Essay about K. 332 First Movement Analysis

1973 Words Apr 6th, 2013 8 Pages
Mozart Sonata No. 12 in F Major
K. 332
First Movement
Rachel Gilmore
MTC 461.001
November 26, 2012

The first movement of Mozart’s piano Sonata No. 12 in F Major is written fairly typically in the very structured sonata form. Historically is follows the main guidelines that were understood for the form. Harmonically, is progresses like expected. There are a few surprises here and there, but they are typical for Mozart’s compositions, especially his sonatas of the 18th century. In all, it makes a very interesting piece of work, especially with so much contrast within it.
The formal structure of the first movement is sonata form. Not only is this evident in the title but it is very clear after an analysis of the piece has been done.
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They show up in a few different ways including elided cadences and extended harmony.
Some of the phrases elide into each other giving the effect that they are in some cases longer than four measures and in other cases, shorter. An example of this is in measures fifty-five through fifty-seven, shown at the top of the next page. The first measure shown harmonizes a V7 chord in the key of C Major. The next measure harmonizes the I chord that finishes the imperfect authentic cadence begun in the phrase. But this tonic chord also acts as the beginning harmony for the next phrase continued in the last measure

V7 I V7 shown in the example with a V7 chord, and also the beginning of the bridge. So this cadence point has been elided and includes the same measure in not only two separate phrases but also two separate parts of the exposition, theme 2 and the bridge. The same type of cadences happens several other times throughout the first movement. There are also several phrases that have been extended through the use of harmony. The second cadence point of the bridge, measure sixty-seven, is the end of a phrase that started in measure sixty. This phrase lasts so long because the harmony has been heavily and easily lengthened through the progressive use of secondary dominants and seventh chords. This is illustrated in the example below.

i iv7 V7/III V7/VI

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