i g n i f i c a n t f i g u r a t i o n " i n t r a n s i t i o n s and
notes t h a t "phrase and p e r i o d c o n s t r u c t i o n s are extremely uncommon" i n t r a n s i t i o n s (p. 26).
Green, i n Form i n T o n a l Music, i n c l u d e s a g e n e r a l d i s c u s s i o n of " p h r a s e "
and the d i f f i c u l t y of d e f i n i n g i t , a d i f f i c u l t y t h a t I b e l i e v e i s p a r t i a l l y
eased by r e s t r i c t i n g the d e f i n i t i o n t o music of a s p e c i f i c s t y l e or composer.
Kohs, i n M u s i c a l Form, d i s c u s s e s sonata form h a v i n g d i f f e r e n t types
of m a t e r i a l ; f o r example, the t r a n s i t i o n may have " n e u t r a l m a t e r i a l such as
s c a l e s and a r p e g g i o s " and a d i f f e r e n t t e x t u r e (p. 264).
A l s o s i m i l a r t o my
"group" i s h i s d e f i n i t i o n of " d i s s o l v e d phrase . . . a phrase which ends w i t h o u t
a c a d e n t i a l c l o s e " (p. 38).
L e s t e r , i n The Rhythms of T o n a l Music, d i s c u s s e s the f a c t o r s d e t e r m i n i n g , and r e l a t i o n s between, "Hypermeter, meter, and phrase rhythms," h i s c h a p t e r
6.
F o r example, he notes t h a t "hypermeters . . . f r e q u e n t l y o c c u r i n c l o s i n g
passages, e i t h e r of s e c t i o n s or of movements, where cadences c o n t i n u a l l y e l i d e
w i t h the b e g i n n i n g of the next p h r a s e " (p. 186).
He g i v e s the c l o s i n g s e c t i o n
i n the f i n a l e of Mozart's V i o l i n Concerto i n G Major, K. 216, as an i l l u s t r a t i o n ( t h i s i s quoted i n diagram 56 i n my c h a p t e r 7 ) .
Lowinsky, i n "On Mozart's rhythm," n o t e s , as I have, Mozart's use of
r e s t s " t o c l a r i f y and d e l i m i t a p h r a s e " (p. 35) .
In the f i e l d of a r c h i t e c t u r e , the modern house, w i t h i t s d i f f e r e n t l y
f u n c t i o n i n g rooms, may be compared w i t h sonata form: t h i s comparison may h e l p
224
to e x p l a i n why the s m a l l - s e c t i o n l e v e l i s most i n t e r e s t i n g . In f a c t , the s t r u c t u r a l l e v e l s of a house and of sonata form c o r r e s p o n d q u i t e c l o s e l y :

House
P i e c e s of wood, n a i l s , e t c .
P a n e l s , window panes
Doors, w a l l s , f l o o r s ,
windows,, c e i l i n g s
Rooms, h a l l w a y s ,
stairways
Complete f l o o r s
E n t i r e houses
Sonata Form
Notes and i n t e r v a l s
(a) Segments
(b) Phrases and groups
(c) Small s e c t i o n s
(d) Large, s e c t i o n s
(e) E n t i r e movements
I t i s easy enough to p e r c e i v e i n d i v i d u a l panels of w a l l s , window panes, d o o r s ,

e t c . , but i t i s the space c r e a t e d by e n t i r e rooms t h a t i s most i n t e r e s t i n g to
us i n houses. A l t h o u g h i t i s p o s s i b l e to c o n c e p t u a l i z e the l a y o u t of a complete
f l o o r and of an e n t i r e house, we tend to t h i n k i n s t e a d of a f l o o r p l a n i n terms
of the d i f f e r i n g and c o n t r a s t i n g f u n c t i o n s of the rooms on each f l o o r and of the
d i f f e r i n g f u n c t i o n s of each f l o o r of the house.
21
A r n o l d Schoenberg, Fundamentals of M u s i c a l C o m p o s i t i o n, 20-81
and
119-140. Erwin Ratz, E i n f U h r u n g i n d i e M u s i k a l i s c h e Formenlehre, 21-25.
C a r l Dahlhaus, "Satz und P e r i o d e : Zur T h e o r i e der m u s i k a l i s c h e n Syntax,"
Z e i t s c h r i f t f u r M u s i k t h e o r i e , 9/2 (1978), 16-26. C a p l i n , "The 'expanded cade n t i a l p r o g r e s s i o n ' , " 218-219 and 222-223.
22
.
An i l l u s t r a t i o n of one of the many types of v a r i a t i o n s of the sentence
model i s found i n the main theme of example 3.
T h i s sentence may b e . r e p r e s e n t e d
as f o l l o w s :
+
2
) + (2 + 2 + 2 )
(
2
1
a + b
+
b
The main d i f f e r e n c e w i t h r e s p e c t to the model i s the e x t e n s i o n i n the second
h a l f , where the normal ( 1 + 1 + 2 ) c o n s t r u c t i o n becomes ( 2 + 2 + 2 ) , as d i s c u s s e d
i n c o n n e c t i o n w i t h diagram 1 i n c h a p t e r 2.
23
H e i n r i c h Schenker, F r e e Composition
(Der
f r e i e S a t z ) , I , pp.
36-40.
24
S t r i c t l y s p e a k i n g , K. 331 should not be i n c l u d e d i n t h i s d i s s e r t a t i o n

because i t i s not i n sonata form. However, the o b j e c t s of my study are f i r s t
movements, and t h i s movement i s i n t e r e s t i n g because i t i s one of the v e r y few
f i r s t movements not i n sonata form.
( I t i s a theme and v a r i a t i o n s movement.)
In a d d i t i o n , the theme e x h i b i t s some a r c h e t y p a l f e a t u r e s which are found i n
sonata-form movements.
25
Another example of the p e r i o d i s found i n example 1, i n mm.
14-29(2).
Here the main theme i s doubled i n l e n g t h to s i x t e e n b a r s .
There are o n l y two
cadences, ending i n mm. 21 and 29, and t h e r e f o r e t h i s i s not a double p e r i o d .
N e v e r t h e l e s s , each 8-bar phrase i s d i v i d e d as (4 + 4 ) , m a i n l y by dynamic means
( p i a n o - f o r t e a l t e r n a t i o n ) and by m o t i v i c c o n t r a s t .
Each 4-bar u n i t i s d i v i d e d
i n t u r n i n t o two 2-bar m o t i v i c segments. T h i s p e r i o d has the m o t i v i c f e a t u r e s
225
n e c e s s a r y f o r i t to be a t r u e double p e r i o d , but not the c a d e n t i a l f e a t u r e s

n e c e s s a r y to d i v i d e the 8-bar u n i t s i n t o 4-bar p h r a s e s . The f i r s t and t h i r d
4-bar u n i t s may be termed phrases w i t h o u t cadences. T h i s theme may be r e p r e s e n t e d as f o l l o w s :
( 4
(2 + 2) +
)
+ 2)
(1 + 1
a + b
+
+
(4
(1 + 1 +
2)
a + b
d
HC
(2 + 2) +
PAC
in V
The unusual f e a t u r e of t h i s p e r i o d i s t h a t i t modulates ( t o the dominant).

(Modulation i s unusual i n normal thematic s m a l l s e c t i o n s but not i n themes
used i n o t h e r s m a l l s e c t i o n s and i n extreme v a r i a n t s of thematic s m a l l s e c t i o n s . )
An a l t e r n a t i v e a n a l y s i s of t h i s theme i s d i s c u s s e d i n chapter 2 i n c o n n e c t i o n
with l e v e l (d): "Expositions."
26
Some t h e o r i s t s use the term "rounded b i n a r y " f o r what I am c a l l i n g
"small ternary."
(For example, see Green, Form i n Tonal Music, c h a p t e r
6.)
Any s e c t i o n of a work having a c o n t r a s t i n g s u b s e c t i o n t h a t leads to a r e t u r n of
the opening m a t e r i a l i n the t o n i c should, I b e l i e v e , be l a b e l l e d t e r n a r y , r e g a r d l e s s of any repeat s i g n s .
27
A theme t h a t i s not based on one of the t h r e e models w i l l u s u a l l y be
s t r o n g l y c l o s e d i n other ways, u s u a l l y h a r m o n i c a l l y .
Such a theme i s seen i n
example 2.
The main theme extends from m. 1 to m. 22(1), o v e r l a p p i n g w i t h the
subsequent s m a l l s e c t i o n . The theme may be summarized as f o l l o w s :
(5
9
+
4)
ab
I-V
V-I
HC
PAC
+
+
(3
[2
13
2] +
[(1 + 1 + 2) +
2])
d(b )
l
V-I
IAC
V-seq.->IV
-V
VI
DC
VI
PAC
T h i s theme d i f f e r s from the t h r e e models not o n l y i n t h a t i t i s not based on any

