Mozart

- piano in solo section
- alternate piano and forte in tutti
- some terraced dynamics

- 2 semiquaver anacrusis in theme
- some instances of syncopated rhythm on lower strings

- light scoring (no trumpet or timpani) allows clarinet to be heard
- strings play arco staccato
- paired woodwind and brass
- cello and double basses in octaves
- long held notes on woodwind
- tonic pedal on horn

6/8 compound duple

- scalic movement
- chromaticism and many passing notes
- sequences
- rising sequence of decending scales from strings
- arpeggios on clarinet
- use of trill

- first 8 bars based on primary chords
- first 8 bars end in perfect cadence
- ends in perfect cadence in tonic

- A major
- modulation to E major (dominant)

2 bar phrasing

- homophonic with clarinet playing tune and chordal accompaniment by others
- divisi - single orchestral section divided into multiple parts - gives fuller texture

allegro

- Sfp emphasises louder section as key changes
- otherwise piano

flute solo

- B section theme repeated octave below
- triadic movement
- melodic exchange between instruments (clarinet countermelody)
- sequences
- very disjunct movement at end (feature of C)

- some chromatically altered complex chords such as #IVdim7 and aug6
- perfect cadence in E major before modulating to A minor

- starts in tonic
- modulation to E minor (dominant minor), then E major
- modulation to A minor

4 bar phrasing - contributes to more lyrical sound

lots of antiphonal

hemiola - disrupts regular metre of movement

tremolo on strings

extended version of tutti theme from A

some instances of chordal near end - emphatic close

quaver anacrusis

- theme similar to countermelody heard in B (b77-80)
- disjunct movement
- octave jumps
- chromatic notes

- C# chord in A1 preps for F#minor - (dominant)
- circle of 5ths modulation

- F#minor (relative minor)
- modulation to D major

4 bar phrasing

lots of melody and accompaniment - contribute to lyrical feel

anacrusis is a quaver - development of opening motif

- develops the opening motif in short passages moving in 3rds
- clarinet creates chromatic bassline

some chordal

Sfp (reminiscent of original B)

expressive pauses

- chromatic melody on viola
- scalic semiquaver solos on clarinet (reminiscent of ritornello)

imitation between strings and clarinet

- circle of 5ths modulation
- ends in perfect cadence

- starts in tonic
- modulations to D minor (subdominant minor), E major and A minor

almost exact repeat of A but no anacrusis

change to forte - helps listener follow antiphony

hemiola

triple stopping on violin in last 2 chords

- rising arpeggios
- recap of b78 but in tonic key
- final ritornello theme

ends with emphatic tonic chords

tutti - final statement of main theme

apoggiaturas and trill

- A mainly quavers and semiquavers
- B and C based on crotchets, tied notes and quavers

- written pitch higher than sounding pitch by a minor 3rd
- key signature different from most other instruments on the score

- expected progression is towards E major (dominant) in preparation for ritornello
- dominant minor not a closely related key
- classical era expected cadences end on dominant / tonic

- flute solo in B section
- play harmonic parts in tutti
- strengthen texture at cadential points
- often play long harmony notes lower in their range when violin 1 has the melody
- often play in octaves above violins