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Bridge Themes within a Chromaticized Voice Exchange in Mozart Expositions
Roger Kamien and Naphtali Wagner
Music Theory Spectrum
Vol. 19, No. 1 (Spring, 1997), pp. 1-12
Published by: on behalf of the Society for Music Theory
Stable URL: http://www.jstor.org/stable/745996
Page Count: 12
You can always find the topics here!Topics: Musical motives, Bridges, Symphonies, Piano concertos, Tonic chords, Musical rhythm, Tone of voice, Solos, Augmented sixth chords, Bridge engineering
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Bridge sections by Mozart often include a quasi-thematic episode beginning on minor V, ♭III, or VI that leads to an augmented-sixth chord ushering in the V of V. Though strikingly individual and contrasting, such episodes are transitional in function and do not undermine the tonal polarity characteristic of classical sonata form. This article shows how bridge themes from K. 467/I, 482/I, 504/II, and 464/I are integrated within long-range chromaticized voice exchanges. These bridge themes often derive from the opening theme and introduce motivic and chromatic elements which pave the way for later events.
Music Theory Spectrum © 1997 Oxford University Press