aspect of the models (except t h a t mm. 13-22 may be based on the sentence model)
but a l s o i n t h a t i t p r e s e n t s a more v a r i e d m o t i v i c s t r u c t u r e : more motives and
more development of motives than i s u s u a l i s p r e s e n t h e r e . The b_ motive i s developed i n the second p a r t of the t h e m e e v e n the d motive may be seen as a f i l l i n g i n of b_and t h i s suggests some c o n n e c t i o n w i t h the sentence model, a l o n g w i t h
the f a c t t h a t the timespan and motive l e n g t h are s h o r t e r , i n p a r t i c u l a r the
(2 + 2) u n i t from m. 13 to m. 16.
More important, perhaps, i s the c o n s t a n t
r e g u l a r r e d u c t i o n i n segment l e n g t h up to m. 18: 5, 4, 3, 2,
and 1 b a r s .
T h i s p a t t e r n has no r e l a t i o n to any model, and the u n i t l e n g t h s are not expans i o n s or c o n t r a c t i o n s of more normative l e n g t h s or p a t t e r n s , except f o r . t h e f i n a l
s i x b a r s which are an expansions of the 4-bar phrase due to the d e c e p t i v e cadence.
T h i s r e p e t i t i o n of the c a d e n t i a l p a t t e r n puts more weight onto the cadence, thus
h e l p i n g to c l o s e the theme. A l s o remarkable i n t h i s theme i s the l a r g e number
of cadences. For f u r t h e r d i s c u s s i o n of t h i s theme, see M i t c h e l l , "The serenades
226
for wind band," 74; and Lowinsky, "On Mozart's rhythm," 32.
28
The sentence and the period models are the most frequently used i n
both MTs and STs,. accounting f o r 68% of a l l themes. MTs are dominated by sentence and period models: 85% of a l l MTs are based on these models. STs make
less use than do MTs of the sentence and period models, although 50% of STs
are based on them. There i s greater v a r i e t y i n the nature of STs than of MTs.
In p a r t i c u l a r , STs show some18%use of double themes ( i . e . , one theme f o l lowed by another), which are not found i n MTs. (This i s one i n d i c a t i o n of the
general observation that STs are u s u a l l y longer than MTs.) More than h a l f
6 0 % o f MTs are sentences, w i t h a f u r t h e r one-quarter being periods. No one
category accounts f o r a m a j o r i t y of STs: one t h i r d are p e r i o d s , one t h i r d are
unique themes, and one-third are sentences or double themes. Periods and
unique themes are both more common to STs than to MTs. Double periods are more
common to STs than to MTs ( i n d i c a t i n g again that STs are often longer than MTs).
The most extreme case of ST variance from models i s found i n movements
i n which one cannot even speak of a theme, or at l e a s t a d i s t i n c t thematic area,
i n the second key area (e.g., the Symphony no. 35). In such cases the t r a n s i t i o n may a l s o merge into the second key area. One may a l s o f i n d movements i n
which non-thematic u n i t s are connected to thematic ones i n the second key area.
Often one f u n c t i o n of such a d d i t i o n s , e t c . , i s to expand the ST area, to a p o i n t
where one could use the term complex of themes.
As w e l l as expansion i n the number of subsections w i t h i n the ST complex,,
expansion of the length of the ST i t s e l f i s normal. This i s accomplished e i t h e r
by increasing the number of phrases (e.g., by the use of a double period) and/or
by increasing the length of phrases. Both of these f a c t o r s c h a r a c t e r i z e the ST
( i n mm. 42-66) of example 2. Not only does t h i s theme feature expansion of
phrases and expansion by r e p e t i t i o n , but the e n t i r e theme i s doubled by comparison w i t h the length of the sentence model.
Another common type of expansion i n the ST i s an expansion of the second h a l f of the theme, whether period or sentence. E s s e n t i a l l y , i t i s an expansion of the c a d e n t i a l area of the theme, what Caplin has termed an "expanded
c a d e n t i a l progression" (ECP), as discussed i n chapter 1. In example 1, the S T
a p e r i o d b e g i n s at m. 29(2) and ends at m. 50(1). The f i r s t phrase of the period ends w i t h a h a l f cadence at m. 37, and i s constructed as a sentence. (This
i s another way of expanding a 4-bar phrase to an 8-bar one: by not merely doubl i n g i t s length but also by g i v i n g i t the shape of a thematic archetype, o f t e n ,
as here, that of a sentence.) The second phrase, i n mm. 37(2)-50, begins as a
repeat of the f i r s t , but i t s f i n a l seven bars are expanded w i t h respect to the
f i r s t phrase's f i n a l two bars. The archetypal feature of t h i s ECP i s the harmonic progression 1^ - i i ^ (or IV) - V - I , w i t h the bass v o i c e ^ - ^ - S - l " . The dominant i s often decorated w i t h a c a d e n t i a l s i x - f o u r chord and a t r i l l at the very
end,, as here i n mm. 48-49. Normally, as here, each harmony i s f a i r l y long i n comparison w i t h the previous rate of harmonic change i n the theme. The presence of
3" i n the bass i s a s i g n a l that an ECP i s occurring. The long cadence, u s u a l l y the
longest i n the e n t i r e movement, has the e f f e c t of inducing s i g n i f i c a n t closure at
higher l e v e l s , as w e l l as of expanding the theme. (For f u r t h e r d i s c u s s i o n , see
Caplin's ECP paper. See also Weimer, Opera Seria and the E v o l u t i o n of C l a s s i c a l
S t y l e , chapter 2, "Harmonic expansion from 1716 to 1784;" see e s p e c i a l l y p. 33
where he discusses the development of an ECP-like progression.)
227
D i f f e r e n t types of r e p e t i t i o n c h a r a c t e r i z e d i f f e r e n t s m a l l s e c t i o n s .
R e p e t i t i o n of l e v e l - ( a ) u n i t s i n mm. 14-17 o f example 3 d i f f e r s from t h a t i n ,
f o r example, the main theme o f t h i s movement i n the f o l l o w i n g ways: (1) t h e r e
i s no s e p a r a t i o n between the segments i n mm. 14-17; (2) c o n t i n u i t y i s f u r t h e r .
e s t a b l i s h e d by t h e continuous e i g h t h - n o t e bass v o i c e , a v o i c e which i s a l s o even
l e s s m o t i v i c than i n t h e theme; and (3) t h e d i s t i n c t i o n between t h e l e v e l - ( a )
u n i t s of m o t i v i c segments and the next lower l e v e l of motives i s l o s t : the u n i t
i n mm. 14(4)-15(3[1]) i s a compression t o one b a r o f t h e 2-bar m o t i v i c segment
i n mm. 4 ( 3 ) - 6 ( 2 ) , and mm. 14(4)-17 a r e t h e r e f o r e comprised of t h r e e s i m i l a r
1-bar compressed segments f o l l o w e d by a h a l f - b a r e x t e n s i o n t o t h e end o f m. 17.
So whereas mm. 10(4)-14(3) form a phrase comprised of two m o t i v i c segments,
mm. 14(4)-17 form a group comprised o f t h r e e m o t i v e / g r o u p l e t s .
One r e a s o n f o r
t h i s l a t t e r l e v e l - ( b ) u n i t forming a group r a t h e r than a phrase i s t h a t i t i s
not cadenced.
I t might be c o n s i d e r e d t o end on the downbeat o f m. 18, thus
forming a h a l f cadence i n F major, except t h a t the cadence i s o v e r l a p p e d w i t h
the new m a t e r i a l i n m. 18.
30
F o r an i l l u s t r a t i o n of the type o f change i n v o l v i n g a t r a n s i t i o n ending
on V/V, see example 3, where t h e t r a n s i t i o n i s a l t e r e d i n t h e r e c a p i t u l a t i o n t o
end on V (mm. 104-118). F o r an i l l u s t r a t i o n o f a t y p i c a l minor mode example,
see t h e Piano Sonata i n A Minor, K. 310, where i n the e x p o s i t i o n t h e t r a n s i t i o n
moves from i t o V / I I I (mm. 9-22), and i n t h e r e c a p i t u l a t i o n from i t o V
(mm. 88-103). F o r an i l l u s t r a t i o n o f a major mode t r a n s i t i o n ending on V i n
the e x p o s i t i o n , see t h e Symphony i n B - f l a t Major, no. 33, mm. 25-54 and 232-263:
b o t h v e r s i o n s o f t h e t r a n s i t i o n end on V, but the r e c a p i t u l a t i o n v e r s i o n takes
a c i r c u i t o u s harmonic r o u t e i n a r r i v i n g t h e r e .
31
.
.
.
A l t h o u g h i t i s n o t r e a l i s t i c a l l y p o s s i b l e t o f o r m u l a t e models t h a t
take i n t o account a l l f e a t u r e s of t r a n s i t i o n s , i t i s p o s s i b l e t o c a t e g o r i z e t h e
g e n e r a l f u n c t i o n o f t r a n s i t i o n s . The modulatory f u n c t i o n o f t r a n s i t i o n s i s t h e
c e n t r a l one, w i t h m e l o d i c c o n t r a s t t o the s u r r o u n d i n g s m a l l s e c t i o n s b e i n g the
lesser function.
Four broad c a t e g o r i e s o f t r a n s i t i o n procedures can be n o t e d :
(1) A v e r y few works have no t r a n s i t i o n s m a l l s e c t i o n , o r e l s e have an
extremely s h o r t o n e o n e o r two b a r s .
I n such works the m i s s i n g t r a n s i t i o n f u n c t i o n may be t r a n s f e r r e d t o the main theme, which may, f o r example, end on o r i n
the dominant; t h e thematic f u n c t i o n w i l l be primary i n such c a s e s .
See, f o r example, the Piano Sonatas i n C Major, K. 545, and D Major, K. 311.
(2) The m a j o r i t y o f movements have a d i s t i n c t t r a n s i t i o n s m a l l s e c t i o n ,
v a r y i n g from about e i g h t t o t w e n t y - f i v e b a r s i n l e n g t h .
See, f o r i n s t a n c e , examples 3 (mm. 11-22), and 2 (mm. 22-39).
(3) A few movements have more than one t r a n s i t i o n s m a l l s e c t i o n .
Each
of these has a s e r i e s o f s m a l l s e c t i o n s i n which t h e modulatory f u n c t i o n i s d i v i d e d so as g r a d u a l l y t o s h i f t t h e t o n a l focus from t h e t o n i c t o t h e new key. F o r
example, t h e f i r s t o f two s m a l l s e c t i o n s might end on t h e dominant, w i t h the s e c ond ending on the dominant of the dominant, as i n t h e S t r i n g Q u a r t e t i n D Major,
K. 593 (mm. 34-45, 45-63).
(4) A few movements combine t r a n s i t i o n and s u b o r d i n a t e theme f u n c t i o n s
i n one o r more s m a l l s e c t i o n s . F o r example, see the Symphony i n D Major, no. 35,
d i s c u s s e d i n d e t a i l i n c h a p t e r 6.
F o r f u r t h e r d i s c u s s i o n , see my paper " F u n c t i o n and s t r u c t u r e of t r a n s i t i o n s i n sonata-form music o f Mozart," Canadian U n i v . Music Review, ( f o r t h c o m i n g ) ;
228
t h i s paper also includes summaries of other t h e o r e t i c a l w r i t i n g s on t r a n s i t i o n s ,

