Professional Documents
Culture Documents
in
THE
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
In
presenting
this
degree at the
thesis
in partial
University of
of
this
department
publication
or
of
his
or
and
her
permission.
Music
Oct.
14,
1988
requirements
for
purposes may
representatives.
be
It
shall not
granted
is
be
an
advanced
Department of
the
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
exposition
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.
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 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
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
f o u r t h , and
of
form
s p e c i f i c conclusions
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,
are
(4 + 4) + (2 + 2) + ( 1 + 1 ) .
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.
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
70
70
Closing Sections.
74
Codas.
77
Introductions.
80
81
Expositions.
81
Deve1opment s.
90
Recapitulations.
90
95
96
97
104
109
I l l
112
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
S t r i n g Quintet K. 516.
120
S t r i n g Quintet K. 593.
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
S t r i n g Q u a r t e t K. 458.
126
S t r i n g Q u a r t e t K. 464.
127
S t r i n g Q u a r t e t K. 499.
128
S t r i n g Q u a r t e t K. 590.
129
String Trio.
130
V i o l i n Sonatas
Piano Sonatas
4.
5.
6.
The C l o s i n g
131
Codetta.
132
136
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
S t r i n g Q u a r t e t K. 575.
151
159
160
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
166
S t r i n g Q u a r t e t K. 465.
172
V i o l i n Sonata K. 481.
174
179
181
Closing
183
184
190
Clarinet Quintet.
193
vii
7.
195
V i o l i n Sonata K. 306.
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.
V i o l i n Sonata K. 454.
247
2.
Serenade K. 388.
255
3.
264
4.
266
5.
267
6.
267
7.
268
8.
269
9.
270
271
10.
viii
Tables
1.
2.
38
3.
66
4.
182
ix
Diagrams
1.
2.
3.
V i o l i n Sonata K. 454:
4.
5.
P e r i o d Model of Thematic
6.
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
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
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.
S t r i n g Q u i n t e t K. 516: E x p o s i t i o n C l o s i n g
Section.
120
24.
S t r i n g Q u i n t e t K. 593: E x p o s i t i o n C l o s i n g
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.
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
Section.
125
27.
S t r i n g Q u a r t e t K. 458: E x p o s i t i o n C l o s i n g
Section.
126
28.
S t r i n g Q u a r t e t K. 464: E x p o s i t i o n C l o s i n g
Section.
127
29.
S t r i n g Q u a r t e t K. 499: E x p o s i t i o n C l o s i n g
Section.
128
30.
S t r i n g Q u a r t e t K. 590: E x p o s i t i o n C l o s i n g
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.
33.
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.
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.
168
41.
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.
171
43.
S t r i n g Q u a r t e t K. 465: E x p o s i t i o n C l o s i n g
172
44.
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.
180
48.
185
49.
192
50.
196
51.
V i o l i n Sonata K. 306: E x p o s i t i o n .
200
52.
202
53.
204
54.
206
55.
208
56.
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
C l o s u r e : An I n t r o d u c t i o n
My
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
section
discussed.
a l s o be
be-
view c l o s u r e as a r e l a t i v e l y
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
invoked
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.
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
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.
tant theory.
the
first,
repertory
i s the r e s u l -
(Some i l l u s t r a t i o n s w i l l
in
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
specific
example,
the
styles.
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
For
facet
history.
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-
rel-
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 .
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
tonal
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
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
Concertos were
instru-
(Movements
The
T h i s l e a v e s about
every
were a n a l y s e d .
T a b l e 1 was
in
the New
the New
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).
o r d e r of K
found
as
S i e v e r s (1964).
numbers.
(In subsequent
i n each c a t e g o r y by
suffice.
Giegling,
Symphonies w i l l be
both
referred
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
s u b j e c t of c h a p t e r 2.
My
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)
(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
Genre: t i t l e , e t c .
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
(vn, v a , v c )
( p f , vn, v a , v c )
Genre: t i t l e , e t 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)'
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,
in their closing
processes.
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
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 ,
o n l y i n c l o s i n g s e c t i o n s and
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])
Some
ample, c o d e t t a , codetta-complex,
wish
may
be s i m p l i f i e d
f o u r t h , and
t h i r d , and
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
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
aa^bb^cc, e t c . )
of
of
first,
aa^bbcc,
(4 + 4) +
a
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
fragmentation,
of the second
i s common.
A tonic pedal,
Varying
or p r o l o n g a -
i s common i n
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 )
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-
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.
alter-
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
I will
comment on how
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
the use
of endnotes and
so f r e q u e n t .
I will
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
are
so b r i e f
reper-
processes.
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
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.)
section
not
In "Concepts of c l o s u r e and
His
following
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
Arranging
to i s s u e s would be d i f f i c u l t ,
to Mozart's
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
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.
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;
pro-
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
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
original
a s p e c t s of Agawu's s t u d y ) .
There a r e two
principles":
important
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
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 :
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:
observation
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.
i n my
chapter
4.
(1) "The
codetta
i s often
t h a t I would c o n s i d e r
a c l o s i n g codetta
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
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,
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.
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
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
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
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
J o u r n a l of Music Theory, 22
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
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
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
and
how
the
an
concept
Although
i n a d d i t i o n to a
Caplin considers
The
dis-
(4) i t
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
r a t h e r as a complete m u s i c a l
theme a r e a ,
the b e n e f i t of s t u d y i n g
overlaps
a way
thesis.
that
techniques
published
a repertory
is partic-
a r e a , he notes
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
d i s c u s s i o n of the ECP.)
An
(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
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.
f i r s t movement, mm.
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
576,
not a l -
2, no.
1,
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
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
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
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.
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.
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.
he w r i t e s , i n p a r t :
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
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)
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,
parameters,
the o t h e r s secondary.
i n various
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
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)
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,
Ursatz.
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,
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
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
of the s u b o r d i n a t e
theme ( i . e . ,
the ECP),
strongest
with
the
18
Only
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 :
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.
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 .
c o n t e x t and
liquidation.
and melodic
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 -
19
i t follows
ECP.
symphony (New
Grove D i c t i o n a r y ,
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
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 .
to c l o s i n g p r o c e s s e s .
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
J . W.
an
A.
extensive
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
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-
446).
One
Eichner
of the b e s t
of the second g e n e r a t i o n
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
a s i g n i f i c a n t i n f l u e n c e on
Mozart:
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
charact-
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
a n a l y t i c a l approach i n chapter
2 below.
