The 6-6 linear intervallic pattern as a style feature in the

symphonies of W. A. Mozart

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Cotner, John Sidney, 1963-

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The 6-6 linear intervallic pattern as a style feature in the

symphonies of W. A. Mozart
Cotner, John Sidney, M.M.
The University of Arizona, 1993

UMI

300 N. ZeebRd.
Ann Arbor, MI 48106

THE 6-6 LINEAR INTERVALLIC PATTERN AS A STYLE FEATURE

IN THE SYMPHONIES OF W. A. MOZART
by
John Sidney Cotner

A Thesis Submitted to the Faculty of the

SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
WITH A MAJOR IN MUSIC THEORY
In the Graduate College
THE UNIVERSITY OF ARIZONA

1993

STATEMENT BY AUTHOR

This thesis has been submitted in partial fulfillment of requirements for an advanced
degree at the University of Arizona and is deposited in the University Library to be made
available to borrowers under rules of the Library.
Brief quotations from this thesis are allowable without special permission, provided
that accurate acknowledgement of source is made. Requests for permission for extended
quotations from or reproduction of this manuscript in whole or in part may be granted by
the head of the major department or the Dean of the Graduate College when in his or her
judgement the proposed use of the material is in the interests of scholarship. In all other
instances, however, permission must be obtained from the author.

SIGNED

APPROVAL BY THESIS DIRECTOR

This thesis has been approved on the date shown below:

//
'

/ J.

Timothy Kolosick
Dmfiacprti* of Music
A/fn cm/"*
Professor

ACKNOWLEDGEMENTS

I would like to express my thanks to Dr. Kolosick for his steadfast support
throughout my course of study, with special appreciation for his invaluable assistance
during the writing of this thesis. In addition, I wish to convey my sincere gratitude to Dr.
Murphy and Professor Asia, for their support of my academic endeavors has been a
constant source of inspiration. Finally, I would like to thank my family and fiance for their
ongoing encouragement throughout the writing of this document, and without whom this
thesis could not have been written.

TABLE OF CONTENTS

1.

LIST OF ILLUSTRATIONS

LIST OF TABLES

ABSTRACT

10

INTRODUCTION

11

HISTORICAL-THEORETICAL INTERPRETATIONS OF THE 6-6

LINEAR INTERVALLIC PATTERN: 1558 TO PRESENT .
.
The Origin of Mozart's Symphonic Style

2.

.22

THE SYMPHONIES OF MOZART: DIATONIC EMBELLISHMENTS

OF THE 6-6 PATTERN
7-6 Embellishments of Diatonic 6-6 Patterns .
.
Usage of the 6-6 Pattern as Primary Thematic Material

3.

.13

.
.

27
.30
.
36

THE SYMPHONIES OF MOZART: CHROMATIC EMBELLISHMENTS

OF THE 6-6 PATTERN
Descending Chromatic Embellishments
.
.
.
Descending Chromatic Embellishments with 7-6 Suspensions
Ascending Chromatic Embellishments
.
.
.

44

.44
.
49
.52

5
4.

A COMPARISON OF MOZART'S SYMPHONIES WITH SELECTED

MOVEMENTS FROM HAYDN'S PARIS AND LONDON
SYMPHONIES
Synopsis of Haydn's Mature Symphonic Style as exemplified
in the Paris and London Symphonies (1785-1795) .
Mozart and Haydn: A Comparison of Diatonic Embellishments
7 - 6a n d2 - 3E m b e l l i s h m e n t s .
.
.
.
.
Mozart and Haydn: A Comparison of Chromatic Embellishments
Ascending Chromatic Embellishments

57

57
62
64
68
70

CONCLUSION

72

APPENDIX A TABLE 6. INDEX OF 6-6 PATTERNS IN MOZART'S

SYMPHONIES

78

APPENDIX B TABLE 7. INDEX OF 6-6 PATTERNS IN

MOVEMENTS 1 & 4 OF HAYDN'S PARIS AND LONDON
SYMPHONIES

84

LIST OF REFERENCES

87

LIST OF ILLUSTRATIONS

Figure
1.1 Zarlino Incorrect Use of Parallel Fourths .
1.2

Rameau Parallel First Inversion Triads

1.3

KirnbergerParallel First Inversion Triads .

1.4 Siegmeister Parallel First Inversion Triads

1.5 Forte and Gilbert 6-6 Linear Intervallic Pattern
2.1 Mozart Descending Diatonic Unembellished 6-6 Pattern, K. 183/IH,
m m .1 7 - 2 0
.
.
.
.
.
.
.
.
2.2

Mozart Descending Diatonic Unembellished 6-6 Pattern, K. 183/TV,

m m .1 3 7 - 1 4 1 .
.
.
.
.
.
.
.

2.3 Mozart Descending Diatonic Unembellished 6-6 Pattern, K. 134/TV,

m m .4 0 - 4 2
.
.
.
.
.
.
.
.
2.4 Mozart Descending Diatonic with 7-6 Suspensions, K. 76(42a)/I,
m m .2 4 - 2 8
.
.
.
.
.
.
.
2.5 Mozart Descending Diatonic with 7-6 Suspensions, K. 128/IV,
m m .2 0 - 2 1
.
.
.
.
.
.
.
2.6 Mozart Descending Diatonic with 7-6 Suspensions, K. 133/1,
m m .6 1 - 6 5
.
.
.
.
.
.
.

7
2.7

2.8

2.9

Mozart Descending Diatonic with 7-6 Suspensions, K. 162/1,

m m .4 0 - 4 2
.
.
.
.
.
.
.

35

Mozart 6-6 Pattern as Thematic Material, K. 45/11,

m m .1 - 4
.
.
.
.

38

Mozart 6-6 Pattern as Thematic Material, K. 201/1,

m m .1 3 - 1 8
.
.
.
.
.
.

40

2.10 Mozart 6-6 Pattern as Thematic Material, K. 504/TV,

m m1 - 5
.
.
.
.
.
.

42

2.11 Mozart 6-6 Pattern as Thematic Material, K. 550/IY,

m m .7 0 - 7 5
.
.
.
.
.
.

42

3.1a Mozart Descending Chromatic Embellishment, K. 110(75b)/I,

mm. 109-118

46

3.1b Mozart Middleground Reduction, K. 110/I(75b)/I,

m m .109-119 .
.
.
.
.

47

3.2a MozartDescending Chromatic Embellishment, K. 132/n,

mm. 104-111

48

3.2b Mozart Middleground Reduction, K. 132/11,

m m .102-111 .
.
.
.
.

48

3.3a Mozart Descending Chromatic with 7-6 Suspensions, K. 130/IV,

m m .1252-128
.
.
.
.
.
.

50

3.3b Mozart Middleground Reduction, K. 130/IV,

mm. 125-129

50

3.3c Mozart Deep Middleground, K. 130/TV

m m .125-129 .
.
.
.

51

3.4 Mozart Descending Chromatic with 7-6 Suspensions, K. 550/1,

m m .160-165 .
.
.
.
.
.
.

52

3.5a Mozart Ascending Chromatic Embellishment, K. 550/1,

m m .247-251 .
.
.
.
.
.

53

3.5b Mozart Middleground Reduction, K. 550/1,

mm. 247-251

54

3.6a Mozart Ascending Chromatic Embellishment, K. 22/n,

m m .1 7 - 2 1
.
.
.
.
.
.

55

3.6b Mozart Middleground Reduction, K. 22/n,

m m .1 8 - 2 2
.
.
.
.
.

55

4.1 Haydn Descending Diatonic Unembellished, No. 82/IV,

mm. 88-98

63

4.2 Haydn Descending Diatonic Unembellished, No. 101/1,

m m .6 5 - 6 7
.
.
.
.
.
.

64

4.3 Haydn Descending Diatonic with 7-6 Suspensions, No, 93/1,

mm. 193-198

65

4.4 Haydn Descending Diatonic with 7-6 Suspensions, No. 99/Intro,

m m .5 - 6
.
.
.
.
.
.

66

4.5 Haydn/Landon Descending Diatonic with 7-6 Suspensions, No. 102/1

67

4.6 Haydn Descending Chromatic Embellishment, No. 94/Intro,

m m .1 3 - 1 5
.
.
.
.
.
.
.

69

4.7a Haydn Ascending Chromatic Embellishment, No. 95/TV,

m m .164-168 .
.
.
.
.
.

70

4.7b Haydn Middleground Reduction, No. 95/IY,

m m .164-168 .
.
.
.
.

71

LIST OF TABLES

Page
Table 1.

Mozart: Number of Movements Containing 6-6 Patterns

72

Table 2.

Mozart: Arrangement of Embellishment Types Among Symphonic

M o v e m e n t s .
.
.
.
.
.
.
.

7 3

Mozart: Placement of 6-6 Patterns Within Sectional Divisions of

M o v e m e n t s .
.
.
.
.
.
.

74

Haydn: Arrangement of Embellishment Types Among Selected

Movements of Haydn's Paris and London Symphonies

76

Haydn: Placement of 6-6 Patterns Within Sectional Divisions of

M o v e m e n t s .
.
.
.
.
.
.

77

Table 6.

Index of 6-6 Pattern in Mozart's Symphonies

78

Table 7.

Index of 6-6 Patterns in Movements 1 and 4 of

J. Haydn's Paris and London Symphonies

84

Table 3.

Table 4.

Table 5.

10

ABSTRACT

The research for this study entails a systematic classification of all significant
instances of the 6-6 pattern in Mozart's symphonies. This data is further categorized
according to embellishment types, and discussed with respect to Mozart's application of the
model in his complete symphonies.
Comparing Mozart's usage with that of Haydn's Paris and London symphonies, one
finds that both composers often implemented the model as a means of developing material.
Although Mozart and Haydn used the pattern in a variety of conventional ways in thematic
and transition sections, there are some striking differences of treatment between the two
composers. Haydn applied the pattern as retransitional material to a return of the opening
theme. Likewise, his usage is predominantly diatonic. On the other hand, Mozart treated
the 6-6 pattern with a high degree of stylization. As his symphonic technique became more
distinctive, we find increasingly complex chromatic embellishments of the model. This
study reveals that the 6-6 pattern is an important aspect of Mozart's symphonic technique
throughout his career as symphonist.

