ESTHER CAVETT-DUNSBY

NOTES

1 'Coda , a closing section in movements with repeats The term C is em

especially, when on taking the repeat a skip has to be made; as, for exam
Scherzi, where after the trio the scherzo has to be repeated, and then
played ' (Riemann n d : 153)
2 This happens, for instance, in six out of the fourteen sonata-form first movements
of the piano and violin works included in the survey
3 This kind of insertion is found also in the last symphonies: see the first movement
of the Eb major Symphony, K 543, and the first and last movements of the G minor
Symphony, K 550
4 Towards the end of a movement, there are often several strongly articulated
cadences asserting the tonic, and the Schenkerian analyst has to decide which of
these coincides with the close of the Fundamental Structure Schenker's own
analyses of complete movements show that his idea of where a structural co
begins is determined not only by the large-scale contrapuntal structure but also
foreground and middleground elements and by the obligatory register (see,
example, Figs 7a, 20/4 and 35/1 of Free Composition)
5 Schenker mentions octave couplings in the codas of works by J S Bach an
Chopin, saying that this feature 'merits special attention' (1979: 87)
6 Hans Keller (1956: 132) and Hermann Abert are two of many commentators w
consider that the second subject begins in b 30 This is contentious, because bs 30
5 are still in the tonic There is, however, an obvious contrast - in melodi
structure, texture and harmonic rhythm - between the material up to this point
what follows
7 There are at least two places where the Fundamental Structure could close: b 225
and b 243 The second reading is the more satisfactory First, although there is a
descent from 3 to 1 in bs 224-5, this is followed immediately by a descent from 5 to
3 in bs 227-8, which 'reactivates' the 3 Second, the A in b 234 seems too prominent
to be interpreted as a neighbouring note to a prolonged G Thus the second reading
would have it that A, the 2, is prolonged from b 234 to b 242, by means of an octave
coupling, and that the structural coda begins in b 243
8 The second subject's original Eb (in b 32) is replaced with D in b 245 But there is
a progression from Eb to D in the bass of bs 244-5 and in the melody of bs 250-1;
and this progression even makes a melodic connection between the end of the first
movement (b 252) and the anacrusis of the second movement
9 Schenker observes that the primary note of the Fundamental Line sometimes
reappears in the structural coda; he gives an example from Beethoven (1979: 138)
10 The triplets in bs 78-9 of the exposition do not return in the corresponding bars
(205-6) of the recapitulation; the triplets then spring out again, with greater force,
in the coda
11 For an example of registral completion in a sonata-form movement without a formal
coda, see the first movement of the String Quintet in C In the approach to the
structural coda (bs 347-50), the Fundamental Line descent in the obligatory
register is interspersed with higher notes which are in the same register as that of

48 MUSIC ANALYSIS 7:1, 1988

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 MOZART'S CODAS

the melodic line nearly twenty bars earlier (bs 330ff ) an

in the last bar of the movement
12 Leonard B Meyer's implication/realization model (: 1
directly with the way in which patterns in music en
attention to the role of the coda in the processes he ide
closure in literature, see Kermode 1967 and Smith 1968

REFERENCES

Keller, Hans, 1956: 'The Chamber Music', in The Mozart Companion, ed H C

Robbins Landon and Donald Mitchell (London: Rockliff), pp 90-137
1985: 'Functional Analysis of Mozart's G minor Quintet', Music Analysis, Vol 4,
Nos 1-2 (March-July), pp 73-94
Kerman, Joseph, 1982: 'Notes on Beethoven's Codas', in Beethoven Studies 3, ed Alan
Tyson (Cambridge: CUP), pp 141-59
Kermode, Frank, 1967: The Sense of an Ending Studies in the Theory of Fiction (New
York: OUP)
Macpherson, Stewart, 1908: Form in Music (London: Joseph Williams)
Meyer, Leonard B , 1973: Explaining Music (Berkeley: University of California)
Moyer, Birgitte Plesner Vinding, 1969: 'Concepts of Musical Form in the Nineteenth
Century, with Special Reference to A B Marx and Sonata Form' (Diss , Stanford
University)
Oster, Ernst, 1977: 'Register and the Large-Scale Connection', in Readings in Schenker
Analysis and Other Approaches, ed Maury Yeston (New Haven: Yale), pp 54-71
Prout, Ebenezer, 1895: Applied Forms (London: Augener)
Riemann, Hugo, n d : Dictionary of Music, trans J S Shedlock (London: Augener
[No 9200])
Schenker, Heinrich, 1974: 'Beethovens Dritte Sinfonie zum erstenmal in ihrem wahren
Inhalt dargestellt', in Das Meisterwerk in der Musik Ein Jahrbuch, Vol 3
(Hildesheim: Olms), pp 25-101 and supplement
1977: 'Organic Structure in Sonata Form', trans Orin Grossman, in Readings in
Schenker Analysis and Other Approaches, ed Maury Yeston (New Haven: Yale),
pp 38-53
1979: Free Composition, trans and ed Ernst Oster (New York: Longman)
Schoenberg, Arnold, 1970: Fundamentals of Musical Composition, ed Gerald Strang
(London: Faber)
Smith, Barbara H, 1968: Poetic Closure A Study of How Poems End (Chicago:
University of Chicago)

Since the final drafting of this article, the following dissertation has come to my
attention: David H Smyth, 'Codas in Classical Form: Aspects of Large-Scale Rhythm
and Pattern' (University of Texas, 1985) This study complements some of the points
made here, though Smyth's approach - as his title suggests - is very different from my
own

MUSIC ANALYSIS 7:1, 1988 49

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