"second
other.
This
form
a s t r u c t u r e t h a t can be
the
general-
section
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
"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
14,
no.
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
233-235).
Further
references
i n d i s c u s s i o n of timespans and
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 .
The
end
of something b i g g e r ,
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-
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
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
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.
The u n i s o n i s
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
" 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
(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
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
close
(pp. 78-79,
c l o s i n g process,
standard
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 .
(p. 130).
example,
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:
to my
composed of a s e r i e s of r e p e a t e d u n i t s .
i n c h a p t e r 2 below.)
Further
support f o r my
sentence model
c l o s i n g model i s found
return:
such a p r o c e s s ,
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
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
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
to
l a c k i n g i n melodic i m p l i c a t i o n s .
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.
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
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
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
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:
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
"The
s t a b i l i t y and
clarity
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
of
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
c l o s i n g model.
the e x p o s i t i o n , and
form:
closing
requirement
tightknit
the c o d e t t a s .
especially
38,
27
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
may
from them:
a number
( 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 -
Composi-
"Only the
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.
recapitulation;
1 i s based on f i g u r e 23 from
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 t h a t I I I or v i s
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
harmony b e g i n -
The development
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.
29
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
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,
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 -
music,
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
to c a d e n t i a 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
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
been r e f e r r e d to by
s e v e r a l of the
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
writers
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
(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 ,
One
s t r u c t u r e i n poetry,
and
music.
However, f o r an
as d i s c u s s e d
above.
31
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
number of p r e v i o u s
study, as he
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
inves-
and
than
studies
In h i s c h a p t e r 2 he
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:
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
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
s i m i l a r to mine.
32
Smyth devotes
phrase, and coda.
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).
t o the a n a l y s i s o f t h i s form t y p e .
(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
transitions,
'symmetrical
Rosen).
To do t h i s he produces
graphs o f movements
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 -
219).
i n the F o r m a t i o n of the
(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
33
itulation"
(p. 108).
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 ,
R i e p e l notes f o r expansion of s e c t i o n s
here.
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
"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 -
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 .
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
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
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
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-
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-
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
l i n e a r p l a n i s the c e n t r a l
to the study of c l o s u r e i n
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
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 ,
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
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
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
T h i s encouraged me
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
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 .
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
Although
be used
music, I am
reasonably convinced
music,
t h a t the models
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
1780,
(or s h o u l d ) ,
and
1781,
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
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.,
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
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
s t r u c t u r e and
past.
By
they
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).^
defined
but
all
would
This
concern
w r i t i n g , whereas
the
nine-
The
i n the
myself
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 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
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
an example.
Dahlhaus comments on
this:
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
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.
analyses
unrepeatable."
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 -
in a
To a l a r g e
e x t e n t , I w i l l uge
context,"
and
"context" interchangeably.
arranged
of
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.
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
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
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
example, themes.
transition.
That
intrinsic
exampl
they
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
6
a r d models of the e n t i r e movement.
39
The
o n l y as g u i d e l i n e s .
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
types of phrases
thematic phrase,
F o r example,
In the d i s c u s s i o n
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,
found
spe-
t h a t i s , the
level.
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 .
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
of c o n n e c t i o n s
be-
own
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
ex-
seen
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 .
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
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
dis-
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
First,
c a d e n t i a l combinations.
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.
( i . e . , channels of s t r u c t u r e ) :
and meter, and
I will
P r e c i s e meaning f o r these
level.
(3) rhythm
assume a g e n e r a l u n d e r s t a n d i n g
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
Level
( a ) : Segments
(a).
There may
levels.
41
g i v e n segment.
of
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-
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
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 .
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
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
to demonstrate
r e l a t i o n s h i p between
motive-forms.
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
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
example i n i m i t a t i o n .
Some m o t i v i c segments
dic role.
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;
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
( 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
example, by
augmentation.
C Minor, K. 388.
The
segment from m.
5(3) to m.
suspension motives.
Each segment i s d i v i d e d i n t o
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
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
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.
eventa
ments, i n mm.
1-3(2) and 3 ( 3 ) - 5 ( 2 ) .
i a t i o n a t mm.
small s e c t i o n t h e t r a n s i t i o n .
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.
The presence
of exact
repe130
22.
i n mm.
4-5(2), becomes
13-14
and
15-16.
mm.
one a t m.
13.
and because i t i s v a r i e d
as opposed to a c l o s i n g
mm.
9 and
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
in
i n mm.
10-12.
event
(3) motive
12(2-3):
i t is
(The r e s t s i n
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
Whereas a m o t i v i c segment i s n o r m a l l y
among two
sur-
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 .
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
and
separa-
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
a grouplet
grouplet.
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
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
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.
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
always
of l e v e l - ( a ) n o n - c a d e n t i a l
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
shift
is typically
(F:
6
- I ).
must o f t e n go beyond
45
the way
these
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 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.
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.
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
here
so as the model g r o u p l e t s i n
note v a l u e s
on a
f o r the e x t e n s i o n
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
grouplets
later
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
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
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
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
to
Cadences may
formations,
conventional
i n the
are
context
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
in
conventional
follow
to f o u r
bars.
(neutral) grouplets.
texture i s necessary
for
Rhythmically,
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
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
dimensions and
of
to
coordinA
cad-
47
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
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
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
segments may
j u s t what i s , and
are endings.
unit.
discrete
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
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
dimensions.
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
compari-
14-15(1), i s
i s v e r y weak and
be-
15(1)-17(2),
However, t h i s t e x t u r a l change o c c u r s
48
i n octaves
stronger.)
/\
A .
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
specifically,
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
later);
(4) these
two bars a r e t e x t u r a l l y
musical
unified;
kinds.
that i s ,
There
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
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
strength.
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
and p i t c h e s ,
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
i n higher
motivic?
levels;
texture.
The
i s i t saturated with
texture
them.
style lies
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
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
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.
Timespans
Phrases
The
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
segment i s of prime
to c l o s e o f f m o t i v i c
continuation.
segment
segment
seen i n an i l l u s t r a t i o n
and
pre-
50
i s a l e n g t h y one.
(1x2),
T h i s cadence b e g i n s w i t h some u n d i s -
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
See diagram 2.
segment,
Here t h e cadence m e l o d i c -
Diagram
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
i s c l e a r t h a t the f i r s t
differen-
voice,
and t o n i c chords i n t o r o o t
position,
bass
O m i t t i n g 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 .
