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The
above
example
gives
the
violin
1
part
and
cello
downbeats
for
the
antecedent
phrase.
The
cello
part
is
the
retrograde
of
the
first
four
pitches,
temporally
expanded
to
4
measures,
by
placing
each
pitch
on
the
downbeat
of
each
measure.
This
means
the
antecedent
phrase
is
grounded
and
based
on
the
first
four
pitches,
and
also
communicates
to
the
listener
the
importance
of
downbeats
to
the
internal
logic
of
the
movement
as
a
whole
within
the
context
of
the
piece.
Since
the
Menuetto
is
in
three-part
song
form,
the
antecedent
phrase
is
followed
by
a
consequent
phrase,
the
first
period
followed
by
a
second
period
consisting
of
a
contrasting
phrase
and
the
consequent
phrase
of
the
first
period.
The
Trio
of
the
piece
is
a
temporally
expanded
mosaic
paraphrase
of
the
antecedent
phrase
of
the
Menuetto
transposed
to
the
dominant
with
a
modulatory
bridge
to
nowhere
(ex.
4)
interpolated
between
the
repetitions
of
its
single
period
:
Example
2:
Trio
1st
musical
period
The
downbeats
of
each
measure
are
the
principal
pitches
of
the
antecedent
phrase
of
the
menuetto
with
the
same
intervallic
content,
except
for
the
transfer
of
register
down
to
g2
instead
of
up
to
g3,
and
the
omission
of
the
a2
and
b2
since
they
are
included
as
an
integral
part
of
the
trio
melody
after
the
pick
up.
Once
Mozarts
logic
is
perceived,
the
pitches
on
the
downbeats
of
the
melodic
line
of
the
Trio
can
be
predicted:
Example
3:
Menuetto,
ant.
phrase:
D
G
(a
b)
C
A
B
G
A
G
Trio,
1st
musical
period:
A
D
G
E
F#
D
E
D
P4
P4
m3
M2
M3
M2
M2
Example
4a:
Modulatory
bridge
m.
27
Example
4b:
m.
27
vln.
1
retrograde
of
cello
m.
3
w/
register
transfer
to
treble
and
paraphrased
using
the
inversion
of
the
melodic
line
in
m.
9
(the
contrasting
phrase)
m.
3
D:
V/V
The
harmonic
determinant
pitch,
C-sharp,
is
at
the
end
of
measure
three
in
the
bass.
In
the
Trio
the
G-sharp,
which
is
cognate
to
the
C-sharp
in
m.
3,
is
at
the
beginning
of
measure
27
in
the
treble.
Mozart
could
have
simply
repeated
the
eight
measure
period
twice,
which
is
what
most
composers
of
the
time
would
do,
achieving
a
conventional
balance
and
symmetry
between
the
Trio
and
the
Menuetto
of
sixteen
measures
each.
But
this
is
Mozart,
and
as
with
all
great
composers,
he
transcends
the
form
and
achieves
a
far
more
compelling
and
unique
sense
of
symmetry,
balance,
and
affective
quality
through
the
temporal
expansion,
transposition
and
paraphrasing
of
the
antecedent
phrase
of
the
menuetto.
This
explains
WHY
there
is
a
modulatory
bridge
to
nowhere
interpolated
between
the
two
repetitions
of
the
single
musical
period
of
the
Trio
because
there
was
a
modulatory
function
at
the
end
of
the
third
measure
of
the
first
antecedent
phrase
of
the
menuetto
from
which
the
entire
piece
developed,
a
temporally
expanded
modulatory
passage
cognate
to
it
had
to
occur
in
the
trio
as
an
essential
feature
of
its
internal
logic.
The
harmonic
structure
of
the
Trio
is
simple
in
contrast
to
the
harmonic
structure
of
the
menuetto,
where
there
is
a
different
function
or
inversion
on
every
beat,
because
Mozart
wants
the
listeners
attention
focused
on
the
melodic
line.
Since
the
first
four
pitches
of
the
piece
are
used
structurally
through
a
retrograde
temporal
expansion
as
the
foundation
of
the
first
antecedent
phrase,
and
the
first
antecedent
phrase
is
transposed
to
V
and
temporally
expanded
through
mosaic
paraphrase
to
create
the
Trio,
in
a
very
real
sense
the
entire
piece
spins
out
from
these
first
4
pitches.
Even
a
simple
and
charming
piece
such
as
this
demonstrates
Mozarts
extraordinary
level
of
compositional
mastery
and
higher
order
musical
thinking,
transcending
the
form
through
his
genius,
and
distinguishing
his
music
from
that
of
his
peers.
The
genius
is
in
the
details,
and
the
details
are
often
to
be
found
embedded
at
the
molecular
level;
this
type
of
musical
thinking
will
have
a
profound
influence
on
a
developing
Ludwig
van
Beethoven.
G: I6 ii I vi V6/V V
I6
ii V I vi IV V7 I
D: I
V7
ii6 ii V7 I
V7
V7/V
vi