i n c l u d i n g those of Davis, F a i r l e i g h , and Kohs as discussed i n note 19 above.
Lowinsky, i n "On Mozart's rhythm," w r i t e s :
In many compositions increasing motion w i l l be found i n the f i r s t
s e c t i o n of a sonata-allegro form up to the moment when the second
theme appears, at which point a new wave of gradually increasing
motion s t a r t s . (P. 44)
32
The second type of r e t r a n s i t i o n t h a t occurs at the end of the developmentis found i n nearly a l l sonata-form movements, but i s the type l e a s t
relevant to t h i s study, as I am mainly i n t e r e s t e d i n expositions and r e c a p i t u l a t i o n s . This r e t r a n s i t i o n type i s most often not a d i s t i n c t small section but
rather the f i n a l part of the development s e c t i o n . I t i s normally recognizable
by the use of a dominant pedal (although Mozart often s u b s t i t u t e s a dominant
pedal of the submediant, bringing i n the primary dominant at the l a s t i n s t a n t
before the r e c a p i t u l a t i o n ) , and by a fragmentation and l i q u i d a t i o n of motives
i n t o grouplets. See example 2, mm. 122-129; and example 1, mm. 73-89. For
f u r t h e r d i s c u s s i o n of r e t r a n s i t i o n s , see F a i r l e i g h , " T r a n s i t i o n and r e t r a n s i t i o n i n Mozart's sonata-type movements;" and Shamgar, "On l o c a t i n g the r e t r a n s i t i o n i n c l a s s i c sonata form."
33
Codettas are added to themes as expansions of the thematic area. For
example, i f a theme i s eight bars long, the a d d i t i o n of a codetta lengthens
what would otherwise be a short small s e c t i o n . Codettas may be added f o r reasons of tonal balance. I f a main theme i s short, an immediate move to the dominant i n the t r a n s i t i o n might give the e x p o s i t i o n too much emphasis on the dominant key area. The a d d i t i o n of a codetta to the main theme might a l l e v i a t e
t h i s problem.
See, f o r example, the S t r i n g Quartet i n B - f l a t Major, K. 589: the
MT features some i n t e r e s t i n g expansions and the codetta i s i n part a response
to these.
34
In these diagram summaries of c l o s i n g sections the timespans are
shown with t h e i r associated groups/phrases. Thus the f i r s t number i n diagram 6,
"K. 388:", r e f e r s to the f i r s t 8-bar timespan of the c l o s i n g s e c t i o n . This
begins w i t h the f i r s t beat of m. 66, i n i t i a t e d there p r i m a r i l y by v i r t u e of
t o n i c a r r i v a l . The pattern of timespan i n i t i a t i o n by t o n i c a r r i v a l has been
established by the subordinate theme, which features 6-bar timespans (mm. 42-47,
48-53, 54-59, and 60-65). Group begins j u s t before the end of the f i r s t bar
of the f i r s t timespan of the CS, i . e . , w i t h the upbeat to m. 67.
35
In p a r t , t h i s use of codas may be due to the f a c t that Mozart was
strongly influenced by Haydn i n h i s quartet w r i t i n g , e s p e c i a l l y with regard
to the s i x opus 10 quartets dedicated to Haydn. These were w r i t t e n from 1782
to 1785, and i t was Haydn's opus 33 quartets, w r i t t e n i n 1781, that were of
some influence on Mozart. In Haydn's opus 33, h a l f have codas (nos. 3, 4, and
6), and i n Mozart's opus 10, h a l f a l s o have codas.(nos. 2, 3, and 6).
36
Omitting the repeat of the development-recapitulation i n t h i s sonata
w i l l obviously change the r e l a t i o n s h i p of the coda to the r e s t of the movement.
229
Doing so w i l l g i v e the coda g r e a t e r s t r u c t u r a l weight, thereby making the whole

work more l i k e Beethoven's and l a t e r composers' sonata forms.
To p i a n i s t s who
perform more romantic than c l a s s i c p i a n o music, o m i t t i n g t h i s r e p e a t may seem
l i k e the n a t u r a l t h i n g t o do because i t w i l l make the movement more r o m a n t i c .
37
In example 8, from the Piano Sonata K. 309, the two forms of the
c l o s i n g s e c t i o n are shown. The r e c a p i t u l a t i o n form ( w i t h i n the r e p e a t s i g n s ,
of c o u r s e ) , i s t h r e e b a r s l o n g e r than the e x p o s i t i o n form.
T h i s new m a t e r i a l
i n c l u d e s a r e f e r e n c e t o the opening main theme motive i n mm. 152-153(3) and
concludes w i t h common c a d e n t i a l m a t e r i a l .
The e x t e n s i o n g i v e s the c l o s i n g
s e c t i o n more s i g n i f i c a n c e than i t had i n the e x p o s i t i o n , thereby making i t
more of a d i s t i n c t s m a l l s e c t i o n than i t was i n the e x p o s i t i o n .
In example 1 the c l o s i n g s e c t i o n i n the r e c a p i t u l a t i o n i s extended
by about t e n b a r s as compared to i t s e x p o s i t i o n form (as d i s c u s s e d e a r l i e r i n
c h a p t e r 2 ) . There i s not a s e p a r a t e coda h e r e : the m a t e r i a l i n mm. 135-159
forms one s m a l l s e c t i o n .
The new c o d e t t a m a t e r i a l grows out of the o l d , w i t h
no s i g n i f i c a n t s e p a r a t i o n between the two, s t a r t i n g w i t h the sequence i n
mm.
147(3)-148(2).
For f u r t h e r d i s c u s s i o n of codas, see, f o r example, Smyth, "Codas i n
c l a s s i c a l form: a s p e c t s of l a r g e - s c a l e rhythm and p a t t e r n c o m p l e t i o n . "
38
In example 1, a l t h o u g h t h e r e a r e no o v e r t m o t i v i c r e f e r e n c e s between
t h i s i n t r o d u c t i o n and the r e s t of the movement, t h e r e a r e many f e a t u r e s i n
common between the i n t r o d u c t i o n and the c l o s i n g s e c t i o n , e.g., the use of
g r o u p l e t s and groups as opposed t o m o t i v i c segments and p h r a s e s .
the c l o s i n g model may be seen to a p p l y t o mm. 5-13, and mm. 9-13 may be heard
as a c o d e t t a . (Another way to hear the i n t r o d u c t i o n i s as a l a r g e sentence,
i n which the o v e r a l l tonic-dominant motion overshadows the PAC i n mm.
8-9.
A t h i r d i n t e r p r e t a t i o n would hear mm. 1-9 as a sentence, w i t h mm. 9-13 as a
codetta.)
39
There are no works i n v o l v i n g a t o t a l l a c k of a p p l i c a b i l i t y of the
e x p o s i t i o n model ( e x c e p t i n g , o f c o u r s e , those few f i r s t movements not i n sonata
form, such as t h a t of the Piano Sonata i n A Major, K. 331).
T h i s i s so i f o n l y
because every work i n sonata form must b e g i n w i t h a theme, or theme-like s t a t e ment (except f o r works b e g i n n i n g w i t h an i n t r o d u c t i o n , which postpone the theme),
O b v i o u s l y , a movement cannot b e g i n w i t h a t r a n s i t i o n o r w i t h a c l o s i n g s e c t i o n .
40
R e t u r n i n g to the analogy w i t h house c o n s t r u c t i o n mentioned m note 20,
such l a r g e r , double f u n c t i o n s m a l l s e c t i o n s c o u l d be compared to l a r g e r rooms
t h a t f u n c t i o n as combinations of normal s i n g l e f u n c t i o n rooms, such as l i v i n g d i n i n g rooms.
41
T h i s i s u n l i k e the t y p i c a l meaning of "monothematic" i n Haydn's works,
where a motive w i l l be common t o the two themes, but w i l l not be used throughout, o t h e r motives b e i n g used i n a d d i t i o n (e.g., the Piano Sonata i n E - f l a t
Major, H. XIV: 49, f i r s t movement). In the H a f f n e r Symphony, by comparison,
a s i n g l e motive i s used almost c o n s t a n t l y , and t h e r e i s no r e a l ST.
42
In the analogy w i t h house c o n s t r u c t i o n , the e x p o s i t i o n of the J u p i t e r
Symphony i s s i m i l a r t o a f l o o r i n which a l l the rooms have windows on every
230
w a l l , p e r m i t t i n g one t o see i n t o a d j a c e n t rooms. The H a f f n e r Symphony, b e i n g