6 and 7
i s n o r m a l l y unequiv-
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
and
be a l t e r e d when a motive
models
from
52
the
Symphony no. 41
( J u p i t e r ) , reproduced as example 4.
Here the c a r t
i s put
as a cadence i s heard
first,
In o r d e r f o r Mozart's j o k e to be
clear
distinguished
the
the
phrase
model.^
66-69.
closing section.
What was
first
the
c a d e n t i a l bar of the
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
and
F-A-flat-F,
14-17
Groups and
timespans
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
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
phrase,
level,
i t i s at
A timespan a t
One may
t h i n k of time-
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
have
have
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 ,
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 ) ,
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
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
T y p i c a l l y , i t i s middleground
(c)that
timespans
harmonic
factors
in closing
sections
54
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
to the c l o s i n g
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.
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
neces-
Timespans w i l l
groups.
be
sumbolized
groups,
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
u n i t : i t i s the f i n a l
the end of m.
tonic prolongation.
of
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
beat
and
50.
The
timespan
t h i s movement because
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.
In the
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
14,
55
i n s t e a d b e g i n s w i t h m. 30.
In m. 50, on the
after
timespan, m. 29.
The s u b o r d i n a t e theme
m. 65.
timespan,
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
There a r e f o u r
4-bar
56
to
(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.
timespan, c o n c l u d i n g on the f i r s t
time-
(m. 65) of i t s
timespan.
There a r e t h r e e types of phrases o r groups
first,
i n t h a t i t i s the normal
shape, i t has
cadencea
i n mm.
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 .
i n mm.
The
second
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
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.
Instead, I w i l l
i s not p r a c t i c a l
be-
d i s c u s s groups
first
50-58 form a p e r i o d .
example 1.
1-bar
The
50-58
normal
phrases.
There
i s thus a continuum
of p o s s i b l e group
structures,
57
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
p l e t e l y devoid of a c t i v i t y .
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 :
unit.
Timespans
a r e always p r e s e n t , but t h e i r
Level
features
increases.
19
( c ) : Small 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 -
Levels
this
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
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
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
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
continuation.
c l o s u r e w i l l be.
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
adjacent
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
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).
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
the o t h e r
to be
two
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-
s h o r t enough to be
dealt with
sections
kinds
Position-finding
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
introductions.
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
It is
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 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.
That
Normally, however,
(A
61
Diagram
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
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
2)
b
I - -
f o u r b a r s i s 1-2,
be
implications
(1+1+2),
is unified
harmonic
Whereas the f i r s t
i s usually
strongly
closely-
or p r e s e n t s c o n t r a s t i n g
material.
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
(mm.
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
4-bar phrases
i n a v a r i e d form i n mm.
12(3)-16.
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.
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
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 ,
f o r m o t i v i c and timespan
first.
structure
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.
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;
+
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 .
than the s e c -
23-38.)
developmental
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
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
1-4,
which
res-
interruption
( i n the S c h e n k e r i a n s e n s e ) .
struc-
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
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
i n note 28.)
of
t h e Piano Sonata
1-8.
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 -
movements as the p e r i o d
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,
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
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 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)
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
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 ,
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,
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
the o n l y chromatic
note
i n the theme, i s s u f f i c i e n t
i s c l e a r here
t h a t the f i n a l
15-16, i s added.
( i . e . , A''" i s [4 + 2 ] ) .
full
extension.
sometimes even w i t h an
26
The
although
con-
of the p e r i o d ,
the
be a
66
Unique themes.
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.
They must
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 .
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
However, s u b o r d i n a t e
28
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
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
The
fact
no
transithat
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:
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
R e g a r d l e s s of whether any
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
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
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
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
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
of the m o d u l a t i o n , such m o d u l a t i o n
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 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
( 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
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
e n t i r e l y governed by
such p a t t e r n i n g
on any
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
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.
i s responsible
the
time-
i r r e g u l a r , at l e a s t i n that
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-
the
In the
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
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
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
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 ,
closing section
sections
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
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-
dominant but
the c e l l o s o l o i n mm.
(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.
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
codetta-
the
C o d e t t a s and
may
codetta-
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,
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).
They f u n c t i o n i n one
of two
(about s i x t e e n to
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
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
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
codetta,
other
how
regarded as
i s a l e v e l of harmonic
stability
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
(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
f a c t o r s being
usually greater
example w i l l demonstrate
(2)
theme i t f o l l o w s , or to
found i n
codettas.
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
motivic/
phrases.
72
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.
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
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
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
(2 + 2) +
throughout
(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
i n f u n c t i o n because they i n v o l v e
melodic-motivic m a t e r i a l .
The
first
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
motivic
thematic
acquire
dif-
they a r e used.
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 .
There a r e o t h e r reasons
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
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-
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
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
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
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.
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.
Subsequent chapters w i l l
Obviously,
the u n i t s of the f i r s t p a i r a a a r e
groups.
on l e v e l ( a ) .
the timespans.
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
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.
See
long,
and
theme a r e a
than
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
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
148(2)-155.
A s i d e from the
1 5 0 [ 2 ] ) , t h e r e i s an
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
(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
In a d d i t i o n ,
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
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 ) .
(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
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 .
dev-
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
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.
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
O f t e n these unique
procedures
second-key
a r e a w i l l be unique
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 -
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 .
or a f t e r a b r i e f
Mozart's
codas a r e always
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
a large
after
s m a l l s e c t i o n of about
occur
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
(such as t h a t i n the
first
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
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
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
l i k e l y be a coda p r o p e r .
i f not
The
section,
will
78
t o i d e n t i f y what might
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,
Of
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
section
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 -
first
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 ,
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
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.
o f the l a r g e s e c t i o n s
of the
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:
There a r e a few
closural function
(e.g.,
features
ful-
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
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
refer-
ence .
Example 10 i n c l u d e s
f o l l o w e d by
i n mm.
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
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.
i n mm.
118-120
t o t h e coda.
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
missing
immediately b e f o r e
the c l o s i n g s e c t i o n .
37
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
(e.g.,
i n C),
i n the repeat
These f a c t o r s suggest t h a t
introduc-
81
( e ) , unless
a c l e a r r e l a t i o n i s apparent
d u c t i o n has some c o n n e c t i o n
with
Level
the c l o s i n g s e c t i o n .