11

INTRODUCTION

This study attempts to demonstrate how W. A. Mozart uses the 6-6 linear intervallic
pattern (manifest as parallel first inversion triads) in his forty-one symphonies.
Occurrences of the 6-6 pattern are cataloged according to placement in the form of each
movement and embellishment types. The research identifies a specific aspect of Mozart's
symphonic idiom over the course of his compositional output. To attempt a thorough and
comprehensive investigation of Mozart's symphonies would not only entail years of
examination and reexamination of each symphony but would also require research into his
compositions in other genres. Although such an undertaking is beyond the scope of this
thesis, it is hoped that the research contained herein will shed some light on Mozart's
symphonic idiom, and therefore add to the ongoing discussion of his symphonic style as a
whole.
Chapter 1 is divided into several sections, beginning with an overview of significant
historical-theoretical interpretations of the 6-6 linear intervallic pattern, and followed by a
brief summary of Mozart's development as symphonist. In Chapter 2, diatonic settings of
the 6-6 pattern in Mozart's complete symphonies are examined in terms of their placement
in the formal design of the symphonic movements discussed, and their harmonic and
melodic embellishments. Chapter 3 documents chromatic embellishments of the 6-6
pattern, with emphasis upon Mozart's late symphonies. In Chapter 4, the results of these
findings serve to preface a comparison of Mozart's usage of the 6-6 model with selected
symphonic movements of Joseph Haydn. Central to this comparison are the Paris (Nos.
82-87) and London (Nos. 93-104) collections spanning the decade 1785-1795. After a

12
brief overview of Haydn's contributions to the development of a classic Viennese
symphonic style, Chapter 4 focuses upon the uniqueness of Mozart's implementation and
elaboration of the model throughout his development as symphonist, as compared to his
immediate contemporary, Haydn. Two appendices provide detailed catalogs of Mozart's
usage of the 6-6 pattern in his complete symphonies as well as that of Haydn's in the Paris
and London groups.
By examining the complete symphonic output of W. A. Mozart, I will demonstrate the
extent to which the 6-6 linear intervallic pattern (manifest as parallel first inversion triads) is
an important aspect of his symphonic technique. As the study is concluded, I will attempt to
answer the following questions: 1) Does the framework of the 6-6 model itself prompt
Mozart to certain idiomatic treatment that can be interpreted as "stylistic"?; and 2) How is
Mozart's treatment of the model uniquely different in comparison to that of his
contemporary, Haydn?

13

CHAPTER 1
HISTORICAL-THEORETICAL INTERPRETATIONS
OF THE 6-6 LINEAR INTERVALLIC PATTERN:1558 TO PRESENT

About 1440-1442, the Medieval French poet Martin Le Franc, in his poem, Le
Champion Des Dames, describes a "new practice of making lively consonance" seen in the
music of English and continental composers such as Dunstable, Dufay, and Binchois. He
calls this fresh polyphonic style, typified by full triadic sonorities within a three or fourvoice texture, as the "contenance angloise" or "English guise." Parallel first inversion triads
are a characteristic feature of this style, a technique commonly referred to by Renaissance
composers as "Fauxbourdon" or "English discant."
When Gioseffo Zarlino (1517-1590) published his monumental treatise, Le
Institutioni Harmoniche (Venice, 1558), he held the view that sixteenth century music had,
as Howard Brown states, "reached a new state of perfection" exemplified in the
compositions of the Venetian School, and led by the Netherlander Adrian Willaert. In Part
Three of Le Institutioni Harmoniche, The Art of Counterpoint, Zarlino makes the following
statement regarding contemporary Renaissance composers' usage of parallel first inversion
triads around the mid-sixteenth century.

Some write the upper voice a fourth from the middle voice, with the bass a third below,
so that bass and soprano are separated by a sixth, which is divided by a major or minor
third. Then they have the parts ascend or descend together for several steps in a manner
they call falso bordone. Although this way of writing is much used, and it would be
very difficult to stamp out, I must say that it does not deserve praise. For the fourth is a
perfect consonance, as I have shown, and we must not disobey the rule given in Chapter
29. Moreover, certain nonharmonic relations occur occasionally between the parts in

14
such progressions. These, which may be observed in the example [Ex. 138 (shown in
Fig. 1)], bring no pleasure to the ear.*

7t
..
K
O

trS o

tfV
-J1

G
O

^rj

o
o

Figure 1.1: Zarlino Incorrect Use of Parallel Fourths

Zarlino viewed the 6-6 pattern as a mannerism, implemented by "modern" composers

whose musical language had, according to Zarlino, taken a degenerative course. He seems
to reproach (but not forbid) its use, largely because it is a parallelism, and negates the
natural order of harmonic intervals suggested by the overtone series to achieve what he
perceives as artful composition as exemplified in the music of Willaert and his followers.
Donald Grout and Claude Palisca point out in A History of Western Music, that
"Palestrina's contrapuntal practice is in most details consistent with that taught in Willaert's
school and explicated and refined by Zarlino in his Le Institutione Harmoniche of 1558.
Later in a discussion of the Pope Marcellus Mass, Grout and Palisca write regarding a
section of the Credo in which occurs parallel first inversion triads:

1 Gioseffo Zarlino, The Art of Counterpoint, Part Three of Le Institutione

Harmoniche, 1558, trans. Guy A. Marco and Claude V. Palisca (New Haven: Yale
University Press, 1968), 195.
2 Donald Grout and Claude Palisca, A History of Western Music (New York:
W. W. Norton & Company, Inc. 1988), 325.

15
Fauxbourdon was frowned down upon by Willaert's school as crude and uncouth,
but Palestrina applied it to great effect here and elsewhere in the Credo, both to provide,
with its sixths and thirds, a relief from the almost constant fifth third combinations, and
perhaps to evoke as aura of a distant more devout age.3

Madrigal composers of the late Renaissance, particularly those working out of the courts at
Ferrara, Mantua, and Rome, used parallel first inversion triads as an effective means of
poetic-rhetorical expressiveness and pictorial text-painting. Likewise, the pattern was
typically embellished with a series of 7-6 suspensions as a way to contrast moments of
pathos from times of relief or pastoral tranquility.
More than one hundred-fifty years later, Jean Philippe Rameau rebukes Zarlino's
opposition to the usefulness of parallel first inversion triads in his Treatise on Harmony
(1722), and in so doing provides an intriguing explanation for the device:

Besides all the licenses that may be derived from the inversion of the deceptive
cadence, there is also a certain successon of sixths which rests on good taste alone.
Zarlino forbids the succession, saying that the consecutive fourths there have
approximately the same effect as so many fifths, if the chords are inverted, as indicated
in the example he gives. We see, however, that according to our rules this succession of
sixths is derived from the deceptive cadence and from the liberty we have (as we said in
Chapter 13) not to prepare the dissonance in progressions in which the fundamental
bass ascends a third, a fifth, or a seventh. [Ex. n. 39 (shown in Fig. 1.2]...Each measure
represents a deceptive cadence, except for the penultimate, which represents a perfect
cadence..."^

3 Grout and Palisca, A History of Western Music, 328-329.

4 Jean-Philippe Rameau, Treatise on Harmony, trans. Philip Gossett (New
York: Dover Publications, Inc. 1971), 125-126.

16
rV&
rM
VSVJ
3

rs

rk.
I'
/

6
/
l
n,
7

CY

ir%

**

e
7

ci

6
5

1
1_0
7

Figure 1.2: Rameau Parallel First Inversion Triads

By the time Kirnberger published The Art of Strict Musical Composition in (17711779), parallel first inversion triads in descending form within diatonic progressions had
become a conventional compositional technique. He provides additional insight into how
his contemporaries utilized the pattern as a means of extending the phrase period: "An
important advantage of the sixth chord is that it can be used to prolong periods whenever
desired in order to avoid having too many short phrases in succession...". Kirnberger gives
the example shown in Figure 1.3, of which he comments, "the chords are even more closely
connected if suspensions are used."5

5 Johann Philipp Kirnberger, The Art of Strict Musical Composition, trans.

David Beach and Jurgen Thym (New Haven: Yale University Press, 1982), 70.

17

-444

TT

fFf fff
6

=8=

Figure 1.3: KirnbergerParallel First Inversion Triads

The general assumptions among traditional theorists of the nineteenth and twentieth
centuries were codified in the writings of Hugo Riemann (1849-1919). His reknowned
achievements in the study of harmony are dissimilated by William C. Mickelson in his
translation of Riemann's, Theory of Harmony and History of Music Theory, (1977).
Discussion of fauxbourdon is extensive, yet Riemann does not relate it directly to
compositional practices during the Common Practice Period. Nonetheless, according to
Riemann, theorists were "lead astray" concerning composers' use of sequential structures
"because they contained illogical progressions." He writes that Fetis "opened their eyes:
'Sequences are...not really harmonic, but melodic formations-i. e., their ruling principle is
not the logical progression of harmonies, but the proceeding by degrees through the
scale."6 This concept applies as well to musical structures involving parallel first inversion
triads in which a motivic figuration and/or a series of suspensions is composed-out in
sequence.

6 Hugo Riemann, History of Music Theory Book I and IIPolyphonic Theory

to the Sixteenth Century, trans. Raymond H. Haggh (Lincoln: University of Nebraska Press,
1962), 82.

18
Leonard G. Ratner's book, Classic Music: Expession, Form, and Style (1908),
contains detailed commentary about periodicity, harmony, rhythm, melody, texture, and
performance as the main parameters of musical rhetoric in the eighteenth and nineteenth
centuries. In the section, Texture: Basic Premises, he discusses the 6-6 pattern as axiom of
musical rhetoric.

