![]() ![]() 9-14 are a prolongation (or elaboration) of motion into this tonic. 14 is far more important than it is made to seem, in that mm. In a sense, we perceive this phrase through the wrong end of a telescope the arrival at the C-major tonic in m. Nevertheless, this C-major tonic is reduced in stature by three factors: (1) the sudden compression in harmonic rhythm, leading to the arrival at the tonic on the third beat of the measure instead on the first beat of the next measure (2) the devious syncopated chromatic melodic line, which delays resolution on the tonic chord’s mediant note until after the harmony has moved to the submediant on the fourth beat and (3) approaching the tonic by way of the V6/5 instead of the root position dominant chord. 14 is clearly the goal of motion – melodically in the descending line of the bass, and harmonically as well. At this point, Mozart has taken a “big” a-minor tonic and dissolved it into a “little” C-major tonic the a-minor triad has become the submediant of C-major. ![]() I call this type of event “tying-the-knot”. The first partial statement ends at the tonic (I) in m. 9-16, we have two partial statements of the cadential idea, both using a-minor as a motion of the submediant (vi) into the subdominant (IV in m. 45-47, we see what has happened to a-minor here it has become a motion into the subdominant area of C-najor. Measure 9 starts strongly in a-minor, but by measure 16 a-minor has dissolved into C-major. Thematically and harmonically, the second phrase starts out as a “fake” (to use basketball terminology). 1-9 is a statement of the idea which is fundamental to cadential structure. In my analysis, what follows is a motion (by way of VII and VI) to the cadential subdominant of this opening phrase, the ii6 in m. Measures 1-5 consist of a prolongation of the tonic over a tonic pedal-point. ![]()
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