Music Theory III Assignment — Mozart’s Symphony No.40, movement 4
PRELIMINARY — All Groups
A. Familiarize yourself with the movement through listening and/or playing through the themes.
B. Locate and label in the score the main sections of the sonata form.
EXPOSITION — Group 1
A. Identify and label the various sections of the Exposition: P group, Transition, S group, C theme(?), Coda/cadential extension(?).
B. Describe briefly the P and S thematic material. Is the S group highly contrasting to the first theme?
C. Does the transition between P and S move to V or V/V? (Peek ahead to see how it might be reworked in the Recapitulation.)
D. Identify all the P & S themes and any T or C themes, labeling them accordingly (P1, P2, S1, S2, etc.).
E. Bracket and label any important motivic material.
DEVELOPMENT — Group 2
A. Note any divisions or internal sections of the development.
B. Determine the origin of the thematic material featured in the Development. Are there any new themes?
C. What are some of the developmental techniques used?
D. Many key areas are tonicized in the Development. Do you hear any that are strongly established?
E. What key area is established in mm.176-181? What is its relationship to the home key of g minor?
F. Locate and label the retransition. How recognizable is the entrance of the recapitulation?
G. How lengthy is the development section? What is its proportion compared to the exposition?
RECAPITULATION — Group 3
A. Determine key areas through the Recap, noting any departures from the usual tonal plan.
B. Compare the Recapitulation to the Exposition to determine any alterations (compression of material, variation, omission, addition, etc.).
C. Compare the transition between the first and second theme groups in the recapitulation with that of the exposition, noting any adjustments in the recapitulation.
D. Note where the coda begins. If developmental in nature, note the derivation and treatment of material.
OTHER CONSIDERATIONS — All Groups
A. Consider Mozart’s orchestration techniques within your section. Do the various orchestration "choirs" (strings, winds, brass) take on unique roles? Does Mozart use orchestration to delineate sections, to add variety or contrast, to push the movement forward, etc.?
B. Is there a climax of your section? What would you say your section is about?
C. Does anything about your section not fall in line with our traditional sonata form mold?
D. What are the most interesting/surprising/appealing moments of your section? Why are they interesting/surprising/appealing?