Apart from cadential formulas, we often find harmonic progression by descending

sixth chords. Like the sequence by descending fifths, this was a highly useful pattern,
appearing many times in 18th-century music, from Alessandro Scarlatti to Beethoven.
Basically, it is an amplification of a descending conjunct melodic line, capable of
sustaining a high degree of ornamentation and ideal for incorporating elaborated
suspensions. It could be fitted into a period at any point preceding the cadence, and
thanks to its thrust, it built cadential drive. Its fixed structural lines and its length (two to
five or more measures) suggest that it was an even more obvious prefabricated
stereotype than cadences themselves.^

Ratner's description of the 6-6 pattern is pertinent to this study for several reasons.
Although he upholds the view that the 6-6 pattern is a linear musical structure, calling it "an
amplification of a descending [or ascending] melodic line", Ratner also refers to the basic 66 pattern as "a harmonic progression by descending sixth chords". Secondly he calls
attention to the pattern's inherent ability to maintain simple to complex embellishments.
Furthermore, Ratner accounts for its placement in period structure, often as a cadential
phrase a conventional adaptation of the pattern found in Mozart's symphonies a vast
majority of the time at points within the form marking a thematic, transitional, or
developmental section.
The Twentieth century theorist Elie Siegmeister, in his text, Harmony and Melody-The
Diatonic Style (1965), gives full grammatical significance to the first inversion triad built on

7 Leonard A. Ratner, Classical Music: Expression, Form and Style (New York:
Schirmer Books, 1980), 114.

19
each degree of the diatonic scale by labeling each consecutive step with its corresponding
roman numeral. Yet as one reads on, it is clear that he stops just short of fully realizing
parallel first inversion triads as a melodic or "linear" structure, and instead describing it as a
"harmonic wave", effected by the parallel motion inherent in the pattern.

Sixth chords in parallel motion often create the effect of a harmonic wave.
Instead of separate harmonies, the ear hears a continuous sonority, in which the
first, last, and perhaps one or two intermediate chords stand out. The others
form a gentle passing motion, enriching the melodic line.8

u
o
it
_vs>8-

/L

"
I6

II6

41 -o
o

HI6 IV6

o
S

it

V6

VI6

VII6

I
1
I
1

Figure 1.4: Siegmeister Parallel First Inversion Triads

Siegmeister realizes that the pattern is essentially an unstable structure because the root of
each chord is repositioned in the topmost voice, and the bass voice now constitutes the third
of each verticality. The fundamental bass progression is now superceded by one moving
stepwise in either ascending or descending direction. The "chords" within the progression
are passing, and therefore merely traverse and/or prolong the span of the entire passage
constituting parallel first inversion triads.
Schenker discusses descending and ascending linear progressions in Free
Composition (1935), Paragraphs 208-226. As a "linear progression", Schenker proposes

8 Elie Siegmeister, Harmony and Melody (Belmont: Wadsworth Publishing

Company, Inc., 1965), vol. 1, The Diatonic System, 251.

20
that the outlining succession of parallel sixths take precedence over the harmonic content of
the musical stucture as a series of parallel first inversion triads.
A more contemporary Schenkerian interpretation of parallel first inversion triads is
found in Chapter 4 of Allen Forte's and Steven Gilbert's text, Introduction to Schenkerian
Analysis (1982). Forte and Gibert provide a definition of linear intervallic patterns as "a
voice-leading design made up of successive recurrent pairs of intervals formed between the
descant and bass (outer voices)."9 They go on to distinguish parallel first inversion triads
in succession as a non-functional, purely linear musical structure.

...it is important to point out that the linear intervallic pattern 6-6 is not a succession of
triads in first inversion. An interpretation of this kind leads to the most mechanical of
roman-numerical labeling, which designates as a "harmonic progression" a succession
that is not a progression at all. If such a succession were, in fact, harmonic, it would be
possible to substitute corresponding [five-three's] for 6's, resulting in an unacceptable
series of root-position triads seperated by step, in violation of a basic rule of voice
leading (avoidance of parallel fifths) and with no meaningful relationship to functional
harmony. The linear intervallic pattern 6-6 is, like all such patterns, entirely linear and is
not susceptible to the application of inversion theory.10

>

'o'

"

iv m

o:

Not

Figure 1.5: Forte and Gilbert 6-6 Linear Intervallic Pattern

9 Allen Forte and Steven Gilbert, Introduction to Schenkerian Theory (New

York: W. W. Norton & Company, Inc., 1982), 83.
10 Forte and Gilbert, Introduction to Schenkerian Theory, 85.

21
In agreement with Schenkerian theory, the 6-6 pattern qualifies as a middleground
prolongational event. Like Siegmeister, Felix Salzer and Carl Schachter describes the 6-6
pattern's function at the middleground level of a tonal composition, but retain an
understanding of the model as a "harmonic wave" as well:

[sixth chords] ...form perhaps the ideal sonority for extended parallel
motion...Furthermore, in a passage of extended parallel motion, the single
chords tend to lose their individual identity and merge into a continuous linear
flow. Such a passage...can function appropriately as a transition from one stable
pointtoanother.il

Salzer's and Schachter's description of the musical structure of parallel sixth chords as a
"continuous linear flow" in many respects quantifies most current interpretations.
The perspectives presented above share a view that the 6-6 pattern represent an
unstable "dissonant" musical structure. What Siegmeister calls a "harmonic wave"
Schachter refers to as a "continuous linear flow". Forte and Gilbert take a more or less
Schenkerian position, calling the musical structure a '6-6 linear intervallic pattern', the result
of voice-leading and therefore not restricted by Rameauian principles of harmonic
progression or inversion theory.
For the purpose of this study, the event of parallel first inversion triads in succession
will be defined foremost as a 6-6 linear intervallic pattern. Yet because many chromatic
embellishments of the 6-6 pattern examined in this study expand the voice-leading model to
include passing seventh chords, our definition will take into account these alterations of the
sonorous progression, or "harmonic wave", and aid descriptions of the underlying process
of compositional unfolding inherent an both simple and complex settings of the 6-6 pattern.
Because the 6-6 pattern in its basic form (Fig. 1.5) serves composers as a model for
Felix Salzer and Carl Schachter, Counterpoint in Composition (New York:
McGraw-Hill, Inc., 1969), 249.

22
working-out material, the terms "pattern" and "model" will refer synonymously to the 6-6
musical structure.
Analyses of Mozart's symphonies as well as the first and final movements from
Haydn's Paris and London Symphonies will be conducted according to the following
procedures: 1) Locate all instances of the 6-6 pattern; 2) Categorize findings according to
diatonic, and chromatic usage; 3) Classify these according to embellishment types; 4) Place
the 6-6 pattern within the form of each movement and discuss the context in which these
patterns are found. Graphic reductions of selected examples will demonstrate foreground
embellishments of what is a middleground model for prolongation.

THE ORIGIN OF MOZART'S SYMPHONIC STYLE

Born on 27 January, 1756, Mozart's unique place in the development of Viennese

classicism was determined early in life. His first compositional efforts date from 1761,
followed by publication of several keyboard pieces as early as 1764.12 Although
considered nothing more than a novelty by some aristocracy, reknowned European
musicians and nobility alike stood in awe of the boy wonder, who toured extensively
between the years 1762-1771.
Mozart's ability to assimilate conventional idioms and regional trends into a personal
style occured at an early age. His first extant achievements in the symphonic medium date
from the first London visit of 1764-1765. Scholars agree that Mozart's encounter with the
London Bach, Johann Christian (1735-1782) had a profound effect upon his development
in Stanley Sadie's words, a "lifelong influence." Although J. C. Bach's compositions

12 Stanley Sadie, "Wolfgang Amadeus Mozart", The New Grove Dictionary of

Music and Musicians, vol. 12, ed. Stanley Sadie (London: MacMillan Publishers Limited,
1980), 680.

23
were all but forgotten by the time of his death January 1,1782, throughout his symphonic
career Mozart constantly refered back to techniques based directly on those developed by
Johann Christian. This style was influenced in large part by Italian opera buffa and is
characterized by a fast-slow-fast three movement arrangement and extended binary
principles of internal structure. According to numerous scholars including Saint-Foix,
Sadie, and Landon, The Symphony No. 5 in B flat (K. 22 of 1765) is representative of
Mozart's early symphonies, exhibiting a sensitivity to formal proportions within the buffa
tradition, orchestral texture, and thematic contrast. These features became solidified during
his initial Italian journey of 1770-1771 when he composed the symphonies, K. 81/731,
97/73m, and 95/73n. Of this period Sadie remarks, "The manner of these symphonies
shows Mozart influenced by the music he encountered in Italy, and keen to please Italian
audiences or both."13 Yet even this group of early symphonies show Viennese traits
Mozart absorbed into his style during the Viennese trip of 1767-1768, especially in the use
of chamber-like texture and the recapitulation of principal material. In fact, with Symphony
No. 18 in F major (K. 130) composed in Salzburg 1772, Sadie points out that Mozart used
"full sonata-allegro form with a brief development but an extended second group.Sadie
speaks further of this "stylistic synthesis" in the symphonies K. 133 and K. 134 also
composed in Salzburg, 1772.
As well as Italian and Austrian traits, many of these symphonies exploit Mannheim
devices including the restatement of the opening material in the coda, by-passing an
authentic recapitulation procedure.^ By the mid-1770s it is generally agreed that Mozart

13 Sadie, "Wolfgang Amadeus Mozart", 687.

14 ibid. 687.
15

Ibid. 687.

24
came into direct contact with Joseph Haydn's music and was probably acquainted with the
Viennese master sometime between 1773-1774. It was also at this time during the decade
1770-1780, Giorgio Pestelli says, that the Sturm und Drang movement in German literature
was spilling over into musical thought, causing experimentation among composers of
theatrical as well as absolute music.

Around 1770 a stricter tone of expression was becoming more successful; this
included the minor-key vein of some of the Mannheim composers (e. g. Beck's
Symphony op. 3 no. 3 of 1762), the serious tone and more rapid movement in some of
Haydn's symphonies between 1768 and 1772 (e. g. the finale of no. 39 in G minor and
nos. 44 and 45 in Eminor and F sharp minor), and the agitation shown by Boccherini in
his Symphony op. 12 no. 4, and in chamber works published in Paris between 1768 and
1771...This aggressive aspect is apparent above all in the Symphony K 183 (1774) by
the seventeen-year-old Mozart, who opposed the rigidly conventional symphony/ divert
imento/serenade that was still fashionable with the same impatience that Werther
showed for the common sense of his friend Albert or the mundane meticulousness of
the ambassador. It was music full of movement, a new and particular type of swiftness:
'the dead ride quickly', as the refrain from Burger's Leonore says.