even more c o n t i n u o u s , i s l i k e a f l o o r which i s one l a r g e m u l t i - f u n c t i o n room.
43
F o r d i s c u s s i o n o f t h e change i n sonata forms, see, f o r example,
Newman, The Sonata i n the C l a s s i c E r a , c h a p t e r 6; and Rosen, Sonata Forms,
c h a p t e r 7. F o r examples o f sonatas s i m i l a r t o K. 545 i n form, s e e , f o r example,
those Haydn was w r i t i n g i n the 1760s (e.g., the Piano Sonata i n C Major,
H. XIV: 10, f i r s t movement).
44
.
A b r i e f summary o f development s e c t i o n s t r u c t u r e may be i n c l u d e d h e r e .
Many developments have a s h o r t i n t r o d u c t i o n l e a d i n g t o a l a r g e r c e n t r a l s e c t i o n ,
which f u n c t i o n s as t h e main a r e a of c o n t r a s t and development.
This leads into
the r e t r a n s i t i o n , which p r e p a r e s f o r the r e c a p i t u l a t i o n .
The harmonic c o n t r a s t
c h a r a c t e r i s t i c of developments comes about n o t through t h e use of a s t a n d a r d
n o n - t o n i c k e y a s i n the e x p o s i t i o n b u t by the use of f l u c t u a t i n g t o n a l i t y .
A v a r i e t y o f keys w i l l be r e f e r r e d to i n the c e n t r a l s e c t i o n , l e a d i n g t o the
dominant p e d a l o f the r e t r a n s i t i o n .
M e l o d i c c o n t r a s t i s g e n e r a t e d by the use
of remote motive-forms, sometimes to the e x t e n t o f i n t r o d u c i n g a new theme.
When exact t r a n s p o s i t i o n s o f complete phrases from the e x p o s i t i o n a r e used,
they a r e o f t e n found i n d i f f e r e n t c o n t e x t s , such as w i t h a new accompaniment,
or h a v i n g a new c o n t i n u a t i o n .
However, sometimes a theme i s simply t r a n s p o s e d
i n t h e development.
Rhythmic c o n t r a s t i s formed by the use o f a v a r i e t y o f
d i f f e r e n t l e n g t h timespans over t h e c o u r s e of t h e development, o f t e n by a p r o cess o f s h o r t e n i n g the l e n g t h s o f t h e timespans. F u r t h e r s o u r c e s o f c o n t r a s t
i n c l u d e those of t e x t u r e f o r example by t h e use of i m i t a t i o n a n d dynamics.
The c o n t i n u o u s n a t u r e of developments, which c o n t r a s t s w i t h t h e e x p o s i t i o n ,
i s generated by the use of open-ended u n i t s on l e v e l s ( b ) , ( c ) , and ( d ) . Examples of these f e a t u r e s a r e found i n most developments.
Some developments
have as r e t r a n s i t i o n the end of the t r a n s i t i o n s e c t i o n from the e x p o s i t i o n ,
t r a n s p o s e d o r o t h e r w i s e a l t e r e d t o end on the dominant.
T h i s i s done i n cases
where the r e c a p i t u l a t i o n b e g i n s w i t h the second theme, the main theme f o l l o w i n g
later.
F o r f u r t h e r d i s c u s s i o n , s e e , f o r example, B u s h i e r , "Harmonic s t r u c t u r e
i n Mozart's sonata-form developments;" Beach, "A r e c u r r i n g p a t t e r n i n Mozart's
music;" D a v i s , "Harmonic rhythm i n Mozart's sonata form;" and Lowinsky,
"On Mozart's rhythm."
45
Rosen r e f e r s t o t h i s as t h e "secondary development" (Sonata Forms,
276-277).
See a l s o Brown, "Mozart's r e c a p i t u l a t i o n s : a p o i n t o f s t y l e . "
46
In cases where t h e r e c a p i t u l a t i o n b e g i n s w i t h t h e second theme, t h e
t r a n s i t i o n s e c t i o n , a l t e r e d i f n e c e s s a r y to end on V, i s p l a c e d b e f o r e t h e
theme; i n t h i s p o s i t i o n i t a c t s as a r e t r a n s i t i o n w i t h i n the development s e c t i o n :
Development
Model:
^retransition
Variation:
-^transition
Examples
Recapitulation
MT TR ST CS
ST CS MT
i n c l u d e the Piano Sonata K. 311, and t h e V i o l i n Sonata K. 306.
47
F o r f u r t h e r d i s c u s s i o n of r e c a p i t u l a t i o n s see, f o r example, Benjamin,
"A theory o f m u s i c a l meter," 405-406 (quoted i n c h a p t e r 1, p. 11); and Rosen,
231
Sonata Forms, c h a p t e r 11.

The e x p o s i t i o n of example 2 was d i s c u s s e d i n connect i o n w i t h L e v e l ( d ) : " E x p o s i t i o n s " as to i t s p e r i o d i z a t i o n of l e n g t h s of groups,
phrases,, and timespans.
T h i s p r o c e s s of p e r i o d i z a t i o n i s important to the
r e c a p i t u l a t i o n of t h i s Serenade as w e l l , d e s p i t e the f a c t t h a t c o n s i d e r a b l e
r e w r i t i n g takes p l a c e .
The main theme i s the same as i n the e x p o s i t i o n .
The
t r a n s i t i o n b e g i n s as i n the e x p o s i t i o n but becomes g r e a t l y changed; i t s timespan
and g r o u p l e t s t r u c t u r e i s (2 x 4) + (2 x 3) + (2 x 2) + (2 x 4 ) , i . e . , a s e r i e s
of 2-bar u n i t s grouped i n d i f f e r e n t ways. The r e c a p i t u l a t e d second theme i s
v e r y i n t e r e s t i n g : i t i s m o t i v i c a l l y d i f f e r e n t from the second theme i n the
e x p o s i t i o n , y e t i t m a i n t a i n s e x a c t l y the same timespan s t r u c t u r e , i . e . , ( 6 x 4 ) .
The c l o s i n g s e c t i o n i s lengthened s l i g h t l y , but i s o t h e r w i s e the same as i n the
exposition.
48
.
.
F o r d i s c u s s i o n of b i p a r t i t e and t r i p a r t i t e approaches, see, f o r example, Newman, The Sonata i n the C l a s s i c E r a , 143-147. Examples w i l l be seen
i n subsequent c h a p t e r s .
49
.
.
.
.
.
For d e t a i l e d s t a t i s t i c s on p r o p o r t i o n s i n t h i s music, see, f o r example, W i l l i a m A b b o t t , " C e r t a i n a s p e c t s of the s o n a t a - a l l e g r o form i n piano
sonatas of the 18th and 19th c e n t u r i e s , "
(Ph.D. d i s s . , I n d i a n a U n i v . , 1956);
and Hans E n g e l , "Haydn, Mozart und d i e K l a s s i k , " Mozart-Jahrbuch, 1959, 46-79.
232
Notes to Chapter 3
(The C l o s i n g Model)
The (1 x 4) + (4 x 1) rhythmic p a t t e r n i s not s t r i c t l y a thematic