( 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
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
subordinate
theme, c l o s i n g s e c t i o n
T h i s model
studied.
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
However, a s m a l l s e c t i o n w i l l
small s e c t i o n i n a given e x p o s i t i o n .
More commonly
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
The s h o r t e r l e n g t h of the t o n i c
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
motivic
^grouplets
section
segments
-^grouplets
s e c t i o n i n the t o n i c
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
The
two
tonality.
T h i s f a c t o r , among o t h e r s ,
the
model, and
an
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
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.
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 -
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 ;
50-65.
i n mm.
this
14-21; the t r a n s i t i o n e i g h t
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
a s p e c t s of form.
23-58; and
1-10;
the
transition
59-63.
i t is still
u n u s u a l 2 : 2 : 6 : 1 , and
4:7.
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
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
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.
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
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;
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
(as d i s c u s s e d
4:5.
opening,
84
22-27).
i n the t r a n s i t i o n , f o l l o w e d by a
(mm. 1-5,
use of 6-bar
b e g i n n i n g i n m. 66.
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 :
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
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
share
connections
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
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
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
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 -
still
t h e model; and
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:
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
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
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
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 .
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-
of
the
40
thematic s m a l l
small
CS
one
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,
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
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
(G), the p i t c h
second h a l f of the
theme.
The
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 .
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
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
the expanded c a d e n t i a l
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
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
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-
melodic m a t e r i a l
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 .
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
fol-
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
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 .
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
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
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
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
( o r a r e used as extreme v a r i a n t s ) .
(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
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
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,
sections.
t h a t i t i s open-ended (ending
i s unusual i n
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
f o r the c l o s i n g s e c t i o n ) .
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.)
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
s u b o r d i n a t e theme
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
i s not
h a v i n g a double f u n c t i o n .
e x p o s i t i o n of a l l those works I am
up
377
There are
(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
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 n mm.
of the
chromati-
57-69.
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
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:
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 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
Detailed d i s -
44
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 .
That i s , the
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).
91
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 -
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
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
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
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
of the types of r e c a p i t u l a t i o n
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
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
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),
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-
Some-
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
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
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
mo-
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.
387
the
and
endings
embellished
in
recapitulation.
(4) The
few
v a r i a t i o n to
the
(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
and
421
has
(mm.
similar.)
the
2532,
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
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
(of m.
25).
their exposition
94)
Another i n t e r e s t i n g movement t h a t
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
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
a s e q u e n t i a l development i n mm.
111114.
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
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 -
98-111, and
454,
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.
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.
The
This
e x p o s i t io n .
(9) A few
throughout.
and
expo-
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.
s e c t i o n , and
be
the
(b)
The
In
subo'r-
closing section i s
(c) In the
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.
the
rear-
expositions.
do not
exposition
s e c t i o n t h a t a l s o has
(d)
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
375
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
separated.
with codetta
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
following
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.
Level
The
recapitulationand
material
has
In
be-
new
short,
exposition.
47
( e ) : Complete Movements
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-
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
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
of the f o u r types of
(c) of c h a p t e r 2.
sim-
Some movements w i l l
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
section,
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
of
i n d e t a i l w i l l be commented on b r i e f l y ,
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
section:
In a d d i t i o n ,
i n the o t h e r f o r t y p e r c e n t of movements,
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
and
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
The
form of the
exposition
of the
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
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 .
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
c a d e n c e r a t h e r than a h a l f
cad-
98
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
be
In p a r t i c u l a r , there i s no expanded
84-87.
groups.
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
99
Diagram 10
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
of aS
except
of a,
the
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
s e c t i o n , i n mm.
i s s l i g h t l y weakened by
(beat one of m.
I l l ) , which
The cadences
clos-
er
group.
The
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
the timespans
sim-
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
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 ,
95,
a new
dir-
i n b^
and
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 +
(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
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
the
and
CC"*"
That t h i s c l o s i n g section i s
continuation
length,
123-162.
s i m i l a r to that of the e x p o s i t i o n .
and
102
few d e t a i l s , m a i n l y
i n mm.
241-251.
128-137.
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.
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
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 -
- V - I,
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
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
ought t o r e s u l t
criteria
time-
103
Diagram
12
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-
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
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
In a d d i t i o n ,
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 a t e r i a l i n mm.
mm.
281-284.
In o t h e r words, mm.
m a t e r i a l , w i t h an extended upbeat.
pair.
Over the c o u r s e
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
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
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
rather,
c l o s i n g model.
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
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
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
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
why
the
Symphony no.
which
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 ,
sec-
52-66, and
a c o d e t t a to
entire
of
the
bass
105
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
However, the c o d e t t a i s p r i m a r i l y
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.
itself
sections
A major f u n c t i o n of the
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
caden-
section.
In f a c t ,
expanded
long
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.
72-87), the
i s made up of a 1-bar
(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).
b e i n g compensated f o r
106
Diagram
13
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
Second,
c l o s u r a l context.
Closure
of
ternary
S e v e r a l o t h e r movements have a
as c l o s u r e
form.
feature
i n mm.
101-163.
A s i d e from the e f f e c t i v e
overlapping
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.
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
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
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.
t o a whole t o n e C - B - f l a t .
i n mm.
276-286.
( 3 + 4 ) , a r e expanded
to ( 3 + 8 ) ,
To a c e r t a i n
t o two b a r s .
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-
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! "
,V T
II
13
IV
-4
fFfff
Mi
--i=n
JD
=2=1--
fftrr
m\- ~ T t ~ S "
*=
E
4 t=t=
-Q.
0
7^-
n o t a new
-
1
time-
(and i n the f i r s t
two groups
i n mm.
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,
i n mm.
chords.
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
In
w o r k t h e L i n z SymphonyI noted
At twenty-eight bars,
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
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
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
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
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
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),
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
26-32.
short
110
32-51.
The
subordinate
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
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
with
on
1-bar
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
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
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
c l o s i n g s e c t i o n , i n mm.
(1) The
as
This l a t t e r subsection
i n m.
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
The
with
motives.
har-
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
an i n t e r r u p t e d cadence; mm.
to
52-65is
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
(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
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
sec-
the
section.
Ill
(3) In mm.
and new
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,
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 .
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
s u b o r d i n a t e theme
the c l o s i n g s e c t i o n i n mm.
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.
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
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
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.
can be
25-54, the
the main
o v e r a l l , mm.
