00100				CHAPTER IX
00200	 
00300	 
00400	 
00500	          THE COMPLETE MUSICAL MOVEMENT:  MOZART
00600	 
00700	 
00800		Sonata form is readily apparent in the Andante of Mozart's
00900	Sonata in F, K.533.*  [*re. this sonata]  The exposition occupies the
01000	first forty-six measures, the development the next twenty-six, and the
01100	recapitulation the last fifty.  The recapitulation is actually shortened
01200	by four bars (compare bars 8-13 with 83-84) and then concludes with an
01300	eight-bar coda.  The beginnings and endings of these three largest
01400	section are quite clear tonally.  At first we will speak of the various
01500	tonalities by their letter names, their functional relationships coming
01600	later.  The exposition opens in Bb and closes in F. The development 
01700	section starts with an incomplete chord which serves as a pivot from
01800	F to d and finally arrives at the dominant of Bb.  The recapitulation
01900	starts and finishes in Bb.  This very "normal" tonal framework may be
02000	outlined as follows:
02100	
02200	Figure 77
02300	
02400	
02500	
02600	
02700		This is only the beginning; the indications for the largest
02800	framework will be a little different when we are done.  The structure
02900	of the exposition is easily heard.  Tonally, there is one large division
03000	at measure 23; that is, we find a new beginning in a new key at 23.
03100	(There was a new beginning at bar 11, but this stayed in the original
03200	tonic.)  Melodically, the main opening motive is heard all the way into
03300	the phrase which ends at bar 33.  At the same point begins the "closing"
03400	material -- the first completely new, extensive melodic material since
03500	the beginning of the Andante.  Thus a diagram which shows these two
03600	facets would appear:
03700	
03800	Figure 78a
03900	
04000	
04100	
04200	
04300	
04400	
04500		It is generally felt that the tonal divisions, especially in
04600	Classic music, are decisive.  The melodic element will often be touched
04700	upon, since it frequently will help to determine the significance of
04800	some harmonic factors, even though the general melodic organization may
04900	sometimes be at variance with the tonal scheme.
05000	
05100		Notice that the "A" section of the exposition does not end in
05200	Bb, thus:
05300	
05400	Figure 78b
05500	
05600	
05700	
05800	
05900	
06000		However, in the recapitulation the changes give:
06100	
06200	Figure 78c
06300	
06400	
06500	
06600	
06700	
06800	
06900	
07000		This movement's development section, as often is the case,
07100	seems to be made up of a series of sequences.  This prime organizational
07200	feature will give us a key to the rather complex harmonic relationships
07300	to be found here.*  The first eight measures form a group which may be
07400	divided in half, each half having two 2-bar units.  The movement here is:
07500	
07600	Figure 79a
07700	
07800	
07900	
08000	
08100	
08200	
08300		Following this is a 4-bar group (2+2) with an added bar (or
08400	it could be called two 3-bar groups, elided in the middle).
08500	*********** footnote *******  It is almost inevitable that when harmonic
08600	relationships become complex, the primary basis of organization tends to
08700	shift from tonal functions to motivic usages. **********************
08800	
08900	Figure 79b
09000	
09100	
09200	
09300	
09400	
09500		the next section (bars 60-72) presents a masterful combination
09600	of the melodic material first heard in bars 5-7 and the harmonic
09700	progression of bars 19-21.  The complications of this section are
09800	increased by the fact that the melodic and tonal groupings do not
09900	coincide.
10000	
10100	Figure 79c
10200	
10300	
10400	
10500	
10600	
10700	
10800	
10900	
11000		Already we have been forced to consider the development
11100	section in much greater detail than the rest of the movement.  There
11200	are many complex relationships in the exposition, but the overall
11300	harmonic direction is much more clear there than it is in the
11400	development.  The idea is to study the music in as large units as are
11500	practical at each step.  Now the tonal areas of the whole piece
11600	appear roughly as follows:
11700	
11800	Figure 80a
11900	
12000	
12100	
12200	
12300	
12400	
12500		It should be clear by this point that modulations have been
12600	achieved at bars 23 and 73.  There is insufficient stability in the
12700	development section to consider the presence of any new basic tonic.
12800	A sketch of the largest functional relationships then shows:
12900	
13000	Figure 80b
13100	
13200	
13300	
13400	
13500	
13600		Now, to continue to follow our procedures in reverse order,
13700	we will study the music for control tonics.  In the exposition and
13800	recapitulation there seems no reason to show control tonics, since
13900	the basic tonics always serve that purpose.  In the development
14000	section, F may be the point of departure but it certainly is not
14100	a consistent basis for the harmonic movements.  By referring to 
14200	Figures 79a and 79b, we see that d seems to "bracket" this section's
14300	first thirteen bars.  then in the last part of the development
14400	(Figure 79c) g seems most prevalent.  Thus we might reduce all the
14500	other tonalities of the development to functions within these two
14600	control tonics.
