15

CODA

subdominant at m. 267 but becomes redirected toward the supertonic in the

following measure. Measure 269 then marks the start of the coda, since this is
where the music departs from the path of the exposition.

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Example 15.5: the recapitulation ends at m. 244 with the PAC closing the second
subordinate theme. The coda then starts by sequencing up a third (literally down
a sixth) the cadential idea, which is fragmented in the following measures.
By starting the coda in a broader model-sequence process (already begun
at the end of the recapitulation), a functional continuation, not an initiation, is
expressed. Indeed, a true sense of structural beginning does not appear until very
late in the coda (see ahead Ex. 15.8), when main-theme material is brought back
a final time.

EXAMPLE 15.5 Haydn, Symphony No. 97 in C, i, 23664

Phrase-structural Organization of the Coda

A major distinguishing feature of a coda, as opposed to a closing section consisting of codettas, is the presence of at least one thematic unit that concludes with
a perfect authentic cadence. This coda theme, as it may be labeled, is frequently