33,
'
4)
the
113
The f i n a l
i n mm.
theme i n mm.
mm. 48-64.
structure
20-40.
The
40-48, v a r i e d
See diagram
17.
This
74-82.
i n mm.
(2 + 2) p a t -
86-104.
The f i n a l
subsection, i n
no. 33.
In
(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.
233-236.
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:
) +
([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
The
s m a l l s e c t i o n s , each h a v i n g
first,
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
The
each about
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-
some of a sentence.
8-bar u n i t , , i n mm.
35-42 and
i n the
character
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.
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
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
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
the
I t i s the a d d i t i o n
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
(example
i n c h a p t e r 2: pp. 72-73, 75, 83-84, 86; notes 27, 28, 31, 32, 34, and
C l a r i n e t Quintet.
47.
1-19)
and the t r a n s i t i o n
( i n mm.
19-41), a r e
(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
34-41.
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
The c l o s i n g s e c t i o n , i n mm.
cadential
65-79, i s based
groups,
67 and 71.
bass tone 3 i s
The
used i n the xx
groups i n
(a) and
(b) a r e changed.
P a r t s of the two
169-197, i s extended.
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
ECP,
The
This
effect
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.
c l o s i n g model.
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-
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 \
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
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
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).
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
c_ b e g i n s
Although
the melody
a bar e a r l i e r , i n
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
d u r i n g the f i r s t b a r of
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,
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:
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
exposition
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
as i n the e x p o s i t i o n
(diagram 21).
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 .
t o the p o i n t
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
S t r i n g Q u i n t e t K.
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
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-
section
the
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
same m a t e r i a l ,
makes the
s u b o r d i n a t e theme.
diagram 23.
i n mm.
close
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
i n the
the
i n t e r e s t i n g features i n
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
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
S t r i n g Q u i n t e t K.
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
S t r i n g Q u i n t e t K.
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
The
s e c t i o n s i n mm.
to these unusual
p r i m a r i l y on main theme
entire-
Even a c u r s o r y
discussion; therefore, I
f e a t u r e s of
75-97.
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
then the t o n i c p e d a l
appears.
p a i r i n g , these two
final
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,
be
24.
4).
The a-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, 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
appears,
122
t e r r u p t i o n occurs.
This cadence i s f u r t h e r
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,
group.
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
This p a i r i s a l s o
em-
Another
123
Diagram
24
S t r i n g Q u i n t e t K. 593: E x p o s i t i o n C l o s i n g
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''"
i n m. 86.)
dominant.
They a r e a l s o s i m i l a r from
eighth
75 and 82.
The
may
groups may
ref-
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.
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
(2 x 3) +
rewriting.
(1 x 4 ) .
S t r i n g Q u a r t e t K.
model i n some way.
387.
Rather
closing
offer
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
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
S t r i n g Q u a r t e t K.
be
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
i n l e n g t h and expanded i n t h i s
The f i n a l
2-bar
bars,
S t r i n g Q u a r t e t K. 421.
Quartet
The S t r i n g Q u a r t e t
that beings
on the t h i r d b e a t .
As noted
t o two b a r s
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
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
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,
S t r i n g Q u a r t e t K. 458.
i n mm.
77-90.
On l e v e l
(b) t h e r e a r e
On l e v e l
In
grouplet
t o n ^ and r e p e a t e d .
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.
l e t s mm
transition
f i n a l cadence.
development
One
the bass of m.
involves
F o l l o w i n g t h i s theme i s "new"
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
Diagram 27
S t r i n g Q u a r t e t K. 458: E x p o s i t i o n C l o s i n g
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
theme i n s t r e t t o ,
2
hence speeded up,
r a t h e r than slowed
S t r i n g Q u a r t e t K.
K. 464,
was
464.
down as m
the development.
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.
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
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.
m.
69.
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
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.)
This pro-
Diagram
of
key.
1-2
are used
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
67-68.
V a r i a n t o_ i s a
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
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
S t r i n g Q u a r t e t K. 499.
has an
70-73.
40-56,
57-64, ano-
different
illus-
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.
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
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
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
closing section
174-183.
a common
except f o r a
used i n c a d e n t i a l
same mater-
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
S t r i n g Q u a r t e t K.
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,
demanding c o n t r a s t
mm.
two
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
S t r i n g Quartet K.
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
i n c l u d e any
reference
499).
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,
has
way
The
a very
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.
the use
The
Cello in E-flat
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
499:
of a s c e n d i n g
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
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
unchanged.
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
The c l o s i n g s e c t i o n , i n mm.
51-58
This
b e i n g an e x p a n s i o n
159-183, i s lengthened
A f t e r the r e -
be due t o the s h o r t -
132
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
i n the e x p o s i t i o n .
37-51, has
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
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
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,
This chapter w i l l
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
+ 6 + 2 , w i t h group
primarily
The
closing
s t r u c t u r e aabc, where b_ i s an
ECP.
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
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
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
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
87-99 r e c a p i t u l a t e mm.
small
similar in
S t r i n g Q u a r t e t K.
( c ) : mm.
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
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
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,
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.
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
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
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,
The
the
1) +
( J+
) , xxyy.
In the
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
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
same m a t e r i a l ,
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,
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
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
i t would seem a p p r o p r i a t e
model and
on c l o s u r e as generated by
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-
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
contrast
defer
c l o s i n g model i n f a c t
and
The
t e r s , and
this
of
t h e i r a p p l i c a t i o n , prevalence,
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
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
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
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
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
true
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 .
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.
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
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
closure
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 . )
from c o d e t t a
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
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.
i n a c o d e t t a t o the theme b u t n o t i n
closing
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
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
sion.
substantial
pre-
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
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.
the c l o s i n g s e c 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.
theme i n mm.
97-119 ( i t s e l f
i n mm.
mm.
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
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
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
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
refer-
89-90, e t c . ) .
The
r e f e r e n c e to the
transition
be seen as based
on
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
groups
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
of
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
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
59^63.
and
tonic prolongation.
333,
imme-
See
where the c l o s i n g c o d e t t a
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.
I t w i l l be
recalled
t h a t the c l o s i n g
two
p a i r s of the model i s / a r e b u i l t
codettas
on a t o n i c p e d a l .
Further-
(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
the expanded c a d e n t i a l
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
i n the
first
to the c l o s i n g
141
s e c t i o n proper.
The
two
be c o n s i d -
292-309.
The a d d i t i o n s here r e s u l t
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 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
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
model, a l s o doubled i n l e n g t h .
mm.
