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␈↓ α∧␈↓␈↓ ε↔92␈↓ 
T


␈↓"β␈↓ α∧␈↓extension␈α⊂of␈α∂the␈α⊂final␈α∂A␈α⊂chord,␈α∂so␈α⊂that␈α∂it␈α⊂becomes␈α⊂the␈α∂dominant
␈↓ α∧␈↓function␈α∂of␈α∞␈↓&D␈↓)αβ.␈α∂ But␈α∞then␈α∂␈↓&D␈↓)αβ's␈α∂vi␈α∞(␈↓&b␈↓)αβ)␈α∂may␈α∞be␈α∂immediately␈α∂heard␈α∞in
␈↓ α∧␈↓direct␈α
relation␈α
to␈α
the␈α
basic␈α
tonic,␈α
␈↓&A␈↓)αβ.␈α
 We␈α
must␈α
not␈α
forget,␈α
however,
␈↓ α∧␈↓that␈α~when␈α→music␈α~is␈α→repeated␈α~literally,␈α→the␈α~functions␈α~of␈α→the
␈↓ α∧␈↓opening␈αmeasures,␈αthe␈αsecond␈αtime␈αthrough,␈αtake␈αon␈αa␈αdual␈αaspect.
␈↓ α∧␈↓At␈αonce␈αwe␈αrealize␈α
we␈αare␈αtaking␈αa␈α
fresh␈αstart␈α(or␈αcontinuing␈α
once
␈↓ α∧␈↓again␈α~from␈α→earlier␈α~material)␈α→and,␈α~at␈α→the␈α~same␈α→time,␈α~we␈α→are
␈↓ α∧␈↓continuing␈α
on␈α
from␈αthe␈α
final␈α
part␈α
of␈αthe␈α
section.␈α
 Only␈α
briefly␈αdo
␈↓ α∧␈↓repeats␈α∃influence␈α∃our␈α∀comprehension␈α∃of␈α∃the␈α∃functional␈α∀details.
␈↓ α∧␈↓But␈α⊂the␈α∂influence␈α⊂on␈α∂the␈α⊂background␈α∂elements␈α⊂can␈α∂be␈α⊂more␈α∂far-
␈↓ α∧␈↓reaching.␈α∩ It␈α∩is␈α⊃enough␈α∩that␈α∩the␈α⊃diagram␈α∩above␈α∩shows␈α∩only␈α⊃the
␈↓ α∧␈↓␈↓↓differences␈↓ caused by the repeat.

␈↓"β␈↓ α∧␈↓␈↓ αdThe␈αmovement␈αto␈αthe␈α␈↓&D␈↓)αβ␈αof␈αthe␈αTrio␈αconstitutes␈αa␈αmodulation
␈↓ α∧␈↓of␈α
a␈αdifferent␈α
sort.␈α This␈α
Trio*␈α
is␈αactually␈α
a␈αseparate,␈α
self-contained
␈↓ α∧␈↓piece.␈α
 This␈αis␈α
usually␈αthe␈α
case␈αin␈α
this␈αtype␈α
of␈αwork,␈α
even␈α
when␈αa
␈↓ α∧␈↓passage␈αof␈αretransition␈αto␈αthe␈αMenuetto␈αmight␈αbe␈αadded␈αat␈αthe␈αend
␈↓ α∧␈↓of␈α⊃the␈α⊃Trio.␈α⊃ Within␈α⊃this␈α⊃Mozart␈α⊃Trio␈α⊃it␈α⊃is␈α⊃best␈α⊃to␈α∩consider␈α⊃that
␈↓ α∧␈↓there␈α⊃are␈α⊃no␈α⊃real␈α⊃modulations.␈α⊃ The␈α⊃main␈α⊃reason␈α⊃for␈α⊃taking␈α⊂this
␈↓ α∧␈↓position␈α∂is␈α∂that␈α∞even␈α∂though␈α∂the␈α∞dominant␈α∂(␈↓&A␈↓)αβ)␈α∂becomes␈α∂a␈α∞strong
␈↓ α∧␈↓control␈α⊃tonic,␈α⊃the␈α⊃passage␈α⊂using␈α⊃this␈α⊃key␈α⊃presents␈α⊃no␈α⊂important
␈↓ α∧␈↓independent material but merely repeats two cadential formulas.
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓Figure 79.  Mozart, Sonata in A, K.300i(331), 2nd movement Trio
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓␈↓ βD␈↓¬⊂⊗⊃L[%0.03,%-1.45]:N79FA.PLT[HHA,LCS]⊂⊗⊃␈↓







␈↓"β␈↓ α∧␈↓__________
␈↓"β␈↓ α∧␈↓*␈αBecause␈αof␈αspace␈αconsiderations␈αthe␈αmusic␈αfor␈αsome␈αof␈αthe␈αlonger
␈↓"␈↓ α∧␈↓examples␈αunder␈α
discussion␈αwill␈αnot␈α
appear␈αin␈αthe␈α
text.␈α However,
␈↓"␈↓ α∧␈↓it␈α∃is␈α∀essential␈α∃that␈α∀the␈α∃scores␈α∃here␈α∀dealt␈α∃with␈α∀be␈α∃at␈α∃hand␈α∀for
␈↓"␈↓ α∧␈↓reference when the analytical diagrams are studied.