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CHAPTER IX
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THE COMPLETE MUSICAL MOVEMENT:  MOZART
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	Sonata form is readily apparent in the Andante of Mozart's
%2Sonata in F%1, K.533.$$Mozart apparently never wrote a third movement
to this sonata.  In order to make it a complete work, it has often been published
with the separate %2Rondo in F%1, K.494.  For this reason it does not appear in some "complete" editions
of Mozart %2Piano Sonatas%1.  The music is given on the following page.$
The exposition occupies the
first forty-six measures, the development the next twenty-six, and the
recapitulation the last fifty.  The recapitulation is actually shortened
by four bars (compare bars 8-13 with 83-84) and then concludes with an
eight-bar coda.  The beginnings and endings of these three largest
sections are quite clear tonally.  At first we will speak of the various
tonalities by their letter names, their functional relationships coming
later.  The exposition opens in ↓_B%4F_↓%1 and closes in ↓_F_↓. The development 
section starts with an incomplete chord which serves as a pivot from
↓_F_↓ to ↓_d_↓ and finally arrives at the dominant of ↓_B%4F_↓%1.  The recapitulation
starts and finishes in ↓_B%4F_↓%1.  This very "normal" tonal framework may be
outlined as follows:

.BEGIN VERBATIM

Figure 84
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∂7This is only the beginning; the indications for the largest
framework will be a little different when we are done.  The 
structure of the exposition is easily heard. Tonally, there is one
large division at measure 23; that is, we find a new beginning in a
new key at 23. (There was a new beginning at bar 11, but this
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.BEGIN VERBATIM
Example 85. Mozart, Sonata in F, K.533, Andante
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stayed in the original
tonic.)  Melodically, the main opening motive is heard all the way into
the phrase which ends at bar 33.  At the same point begins the "closing"
material -- the first completely new, extensive melodic material since
the beginning of the Andante.  Thus a diagram which shows these two
facets would appear:

.BEGIN VERBATIM

Figure 86a
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	It is generally felt that the tonal divisions, especially in
Classic music, are decisive.  The melodic element will often be touched
upon, since it frequently will help to determine the significance of
some harmonic factors, even though the general melodic organization may
sometimes be at variance with the tonal scheme.

	Notice that the "A" section of the exposition does not %2end%1 in
↓_B%4F_↓%1, thus:

.BEGIN VERBATIM

Figure 86b
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	However, in the recapitulation the changes give:

.BEGIN VERBATIM

Figure 86c
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	This movement's development section, as often is the case,
seems to be made up of a series of sequences.  This prime organizational
feature will give us a key to the rather complex harmonic relationships
to be found here.$$It is almost inevitable that when harmonic
relationships become complex, the primary basis of organization tends to
shift from tonal functions to motivic usages.$
The first eight measures form a group which may be
divided in half, each half having two 2-bar units.  The movement here is:

.BEGIN VERBATIM

Figure 87a
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	Following this is a 4-bar group (2+2) with an added bar (or
it could be called two 3-bar groups, elided in the middle).