model, as i t i s seen i n o t h e r than thematic s e c t i o n s .
I t may form p a r t of a
theme o r s e c t i o n as opposed t o the thematic models which u s u a l l y account f o r
a l l of a theme. A t any r a t e , i t i s n o t seen f r e q u e n t l y i n t h e s e works.
(This
p a t t e r n was drawn to my a t t e n t i o n by Dr. W i l l i a m E. Benjamin.) T h i s theme i s
unique i n my d e f i n i t i o n of "unique theme" but not i n the b r o a d e r meaning of
the term.
2
Benjamin.
This explanation
of the coda was
suggested to me by Dr. W i l l i a m
E.
233
Notes t o Chapter 4
(The C l o s i n g
Codetta)
That c l o s i n g s e c t i o n s f u n c t i o n t o p r o l o n g the t o n i c f o r a l e n g t h of
time i s suggested by Kramer i n "Beginnings and endings i n Western a r t music;"
e.g., "A t o n a l c o m p o s i t i o n reaches i t s g o a l t h e r e t u r n o f the t o n i c as s t a b l e
b e f o r e the a c t u a l c l o s e .
The t o n i c must then be extended, o r p r o l o n g e d , f o r a
s u f f i c i e n t amount o f time f o r i t s s t a b i l i t y t o be f e l t f u l l y and f o r the momentum t h a t brought the music t o t h a t g o a l t o be d i s s i p a t e d " (p. 3 ) .
2
I have suggested a t o n i c ending f o r t h i s theme i n the example below,
i . e . , t o r e p l a c e mm. 30-33(1).
( T o n i c endings s i m i l a r t o t h i s a r e found, i n
f a c t , i n mm. 74-75, r e p e a t e d i n 76-77, o f the development s e c t i o n . )
f--
-J-4IftA major: I
7
i i
12
# J
*
5 f t
\ * T
1
V
I-
That many developments p r o l o n g IV i s suggested by B u s h i e r i n "Harmonic

s t r u c t u r e i n Mozart's sonata-form developments."
One o f the two development
s e c t i o n p r o g r e s s i o n s he p o s i t s has the subdominant as i t s g o a l .
4
Schenker's a t t i t u d e towards f o r m a l a n a l y s i s i s shown, f o r example,
by the f o l l o w i n g quote: " I . . . r e j e c t those e x p l a n a t i o n s which a r e based
upon p h r a s e s , phrase-groups, p e r i o d s , double p e r i o d s , themes, a n t e c e d e n t s ,
and consequents."
F r e e Composition (Per f r e i e S a t z ) , 131. I t s h o u l d be
noted t h a t I am n o t i m p l y i n g t h a t diagrams 38 and 39 a r e S c h e n k e r i a n a n a l y s e s ;
i n s t e a d , I w i l l say t h a t they a r e i n f l u e n c e d by S c h e n k e r i a n t e c h n i q u e s .
See c h a p t e r 5, "Form," o f F r e e Composition, f o r Schenker's approach t o sonata
form a n a l y s i s .
(See a l s o pp. 27-29 above.) He m a i n t a i n s t h a t a l l sonata form
music must be a n a l y s e d as i n t e r r u p t i o n s : i n the p r e s e n t work t h i s would l i k e l y
mean a de-emphasis o f the extreme s i m i l a r i t y between the- o u t e r l a r g e s e c t i o n s .
234
The o v e r a l l form of t h i s movement has been d e s c r i b e d as ABCBA or m i r r o r

form ( i . e . , o v e r s i m p l i f i e d , A = MT, B_ = ST a r e a , and = development).
See,
f o r example, Newman, The Sonata i n the C l a s s i c E r a , 146.
6
The Piano
Sonata K.
333
i s d i s c u s s e d on pp.
44, 47, 50, 52,
63, 83,
87.
The r e c a p i t u l a t i o n of K, 545 b e g i n s i n m. 42 i n the subdominant key.

A
p o s s i b l e e x p l a n a t i o n f o r t h i s unusual t o n a l b e g i n n i n g i s t h a t , s i n c e the movement
i s so s h o r t , a l i t e r a l r e p e a t of mm. 1-12 so soon a f t e r they were heard i n the
e x p o s i t i o n would be u n i n t e r e s t i n g . (See Rosen, The C l a s s i c a l S t y l e , 152, f o r
o t h e r views on the n o n - t o n i c b e g i n n i n g of the r e c a p i t u l a t i o n . )
In a d d i t i o n , the
r e w r i t t e n main theme d i f f e r e n t i a t e s the r e c a p i t u l a t i o n from the e x p o s i t i o n , the
two s e c t i o n s b e i n g almost i d e n t i c a l except f o r t h i s and the u s u a l change of key
i n the s u b o r d i n a t e theme a r e a . An a d d i t i o n a l 4-bar u n i t i s i n c l u d e d i n the main
theme, i n p a r t prompted by the use of the subdominant ( i . e . , mm. 42-49 a r e a
t r a n s p o s i t i o n of mm. 1-8 t o F major, mm. 50-53 a r e a v a r i a t i o n of mm. 5-8 i n C
major, and mm. 54-57 r e p e a t mm- 9-12). The s u b o r d i n a t e theme a r e a i s unchanged
except f o r the key and a r e w r i t t e n form of mm. 67-69 compared w i t h mm. 22-24.
The t o n i c i z a t i o n of V here s t r e n g t h e n s the cadence, and the use of a main theme
motive i n m. 69 i s an a d d i t i o n a l c o n n e c t i o n between the two themes.
I t i s i n t e r e s t i n g t o compare the timespan o r g a n i z a t i o n of t h i s movement
w i t h o t h e r movements and to see how these o t h e r timespan arrangements r e l a t e to
t h e i r thematic s t r u c t u r e s . F o r example, Haydn's Piano Sonata i n D Major, H. XIV:
14, f i r s t movement, e x p o s i t i o n , i s comprised of a s t r i n g of e q u a l l e n g t h timespans: (4 + 4) + (4 + 4) + (4 + 4 + 4) + (4 + 4 ) .
In t h i s movement the s m a l l
s e c t i o n s a r e u n d i s t i n g u i s h e d ; i . e . , i d e n t i f y i n g the themes, t r a n s i t i o n , , and c l o sing section i s very d i f f i c u l t .
T h i s i s p a r t l y due t o the extreme c o n s i s t e n c y
of timespan l e n g t h s .
(Another reason here i s t h a t t h e r e i s f r e q u e n t use of s e quence, both w i t h i n and between 4-bar u n i t s . )
g
Both themes i n K. 570 can be a n a l y s e d as sentence v a r i a n t s w i t h c o d e t t a s ,
and b o t h share the same opening t r i a d i c motive.
Of c o u r s e , t h e r e a r e a number
of d i f f e r e n c e s between the two themes, i n p a r t i c u l a r i n the r e l a t i o n the c o d e t t a s
have t o t h e i r r e s p e c t i v e themes. In the main theme c o d e t t a (mm. 12[2]-20), the
c o d e t t a i s d i s t i n c t from the theme (by v i r t u e of i t s d i f f e r e n t motives, e t c . ) .
On the o t h e r hand, the s u b o r d i n a t e theme c o d e t t a (mm. 5 7 [ 2 ] - 6 9 [ l ] ) i s based d i r e c t l y on the second, h a l f of the theme (mm. 49-56).
In o t h e r words, the ST and
i t s c o d e t t a form a more c o h e s i v e u n i t , d e s p i t e t h e i r g r e a t e r combined l e n g t h ,
than do the MT and i t s c o d e t t a . The t r a n s i t i o n i s i n t e r e s t i n g f o r i t s 2-bar
i n t r o d u c t i o n i n mm. 21-22 t h a t a b r u p t l y l e a v e s b o t h the t o n i c key and main theme
m a t e r i a l ; a t h e m e - l i k e statement then f o l l o w s b e g i n n i n g i n the subdominant key.
A c u r i o u s and unusual c o n n e c t i o n i s formed between the c l o s i n g s e c t i o n
and the t r a n s i t i o n when, a f t e r the r e p e a t of the e x p o s i t i o n , the development
i s begun. The l a s t bar of the c l o s i n g s e c t i o n and the f i r s t bar of the d e v e l opment resemble the f i r s t two b a r s of the t r a n s i t i o n , and i n f a c t the d e v e l o p ment then c o n t i n u e s w i t h the t r a n s i t i o n "theme" as w e l l as w i t h the f i r s t p a r t
of the s u b o r d i n a t e theme t r a n s p o s e d to new keys (one of which, G minor, i s the
one i m p l i e d by the f i r s t two b a r s of the t r a n s i t i o n [mm. 21-22] a l t h o u g h t h i s
key i s a t r i t o n e d i s t a n t from t h a t i m p l i e d by mm.
79-80).
The r e c a p i t u l a t i o n b e g i n s i n m.> 133 w i t h the main theme r e p e a t e d e x a c t l y .
Two b a r s 3 3 and 3 4 a r e o m i t t e d from the t r a n s i t i o n , p e r m i t t i n g the subsequent
m a t e r i a l to remain i n the t o n i c .
The s u b o r d i n a t e theme, i t s c o d e t t a , and the
c l o s i n g s e c t i o n are e s s e n t i a l l y u n a l t e r e d .
7
235
Notes
to Chapter 5
(The C l o s i n g Theme F o l l o w e d by the C l o s i n g
Codetta)
A few o t h e r type (1) c l o s i n g s e c t i o n s may be r e i n t e r p r e t e d as of

