Music Theory III Assignment — Mozart’s Eine Kleine Nachthmusik, movement 1

NB: This assignment uses terminology from Elements of Sonata Theory by James Hepakoski and Warren Darcy


1. First, chart the main sections. Include the following:
a. Exposition, Development, Recapitulation
b. P–, S–, and C–zones; TR, MC, EEC, RT, ESC


1. How many different P themes can you identify? Label them.
2. Is there a "counter–statement"?
3. In the transition into the S–zone, where exactly does the modulation occur?
4. Where is the MC? Is the MC cadence I:HC or V:HC (or anything else)? Based on your answer, what might you expect to happen in the Recapitulation? (Take a peek ahead to see what happens.)
5. How contrasting is the initial S theme compared to the P theme? In what ways do they differ? In what ways are they similar? Are any motives common to both?
6. How many different S themes can you identify?
7. Is there a Closing (C) Theme? Coda or Cadential extension?


1. Identify the key areas and the origins of thematic material used in this section.
2. What developmental techniques are used? (e.g. fragmentation, sequence, etc.)
3. Comparing mm.56–59 to mm.1–4, how has Mozart shifted things in mm.56–59? What chord is outlined in mm.58-59? Where does it resolve in m.60? Explain its aural effect. (We may need to listen again.)
4. What chord emerges in m.69? (Key is g minor here, established in m.67. This also requires determining NCTs in the Violin II and Viola parts.)
5. Where is the RT (if there is one)?


1. Compare the Recapitulation to the Exposition, and determine what is the same and what is different.
2. How does the Transition between P & S zones compare with that of the Exposition?
3. How does Mozart vary the S zone themes (if he does)?
4. Is the closing theme varied at all? If so, what is the effect?
5. What from the opening measures of the movement is taken directly and interjected in the final measures of the movement?