The reputable place K. 183 holds in Mozart's symphonic output is unquestionable. Some
scholars believe K. 183 marks Mozart's entry into the mature phase of his compositional
development, for at this time he was received into the European artistic community as a
professional colleague.
Sadie and Pestelli do not emphasize as does Friedrich Blume, the fact that Mozart's
inherent genius transcends our understanding of what is meant by "artistic development," an
issue that begs the question, when and where, as Blume asks, can a "line of demarcation"
can be drawn separating Mozart's youthful and mature phases of development.

16 Giorgio Pestelli, The Age of Mozart and Beethoven, trans. Eric Cross
(Cambridge: Cambridge University Press, 1984), 104-105.

25

Mozart is in reality a Proteus. Anyone who attempts to formulate the style of that
Proteus in words would do well to consider the works of his late period, which express
indubitable and distinctive Mozartean features at their purest. If by artistic development
one means an ever-growing capacity to express increasingly profound concepts in more
and more distinctive forms, and if we accept Joseph Haydn as the standard example in
music history of such a development, then we must certainly fail to find any 'artistic
development' in Mozart. Mozart the youth displays an incomparable ability to
assimilate, coupled with a stupendous early maturity of his craft: and at the end of his
life there is a phase (the years in Vienna) in which craftmanship becomes the 'sovereign
handmaiden' of the intellect, and the "Fiille der Gesichte", the "fullness of vision", in
Goethe's phrase, is, in one or the other work, compressed into the pithiest formal
patterns. The music that lies between these two periods cannot be described as
'development', as continuous progression; rather does that Protean nature undergo a
continual self-transformation. ^

In effect the entire decade 1770-1780 corresponding with the Sturm und Drang movement,
shows noble achievements with regards to Mozart's musical language as a whole. His
compositions in these years borrow techniques from Baroque and contemporary regional
models and foreshadow his late preoccupation with chromaticism and contrapuntal devices.
Even K. 318 and K. 319 (both composed in Salzburg, 1779) reveal what Sadie calls "a
reversion to earlier procedures," yet weaved into a complex and personal style.^
During the final decade of his life (1781-1791), Mozart single-handedly brought the
piano concerto to fruition as an intensely personal medium of expression in which he
stretched the concerto-sonata form to new symphonic heights. Between 1780 and 1788
Mozart composed no more than eight symphonies against a remarkable sixteen piano
concerti spanning the years 1782-1788. Scholars still ponder the conditions surrounding
the composition of Mozart's great symphonic trilogy, Nos. 39,40, and 41 (K. 543, K. 550,

17 Friedrich Blume, "Mozart's Style and Influence," The Mozart Companion

(New York: W. W. Norton & Company, Inc., 1956), 19-20.
Stanley Sadie, "Wolfgang Amadeus Mozart", The New Grove Dictionary of
Music and Musicians (London: MacMillan Publishers Limited, 1980),

26
and 551), representing a final creative outpouring in the symphonic genre within the span of
six short weeks during the summer of 1788. Compared to his earlier symphonies these
works display an intensification of melodic and harmonic chromaticism and contrapuntal
writing that is more concentrated and advanced than that seen in his symphonies to date.
His emotional appeal is powerful in these works, resounding with moments of pathos unlike
Haydn or his other contemporaries.
The summary above pinpoints the Sturm und Drang period (1780-1790) as a time in
which Mozart truly came to realize his potential as composer. The symphonies K. 183 and
K. 201 of this period are prime examples of his potential. During this time Mozart also
began to implemeent the 6-6 pattern more consistently, and inevitably, the research that
follows returns to symphonies of the early and mid-1770s to demonstrate the ways in which
he empolyed and elaborated the pattern. Likewise, the Symphonies Nos. 38,39,40, and 41,
exhibit unique embellishments of the 6-6 pattern. The research which follows will attempt
to bridge the intervening periods in Mozart's development as symphonist, and demonstrate
the extent to which he considered the 6-6 pattern an effective means of working-out his
musical ideas.

27

CHAPTER 2
THE SYMPHONIES OF MOZART:
DIATONIC EMBELLISHMENTS OF THE 6-6 PATTERN

The three symphonies, K. 128, K. 134, and K. 183 were composed during the years
1772-73 while Mozart was residing in Salzburg, temporarily resting from a recent tour.
These pieces reflect his rapid assimilation of the regional trends occupying symphonic
composers at the time; "Stylistic and formal variety abounds early in this period", remarks
Cliff Eisen, "with many works representing unusual mixtures of Italian, Mannheim and
local traits." Eisen makes this statement in his article on the symphonies of Mozart in H. C.
Robbins Landon's, The Mozart Compendium.19 The group of three mentioned above
contain outstanding examples of the 6-6 pattern as series of diatonic parallel first inversion
triads which form the model itself. The examples that follow are embellished only by
rhythmic variation and changes in melodic direction.
A product of the Sturm und Drang period, the "Little" G minor Symphony No. 25 (K.
183), has been the focus of much debate among scholars. Some are quick to relate it to the
later "Great" G minor symphony, K. 550 (Vienna, 1788), yet its link to the latter remains in
question. Saint-Fox speaks passionately and persuasively to their relationship:

...it is already such a promise of the famous masterpiece of 1788 that we can look for
explanation only to the young man's genius. The fire he kindled there burned only in

19 Cliff Eisen, "Symphonies, " The Mozart Compendium, ed. H. C. Robbins

Landon (London: Thames and Hudson Ltd., 1990), 256.

28
his soul. Granted, the full working-out of such thoughts is not yet perfect, and cannot
be...But that startling and breathless opening, followed by one of the most attesting
themes of the Don Giovanni overture, that wild coda and the sinister drum roll, whence
do all these arise if not from the very depths of Mozart's soul?20

In the Trio section of the Menuette of K. 183 (Fig. 2.1), the 6-6 model occurs at mm.
17-20 as an extension of thematic material leading to the cadence at bar 22. Bars 17 and 19
illustrate the 6-6 pattern in its simplest usage, descending by stepwise motion in steady
harmonic rhythm. The phrase is divided into two cadential figures appearing in mm. 17-18,
and repeated in mm. 19-20.

Figure 2.1: Mozart Descending Diatonic Unembellished 6-6 Pattern, K. 183/III

A more substantial example of the 6-6 pattern in descending diatonic form, occurs in
the Finale of K. 183 (Fig. 2.2). The passage occurs in the transition section to the second
theme area which begins in bar 44. Found here in the relative key of B-flat major, it is
repeated without variation at the corresponding place in the recapitulation in the tonic key of
g minor (mm. 137-141).
In the recapitulation the three-bar statement of the pattern is extended one additional
bar. Mozart colors the progression with chromatic harmonies in mm. 28-31. Stated an

20 Georges de Saint-Foix, The Symphonies of Mozart, trans. Leslie Orrey (New

York: Alfred A. Knopf, 1949), 49.

29
octave higher at bar 1393, the chord of the Neapolitan (A^M6) occuring at bar 140 is
especially poignant. With the deliberate dotted rhythm of the melodic motive the effect is
forceful and marshall. Although Mozart was but nine years old, this passage is
representative of his mastery of the tonal language and ability to infuse his own personality
into the pattern in true Sturm und Drang fashion.

137

itj j iij;

i J> J J a j>

j ' r n Try--f ff
HV e r f f f r r r t
Figure 2.2: Mozart Descending Diatonic Unembellished 6-6 Pattern, K. 183/TV

Also composed during Mozart's Sturm und Drang period of the early-mid 1770s, K.
133 and K. 134 further demonstrate his use of Italian and Austro-German trends in the
symphonic medium, especially with respect to form. A similar setting to that found in K.
183/TV occurs as transitional material in mm. 40-42 of K. 134/TV (Fig. 2.3). The pattern
descends by diatonic step within a homophonic texture, the rhythmic nature of which
momentarily implies cut-time. This rhythmic scheme is altered in bar 41 on a tonic A^
chord before the rhythmic figure in bar 40 is repeated in bar 42. Unique to this passage is
the use of first inversion triads as appoggiatura figures embellishing the relatively strong
beats of bars 40 and 42. Just as in the above mentioned instance of K. 183/TV, it is the
repetition of a melodic-rhythmic motive in sequence which draws our attention. The 6-6
pattern itself is a catalyst for sustaining the musical structure and bridging to more
substantial thematic material.

30

Figure 2.3: Mozart Descending Diatonic Unembellished 6-6 Pattern, K. 134/TV

These simplistic, unembellished instances of the 6-6 pattern stand on their own merit
because the parallelism of the model generates forward motion, enhanced by the repetition
of a melodic-rhythmic figure in sequence. Any further embellishment of the occurrences
discussed above are secondary to the sense of a "continuous linear flow" created by the
mostly homophonic textures Mozart chooses to exploit in these passages.

7-6 EMBELLISHMENTS OF DIATONIC 6-6 PATTERNS

The 6-6 pattern regularly appears with some kind of embellishment, of which the 7-6
suspension is the most common type. Often this embellishment type is worked-out in
sequential fashion upon a thematic fragment or motive suitable to such treatment. Research
for this document has revealed that Mozart used the 7-6 embellishment of the 6-6 pattern to
good effect in a wide variety of orchestral textures. Although numerous examples are to be
found throughout his symphonic output, this examination begins with a look at a K. 76
(42a), a work shrouded in questions of authenticity.
Scholarly research suggests that the minuet was composed later than the other three
movements. Likewise, certain incongruencies of style, namely peculiarities in orchestration
and awkward handling of sequential material lend creedence to Neal Zaslaw's argument that
this piece might not be Mozart's.

31

The piece begins well, with an original opening idea, although one that is rather
uniform in texture, dynamics, and motives compared to the beginnings of Mozart's early
symphonies and even compared to the more characteristic opening of the Finale of
K. 42a itself. The first movement continues logically, but at bar 23 something goes
wrong with a sequential idea from which the composer cannot seem to extricate himself
gracefully. In the recapitulation the problem is exacerbated, because the two-bar tremolo
that preceded the sequence in the exposition have been expanded to six limping bars
(Example 5.1)...(Mozart may sometimes have had problems of continuity in the first
drafts of pieces...but such a lapse is rare in his completed symphonies, even in the
earliest ones where the occasional abrupt transition does occur.) Despite weaknesses,
the opening movement of K. 42a is attractive and we should like to know who its author
was.21

The relevency of Zaslaw's observations cannot be overlooked, yet it would be imprudent to

dismiss Saint-Foix's and Einstein's view of authenticity as less viable. If their conclusion is
correct, then the sequential passage in question would qualify as the first representative
example of the 7-6 elaboration upon the 6-6 pattern in the symphonies of Mozart,
illustrating the embellishment in its basic form.