type ( 3 ) . F o r example, i n the Piano Sonata i n C Minor,. K. 4 5 7 d i s c u s s e d
b r i e f l y i n c h a p t e r 3 t h e f i r s t two 4-bar groups of the c l o s i n g s e c t i o n
( i n mm. 59-67) c o u l d be regarded as h a v i n g some phrase f e a t u r e s , and hence,
to t h a t e x t e n t , form a theme. The f o l l o w i n g f o u r b a r s c o u l d then be the
closing codetta.
2
Another r e a s o n f o r the use of E - f l a t i s t h a t the theme must be i n
a major key, and o t h e r major t o n a l i t i e s w i t h i n C major a r e u n a v a i l a b l e ,
f o r a v a r i e t y of r e a s o n s . The t o n i c cannot be used a t the s t a r t of the
development; the l o n g e x p o s i t i o n used the key of G major to a g r e a t e x t e n t ,
so f u r t h e r use of the dominant key would be i n a p p r o p r i a t e ; the subdominant
i s used i n a prominent manner l a t e r i n the development s e c t i o n ; and s i g n i f i c a n t t o n a l c o n t r a s t would not be a c h i e v e d by simply r a i s i n g the t h i r d of
the minor d i a t o n i c t r i a d s .
At any r a t e , h e r e the key of E - f l a t sounds more
l i k e the submediant of the p a r a l l e l minor key of G major than as a Chromatic
v a r i a n t of the mediant of C.
T h i s has been h i n t e d a t by the use of two chords
borrowed from G; minor ( i . e . , i n mm. 81 and 98).
3
.
The expansion of the normal 2 + 2
opening s u b s e c t i o n of the sentence
to 6 + 6 here would suggest a 12-bar c o n c l u d i n g s u b s e c t i o n .
Perhaps because
a 12-bar phrase i s c o n s i d e r a b l y l o n g e r than the norm f o r t h i s s t y l e , Mozart
w r i t e s f i r s t a 4-bar phrase t h a t appears to c l o s e o f f the theme (mm. 12[3]-16,
t h i s i n t u r n s u g g e s t i n g f u r t h e r t h e m a t i c m a t e r i a l i n the t o n i c by i t s s h o r t
l e n g t h ) , and then two more 4-bar phrases t h a t comprise the c o d e t t a ( i n the
form of a simple p e r i o d ) .
So we e v e n t u a l l y do get twelve b a r s of m a t e r i a l
to b a l a n c e the opening of the sentence, but they are a r r a n g e d i n a n o v e l way.
(However, see the F l u t e Q u a r t e t K. 285, where a somewhat s i m i l a r r e l a t i o n
e x i s t s between the main theme and i t s c o d e t t a .
T h i s work i s a n a l y s e d i n
c h a p t e r 4.)
4
The s t r u c t u r e of t h i s s u b o r d i n a t e theme i s perhaps a l i t t l e more
complex than most, such themes. As has been seen i n some o t h e r l o n g themes,
s e v e r a l s u b s e c t i o n s can be a n a l y s e d as v a r i a n t s of o t h e r thematic models:
the f i r s t two phrases ( a b ) , i n mm. 37-44, form a sentence, the two phrases
( c d ) , i n mm. 49-56 form a d i f f e r e n t sentence, and the f i n a l two phrases
236
(c d -ECP), i n mm. 57-68, form a sentence based on the p r e v i o u s two. These

l a t t e r two o b s e r v a t i o n s suggest t h a t the m a t e r i a l i n mm. 49-68 may be a
double p e r i o d i n i t s own r i g h t , s u g g e s t i n g i n t u r n t h a t the m a t e r i a l i n
mm. 37-48 be regarded as an incomplete p e r i o d .
However, the u n i t y o f the
e n t i r e s e c t i o n i s a s s u r e d by the l a c k o f a cadence i n mm. 48-49 and by the
f a c t t h a t the c_ group grows out o f a^, f u n c t i o n i n g as a consequent t o b_
as w e l l as an antecedent i n the next s u b s e c t i o n .
i n regard
above).
T h i s i n t e r p r e t a t i o n resembles t h a t noted e a r l i e r i n t h i s c h a p t e r
to the Symphony no. 41 and t o the Piano Sonata K. 457 (see note 1
^ A l t h o u g h a c o n t r a s t i n g theme i n the dominant key i s n o t a requirement

of sonata form i n the e i g h t e e n t h - c e n t u r y ,
the m a j o r i t y of Mozart's works i n
sonata form do i n f a c t have such a theme.
237
Notes to Chapter 6
( C l o s i n g S e c t i o n s Not Based on
Models)
The b e s t p u b l i s h e d s c o r e i s : Wolfgang Amadeus Mozart: Symphony i n D,

K. 385: 'Haffner' Symphony. Ed. under the s u p e r v i s i o n of H. C. R. Landon.
London: Faber, 1971.
Most o t h e r e d i t i o n s have many problems; e.g., the
E u l e n b e r g m i n i a t u r e s c o r e has " s e v e r a l hundred wrong n o t e s " (Landon, p. v ) .
One d e t a i l t h a t w i l l be important l a t e r i n t h i s c h a p t e r i s t h a t the f i r s t
movement has no r e p e a t s i g n s ( i n Landon).
2
T h i s movement, and perhaps a few o f the ones a n a l y s e d i n p r e v i o u s
c h a p t e r s , may be seen as b i p a r t i t e r a t h e r than t r i p a r t i t e .
In o t h e r words,
the e x p o s i t i o n - d e v e l o p m e n t boundary i s the most important i n the movement,
s u g g e s t i n g a d i v i s i o n i n t o two, not t h r e e , l a r g e s e c t i o n s .
B i p a r t i t e sonata
forms a r e common e a r l i e r i n the c l a s s i c a l p e r i o d .
F o r d i s c u s s s i o n of t h i s ,
see Newman, The Sonata i n the C l a s s i c E r a , 143-146.
3
A c u r i o u s f e a t u r e of t h i s theme (and of the movement as a whole) i s
the l a c k of a genuine melody. There a r e m o t i v e s e . g . , the accompanimental
motive t h a t i n c o r p o r a t e s syncopated h a l f - n o t e s i n mm. 38-40, and the r e p e a t e d
e i g h t h - and s i x t e e n t h - n o t e motive i n mm. 4 1 - 4 2 b u t they a r e not o r g a n i z e d
i n t o a normal "melody and accompaniment" p a t t e r n .
T h i s i s one reason why
the theme i s unique (as opposed to based on a thematic model): i t i s a theme
without a melody.
(Rosen d i s c u s s e s the m o t i v i c s t r u c t u r e of the theme i n
Sonata Forms, 194, 214.)
4
Rosen, Sonata Forms, 215.
^ Rosen, Sonata Forms, 215.
See a l s o L a r s e n ' s d i s c u s s i o n of the
i n f l u e n c e of r i t o r n e l l o form i n t h i s c l o s i n g s e c t i o n and i n the movement
as a whole i n "The Symphonies," i n The Mozart Companion, 188-189.
Rosen, Sonata Forms, 216-217. L a r s e n , "The Symphonies," 188-189.
L i k e the H a f f n e r Symphony d i s c u s s e d above, t h i s movement might be regarded
as i n b i p a r t i t e , r a t h e r than t r i p a r t i t e form.
See note 2 above.
6
In t h i s l a t t e r r e s p e c t , the appearance of the I I I harmony resembles

the s t a r t of the r e c a p i t u l a t i o n i n the Symphony no. 35, d i s c u s s e d e a r l i e r
i n this chapter.
7
238
None of the f o l l o w i n g w r i t e r s d i s c u s s e s the f u n c t i o n of these e i g h t

