MUS 501: ANALYSIS & MUSICIANSHIP I

ASSIGNMENT 3
Due Monday 9/19

1. BEFORE CLASS STARTS on 9/19: ANALYZE SOME MOZART

Next week, we’re going to spend a class or two talking about the exposition from Mozart’s K. 332 piano
sonata in F major. In advance of that discussion, I’d like you to get to know the music by doing an
analysis of its cadences and phrase forms.

On the next page is a sheet you’ll fill out and submit. In all, there are fourteen “cadential events” in these
93 bars: by this, I mean PACs, IACs, HCs, and evasions. You’ll give me the bar number for each event,
the type of event, and a description of the phrase form that the cadence concludes. (For evasions, you’ll
leave the last blank empty, since evasions don’t “conclude” anything.)

Some additional points:

• List the “cadential events” in the order in which they occur.

• I’ve filled out four of the events for you. They involve a relatively rare phrase form called a
“double period.”

• When referring to SENTENCES, please give the proportions in bar numbers of the three parts
(i.e., the basic idea, the repetition, and the rest of the stuff). The passage includes plenty of
sentences with normal “short–short–long” proportions (i.e., 2+2+4 or 1+1+2). But it also includes
some unusually proportioned sentences. Look for a 2+2+11 sentence, a 4+4+10 sentence, and
even a 2+2+2 sentence. (Notice that the last of these defies the “short–short–long” rule. This
happens now and then!)

• There are two cadence evasions in total. Both occur in the same phrase and are variants of one
another.

• Ideally, you’ll be finding cadences with your ears first and your eyes second. But if your eyes need
help, remember that you’re looking for very specific combinations of notes here. Most of the
music here is in F major or (later) C major. Between them falls a transitional area in D minor and then
C minor. In the tonic key F, authentic cadences will have only one bass line: C to F. In C major,
that becomes G to C.

One more thing to think about: in terms of the musical arc of these 93 bars, not all measures are equal in
their significance. Ask yourself, for the purposes of class discussion: What are the points in this exposition
that feel most consequential? Which ones have the greatest dramatic weight? What arrival points seem
most significant?
 MUS501 – Assignment 3 (p. 2)

YOUR NAME

MOZART K. 332 EXPOSITION: Cadence Analysis

Bar Cadential Event* Concludes**

44 IAC Antecedent
Consequent
48 HC (this and the previous phrase make the antecedent of a “double period”)

51 IAC Antecedent
Consequent
56 PAC (this and the previous phrase make the consequent of a “double period”)

*May be: **May be:

“PAC” [blank] (when cadence is evaded!)
“IAC” “Neither sentence nor period”
“HC” “Antecedent”
“EVASION” “Consequent”
“Sentence”
“Sentential Antecedent”
“Sentential Consequent”

When a phrase is SENTENTIAL,

give proportions (e.g., 1+1+2,
4+4+8, 2+2+11, etc.)
 7

14

20

25

29
33

37

43

49

54

59
64

69

75

82

86

89