7-8.
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 mm.
the
segmentof
A.)
prematurely
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
starts
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
t h e s e a n d only theseharmonies
in
of
consequent
i n the f i r s t
phrase
( 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
clarify
of
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
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.
In a d d i t i o n ,
33 i s u n u s u a l , and weakens
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
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),
l a c k of modulation) i n the f i r s t
(second)
That the f i r s t
transition
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
s u b o r d i n a t e theme, i n mm.
end
O b v i o u s l y , the f i r s t
s u b o r d i n a t e theme
s u b s e c t i o n i n mm.
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
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
to
the theme b e g i n n i n g i n m.
25.
the
51, whereas i n m.
i n mm.
32-33.
33 they immediately
go on to new
51,
50-51
33
is in
First,
i n m.
50-51
cadence i n
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
52.
50-51
begins
i s such
where i t was
not
32-33.
The o v e r l a p a t mm.
s u b s e c t i o n i n mm.
p r e c e d i n g one,
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
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
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
use m a i n l y
The
thematic
codettas i n
i n A major) and
The c l o s i n g
codetta
(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
P a r t of the t h i r d phrase
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
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.
section
transition.
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
s e c t i o n , i n mm.
to
(mm.
following
12[4]ff.),
25[3]-26[l]).
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.
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
mm.
1-19
discussion.
The f i r s t
f r o m mm.
the
19-38.
i s unlike
R e f e r to diagram 35 f o r the f o l l o w i n g
and p r o v i d e s a welcome r e l i e f
38(3)-54(l),
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
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
The c l o s i n g
bars
62-78(1).
ST.
The
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
S t r i n g Q u i n t e t K.
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 )
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
Three f e a t u r e s suggest m.
Retr.
and
be
seen
groups.
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 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
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 ) .
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.
62,
suggesting
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-
The c l o s i n g s e c t i o n , i n mm.
204-210 i s now on a d i f f e r -
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.
of the e x p o s i t i o n , mm.
How-
222:
217-218
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
221suggesting a reduction
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 .
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 .
work
initiate
Two-bar time-
78-83).
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
224-232the
I f mm.
transposed c l o s i n g s e c t i o n a r e
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
to mm.
204-214 g i v e
this
204(1).
212-214.
logically
( T h i s r e t r a n s i t i o n group
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
222-224(1).
204-211.
A d i f f e r e n c e with the
This may
151
identical.
and
previous
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
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.
and
204-210 and
S t r i n g Quartet K.
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
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
204,
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.
575,
neither
and
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
small s e c t i o n .
e x t e n s i o n and v a r i a t i o n , and
bar i n comparison
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
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.
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
(m. 13).
The
sub-
(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
I , may
later.
be heard
33[2]-35[l])
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
the
main theme.
of
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
few s u b s e c t i o n s of the d e v e l -
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
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
i n mm.
small
i s being
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
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
trans-
to the c l o s i n g
Even the
transition,
a l t e r e d : because i t ends
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).
by a
smaller
development
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
V.
extent.
and
(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
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.
p a r t of m. 188.
(d i J )
i n the v i o l a
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.
w i t h changes
articulation;
is
this
coincident
i n the dominant
the s u b o r d i n a t e theme
s u r f a c e of any s e c t i o n
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
156
Now i n the
S-^-T.
The c l o s i n g
the
s e c t i o n as the r e t r a n s i t i o n (mm.
105-116).
sections.
While i t i s true
This connection
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
14)
CS
In b o t h
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
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.
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 .
structure
reflect
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
immediately
stable areas.
I f any demonstration
of the
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
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
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
mo-
sections.
I would c o u n t e r t h a t t h i s l a c k
I f a l l of
Mozart's
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
those
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
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
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.
to be an extreme v a r i a n t of the
the s u b o r d i n a t e
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
either with a p a r t i c u l a r l y
strong
the
c o d e t t a i n mm.
49-64 f u l f i l l s
the expansion
of the s u b o r d i n a t e
and
cadential func-
theme.
49-64, too s h o r t a
cadence ending
on the downbeat of m.
65 i s one
of the
strongest
as a u n i t
dis-
codetta.
p a i r of
the
repeated
groups.
The-Symphony i n C Major, no.
(y) c l o s i n g c o d e t t a .
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
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
codetta
subordinate
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
(y) c l o s i n g c o d e t t a .
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.
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
s e c t i o n s i n mm.
12-24
and
The
s e c t i o n s i n mm.
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
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.
very strong.
The
56-64.
Major, K.
However the
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.
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
i n c h a p t e r 3, I noted
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
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,
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
ST.
of
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.
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
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
after
theme and
the
the
162
t o i n c l u d e an ECP
The s u b o r d i n a t e
i n D Major, K. 311, i n c h a p t e r 3,
24-36(1)
36-39 as a type
(y) c l o s i n g
expansions.
p r e t a t i o n i s found
23-24).
Support
f o r t h i s second
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 .
In a d d 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.
inter-
24-36(1)
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
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.
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.
(y) c l o s i n g c o d e t t a .
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
This
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.
The e x p o s i t i o n
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."
with
164
and
the c l o s i n g s e c t i o n i n mm.
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
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
( 1 ) , p r i m a r i l y due
(2)
on shortened forms of
o r two
p a i r s of r e p e a t e d
The
Of
used
groups.
prior
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
starts
on the c l o s i n g model
be c o n s i d e r e d a type
accompaniment f i g u r e
the cadence
of the s t r o n g e s t
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 c l o s i n g s e c t i o n .
The
(y) c l o s i n g
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
( t h e r e may
165
also,
they i n i t i a t e c l o s u r e ,
primarily
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).
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
166
The
The
C l o s i n g Theme F o l l o w e d
Codetta
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.
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
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.
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
(5+7).
of t h i s l a t t e r c o d e t t a deserves
some comment: no
Normally,
167
89-94(1) i s t y p i c a l .
94-100 i s
ECP.)
A reason f o r t h i s s p e c i a l
I f standard codetta m a t e r i a l
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 main f a c t o r
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 p r e c e d i n g
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
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.
more f e a t u r e s of c o d e t t a s .
thematic
The
espe-
c l o s i n g model c o n t a i n s
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
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
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
codetta
may
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
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
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
T h i s a g a i n i s s i m i l a r t o the
similarities
The
67ff.
b_ group b e g i n s i n m.
flute
of the way
the
of
1-bar u n i t s , f o l l o w e d by a 1-bar
cadence.