bars i n the e x p o s i t i o n .
Cone, L e s t e r , and W i t t l i c h a s s e r t t h a t the meter i s
not o v e r r i d d e n by o t h e r rhythmic f a c t o r s .
Only L e s t e r and W i t t l i c h put the
passage i n t o c o n t e x t . A r n o l d Schoenberg, "Brahms t h e . p r o g r e s s i v e , " r e p r i n t e d
i n S t y l e and Idea, ed. L. S t e i n (New York: S t . M a r t i n ' s P r e s s , 1975), pp. 436-437.
Hans K e l l e r , " ' P r i n c i p l e s of composition'. ( I I ) , " The Score, 27 ( J u l y 1960),
10-11. P e t e r Westergaard, "Some problems i n rhythmic t h e o r y and a n a l y s i s , "
P e r s p e c t i v e s of New Music, 1/1 (FW 1962), 191. Edward Cone and W i l l i a m
M i t c h e l l , "Communications," P e r s p e c t i v e s of New Music, 1/2 (SS 1963), 206-211.
Maury Yeston, The S t r a t i f i c a t i o n of M u s i c a l Rhythm, (New Haven: Y a l e U n i v .
P r e s s , 1976), pp. 130-139. Gary W i t t l i c h , "Review: Maury Y e s t o n , The S t r a t i f i c a t i o n of M u s i c a l Rhythm,"
J o u r n a l of Music Theory, 21/2 (1977), 369-370.
C h a r l e s J . Smith, "Rhythm r e s t r a t i f i e d , "
P e r s p e c t i v e s of New Music, 16/1
(FW 1977), 167-175. R i c h a r d Kaplan, "Exempli g r a t i a : Mozart's s e l f - b o r r o w i n g s :
two cases of a u t o - t h e f t , "
In Theory Only, 6/3 ( A p r i l 1982), 28-30.
Wallace
B e r r y , " M e t r i c and rhythmic a r t i c u l a t i o n i n music,"
Music Theory Spectrum,
7 (1985), 12-13. J o e l L e s t e r , The Rhythms of T o n a l Music, (Carbondale and
E d w a r d s v i l l e : Southern I l l i n o i s U n i v . P r e s s , 1986), pp. 81-82.
Notes to Chapter 7
(Conclusion)
V. K o f i Agawu, "Concepts of c l o s u r e
and Chopin's Opus
28."
2
Agawu (see note 1 ) ; Hopkins, "Secondary parameters and c l o s u r e i n
symphonies of Gustav M a h l e r . "
3
See O r r , "The e f f e c t of s c o r i n g on the 'sonata-form' i n Mozart's
mature i n s t r u m e n t a l ensembles."
O r r c o n c l u d e s t h a t the l a r g e r the ensemble
the l a r g e r i s the form.
See a l s o Rosen, The C l a s s i c a l S t y l e , 63-64, where
he d i s c u s s e s d i f f e r e n c e s between genres.
the
Leonard Meyer, Emotion and Meaning
^ C a p l i n , "The
a n a l y s i s of c l a s s i c a l
'expanded
form."
i n Music, 139-140.
cadential progression':
a c a t e g o r y f o r the
240
Glossary
Page numbers f o l l o w i n g a d e f i n i t i o n r e f e r t o f u l l e r treatment of t h a t

term i n the t e x t .
A, a_.
U n d e r l i n e d words a r e d e f i n e d elsewhere
i n this Glossary.
Timespans a r e r e f e r r e d t o as A, B_, , e t c . ; groups, p h r a s e s , m o t i v e s ,

e t c . , as , b_, c_, e t c .
Cadence. A c o n v e n t i o n a l event on l e v e l ( a ) ; a s p e c i a l type of c l o s i n g g r o u p l e t ;

most common types a r e : p e r f e c t a u t h e n t i c (PAC), i m p e r f e c t a u t h e n t i c (LAC),
and h a l f (HC); (pp. 46-48).
C l o s i n g c o d e t t a . A type of c l o s i n g s e c t i o n ; a type of c o d e t t a ; u s u a l l y v e r y
s h o r t ; sometimes based on the c l o s i n g model, reduced (pp. 75-76,
chapter 4).
C l o s i n g model. A type of codetta-complex used i n the c l o s i n g s e c t i o n ; groups
a r e aabbcc w i t h timespans (4 + 4) + (2 + 2) + (1 + 1); (pp. 7-8, 74-75,
chapter 3).
C l o s i n g s e c t i o n . A type of s m a l l s e c t i o n ; ends the e x p o s i t i o n and r e c a p i t u l a t i o n ; o f t e n based on the c l o s i n g model which i s a type o f c o d e t t a complex; uses groups (pp. 74-76).
C l o s i n g theme. The c l o s i n g theme f o l l o w e d by the c l o s i n g c o d e t t a i s a type o f
c l o s i n g s e c t i o n ; the theme i s u s u a l l y a simple p e r i o d (p. 76, c h a p t e r 5 ) .
Coda..
A type o f s m a l l s e c t i o n t h a t may o c c u r a f t e r the r e c a p i t u l a t i o n ; d i f f e r e n t i a t e d from e x t e n s i o n s of the c l o s i n g s e c t i o n by i n t r i n s i c l e n g t h ,

c o n t r a s t i n g m a t e r i a l , e t c . (pp. 77-80).
C o d e t t a , codetta-complex.
Types of s m a l l s e c t i o n s , 8 t o 16 b a r s i n the case of
c o d e t t a s , 16 to 32 i n the case of codetta-complexes, the l a t t e r comprised
of more than one c o d e t t a ; a c o d e t t a may be j o i n e d to the end o f a theme
o r may be p a r t or a l l of a c l o s i n g s e c t i o n ; a codetta-complex may be a
more independent s m a l l s e c t i o n ; both use groups (pp. 70-73).
Development. A type o f l a r g e s e c t i o n ; a c t s as c o n t r a s t t o the o t h e r two
s e c t i o n s ; average l e n g t h i s 40 b a r s (p. 90).
large
Expanded c a d e n t i a l p r o g r e s s i o n . The harmonic motion 1^ - i i ^ ( o r IV) - V - I

t h a t c l o s e s the s u b o r d i n a t e theme (pp. 13-15, c h a p t e r 2 note 28).
241
Exposition.
A type of l a r g e s e c t i o n ; the s m a l l s e c t i o n u n i t s combine i n the
o r d e r : main theme, t r a n s i t i o n , s u b o r d i n a t e theme, c l o s i n g s e c t i o n ;
the themes are p r i m a r y , the t r a n s i t i o n and c l o s i n g s e c t i o n are s u b s i d i a r y ; i n s h o r t e x p o s i t i o n s the s u b s i d i a r y s m a l l s e c t i o n s may be o m i t t e d ,
reduced to a v e r y s h o r t l e n g t h , or combined w i t h the r e s p e c t i v e p r e c e d i n g
s e c t i o n ( i . e . , MT + TR, ST + CS); average l e n g t h i s 80 b a r s (pp. 81-89).
Feature.
A d e s c r i p t i o n t h a t a t t a c h e s to a u n i t of s t r u c t u r e i n v o l v i n g some or
a l l of melody, rhythm, harmony, e t c .
Group.
A 4-bar l e v e l - ( b ) event t h a t i n c l u d e s two g r o u p l e t s and i s uncadenced;

most events on t h i s l e v e l f a l l between the two extremes of phrase and
group (pp. 52-57).
Grouplet.
A 2-bar event on l e v e l - ( a ) formed of s m a l l e r s u b g r o u p l e t s which are
w i t h o u t m o t i v i c f e a t u r e s ; i t i s e i t h e r not r e p e a t e d or i s r e p e a t e d o n l y
i n a l o c a l context (pp. 43-46).
Introduction.
A type of s m a l l s e c t i o n t h a t may precede the e x p o s i t i o n and
i s f r e q u e n t l y not p a r t of the sonata form (pp. 80-81).
Large s e c t i o n . A u n i t on l e v e l ( d ) ; one of e x p o s i t i o n , development, or
i t u l a t i o n ; l e n g t h v a r i e s from 40 to 100 measures (pp. 81-95).
Level.
that
recap-
A stage of f o r m a l s t r u c t u r e and a l s o sometimes of m e t r i c a l h i e r a r c h y ,

v a r y i n g p r i m a r i l y by the l e n g t h of i t s c h a r a c t e r i s t i c u n i t ; above the
u n d e f i n e d lowest l e v e l of notes and i n t e r v a l s there are f i v e d e f i n e d
l e v e l s : (a) segments, (b) phrases and groups, (c) s m a l l s e c t i o n s ,
(d) l a r g e s e c t i o n s , and (e) movements (sonata form); (pp. 37-40).
Liquidation.
E l i m i n a t i o n of motives from m a t e r i a l such as phrases so t h a t
become groups and s h o r t e r u n i t s such as g r o u p l e t s (pp. 29-30).
they
j.
Model.
An a r c h e t y p a l
(pp. 35-38).
combination of f e a t u r e s
forming a norm of
Motive.
A 1-bar event w i t h prominent f e a t u r e s t h a t i s s u b j e c t to r e p e t i t i o n

and v a r i a t i o n ; combines w i t h another motive to form a m o t i v i c segment
(pp. 41-43).
Motive/grouplet
segment. A 2-bar event on l e v e l (a) which has
of motives and some of g r o u p l e t s (p. 45).
Motivic
(1x3).
Period.
segment. A 2-bar event on l e v e l

