Symphony No.40 in G minor

Wolfgang Amadeus Mozart – Symphony No.40 in G minor

Sections of the piece

Bars 1-20

• Subject 1
• homophonic texture
• question and answer
• imperfect cadence b.20 on the dominant.

Bars 20-43

• Bridge
• homophonic texture
• based on the first subject. b.28 perfect cadence on Bb major. Use of pedal in the horns and violin I uses broken chords. Imperfect cadence at the end of the bridge on Bb major. General pause at the end of the bridge.

Bars 44-72

Subject 2 – homophonic texture. Dialogue between strings and woodwind at beginning of second subject. Use of chromatisim. Tutti sections in parts. b.66 perfect cadence in Bb major. b.72 perfect cadence in Bb major.

Bars 73-100

Codetta – homophonic texture. The idea is initially passed from the clarinets to the bassoons; the upper strings and the lower strings play augmentation in canon with each other. b.79-80 perfect cadence in Bb major. b.99 perfect cadence in Bb major then b.100 dominant 7^th chord in G minor as pivot chord. The exposition then repeats before continuing into the development.

Bars 101-164

Development – homophonic and polyphonic texture. Modulation occurs throughout the section: passes through F#m, Em, Am, Dm, Gm, C, F, Bb and Gm. The polyphonic texture occurs between bars 114 and 138 as there are counter melodies played throughout. There is dialogue throughout the development between the flutes, clarinets and violins (b.138-142) and also between the strings (b.153-156).

Bars 164-299

Recapitulation – homophonic texture.…