Mozarts sonata allegro form
... from the previous material stated in the first subject and the transition. The range of the melody is lower and the accompanying running sixteenth notes take on a more prominent role (see example 4.). In m. 40 the melody moves back to the upper line and the bass continues the pattern of sixteenth notes. This subsection also acts as a closing theme, bringing the second subject group to a close on a Perfect authentic cadence in m. 45 in C major. The codetta (mm. 45-49) ends the exposition with a melody pattern in the upper voices ascending to a perfect authentic cadence in C major finishing an asymmetrical contrasting period. The development section (mm. 50-79) is designed to work out the material from the exposition. The key of the majority of the development can be thought of in a minor with consecutive tonicizations. This is due to the prolonged sequences and the lack of tonicizing and cadencing within the various keys. The transition of tonicizations that Mozart touches throughout the section changes and connects the keys very smoothly. Each extended tonicization is an applied dominant key of the next. By prolonging this dominant function, Mozart creates a continuous expectation of the tonic in each key he touches smoothly transcending the section Mozart begins the first subsection, x (mm. 50-57) with the opening theme from the exposition, this time in C major as oppose to the tonic key (see example 5.). An F major extended tonicization begins in mm. 52-56, followed by the next extended tonicization in E major. The second subsection, y (mm. 58-73) begins a new texture in a long sequence. Each leg of the sequence develops material from the first subject and the transition of the exposition. (see examples 6 and 8.). Notice how the rhythm of the upper line in m. 58 is derived from the upper rhythm of m. 16 of the transition. The upper rhythm of mm. 59-61 is also taken from the exposition; this time from the end of the first subject, in m. 8. Mozart repeats this four bar rhythmic pattern throughout the sequence; each leg taking us through the various extended tonicizations. In m. 62, on the second leg of the sequence, there is a pedal note on e. Because e is the dominant of the tonic there is an expectation of the Recapitulation, returning to the tonic key, a minor, however Mozart transcends into d minor instead. Mozart finally prolongs the dominant in the retransition (mm.74-79) which takes us back to the tonic in the recapitulation section (mm. 80-133) finally cadencing on a perfect authentic cadence in a minor finishing the developments’ single phrase. The opening theme begins the recapitulation section (mm. 80-133) ending on an imperfect authentic cadence a symmetrical contrasting period in m. 88. The transition (mm.88-103) immediately follows. This linking passage shares the same material as the transition from the exposition, however its function and key(s) is different. Instead of modulating from the minor tonic to the relative major, the transition functions as a linking passage to the next subsection, expanding the tonic. This is because Mozart restates the second subject group in the tonic. Therefore the transition of the recapitulation slightly varies from the transition of the exposition because it remains in the tonic. The transition comes to an end in m. 103, half cadencing a single phrase in a minor. Both subsections of the second subject group (ana104-129) are now restated in the tonic. The closing theme or second theme of the second subject group prolongs the tonic expectation. We expect to hear this subsection in nine bars cadencing in m. 125, like in the exposition. Instead we hear a s...