(pp. 41-43).
In diagrams, t h i s means a 1-bar
(a) comprised of two
u n i t heard t h r e e
structure
some f e a t u r e s
motives
times.
A type of theme f e a t u r i n g p a r a l l e l antecedent-consequent phrase s t r u c t u r e and timespans (4 + 4 ) ; (pp. 62-64).
242
Phrase.
A 4-bar L e v e l - ( b ) event formed of a m o t i v i c segment l e a d i n g to a

cadence; most events on t h i s l e v e l f a l l between the two extremes of
phrase and group (pp. 49-52).
Recapitulation.
A type of l a r g e s e c t i o n ; r e p e a t s the e x p o s i t i o n w i t h a t l e a s t
the n e c e s s a r y t r a n s p o s i t i o n of the second-key m a t e r i a l (the s u b o r d i n a t e
theme and c l o s i n g s e c t i o n ) to the t o n i c ; o t h e r changes may o c c u r ;
average l e n g t h i s 85 b a r s (pp. 90-95).
Retransition.
A type o f s m a l l s e c t i o n , o f t e n so s h o r t as to not be an independent s e c t i o n , t h a t connects the end of the e x p o s i t i o n t o i t s r e p e a t ,
and then t o the development; o r t h a t connects the development to the
r e c a p i t u l a t i o n (pp. 69-70).
Segment. A l e v e l - ( a ) u n i t , n o r m a l l y o f two b a r s l e n g t h ; the two d e f i n e d extremes a r e the m o t i v i c segment and the g r o u p l e t ; the cadence i s a spec i a l type of g r o u p l e t (pp. 40-49).
Sentence.
A type of theme w i t h m o t i v i c s t r u c t u r e such as a a \
spans
o f (2 + 2) + ( 1 + 1 + 2 ) ; (pp. 60-62).
bbc w i t h t i m e -
Small s e c t i o n .
A l e v e l - ( c ) u n i t ; one of theme, t r a n s i t i o n , c o d e t t a , c l o s i n g
s e c t i o n , coda, or i n t r o d u c t i o n ; see a l s o r e t r a n s i t i o n ; l e n g t h v a r i e s
from 8 to 40 measures (pp. 57-81).
Small t e r n a r y . A type of theme w i t h s u b s e c t i o n s of ABA''" and timespans
( 8 + 4 + 4 ) ; (pp. 64-65).
of
Sonata form.
The l e v e l - ( e ) form of the e n t i r e movement; comprised of the
t h r e e l a r g e s e c t i o n s i n the o r d e r e x p o s i t i o n , development, r e c a p i t u l a t i o n
(p. 95T.
Theme.
A type o f s m a l l s e c t i o n ; uses mainly p h r a s e s ; one of sentence,

s m a l l t e r n a r y (these are thematic models), o r unique theme; see
e x p o s i t i o n (pp. 59-67).
period,
also
Timespan. A u n i t o f h y p e r m e t r i c s t r u c t u r e , u s u a l l y a t l e v e l (b) o r ( c ) ; a
frame w i t h i n which e v e n t s s u c h as phrases o r groups on l e v e l ( b )
move (pp. 53-57).
Transition.
A type of s m a l l s e c t i o n e i t h e r not based on a thematic model o r
u s i n g an extreme v a r i a n t o f one; uses groups and g r o u p l e t s ; i n the
e x p o s i t i o n i t modulates t o or moves towards V (major mode), t o I I I
(minor mode); found between themes (pp. 67-69).
Unique theme. A theme which i s n o t based on one of the t h r e e thematic models
( s e n t e n c e , p e r i o d , or s m a l l t e r n a r y ) ; (p. 66).
243
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247
Example 1 (mm. 1-10)

Sonata f o r V i o l i n
and Piano i n B - f l a t
Major, K. 454: F i r s t Movement
Largo.
Violino.
'
2
if
Pianoforte^
~ '
1 | M
i[> I
ff i
1f
If.ltf J f g > j; </y f P =
"i
-==3=3=^==*=^=;
2 2 2 2
J J JJ
IJ'
J J J
'
A.M.4M.
i-443-JJJ'
248
W. A. M. 481.
W. A. M. 4 J4.
250
W A.M. 4*4.
251
W. A. M. 484.
253
Example 1 (mm. 115-136)
w. A. M. 4 VI.
Example 1 (mm. 137-159)
151
152
153
W.A. M. 4*4.
154
155
255
Example 2 (mm.
1-23)
Serenade i n C Minor, K. 388: F i r s t Movement
W.A.M.JMM
W.A.M.1M4
258
259
Example 2 (mm. 108-136)
W.A.H.;
Example 2 (mm. 137-164)
W A.M. IN*
261
Example 2 (mm.
165-191).
W. A. 31.188
Example 2 (mm. 192-215)
263
Example 2 (mm. 216-231)
Example 3 (mm.
1-33)
Piano Sonata i n B - f l a t Major, K. 333: F i r s t Movement: E x p o s i t i o n
w. A.M.aw.
Example 4
Symphony i n C Major ( J u p i t e r ) , no. 41: T h i r d Movement: T r i o
(mm.
1-16)
267
Example 5
S t r i n g Q u a r t e t i n A Major, K. 464:
F i r s t Movement (mm.
1-22)
Alk'srro.
Example 6
Piano Sonata i n A Major, K. 331:
F i r s t Movement (mm.
1-18)
TEMA.
Andante grazioso.
il5j)i.y
16
18
Example 7
S t r i n g Quartet i n C Major, K. 465: F i r s t Movement
(mm.
90-113)
Example 8 (mm.
32-58)
Piano Sonata i n C Major, K. 309: F i r s t
Movement
270
Example 8 (mm. 145-155)
Example 9
Piano Sonata i n B - f l a t Major, K. 570: F i r s t Movement (mm. 62-85)
I*
* t
, J j
11
11
r i l l
,
^ b ^ = = = = c 3 = ^ 1 - ! - 84
J
J
J ,|U
j. J
J
J - I U
I
Hiai
l ^ j
* W ^
Example 10 (mm.
57-74)
Piano Sonata i n C Minor, K. 457: F i r s t
Movement
Example 10 (mm. 151-185)

A Study of Closure in Sonata Form

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A Study of Closure in Sonata Form

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A STUDY OF CLOSURE IN SONATA-FORM FIRST MOVEMENTS

IN SELECTED WORKS OF W. A. MOZART

A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF

REQUIREMENTS FOR THE DEGREE OF

FACULTY OF GRADUATE STUDIES

UNIVERSITY OF BRITISH COLUMBIA

Robert Gordon B a t t , 1988

freely available for reference

The University of British Columbia

Library shall make it

study. I further agree that permission

this thesis for financial gain

British Columbia, 1 agree that the

thesis for scholarly

i n Mozart's sonata-form f i r s t movements

f u n c t i o n of the c l o s i n g s e c t i o n i n these works,

taken i n t o account are

c l o s u r a l e f f e c t s of the coda (when p r e s e n t ) and

Because sonata form i n the

the a n a l y t i c a l approach adopted c e n t e r s on m a t t e r s of f o r m t h e ways i n which

aims a t i d e n t i f y i n g these i n the

are based on a model which

s i m p l i f i e d to aabbcc, where each l e t t e r symbolizes one

t h i s f a c e t of sonata form at a p a r t i c u l a r stage i n music h i s t o r y .

most common l e n g t h s i n measures

An example i s the Sonata f o r V i o l i n and Piano i n

B - f l a t Major, K. 454, mm. 50-65.

Chapter 2 presents a theory that accounts f o r s t r u c t u r e at various

l e v e l s of Mozart's sonata form.

Chapters 3 through 6 contain d i s c u s s i o n and

a n a l y s i s of d i f f e r e n t types of c l o s i n g sections and movements.

Concepts, Models, and F e a t u r e s .

Three Types of Closing Music.

Codettas and Codetta-Complexes.

Level (d): Large Sections.

Level (e): Complete Movements.

The Closing Model.

Symphony no. 36.

Symphony no. 40.

Symphony no. 31.

Symphony no. 32.

Symphony no. 33.

Symphony no. 34.

K. 304, 377, and 454.

K. 284, 311, 310, 330, 457, and 533.

Symphony no. 39.

Symphonies nos. 32 and 34; E i n e k l e i n e Nachtmusik.

S t r i n g Q u a r t e t s K. 428 and 589; S t r i n g T r i o K. 563.

Piano Sonatas K. 284, 309, 311, 333, 545, and 570.

Symphony no. 41.

Piano Sonata K. 332.

Piano Sonata K. 570.

S e c t i o n s Not Based on Models.

Symphony no. 35.

Symphony no. 38.

Piano Quartet K. 478.

Piano Sonata K. 576.

Piano Sonata K. 333: E x p o s i t i o n .

Symphony no. 41: T r i o .

S t r i n g Quartet K. 464: mm. 1-22.

Piano Sonata K. 331: mm. 1-18.

S t r i n g Quartet K. 465: mm. 90-113.

Piano Sonata K. 309: mm. 32-58 and 145-155.