21 Neal Zaslaw, Mozart's Symphonies, (Oxford: Oxford University Press,

1989), 104-106

Figure 2.4: Mozart Descending Diatonic with 7-6 Suspensions, K. 76(42a)/I

The passage descends by diatonic step in G major, the key of the dominant of C major. As
expected, this moment returns in the recapitulation in mm. 68-72 in C major, preparing the
final cadential phrase of the movement.
Reference again must be made to a number of symphonies composed during Mozart's
period of youthful achievement during the 1770s. In this group, K. 128, and 133 of 1772
and K. 162 of 1773 demand special attention.
The Finale of Symphony No. 16 in C major (K. 128), provides an example of how
Mozart manipulates the melodic and rhythmic parameters to give additional interest to this
otherwise commonplace usage of the pattern (Fig. 2.5). Though brief, the pattern appears at
mm. 20-21, with the bass in triplets against measured tremolo sixteenths in the violins, and
accented dissonant sevenths on the first and fourth beats of each bar. Octave leaps further
enhance the pattern as it descends by diatonic step. The passage functions as an extension
of thematic material.

Figure 2.5: Mozart Descending Diatonic with 7-6 Suspensions, K. 128/TV

The opening Allegro movements of both K. 133 and K. 162 contain noteworthy
embellishments of the 6-6 pattern with 7-6 suspensions, also based on descending diatonic
patterns. In K. 133 (Fig. 2.6) the passage occurs within a sequential transition section at
mm. 61-73, in the dominant key, A major, and leading to a repeat of the opening tutti. This
transition returns in the recapitulation in mm. 144-156 in the tonic key of D major. As
witnessed in the Trio of K. 183, Mozart repeats the 2-bar phrase segment of mm. 61-62 in
mm. 63-64. The melodic profile of the topmost line is further ornamented by trill figures
on each beat. Within a sparce three-voice texture, the third and fifth of each consecutive
first inversion triad occupy the lower two voices in the pattern as it descends by steady
quarter note harmonic rhythm.

34
61

fr_^frfr

(iht nTHXni
i jjjj 1
t=f=f
r
r f 1 i
J i i !E f fM= -ft?
d

JL^_:

/ T 11
S

64

^ fr^ fr fr

W
5^-4f**
"i r t r r L3=
p
w f f f f=f *=-

-1

[0 _ p

>

Figure 2.6: Mozart Descending Diatonic with 7-6 Suspensions, K. 133/1

Also composed in Salzburg, the Allegro of K. 162 provides another instance of the 66 model as an extension of the second theme material in mm. 404-42, cadencing on the
dominant, G, in bar 43 (Fig. 2.7) This passage returns in the tonic, C major, at the
corresponding location of the recapitulation (mm. 107-110, and 1124-114). The topmost
melodic line is similar to that seen in K. 133, yet now the suspended seventh, embellishing
the consonant sixth, is itself embellished by an incomplete neighbor in the manner of an
escape tone.

35

Figure 2.7: Mozart Descending Diatonic with 7-6 Suspensions, K. 162/1

Among the set of six late symphonies composed between 1782 and 1788, No. 36 in C
major, "Linz" (K. 425), and No. 38 in D major, "Prague" (K. 504), contain further examples
of 7-6 embellishments of diatonic 6-6 patterns. In a letter to his father dated 31 October
1783, Mozart writes concering an upcoming concert performance scheduled for November
4, "...as I have not a single symphony with me, I am writing a new one at break-neck speed,
which must be finished by that time."22 Thus the Linz Symphony was born in the matter
of a few short days. Saint-Foix suggests the symphony was probably "conceived" in
Salzburg, " and that he had to do no more than write it down some time between his
departure and his return." In any case, Haydnesque features abound in this symphony, to
which Saint-Foix further comments:

It is the general opinion that in the C major Symphony (K. 425)...the acme of Haydn's
influence is reached. The character of the introductory adagio, the theme and the march
rhythms of the succeeding allegro spiritoso, the development section of the final presto,
and so forth, are instanced as direct reflections of the art of the Esterhazy master. It is
certain that this symphony, which truly opens the period of Mozart's great orchestral
compositions, is akin to Haydn's symphonies in certain obvious ways, if one wished to
find an absolute model for it-...But, to my mind, Mozart's individuality is so
overwhelmingly apparent in the symphony as a whole that it is scarcely possible, at this

22 Neal Zaslaw, Mozart's Symphonies (Oxford: Oxford University Press,

1989), 384.

36
stage of his growth, to imagine any inspiration from without;...The somber clouds that
momentarily tarnish its pure and serene inspiration neither form nor dissolve in the
manner of Haydn; in its complexity it is already the grand adagio of the classical
symphony in which one feels that the last word has been said."23

Eisen also points out that K. 425 is the first symphony to include a slow
.24 Inspite of the fascination surrounding K. 425, his use of the 7-6

introduction

embellishment in mm. 75-76 of the Minuet is a rather conventional working-out of the

thematic line. Like that witnessed in K. 162/1, as the dissonant seventh resolves down by
step, it simultaneously prepares the following suspension. The pattern continues in
sequence until a cadence on the dominant in bar 75.
The examples of 7-6 embellishments cited thus far demonstrate conventional ways
Mozart and his contemporaries unfold the pattern. However, none of the 7-6 elaborations
illustrate more clearly Mozart's mature concept of the 6-6 model as a means of composingout sequential material than the Finale of K. 550. Because these passages involve more
complex chromatic progressions, K. 550 will be discussed in the context of chromatic
embellishments in Chapter 3.

USAGE OF THE 6-6 PATTERN AS PRIMARY THEMATIC MATERIAL

Even though the 6-6 pattern is commonly used in thematic sections, these instances
occur toward the end of the thematic group as phrase extensions usually establishing a
cadence or bridging to a new section of the form. The distinguishing factor between these

23 Saint-Foix, The Symphonies of Mozart, 91-92.

24 Eisen, "Symphonies," 257.

37
appearances and those defined here as primarily thematic in context is that the 6-6 pattern
defines the theme. Three noteworthy examples spanning Mozart's symphonic output in
which he employs the 6-6 pattern as an essential feature of the primaiy theme take place in
K. 45/n (1768), K. 201/1 (1774), and K. 504/IV (1786).
The first of these three works, a Symphony in D major, was originally conceived as a
comic opera entitled, La finta semplice (K. 51=46a). The opera was never performed due to
"intrigues on the part of envious Viennese musicians," and was reworked into an overturesymphony without Minuet and Trio.25 Along with Symphonies No. 6 (K. 43) written in
the Fall of 1767 and No. 8 (K. 48) composed in December of 1768, K. 45 of January 1768
(cataloged in the current worklist as No. 45) bears traits of the Viennese tradition which
Mozart was consciously emulating during his stay in Vienna from 1767-1768.
The Andante movement of K. 45 exemplifies the 6-6 pattern in a thematic context
(Fig. 2.8). Bars 1-23 present a lyrical melody in the high register of the first violins. In
mm. 23-42 the violins continue the phrase by arpeggiating first inversion triads downward
through each degree of the G major scale.

25 Zaslaw, Mozart's Symphonies, 116.

38

nn
j J

3$

ij

J_a

PiTPjTJ
p

p 1 (t

r P p

Figure 2.8: Mozart 6-6 Pattern as Thematic Material, K. 45/n

Fundamentally, this opening passage is a prolongation of tonic harmony. Mozart's usage of

the 6-6 pattern in K. 45/H is elevated to a level of artistic importance in which the
conventional model now becomes an essential aspect of the initial thematic statement.
Of the seven symphonies composed in Salzburg between 1773-74, Saint-Foix sets
apart the group of four, K. 200, K. 183, K. 201, and K. 202, as the most formidable of the
symphonies Mozart composed during the early-mid 1770s. Composed in Salzburg, April
1774, the Symphony No. 29 in A major (K. 201 /186a), is considered by some scholars as
pivotal a composition in Mozart's symphonic style development as K. 183. Saint-Foix
refers to this piece as "one of Mozart's most characteristic instrumental masterpieces, one in
which he is already completely himself''.26

26

Ibid. 49.

39
In speaking of the compact design of Mozart's symphonies during this period, Pauly
remarks of K. 201, "What strikes us in this brightly colored work is the transparent partwriting and the ingenious contrapuntal treatment of several themes."27 Pauly quotes the
opening bars of the first movement theme to illustrate this "contrapuntal treatmentYet in
doing so, it is curious that he makes no mention of the fact that the primary subject of the
first movement is based on an ascending diatonic 6-6 pattern. In his article, "The
Symphonies", Jens Peter Larsen speaks of K. 201 (1774) as a significant early cornerstone
in Mozart's symphonic development. Like Pauly, Larsen quotes the opening thematic
section of the movement, but goes on to describe in broad terms what amounts to an
ascending 6-6 pattern in motivic sequence.

Only during the repetition and further continuation do we realize that the melody in
the upper part is so written that it can be played against itself in close, rather free
imitation between the upper and lower parts, with the result that the repetition has a
distinctive, climactic quality.28

This first movement subject of K. 201 (186a) is indeed one of Mozart's memorable
themes. As the piece opens with the string choir, the subject is announced in the first violins
in mm. 1-8, characterized by short articulate phrase segments ascending in sequence. After
a brief transitional phrase, the subject is restated an octave higher in mm. 13-18 (Fig. 2.9)
In this second statement, the 6-6 pattern provides a new tutti texture which reinforces the
gradual rise of the phrase at a harmonic rhythm of one chord every two bars.

27 Pauly, Music In The Classic Period, 114.

28 Jens Peter Larsen, "The Symphonies," The Mozart Companion, ed. H. C.
Robbins Landon and Donald Mitchell (New York: W. W. Norton & Company, Inc., 1956),
177,176.

