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␈↓ α∧␈↓␈↓ ε124␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ αdThe␈αdifficulty␈αin␈αanalyzing␈αthis␈αlast␈αhalf␈αof␈αthe␈αdevelopment
␈↓ α∧␈↓section␈α
stems␈α∞mainly␈α
from␈α∞the␈α
ambiguity␈α
of␈α∞function␈α
in␈α∞the␈α
long
␈↓ α∧␈↓string␈α⊂of␈α⊂ascending␈α⊂seventh␈α⊂chords.␈α⊂ Even␈α⊂though␈α⊂a␈α∂satisfactory
␈↓ α∧␈↓analysis␈α∞of␈α∞the␈α∞tonal␈α∞bases␈α∞can␈α∞be␈α∞worked␈α∞out␈α∞here,␈α∞it␈α∂is␈α∞obvious
␈↓ α∧␈↓that␈α∂our␈α∂comprehension␈α∂of␈α∂such␈α∂passages␈α∂depends␈α∂greatly␈α∂on␈α∂the
␈↓ α∧␈↓much␈αless␈αproblematical␈αelement␈αof␈αmotivic␈αcontinuity.␈α It␈αwill␈αbe
␈↓ α∧␈↓seen␈α∀later␈α∪how␈α∀the␈α∀functional␈α∪ambiguity␈α∀of␈α∀late␈α∪19th-century
␈↓ α∧␈↓music␈α∩led␈α∩to␈α∩a␈α∩situation␈α∩wherein␈α∩the␈α∩motivic␈α∩or,␈α∩more␈α⊃broadly
␈↓ α∧␈↓speaking,␈α2contextual␈α2element␈α1took␈α2over␈α2the␈α1primary
␈↓ α∧␈↓organizational role from tonal harmony.

␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α∂recapitulation␈α∂of␈α∂this␈α∞Mozart␈α∂movement␈α∂offers␈α∂no␈α∞new
␈↓ α∧␈↓complications.  The few new tonics can easily be identified.

␈↓"β␈↓ α∧␈↓␈↓ αdIt␈α∞will␈α
be␈α∞noticed␈α
that␈α∞most␈α
of␈α∞the␈α
work␈α∞on␈α
the␈α∞role␈α∞of␈α
the
␈↓ α∧␈↓piece's␈α∂more␈α∂complex␈α∂chromaticism␈α∂has␈α∂been␈α∂assumed␈α∂during␈α∂the
␈↓ α∧␈↓preceding␈α⊂discussion.␈α⊂ This␈α⊂can␈α⊂hardly␈α⊂be␈α⊂otherwise,␈α⊃even␈α⊂when
␈↓ α∧␈↓approaching␈α→a␈α→work␈α_from␈α→the␈α→largest␈α_view␈α→first.␈α→ The␈α_more
␈↓ α∧␈↓complicated␈α∞the␈α∞details␈α∞are,␈α
the␈α∞more␈α∞difficult␈α∞it␈α∞usually␈α
becomes
␈↓ α∧␈↓to␈α∂form␈α∂an␈α⊂immediate␈α∂view␈α∂of␈α⊂the␈α∂larger␈α∂tonal␈α⊂movements.␈α∂ The
␈↓ α∧␈↓same␈αwill␈αoften␈αprove␈αtrue␈αconcerning␈αthe␈αother␈αof␈αthe␈αfirst␈α
three
␈↓ α∧␈↓analytical␈α∪procedures␈α∪outlined␈α∪in␈α∪Chapter␈α∪VIII.␈α∀ What␈α∪questions
␈↓ α∧␈↓that␈α∪may␈α∪be␈α∪left␈α∪in␈α∪this␈α∪area␈α∪will␈α∪probably␈α∪be␈α∪covered␈α∀in␈α∪the
␈↓ α∧␈↓discussion which follows the complete analysis of the movement.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 94.  Mozart, Sonata in F, K.533, 
␈↓"β␈↓ α∧␈↓                        second movement (Andante).
␈↓"β␈↓ α∧␈↓␈↓ βD␈↓¬⊂⊗⊃L[%0.02,%-1.55]:N94FA.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε125␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ βA␈↓¬⊂⊗⊃L[%0.02,%-7.65]:N94FB.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε126␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ βC␈↓¬⊂⊗⊃L[%0.02,%-6.50]:N94FF.PLT[HHA,LCS]⊂⊗⊃␈↓































