Timed Analysis Project 1

Tom Burns: 130188722
MUS203: Analytical Approaches to Music
Timed Analysis Project 1:

Mozarts String Quartet No. 16 in Eb major (K.428), mvt. III
String quartet no. 16, composed in 1783, is the third of the Haydn
Quartets, a series of six string quartets Mozart wrote during his first few
years in Vienna (1782-1785), that were later dedicated to Joseph Haydn.
During the time of composition of these quartets, Haydn and Mozart had
become friends, and often played quartets together in Mozarts
apartment, Mozart on viola and Haydn on violin. All six of these string
quartets follow a similar basic form:
First movement Allegro in sonata form

Second movement Adagio or Andante in sonata form
Third movement Minuetto and Trio
Fourth movement Allegro in sonata, rondo or variation form
The second and third movements are often switched depending on the
quartet. K.428 is no exception to the structure of the Haydn Quartets.
The individual structure for the third movement is a very typical
form for a minuet and trio. On broad observations, it is essentially a
ternary structure with internal forms within each of the ternary sections
(see Fig. 1). There is however a passage that could be construed as a
codetta, as it contains melodic material not previously heard, and stays in
the home key in preparation to move, be it to the start of the minuet
again, or to begin the trio using the tonic chord as a pivot; the passage in
question occurs over bars 55 70, and will henceforth be described as a
codetta.
Fig. 1
The melodic material within the minuet can be separated into two
main identifiable themes (1 and 2), both of which are initially delivered by
the first violin. Theme 1 can then be divided into a further two sections (a
and b). Theme 1a (Fig. 2) is two bars long and consists of a very Haydnesque, almost sneezing, motif that covers nearly two octaves, leaping
up initially with a quick succession of two semi-quaver appogiaturas to a
tonic crotchet, with then drops to a minim on E flat. This pattern is then
repeated only now ending on a minim on F. Theme 1b (Fig. 3) is double the

length of 1a and comprises of stately, flowing quavers. The second theme
(Fig. 4) of the minuet is very different to the first, with longer note values,
and the introduction of dotted notes, as well as much shorter note values
like the demi-semi-quavers in bar 12. There is much use of this thematic
material throughout the minuet, where it becomes subjected to antiphonal
exchange (1b delivered by the first violin then mimicked by the viola half
a bar later which does indeed occur during the second presentation of
this theme in bars 9 and 10) and extension (1a over bars 42 46).
Interestingly, all of these themes, even those in the trio, begin on an
anacrusis.
The melodic material in the trio only really comes from one main
theme (Fig. 5 abbreviation of whole theme), unlike the two (or three if
one counts the division of the first) of the minuet. With only one theme
present here, something must be done quite ingeniously in order to
maintain or even provoke interest throughout. This is accomplished by a
further reminiscence of Haydn, in that this trio is rather monothematic.
Beginning at bar 70 (on an anacrusis) and continuing through to bar 84,
the trio theme is delivered by the first violin, then passed to the second
in bar 80, and presented in C minor, contrary to the key signature. At the
second section, halfway through bar 84, the theme is presented again,
this time in the key of G minor (as the key signature dictates) in the
second violin. This thematic material is developed further here than the
first section by having the theme fragmented and passed around the
ensemble, before some kind of unity is established within the final four
bars.
In terms of the harmony and tonality of the third movement of
K.428, the most notable point is the extensive use of pedal points
throughout, especially in the trio, in which the cello plays nearly all
sustained pedal notes with the exception of about six bars. The movement
begins with the A section in Eb major, but only remains in this key for
eight bars, modulating at this point to dominant key of Bb major, in which
the section continues as a prolonged preparation for the return to the
tonic at the repeat of the A section halfway through bar 26. The B section
of the minuet is considerably shorter than the A section. This section is in
the home key of Eb and remains that way until the end of the minuet. By
the end of section B, around bars 31 34, the harmonic pulse and
complexity (including chords ii, iii and vi in rapid succession) drastically
increases upon approaching the cadence point, where a dominant chord is
sustained over a repeating quaver melody before resolving to a tonic
chord, and a presentation of the initial melodic material, Theme 1. It is
during this final A section that the only truly chromatic chord throughout
the minuet occurs: at bar 45 there is an A diminished (#IVo) chord

accompanying Theme 1a. The codetta, bars 55 70, is more harmonically
complex, featuring more minor chords such as chord ii (Fm), vi (Cm) and
iii (Gm), as well as various inversions (iiib Gm/Bb).
The trio is rather ambiguous about its key to begin with. The key
signature states two flats, meaning either Bb major or G minor. It sounds
minor, meaning the key is G minor, but looking at the score, there is
clearly a low C pedal from the cello for four bars near the beginning.
Indeed, the chord progressions over this pedal imply C minor also: bars 72
75 Cm Fm Cm Fm. By bar 80 however, the key of Bb major has a
firm foothold, with a sustained Bb pedal in the cello. The B section of the
trio uses the same melodic material as the previous section, but now the
key is clearly G minor, the relative minor of the key in which the A section
ended. This section also modulates to Bb major before it ends, in an
almost dominant preparatory fashion for the return of the minuet in Eb
major.
Fig. 2
Fig. 3
Fig. 4
Fig. 5

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Tom Burns: 130188722

MUS203: Analytical Approaches to Music