40
13

suirm J 4, ,m
f r r r r r r iaisi 4
TT mrrn jmi

J . ,xn

771 jm 1

,172 JTTlITTJi

Figure 2.9: Mozart 6-6 Pattern as Thematic Material, K. 201/1

In typical Viennese form, the first theme is restated in mm. 119-128 of the recapitulation, in
the tonic key of A major. Although this is expected, Mozart chooses to bring back the
theme a final time in mm. 189-199. Mozart adds a two-bar extention of the pattern,
descending by diatonic step (mm. 197-198), which leads directly to the closing coda of the
movement. By adding these two bars Mozart in effect completes the musical thought
encompassed by the 6-6 pattern in an arch-like phrase structure. In K. 201/1 the 6-6 pattern
is an integral and consolidating feature of the primary theme, intensifying the climactic
rising motion of the phrase. Other examples of the 6-6 pattern as primary thematic material
are found in K. 162/11 (1773), K. 504/IV (1786), and K. 550/TV (1788).
Truly the culmination of Mozart's art as symphonist, the Finales of K. 504 and K. 551
are revolutionary in design and scope of expression. The concluding movements take on
what Zaslaw calls a "new seriousness" in which Mozart "transforms" them "from stylized

41
dances to truly symphonic music."29 As has been demonstrated throughout this study,
Symphonies No. 38 and No. 40 in particular are representative of Mozart's mature concept
of the 6-6 pattern as a means of composing-out material. Yet more than a conventional
method of developing material or bridging sections, in these movements Mozart uses the
model as the embodiment of his subjects, a fact which further suggests that the 6-6 pattern
is a significant feature of his mature symphonic style.
The Symphony No. 38 in D major (K. 504), according to Zaslaw, "distinguished itself
from the sixty-odd symphonies that Mozart had previously written by being noticeably
more difficult: it is harder to perform and more challenging conceptually. The 'Prague'
symphony benefited not only from this newly-elaborated orchestration and deepening of
style", Zaslaw remarks, "but also from the more serious role that, increasingly, was assigned
to symphonies, which were now expected to exhibit artistic depth rather than to serve merely
as elaborate fanfares to open and close concerts."30 It is significant that Mozart chooses
this model as the characteristic subject of the Allegro (Fig. 2.10). From the first four bars
of the opening eight-bar thematic phrase is generated the motivic material constituting
practically the entire development section in mm. 152-206. In mm. 3-4 the 6-6 pattern is
presented with a series of 7-6 suspensions embellishing the basic model.

29 Zaslaw, Mozart's Symphonies, 517.

30 ibid. 412-413.

42

Figure 2.10: Mozart6-6 Pattern as Thematic Material, K. 504/IV

A last example of the 6-6 pattern as primary thematic material is found in the Finale of
Symphony No. 40 (K. 550) (Fig. 2.11). Whereas commonly the pattern serves to expand a
motivic line in sequence, this is not the case in mm. 72-753 of the second theme group in B
flat. Here the melodic gesture is an expessive lyrical line in which the root of each
consecutive first inversion triad is given prominence, with third and fifth acting to generate
forward motion toward the half cadence in bar 76, and marking the end of the first segment
of an eight-bar period.

IP== I r 11 f'
ti# ^

?ts f

t ^ t\ j'

i*~rJ

vl, rz-si

Figure 2.11: Mozart 6-6 Pattern as Thematic Material, K. 550/TV

The second theme is distinguished by four discreet features: Grace-note figures ornament
the root of a first inversion dominant F major triad in bar 72. Bar 73 brings a moment of
contrast to the gesture, outlining the subdominant harmony, E flat major, the root of which
prepares a series of 7-6 suspension in mm. 74 and 75. It is interesting to note the presence
of a passing B flat tonic six-four chord in bar 743 as the 7-6 suspension is resolved on
Such moments of tonic six-four harmonic embellishment of the pattern are rare in the

symphonies of Mozart. Even so, Mozart's usage of the 6-6 pattern here suggests that he
conceived of the model as a beneficial way of magnifying the melodic idea. This
event is restated at the corresponding place in the recapitulation (mm. 247-250).

44

CHAPTER 3
THE SYMPHONIES OF MOZART:
CHROMATIC EMBELLISHMENTS OF THE 6-6 PATTERN

DESCENDING CHROMATIC EMBELLISHMENTS

Mozart's chromatic elaborations of the 6-6 pattern reveal the model's usefulness as a
means of generating dramatic intensity for a sustained period of time. Because the parallel
nature of the pattern creates forward motion, the structure is suitable for developing material
at a high level of melodic and harmonic chromaticism. Egon Wellesz and F. W. Sternfeld
point to Michael Haydn as a possible forerunner of Mozart's chromaticism:

In Michael Haydn's work there is a quality curiously inhibited in most of his

contemporaries: harmonic imagination. In Joseph Haydn harmonic ingenuity consists
more in astounding key juxtapositions than in subdeties of chord structure or details of
dissonance. Michael's chromaticism takes sinuous forms, probably one of the elements
of style that influenced Mozart...^!

But even compared to Michael Haydn, Mozart surpasses expectation; from Symphony No.
5 (K. 22) to Symphony No. 41 (K. 551) his symphonies abound with instances of
powerful and daring chromaticism. Generally speaking, these appearances are more
expansive in length as compared to instances of the 6-6 model examined thus far. Such

31 The Age of Enlightenment, vol. 7, ed. Egon Wellesz and Frederick Sternfeld
(London: Oxford University Press, 1973), 406.

45
enlargements of the musical structures in question are a result of the pattern's parallel design
which allows for simple to very complex harmonic-melodic elaborations. The analyses that
follow will demonstrate simple-complex chromatic embellishments of the 6-6 pattern,
significant examples of which are found in K. 22, K. 110 (75b), K. 124, K. 130. K. 132, K.
319, andK. 550.
Composed in Salzburg, July 1771, Symphony No. 12 in G major, K. 110 (75b),
demonstrates several compositional techniques Mozart was developing as ways of infusing
the 6-6 pattern with fresh intensity and expression. In mm. 19-24 of K. 110(75b)/I the 6-6
pattern appears as a six-bar transition to the codettta of the exposition in bar 25. This
fragment returns in mm. 109-118 of the recapitulation as the basis of an expanded
sequential transition in E minor. Referring to Figure 3.1a, the underlying harmonic
framework of the passage occurs in the violins. Mozart elaborates this progression by
incorporating passing chromatic sonorities in bars 112 (b64), 114 (Gr6), 116 (bm6), and
118 (f64). These interpolated color chords in effect slow the harmonic rhythm to twice its
length, as the reduction in Figure 3.1b illustrates. Particularly interesting is the implied
German sixth sonority in bar 114 which resolves downward by chromatic step in keeping
with the overruling 6-6 intervallic structure.

109

\\) i ^r=f4=

PM=

sz

112

J
p-mj r

*
*

li
*

i f i v J = * ==^5#=s=i
tt
Lufr^=r " -if

116

iJ
I^u5

PM*
=

Ffcs

'

uy
119
M=a=j
f=i 0 * * 0

, fs
1

Figure 3.1a: Mozart Descending Chromatic Embellishment, K. 110(75b)/I

109

111

113

115

118

119

'h #J
*.i.
. \tM=f i'S
T"" |i

*s-

'Iff 1

(>

n
i

VE

6
4
2

#<*
VI

6
:4
s3

*
J
I
f" j

'6
jk
3

IV

ii

IE

:
V

(V)
Figure 3.1b: Mozart Middleground Reduction, K. 110(75b)/I

In the Andante of Symphony No. 19 in E flat (K. 132), Mozart draws upon lyrical
thematic material to construct a developmental phrase in mm. 104-108 (Fig. 3.2a). Unique
to this embellishment of the 6-6 pattern is a series of four inverted secondary dominant
seventh chords spanning mm. 105-108. The topmost voice of the model sustains the
common tone as root of a G65 in bar 105 and fifth of a C42 in bar 106. This sequence
continues in mm. 107-108 as f2 is root of an F65 in 107 and fifth of a Bb42 in 108. The
bassline underpins the harmonic rhythm of the phrase as it descends by chromatic step.
The passage ends with a passing tonic six-four (Bb64) in bar 1093, setting up an authentic
cadence in bar 113. Figure 3.2b gives a reduction of mm. 104-108. This sketch
demonstrates that the passage in K. 132/n is essentially a composing-out of dominant
harmony, with the bass progression representing an arpeggiation of the F major triad.

48

a p
f r r^f

mm m
r

-fv:ii> r

'f

"s

107

'

r f "

-Jf
7

f/

,
-J

r^r

[>P C P P [

J~4 i *

Iw

Figure 3.2a: Mozart Descending Chromatic Embellishment, K.132/n

106

104

6
ft

BW

6
6
5 fa4
n2
3
[V]

111

108

,6
\>5
3

[V] [V]

6
k 6
4
4
2
[V] IV

6 5
43
ii

Figure 3.2b: Mozart Middleground Reduction, K. 132/11

Symphonies Nos. 12 (K. 110 (75b)) and 19 (K. 132) have proved representative of
the conscious effort Mozart was making during the early 1770s to imbue his symphonic

49
language with a new sense of drama not seen on such a scale in his previous symphonies.
Mozart's chromatic sophistication even exceeds that of many contemporaries during the
Sturm und Drang years. This fact is most apparent in K. 130 which provides further
evidence of Mozart's maturing concept of the 6-6 pattern as a catayst for personal
expression.

DESCENDING CHROMATIC EMBELLTSHMENTS WITH 7-6 SUSPENSIONS

Rarely in Mozart's symphonies does one find instances of the 6-6 pattern in which he
further ornaments a densely chromatic progression with a sequence of 7-6 suspensions.
Two outstanding examples are found in Symphony No. 18 in F major (K. 130), a
companion to K. 132 (also composed about mid-1772), and Symphony No. 40 in G minor,
written some sixteen years later in Vienna, July 1788.
In K. 130/TV, new music is added in mm. 1252-128 of the recapitulation. The 6-6
pattern occurs as a developmental bridge to a restatement of primary tutti material. Here, 76 suspensions add another layer of ornamentation to a progression of startling chromatic
complexity. As illustated in Figure 3.3a, the resolution of each suspension suggests an
underlying harmonic progression in the tonic key of F major. Passing diminished
sonorities pervade the structure, taking place at the point of suspension on relatively strong
beats in each bar of the sequence. Especially unusual is the succession of inverted fullydiminished seventh chords in bar 127.