14700	
14800	Figure 81a
14900	Main Tonic Guide Tones in development section (some details omitted).
15000	
15100	******* The substitute for d:I (an F octave) is heard
15200	        as the pickup to bar 60.  A new control tonic
15300	        appears immediately because of the abrupt use
15400	        of new material.
15500	
15600		All that is left in this regard is to point out that d grows
15700	out of the basic tonic F of the exposition and then g grows out of
15800	the control tonic d.
15900	
16000	Figure 81b
16100	
16200	
16300	
16400	
16500	
16600	
16700	
16800		The temporary tonics found in the first eighteen bars of the
16900	movement appear in a straightforward manner.  Measure 19 works as
17000	the dominant of the F chord which precedes it and also as subdominant
17100	to the g chord of measure 21, with in turn is II of the coming ton F.
17200	(The simplest pivots will be omitted.)
17300	
17400	Figure 82
17500	
17600	
17700	
17800	
17900	
18000	
18100	
18200		In the F section of the exposition things are a little more
18300	complex.  The chromaticism of the first four bars (23-26) is all
18400	non-functional as far as F is concerned.  Likewise, measures 31-33
18500	are clear.
18600	
18700	Figure 83a
18800	
18900	
19000	
19100	
19200	
19300		Measure 27 and 28 contain a diminished chord which could be
19400	a substitute for any of a number of dominants; so final decision
19500	on the temporary tonic at that point must wait until the surrounding
19600	details are studied.  However, the most immediate impression is that
19700	this chord is a dominant substitute for either g (ii) or Bb (IV).
19800	The next chord, eb6-4, does little to clarify the situation, especially
19900	since it in turn is followed by a new diminished chord.  Considering
20000	the bass line, it might be said that this 6-4 is a "passing chord".
20100	
20200	Figure 84
20300	
20400	
20500	
20600	
20700	
20800	
20900		Even though the linear element is so strong, it seems to be
21000	avoiding the issue to pass over such a dramatic turn so lightly.
21100	Looking ahead a little, it may be noticed that the last diminished
21200	chord (measure 30), while being a dominant function to the preceding
21300	eb, proves to be working as substitute for the dominant to C, leading
21400	eventually to a C7th chord (tonic substitute) in bar 32.  Now we have:
21500	
21600	Figure 83b
21700	
21800	
21900	
22000	
22100	
22200	
22300	
22400	
22500		Returning to the eb6-4 chord, its simplest designation is that
22600	of a dominant substitute to eb.  This key is rather remote from F but
22700	not quite so "far" from g or Bb (which are possible tonics for measure
22800	28).  If the first of these, g, is chosen, then we have:
22900	
23000	Figure 83c
23100	
23200	
23300	
23400	
23500	
23600	
23700	
23800	
23900	
24000	
24100	
24200		It is perhaps more convincing if Bb is taken as the tonic
24300	realm of the diminished chord of bars 27-28.  Then the eb6-4 chord
24400	has a broader role.  In the largest sense, it might be considered
24500	as appoggiatura (IV6-4 with delayed resolution) to the Bb chord of
24600	bar 31.  However, this eb chord still stands in the relation of
24700	I6-4 to VII4-3 with the following chord.  With these things in mind,
24800	it would be well here to fill out the bottom level of detailed
24900	functions in out analysis of this section.
25000	
25100	Figure 85
25200	
25300	
25400	
25500	
25600		There are just a few more temporary tonics in the exposition
25700	-- at bar 39, Ab (bIII), at bar 44, d (vi), and C (V).
25800	
25900		We already have the main temporary tonics and the control 
26000	tonics in the development section.  Now the details of the middle
26100	ground will be added to the material presented in Figures 81a and
26200	81b.  The incomplete chord at bar 47 acts as a pivot between F and d.
26300	
26400	Figure 86a.  First half of development section.
26500	
26600	
26700	
26800	
26900		Notice in particular, at bars 55-57 and 57-59, the repetition
27000	of i - iv - v as a progression of tonics.
27100	
27200		The last part of this development section is of such complexity
27300	that the details of the middle ground cannot well be isolated from
27400	the somewhat ambiguous foreground.  As stated earlier, this passage is
27500	based on the harmonic progression found in bars 19-21 of the exposition.
27600	In that earlier presentation there is no problem of analysis when it
27700	is noted that En is a conventional raised sixth degree of the ascending 
27800	g scale.