␈↓"β␈↓ α∧␈↓␈↓ αdSpace␈α∀does␈α∀not␈α∀permit␈α∪discussion␈α∀of␈α∀all␈α∀the␈α∪problematical
␈↓ α∧␈↓details,␈α
but␈α
a␈α
few␈α
things␈α
should␈α
be␈α
pointed␈α
out.␈α
 Many␈α
more␈α
chords
␈↓ α∧␈↓of␈α∞weak␈α∞structural␈α∞nature␈α
might␈α∞be␈α∞enclosed␈α∞by␈α∞parentheses␈α
(see
␈↓ α∧␈↓bar␈α⊃1),␈α⊃but␈α⊃to␈α⊃do␈α⊃this␈α⊃aspect␈α⊃full␈α⊃justice␈α⊃a␈α⊃complete␈α⊂rhythmical
␈↓ α∧␈↓␈↓ ε127␈↓ 
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␈↓"β␈↓ α∧␈↓analysis␈αwould␈αbe␈αnecessary.␈α The␈αlinear␈αelement,␈αespecially␈αin␈αthe
␈↓ α∧␈↓bass,␈α↔is␈α⊗another␈α↔factor␈α⊗which␈α↔has␈α⊗been␈α↔largely␈α↔neglected␈α⊗but
␈↓ α∧␈↓which␈αcertainly␈α
contributes␈αto␈αthe␈α
relative␈αvalue␈αof␈α
the␈αfunction
␈↓ α∧␈↓of␈α∂the␈α∂chords.␈α∂ (Note␈α∂the␈α∂bass␈α∂ascent␈α∂from␈α∂bar␈α⊂3;␈α∂F-G-A-B␈↓βF␈↓-C-D-
␈↓ α∧␈↓E␈↓βF␈↓-F, etc.)

␈↓"β␈↓ α∧␈↓␈↓ αdAt␈αbars␈α
24␈αand␈α
25␈αthere␈α
is␈αno␈α
question␈αof␈α
a␈α␈↓βA␈↓␈α
chord,␈αsince␈α
the
␈↓ α∧␈↓bass␈αis␈αmelodic.␈α
 At␈αbar␈α29␈αits␈α
melodic␈αrole␈αis␈αmuch␈α
weaker.␈α From
␈↓ α∧␈↓bar␈α≡33␈α≡to␈α∨bar␈α≡38␈α≡we␈α≡have␈α∨a␈α≡prolonged␈α≡␈↓&F␈↓)αβ␈α∨cadence␈α≡with
␈↓ α∧␈↓"contrapuntal"␈α∞decorating␈α∂functions.␈α∞ The␈α∂functions␈α∞listed␈α∂on␈α∞the
␈↓ α∧␈↓third␈α
beats␈α
of␈α
bars␈α
37␈α
and␈α
38␈α
are␈α
formed␈α
by␈α
the␈α
implications␈αof␈α
the
␈↓ α∧␈↓lines.␈α∀ Notice␈α∪especially␈α∀the␈α∪details␈α∀of␈α∀the␈α∪line␈α∀in␈α∪bar␈α∀37;␈α∀it␈α∪is
␈↓ α∧␈↓almost␈αthe␈αsame␈αin␈αbars␈α50␈αand␈α52.␈α In␈αthese␈αlatter␈αcases,␈αhowever,
␈↓ α∧␈↓some␈α∞ambiguity␈α∂results,␈α∞since␈α∂it␈α∞is␈α∂a␈α∞little␈α∂difficult␈α∞to␈α∂specify␈α∞all
␈↓ α∧␈↓the␈α∂chord␈α⊂tones.␈α∂ The␈α⊂thrice␈α∂repeated␈α⊂cambiata␈α∂figure␈α⊂first␈α∂gives
␈↓ α∧␈↓the␈αimpression␈α
of␈αdefining␈α
chord␈αtones␈αat␈α
intervals␈αof␈α
the␈αfourth.
␈↓ α∧␈↓However,␈α⊃the␈α⊃primary␈α⊃note␈α⊃of␈α⊃the␈α⊃last␈α⊃cambiata␈α⊃in␈α⊃each␈α⊃case␈α⊃is
␈↓ α∧␈↓itself␈α∞an␈α∞emphasized␈α∂appoggiatura␈α∞to␈α∞the␈α∞next␈α∂to␈α∞last␈α∞note␈α∂of␈α∞the
␈↓ α∧␈↓bar.␈α∂ Thus␈α⊂these␈α∂two␈α⊂measures␈α∂present␈α∂the␈α⊂F7␈α∂chord␈α⊂unless␈α∂they
␈↓ α∧␈↓are viewed as inverted positions of the dominant ninth chord.