50

r.Lj

, J

J j

>J

rr=f r r r j
^mfrrvrh m

'

>P

I'

,J
rr

p *\>m a

feci

Figure 3.3a: Mozart Descending Chromatic with 7-6 Suspensions, K. 130/TV

The middleground graphs of mm. 1252-128 are given in Figures 3.3b and 3.3c. This
passage is an excellent example of how Mozart stretches the 6-6 framework to its limits as
an abstract structure capable of maintaining an excessive level of dissonance for a sustained
length of time.

125

F 1* M
6
3

7
3

&a"
6
3

7
3

6
3

[fliii iff* f|
/

I
*

[lit Ij 1
O

g 'it*

Figure 3.3b: Mozart Middleground Reduction, K. 130/IV

51
jQ.
&

t
FM: IV-

"jw
6
>3

-rnS$
r-6>
1 g
po W6 J
6
6
7
,4
tp

11

iv

Figure 3.3c: Mozart Deep Middleground, K. 130/IV

The "Great" G minor Symphony No. 40 (K. 550) also stands prominently with
several noteworthy instances of the 6-6 pattern. In mm. 160-164 of the first movement, the
model functions as a retransition to the recapitulation of the first theme area which begins in
bar 167 (Fig. 3.4). Unlike the thick orchestral texture exploited in mm. 1252-128 of K.
130/TV, this instance makes use of winds primarily. The basic harmonic progression
consists of descending major quality first inversion triads, D^-C^-B^-A^, above a sustained
dominant pedal on D in the bassoons. Embellished by a sequence of 7-6 suspensions and
additional chromatic passing tones alternating between flutes and oboes, the structure takes
on a pointedly dissonant quality:

52

160

m
163

ttb

J i"3J^-J JT3J
J

j. jjju

s=ii
5

j (j

Figure 3.4: Mozart Descending Chromatic with 7-6 Suspensions, K. 550/1

Such elaborations of the 6-6 pattern like that found in K. 130/TV and K. 550/1 are distinctly
Mozartean in character and complexity. The fact that this treatment of the 6-6 pattern is so
unusual in Mozart's symphonies leads one to question whether or not this is true of his
compositions in other genres. In addition, such research could shed light on the puzzling
lack of examples in this category spanning the years 1772-1788.

ASCENDING CHROMATIC EMBELLISHMENTS

Ascending embellishments of the 6-6 pattern rarely occur in Mozart's (and Haydn's)
symphonies. This suggests that Mozart and his contemporaries preferred to implement the
6-6 pattern in its more common descending form, whereas the 5-6 pattern is frequently seen
in ascending musical structures. Nevertheless, K. 22/n, K. 385/IY, and K. 550/1 constitute

the three significant instances of ascending chromatic embellishments of the 6-6 pattern in
Mozart's symphonies.
Again reference must be made to Symphony No. 40 (K. 550). The 6-6 pattern occurs
in mm. 247-251 of the first movement as new material extending the second theme area of
the recapitulation, and eventually setting-up an authentic cadence marking the codetta at bar
254 (Fig. 3.5a).

%
rnj. i
m
iim
ft! f i
<tr

247

&

250

K
Figure 3.5a: Mozart Ascending Chromatic Embellishment, K. 550/1

54

-+

M.

^r

- *4k*
4-

m
=-#-a

4^-r
y- f

6
3

\6

^5
3

iii

^3
iv

9^fE*^

6
1-5
3
Gm:

m0

h
3
V

Figure 3.5b: Mozart Middleground Reduction, K. 550/1

The middleground graph in Figure 3.5b reveals the underlying harmonic progression, g:
bm^-cm^-D^. Passing secondary leading-tone seventh chords prolong the larger harmonic
motion toward dominant harmony in bar 252.
Composed at The Hague in 1765, the Andante of K. 22 contains the first
representative example of Mozart's usage of the 6-6 linear intervallic pattern in his complete
symphonies (Fig. 3.6a). The passage is most unusual for several reasons. Not only is this
instance at mm. 17-22 highly chromatic, but we find it in ascending rather than descending
form.

/***-

Figure 3.6a: Mozart Ascending Chromatic Embellishment, K. 22/n

Formally speaking, these bars constitute transitional material to a repeat of the opening
theme in the relative key of Bb major (bar 22). Through the use of interpolated passing and
secondary chords Mozart effectively prolongs the basic progression, ii-V, outlining the
phrase as illustrated in Figure 3.6b.

20

18

J'

Bbm:

* h~3<

1-V

6
5
3
ii-

- \j6
- 4

"(V)-

22

|| t
-V

Figure 3.6b: Mozart Middleground Reduction, K. 22/n

In bar 18 occurs a secondary dominant, C65, which is immediately followed by a passing

tonic six-four borrowed from the minor in bar 19; and in the second half of bar 19 a b43
secondary leading-tone chord results from chromatic alteration of the previous passing sixfour chord. These three chord types occur regularly in chromatic progressions as a means

56
of expanding and elaborating the 6-6 pattern. The rhythmic drive is steady and deliberate,
rising dramatically to the dominant, F, in bar 21 as the orchestra gradually crescendos
through the phrase.
In his book, Mozart and his Music, John N. Burk actually makes mention of this
passage, remarking, "The Fifth Symphony, written in The Hague, is much like the London
ones, but has a section in G minor in the Andante which is attesting, a personal expression
of a London formula."32 Although he does not specify the "formula" to which he refers,
one could argue that Burk is speaking of the 6-6 passage in mm. 17-22 of the Andante.
The advanced nature of harmonic embellishment in this example in many ways
measures up to that seen in some of his later symphonies. In fact, the masterful way in
which Mozart manipulates the harmonic content to achieve increased drive and
expressiveness matches even Joseph Haydn's use of chromatic harmony in such cases.
This point will be taken up in greater detail in Chapter 4. Some may argue it premature to
assume traits of a mature style in K. 22/EL But in retrospect the technical proficiency and
personal tone of the passage is evidence of Mozart's rapid assimilation of the musical
language of his time, and decidedly foreshadows the deeply dramatic quality of his late
symphonies.

32 John N. Burk, Mozart and his Music, (New York: Random House, 1959),

283.

CHAPTER 4
A COMPARISON OF MOZART'S SYMPHONIES WITH SELECTED MOVEMENTS
FROM HAYDN'S PARIS AND LONDON SYMPHONIES

SYNOPSIS OF HAYDN'S MATURE SYMPHONIC STYLE AS EXEMPLIFIED TN

THE PARTS AND LONDON SYMPHONIES n785-1795t

In his book, Music In The Classic Period,Pauly begins a discussion of Haydn's

symphonic achievement with a statement which serves well as a starting point for a
comparison of Mozart's and Haydn's symphonic style.

As knowledge of the pre-Classic and early Classic symphony has increased, the
traditional view of Haydn as "father of the symphony" has had to be revised a
revision which in no way detracts from his stature as a symphonist. Through most of
his long and full life Haydn gave new dimensions to the symphony; his imagination and
inventiveness, his constant desire to experiment, and his amazing productivity affected
the development of the symphony more than the contribution of any other composer.33

This "revision" of Haydn's role to which Pauly refers, reflects a greater understanding
among contemporary scholars of the uniquely personal contributions Mozart made to the
development of the classic Viennese symphonic style. The ramifications surrounding
Mozart's and Haydn's divergent paths of artistic growth are numerous, not the least of which
is the fact that Mozart was a prodigy whose compositions do not demonstrate a slow

33 Pauly, Music In The Classic Period, 106.

58
methodical artistic development. Haydn's development on the other hand is marked by a
progressive mastery of the musical language and grasp of his own individuality spanning a
lengthy musical career which say the passing of the Baroque and emergence of
Romanticism.
Larsen distinguishes between two artistic trends composers were conforming to at the
time of Haydn's initial recognition among the aristocracy and nobility during the mideighteenth century. He writes:

Haydn grew up in a transitional period that was determined by two contrasting

currents...a conservative one rooted in baroque traditions, and its counterpart which was
opposed to the baroque tradition.34

Although Haydn did not invent the forms associated with the string quartet, keyboard
sonata, and symphony, according to Larsen, he "reshaped them so convincingly and so
originally, that it seems quite appropriate to conceive of these years as the starting point of
their classical career."35
It was long held that C. P. E. Bach directly influenced Haydn's development, which is
true, yet through the research of Riemann and others to follow, Johann Stamitz, as well as
the Viennese symphonists Monn and Wagenseil, have been recognized for their
contributions to the development of a "classic" musical language during the eighteenth
century.

34 Larsen, Handel, Haydn, & the Viennese Classical Style, 119.

35 Ibid. 119.

59
Haydn's "creation of a new style of expression," Larsen proposes, was the result of
vehement opposition to the galante style. Inspired by the keyboard sonatas of Emanuel
Bach with their "synthesis of old and new", Haydn began to "challenge the shallowness of
the fashionable music of his time". During the years 1765 to 1772, Haydn's "new style of
expression" began to take on individuality, and a powerfully original line of thought.36
With the Sturm und Drang symphonies of the early-mid 1770s, Larsen says the
symphonic genre rises to its "first high point."

In regard to form, musical language, and means of expression, ...this development

primarily marks Haydn's musical breakthrough, which at the same time was also an
essential breakthrough for Viennese classicism.^

The Paris Symphonies (Nos. 82-87) were written upon a commission for the Concert
de la Loge Olympique in 1785-86. Charles Rosen points out the importance of Haydn's
accomplishment in Paris, noting that by the time of his first trip to London, the year of
Mozart's death in 1791, he had already been received unanimously as the "greatest living
composer."