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
the
Diagram 41 i s incomplete
and f l u t e
are
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
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
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 -
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
i m p l i e d i n the f i r s t ,
a l s o found
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 .
by
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
of
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 -
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 .
p r o g r e s s i o n ; the
2
See diagram
181-188.
161 and
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
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.
m.
120.
289-313.
The
304-306(1),
cadence
and
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
to the a d d i t i o n
and t i m p a n i i n the
closing
i n both s e c t i o n s as i t was
i n how
269-276
81-88.
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
S t r i n g Q u a r t e t K.
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
23-44.
i n C Major,
sentence models.
(4 + 4) +
(4 + 10).
O b v i o u s l y , the second
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
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 -
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
Diagram 43
S t r i n g Q u a r t e t K.
465:
Measures:
71
Timespans:
(4 + 4) +
a
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.
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 .
strong
(2 + 2) p a t t e r n , but
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
i s c o n s i d e r a b l y extended
The
subsection
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
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 .
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
88-91.
227-235(1).
A p a i r of
Overall,
174
(3 + 3) +
then,
The
p a i r i n g of
(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
closing section.
V i o l i n Sonata K.
i n E - f l a t Major, K.
481.
481,
The
was
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
44
V i o l i n Sonata K.
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 ) .
c l o s i n g theme, i n mm.
as
the p r e c e d i n g
themea modified
to i t s second h a l f c u l m i n a t i n g
85,
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
HC PAC
be summarized
as i n diagram 45.
two p h r a s e s i n mm.
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
155-159.
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 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
s e c t i o n i n mm.
204-219(1).
219-229(1)
After
176
Diagram
46
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
f i g u r e 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
development
245-252.
w i t h the key of E - f l a t .
Finally,
the
The s e c t i o n s from m.
219 to m.
ending
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.
feature
a r e more f r e q u e n t h e r e .
F o r example,
i n mm.
( O m i t t i n g mm.
and 9-10
177
I n s t e a d of
subsequent
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.
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
unaccented
(mm.
97-118).
Note i n p a r t i c u l a r mm.
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
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.
this
b e g i n n i n g on
1 + 2 + 2 + 1 ) .
119-121: t h i s i s a 3-bar
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 -
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.)
timespans
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
104ff.
a r t i c u l a t i o n to two
238
(compare m.
105).
p a t t e r n i s not c l e a r on i t s own
except
t h a t m.
240
i s l i k e m.
The
analogy
and
243-244, and
236,
The
239,
t h a t mm.
b a r s i n mm.
238
supports
that
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 ) .
negated i n m.
245,
which, by analogy w i t h m.
84,
s h o u l d be unaccented.
81 and
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
i n the e x p o s i t i o n , mm.
87;
Bar
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 .
85,
245, 247).
odd-
245
are
mm.
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
(For example,
40.
180
Diagram
47
Measures:
71
Timespans:
82
([6 + 6] +
Phras es/groups:
a^
Section
86
90
[2 + 2]) +.(2
b
b^"
+ 2) + 4
c^
( 4 x 4 ) , f o l l o w s i n mm.
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.
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
codetta
82(1).
8 6 ( 1 ) t h a t was
expected 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
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.
( f o l l o w i n g the s u b o r d i n a t e theme).
the c l o s i n g model.
res-
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
(a c l o s i n g c o d e t t a ) .
The development
94-109(1).
becoming
v e r y s i m i l a r t o the e x p o s i t i o n .
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
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
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
that
The
key.
i n t h a t i t i s a p e r i o d whereas the
introductory
332,
section.
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 -
See t a b l e
4.
182
Table 4
Piano Sonata K.
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
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
(3)
closing
chapter.
i n the
183
T h i s f o u r t h and
final
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
[ c ] : themes, p.
that I
on any of the
66).
section
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
way
34 were a n a l y s e d
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
e x p o s i t i o n forms.
184
As w i l l be
of l e v e l s , and
not
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
considered
in this
chapter.
(Haffner),
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
four-
t h e r e as
to
1-13.
timespans (2 + 2) +
(3+2)
(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.
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.])
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-
Instead,
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)
Small s e c t i o n s :
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
violins.
An i n d i c a t i o n
186
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
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;
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
s e c t i o n , i n mm.
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 s i n m. 74
section.
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)
i n m. 88.
74-80(1);
statement
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.
is
sections,
p a r t l y i n A major.
f i r s t codetta
80),
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
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.
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
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
key.
the u s u a 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
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,
88-94 might
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 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
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
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
l i s t e n e r s i n the
classical
modulation.
95-104
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
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
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
r e t r a n s i t i o n and
i n s e r t i o n between the
r e t r a n s i t i o n and
the
(2)
t h a t m.
129
the
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
sition-retransition,
the
an
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
as
properly
c o r r e l a t e s w i t h the
tions.
the
appears
105-128 form
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 .
f o r the
a b r u p t , too
recapitulation
i s the
error
element of a c i r c l e of f i f t h s ,
This
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
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.
be more e v i d e n t i f mm.
a f t e r the c l o s i n g s e c t i o n . )
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 ) .
129-141(1).
[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
(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
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.
without
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 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 .
on a
191
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
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
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,
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
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
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.+
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
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
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).
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.
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
121.
The s u b s e c t i o n i n
second s u b s e c t i o n , i n mm.
55-71,
121
See diagram
129-142, i s based f i r s t
49.
on the opening
63-65.
Rosen notes t h a t t h i s
closing
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
63-65, now
i n 136-142.^
the c o n n e c t i o n w i t h - t h e
t h i s happens q u i t e o f t e n .
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
imply:
r a t h e r , i t i s a new
(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 ,
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 s e c t i o n , i n mm.
c l o s i n g model i s now
C l a r i n e t Quintet.
considered
dynamthis
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 .
in
d i s c u s s the r e -
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
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,
chapter
129.
t h e r e f o r e , one
The
the e q u i v a l e n t of an
small s e c t i o n .
i c s i n m.
i s considered
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.
repetition.
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
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
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.
(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
thus be c o n s i d e r e d
(3); i n t h i s case,
discussed
groups
(i.e.,
cadence.
as an extreme v a r i a n t of
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
[4]) would be
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
refer-
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
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)
the CS)
and
trill
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
diagram
s u b o r d i n a t e theme and
closing
section.