␈↓"β␈↓ α∧␈↓␈↓ αdNaturally,␈α∞if␈α∂the␈α∞repeat␈α∞of␈α∂the␈α∞second␈α∞section␈α∂is␈α∞considered,
␈↓ α∧␈↓there␈α∂would␈α∞be␈α∂a␈α∞small␈α∂change␈α∞on␈α∂the␈α∞highest␈α∂line␈α∞of␈α∂the␈α∞middle
␈↓ α∧␈↓ground.␈α The␈α
␈↓&d␈↓)αβ␈αcontrol␈αtonic␈α
at␈αbar␈α
47␈αmight␈αread␈α
␈↓&iii␈↓)αβ␈α(of␈α
the␈αbasic
␈↓ α∧␈↓tonic␈α⊂␈↓&B␈↓βF␈↓␈↓)αβ)␈α⊂the␈α⊂second␈α⊂time␈α⊂through.␈α⊂ Everything␈α⊂below␈α⊂that␈α∂line
␈↓ α∧␈↓would remain the same.

␈↓"β␈↓ α∧␈↓␈↓ αdMany␈α∞more␈α∞harmonic␈α∞relationships␈α
lie␈α∞in␈α∞the␈α∞piece␈α∞than␈α
are
␈↓ α∧␈↓expressed␈α⊃in␈α∩our␈α⊃large␈α∩diagram,␈α⊃but␈α⊃this␈α∩process␈α⊃of␈α∩creating␈α⊃an
␈↓ α∧␈↓analysis␈α∀may␈α∀be␈α∀adapted␈α∀to␈α∀whatever␈α∀scale␈α∀of␈α∀detail␈α∀might␈α∀be
␈↓ α∧␈↓desired.␈α⊃ It␈α⊂is␈α⊃hoped␈α⊂that␈α⊃this␈α⊂process␈α⊃will␈α⊂instill␈α⊃the␈α⊂individual
␈↓ α∧␈↓with␈α∂a␈α∂heightened␈α∂awareness␈α⊂of␈α∂the␈α∂music,␈α∂thereby␈α⊂clearing␈α∂the
␈↓ α∧␈↓way␈α∩for␈α∩the␈α∩comprehension␈α∩of␈α∩the␈α∩work's␈α∩full␈α∪intellectual␈α∩and
␈↓ α∧␈↓emotional potential.
␈↓"β␈↓ α∧␈↓␈↓ ∧4_______________
␈↓ α∧␈↓␈↓ ε128␈↓ 
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␈↓"β
␈↓"β
␈↓"β␈↓ α∧␈↓Exercises for Chapter IX
␈↓"β
␈↓"β␈↓ α∧␈↓  Analyze the following movements from the Sonatas of Mozart:
␈↓"β
␈↓"β␈↓ α∧␈↓  1.  Sonata in B␈↓βF␈↓, K.189f(281), last movement (Rondo).

␈↓"β␈↓ α∧␈↓  2.  Sonata in a, K.300d(310), first movement.

␈↓"β␈↓ α∧␈↓  3.  Sonata in F, K.300k(332), last movement.

␈↓"β␈↓ α∧␈↓  4.  Sonata in c, K.457, second movement.

␈↓"β␈↓ α∧␈↓  5.  Sonata in D, K.576, first movement.