Sarah Foster

MUSI 781W in Italy, 2014, Take-Home Test, 8/17/14

Part Two: Mozart K. 550 in G Minor, Menuetto: Allegretto (not the Trio)
2. Identify by bar numbers the presence of all "Sentences" and "Periods" if any of the phrases (or
pairs of phrases) conform to these types of phrases (or phrase pairs). Again, do not bother with
the Trio.
The first 14 measures are in sentence structure (and antecedent/consequent phrase pairing
in the first 8 measure because there is a question and answer set). The next phrase is from 15-27,
which is basically a repeat of the original phrase with embellishments and modulations between
different keys. Once the piece reaches measure 28, the imitative polyphony extends the phrase
into measure 36 with another perfect authentic cadence, and then ends with a final phrase from
half way through 36-42 (again, landing on a perfect authentic cadence).
5. For the sake of demonstrating your expertise, please provide a list of 5 applied chords that you
can find in this short piece. Provide both beat and bar numbers plus the exact "Roman Numeral
Symbol with Arabic numerals showing inversions" for each one.
Measure 7, beat 3- V4/3 / IV
Measure 11, beat 2- VII dim./V
Measure 13, beat 3- V7/V
Measure 31- V7/IV
Measure 39- VII dim.7/V
(All of the other questions):
The unusual thing about the phrasing of this piece, to me, was the excessive use of
sequences and pre-dominant chords to extend the phrases. Most of the piece consists of
sequencing, such as in measures 8-10 in the violin parts. The first notes of each sequencing clip
outline a Bb7 chord in descending order with 8th note patterns in between. The piece does the
same thing in measures 23-25, but on different chords, creating more of a modulating sequence
into the key of D for two measures and then back into the home key of g minor in measure 28.
This ends on the first beat of measure 11, where the parts come together in a homophonic quarter
note texture before cadencing with a short half cadence in 13-14. There was also a lot of
imitative polyphony, such as in measures 28-33, where the original theme is repeated, but off-set
between instruments by about a measure. The theme gets passed between parts until measure 34,
where the parts all come back together for that quarter note homophony. The other unusual thing
I noticed about this piece was the amount of modulation (and modulating sequences) that took
place. While the piece begins in g minor, it switches to Bb major (the relative major key) in
measures 15-17. In 17, it switches back to g minor until measure 20, where it falls into Eb major
until measure 25, where a Ger. 6/5 chord (and another modulating sequence in 23-25) brings the
piece into D major (the dominant key) for 2 measures, easily ending the phrase on a perfect
authentic cadence in measure 28. There is a chromatic sequence in measures 36-42 that begins
on G and descends chromatically until it reaches the G one octave lower (also ending on a
perfect authentic cadence).