50.
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
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
half beats.
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
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-
(mm.
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
one
section starting
i n m.
17-24).
(although
section,
appearance
Of c o u r s e ,
the
this,
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.
a manner as here).
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
The a d d i t i o n of f u r -
The status of
[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
s e c t i o n i n mm.
c e d i n g theme.
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
(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
initial
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,
s e c t i o n s i n mm.
(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:
section
ends on I ) .
The
it
s e c t i o n i n mm.
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
(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
the f i r s t
p a i r of the c l o s i n g model.
(4 + 4) and
so
m.
I n s t e a d , a new
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
to be c l o s u r a l .
characteristic
developmental
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
(2 + 2) by
generated by
93 and
95.
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.
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.
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
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
(5) mm.
r e c a p i t u l a t i o n and
f o r most
(5+5+3)
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
(ST
The
This
follows:
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
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
f o r t i s s i m o s u b s e c t i o n : (2 + 2) +
V i o l i n Sonata K. 306.
Keyboard
(2 + 2) +
(2 + 1 + 1 + 1 ) .
and
(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
Bar 8
falls
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 ) .
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
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.
200
Diagram 51
V i o l i n Sonata K.
306: E x p o s i t i o n
Measures:
Timespans:
(8 + 3) + 12
Keys:
'
Small s e c t i o n s :
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
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
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 .
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
(2 + 2 + 4 ) , i t i s (3 + 3) +
(2 + 2 +
subsections, i . e . , 6 + 6 ) .
A f t e r the two
3-bar timespans,
the
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
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
transition section.
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
cadence
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
38-52: xx*y, ( 4 + 4 )
and 5 7 - 6 2 [ l ] ) .
( i . e . , on mm.
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 ,
subsection,, i n mm.
t o understand
i n mm.
s i m i l a r 5-bar groups
on p a r t of the p r e c e d i n g codetta-complex
(3+3+2).
end.
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 .
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 . )
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 .
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.
) +
203
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
should
The next s e c t i o n s a r e
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,,
of which i s a c l o s i n g s e c t i o n w i t h
two tones p r o -
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
r e s o l v e d by a b a r o r
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
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
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
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
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^
The timespan
205
shift
to 3/4
f o r mm.
(3) The
38-41
and
shift
to 2/4
(4) The
i n m.
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 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-
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
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
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.
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
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
normally
46-48 i s j u s t i f i e d
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
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
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:
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
The
subordinate
subordinate
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
of the theme.
See diagram
54.
In a d d i t i o n , the m a t e r i a l i s now
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
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
coda
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
p r e v i o u s l y not
used.
(char-
section
207
Piano Sonata K.
i n D Major, K.
Refer
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 .
theme and
codetta
94-95.
i n the V i o l i n Sonata K.
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
As w i t h m.
12 of K.
however,
of a
306,
new
m.
continues
This leads
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
theme i s f i n a l l y reached a t m.
but
functioning
dominant.
41(6),
continuing
to
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.
i s a v a r i a n t of the f i r s t ,
codetta
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),
i n p a r t to s t r e n g t h e n
The
16-27(4)begins
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
16
the dominant.
bar
A short c l o s i n g
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:
Small s e c t i o n s :
MT
TR(1)
42
8)
(mm.
26-27): n o r m a l l y ,
7)
TR(2)
ST
CS
(4 +
53
u n t i l half-way
i s unusual
through
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 .
of two
section.
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
(3) c l o s i n g s e c t i o n
codetta).
and
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
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
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
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
C l o s i n g themes, a t any
r a t e , are u s u a l l y
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.
i n 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
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;
total
l e n g t h but ending on V / v i .
because
i t was
normal.
Here, the
necessary
normal
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
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.
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
alteration.
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
i s rearranged
MT-TR-ST-STcodettas-CS.
210
Conclusion
end.
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).
the end being merely a point that has been prepared by the process.
The
two
211
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
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 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
i s normally i n s u f f i c i e n t
short
Use of
pieces
i n closure i n
A l t h o u g h most d i a t o n i c
to e f f e c t g l o b a l c l o s u r e , unless
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
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
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
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
sonata-form
An important reason f o r
And the
213
can be
i n chapter
seen as h a v i n g
6,
some
together
with
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
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
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,
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
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
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
l i n e a r d e s c e n t , the c l o s i n g
d i a t o n i c progressions
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 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
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
than one
the
the r e d u c t i o n i n timespan
lengths.
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
A generally s t a t i c
texture p r e v a i l s ,
usually
i n a moderate dynamic.
structure
discussion:
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 .
ex-
For example,
section,
215
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 t h a t may
subordinate
f u n c t i o n as a
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
the ECP."')
the c l o s i n g s e c t i o n has
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
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
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
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
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
internally
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
i s a l s o a simple form of
model and
sentence merge.
(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,
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,
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.
595,
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
f i r s t movement, mm.
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
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.
s t u d y i n g the
composers, and
has
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
c l o s i n g model.
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
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,
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
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
Other channels of
f u l l y appreciated
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-
formations,
f u n c t i o n f o r the s e c t i o n , and
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 )
c h a p t e r 11.
220
.
.
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
222
223
"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)
224
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
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
225
( 4
(2 + 2) +
)
+ 2)
(1 + 1
a + b
+
+
(4
(1 + 1 +
2)
a + b
d
HC
(2 + 2) +
PAC
in V
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
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
229
230
Recapitulation
MT TR ST CS
ST CS MT
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
.
.
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)
This explanation
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-
234
The Piano
Sonata K.
333
i s d i s c u s s e d on pp.
63, 83,
87.
235
Notes
to Chapter 5
Codetta)
.
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
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
237
Notes to Chapter 6
( C l o s i n g S e c t i o n s Not Based on
Models)
238
Notes to Chapter 7
(Conclusion)
V. K o f i Agawu, "Concepts of c l o s u r e
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
^ 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
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.
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
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.
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-
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.
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.
u n i t heard t h r e e
structure
some f e a t u r e s
motives
times.
242
Phrase.
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.
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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and Piano i n B - f l a t
Largo.
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251
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253
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151
152
153
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154
155
255
Example 2 (mm.
1-23)
W.A.M.JMM
W.A.M.1M4
258
259
W.A.H.;
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261
Example 2 (mm.
165-191).
W. A. 31.188
263
Example 3 (mm.
1-33)
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)
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
,
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57-74)
Movement