There is not a measure, even the most serious, of these great works which is not
marked by Haydn's wit; and his wit has now grown so powerful and so efficient that it
has become a sort of passion, a force at once omnivorous and creative. True civilized
wit, the sudden fusion of heterogeneous ideas with an air paradoxically both ingenious
and amiably shrewd, characterizes everything that Haydn wrote after 1780.38

36 Ibid. 119.
37 Ibid. 99.
38 Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven (London:
Farber Limited, 1972), 159.

60
Larsen echoes Rosen's position:

[The Paris and London Symphonies] reveal a more "representive" character which can
be sensed in works from the previous period, too, and in which appears in later ones as
well. Obviously, it is certain that in his works from ca. 1785 on, Haydn had gained
complete maturity of style. The stylistic unsteadiness of the preceding period had been
generally overcome. Haydn had adopted some traits of Mozart's style, as he did even in
die later years, but his stylistic balance is not at stake. The individuality of his style
remains unaffected even when it becomes tinged with foreign traits or when he directly
seeks inspiration in the art of another great composer, as in the case of the late
oratorios.39

In his article, "The Symphony 18th century," Jan LaRue summarizes the
significance of the Paris and London sets to Haydn's growth as symphonist:

[Haydn's] supreme achievement in the symphony as a whole began about

1785...[when] Haydn reached new heights of ingenuity, humour and unpreten-tious
intellectuality, the last chiefly in matters of development and thematic relation-ships.
Five years later the London invitations yielded 12 symphonies (Nos. 93-104) that equal
the Paris group in all those qualities, and exceed them in breadth, conception, melodic
appeal, and magesterial but never pompous dignity.40

Representing the apex of Haydn's legancy as symphonist, the London symphonies are
a hallmark of Viennese classicism, to which Harry Newstone attests:

The twelve symphonies he wrote for Salomon (six for each visit) are the summation of
his orchestral achievement and the ground upon which the music he composed after his

39 Larsen, Handel, Haydn, & the Viennese Classical Style, 114.

40 Jan LaRue, "The Symphony", New Grove Dictionary of Music and
Musicians, Vol. 18, Publishers Limited, 1980), 450.

61
return to Vienna-notably the last six masses, The Creation and The Seasons-was
based.41

Haydn must be credited with the establishment of classical conventions. Haydn's most
noteworthy contributions to the establishment of a "classic" symphonic style include: 1) A
systematic refinement of a four-movement format including slow introduction, and
expanded inner movements; 2) The exploitation of unusual and remote key relationships,
and 3) The redefinition of sonata form through techniques of continuous developmental in
which Expository motivic material is expanded and varied in the following Development and
Recapitulation sections. Ultimately, Haydn "stretched" symphonic form as a medium for
expressing musical thought on a grand scale. Yet when examined in close detail one finds
that his musical language is in many respects transparent, and devoid of overt emotionalism
or blatant eccentricities. Although these are but some of the innovations recognized as
Haydn's stamp upon the genre, even his Paris and London Symphonies are conservative
compared to Mozart's use of chromaticism and melodic invention at the height of the latter's
achievements in the late symphonies of 1786-1788.
Because they represent the culmination of Haydn's symphonic technique, the Paris
and London groups as a whole (spanning the decade 1785-1795), will suffice to illustrate
Haydn's implementation of the 6-6 pattern as a compositional technique within his mature
style. Since this study is primarily an evaluation of Mozart's symphonies, the investigation
of Haydn's symphonies which follows has been limited to the outer movements of the Paris
and London groups. It is believed that a comparison of Mozart's and Haydn's
implementation and elaboration upon the 6-6 model will lead to a more complete
understanding of Mozart's symphonic idiom and style.

41 Joseph Haydn, Symphony No. 93, ed. Harry Newstone (London: Ernst
Eulenberg Ltd., 1984), iv.

62
As a convention of Viennese classicism, the 6-6 pattern is for Haydn, a model to be
used with discretion in his mature symphonies. For Mozart, the 6-6 pattern becomes a
staple of his symphonic language, and takes on greater significance as a style feature in his
late symphonies composed in Vienna (1781-1791), particularly K. 504, and K. 550. A
detailed discussion of the likeness and distinction between Mozart's and Haydn's handling
of the 6-6 pattern follows.

MOZART AND HAYDN: A COMPARISON OF DTATONTC F.MBELLISHMENTS

Figures 4.1 and 4.2 contain examples of the 6-6 pattern within strictly diatonic
progressions in Haydn's Paris and London groups. In 82/IV (Fig. 4.1), a four-bar example
of an unembellished 6-6 pattern occurs in mm. 94-97. A similar example occurs in bars
653-67 of 101/1 (Fig. 4.2). These two instances share a number of common traits. In both
cases Haydn chooses to utilize the model as transitional material: in 82/TV the pattern
functions within a transition to the second theme in the dominant key of G major at the
double bar. In mm. 3022-306 of 101/1 the model works out a retransition to the first theme
of the recapitulation. Both instances are followed by codetta material; and they make use of
neither melodic or harmonic elaboration, but utilize a repetitive rhythmic figure in
descending sequence. In each case it is the rhythmic vitality which creates interest.
Inspite of these common factors there are some striking differences. In 82/TV the
pattern arrives at an authentic cadence in the dominant key at bar 100, followed by a codetta
that firmly establishes the new tonal center. The passage in 101/1 ends on a first inversion B
major triad, marking a brief yet effective shift to the relative key, followed by a deceptive
cadence in bar 314. In 82/TV the pattern is modulatory, and serves to intensify cadential
drive whereas the tonal direction in 101/1 is obscured at the very end of the passage. As
well, grace-notes on the downbeats of mm. 95-97 distinguish the passage in 82/TV:

63

88 k Jr J>
j- j>
i j
r^=
t -fp-f -fr
=m=
4=4=4#^=m=
:.*nn

<*j7t]

^^nTr

> _ _ ir

5^

US-

tir r

#i-

98

jglflif#1
w art:
f
):
r r r r1 [j

ft

Figure 4.1: Haydn Descending Diatonic Unembellished, No. 82/IV

64
65

j h j > , - t o j - p ,-to n?
r
j
1

:zfr-l

#&

-t

Figure 4.2: Haydn Descending Diatonic Unembellished, No. 101/1

Haydn's usage of the 6-6 pattern in 82/IV does share similar characteristics with
Mozart's treatment as found in K. 134/TV. (Fig. 2.3) Both Mozart and Haydn ornament the
basic descending pattern with first inversion triads as appoggiatura figures, a conventional
yet effective means of adding vitality to the gesture. Whereas Haydn's handling of the
pattern is unbroken for three bars length in 82/IV, the pattern is momentarily interrupted in
bar 41 and reestablished where it left off in bar 42 of Mozart's K. 134/IV.

7-6 AND 2-3 EMBELLISHMENTS

Just as with Mozart, Haydn repeatedly ornaments settings of the 6-6 pattern with a
sequence of 7-6 suspensions. Several instances from the London Symphonies Nos. 93, 99,
and 104 warrant closer examination.
Composed the year of Mozart's death in 1791, the Symphony No. 93 in D major
reveals a provocative usage of 7-6 suspensions in sequence as a means of composing-out
the 6-6 model. In the opening sixteen-bar period of the first theme area in mm. 21-35,
Haydn incorporates the 6-6 pattern in mm. 25-26 as a means of composing-out the
descending stepwise melodic line and establishing a half cadence in bar 28, thus dividing the
period into, eight-bar segments.

The first theme returns at the corresponding place in the recapitulation in mm. 182199. Haydn varies the restatement in mm. 190-199 by repeating the subject with a fresh
accompanimental line in counterpoint with the original theme:

r; t|

-f
r

M n
K

* d

i n
j
j n
m 0
d i

196

JMjt

:
[=j* J J M

*0 *

J J ^

j ^1

4=4^4

kf

7ff

Figure 4.3: Haydn Descending Diatonic with 7-6 Suspensions, No. 93/1

In mm. 193-196 the 6-6 pattern becomes the catalyst for an expressive variation on the first
theme material. Because the sequential pattern descending in mm. 193-198 can be traced
directly to its parent progression opening the Allegro, the final eighth occuring across the
barlines of mm. 193-197 can be interpreted simultaneously as root of the preceding chord
and preparation of the following 7-6 suspension on the downbeat of each consecutive bar
through 197. In addition, 9-8 appoggiaturas on the second quarter of mm. 194-196 gives a
stroke of melodic eloquence to the descending portion of the passage. As the pattern
ascends in mm. 197-198, Haydn intensifies the expressive quality of the line by mantaining

66
7-6 appoggiaturas until the phrase leads to a codetta-bridge and further composing-out of
motivic material.
Unlike Mozart, this process of thematic development within the recapitulation was a
distinctly Haydnesque technique, and a favorite device of Beethoven. This example vividly
illustrates the 6-6 pattern's capacity for expanding and sustaining a musical idea. When
compared to other 7-6 embellishments of the 6-6 pattern in Haydn's Paris and London
groups, it is clear that 93/1 contains an archetype of Haydnesque sophistication.
From the first group, Symphony No. 99 in E flat contains another remarkable
example of Haydn's novel handling of the 6-6 pattern with 7-6 suspensions (Fig. 4.4). In
mm. 52-72 of the Adagio introduction, the passage takes on a thematic-cadential function,
leading to B flat dominant harmony in mm 8-9, and setting up a deceptive cadence in bar 10.
A new level of clarity and expressiveness distinguishes this setting in which dotted rhythms,
pronounced articulation, and pianissimo dynamics combine to intensify the sequence of 7-6
suspensions in first violins and flutes.

* 7 7 ftl/cijlr
r

7 f IN*

? ir J-f

Figure 4.4: Haydn Descending Diatonic with 7-6 Suspensions, No. 99/Intro

Rather than maintain the 6-6 pattern in an undisturbed course, Haydn interposes a
subtle interruption of its continuity by shifting the progression upward a fourth in bar 6 as a
gm6 triad moves to a cm6. By so doing, the phrase is reenergized as it descends to

67
dominant harmony in bar 7. The total effect is reminiscent of French Overture techniques
and very atypical of Mozart's or Haydn's settings of the 6-6 pattern in the symphonies
examined for this study.
Even as Haydn, in his final group of London Symphonies was reshaping and
expanding the sonata form, we find in Symphony No. 102/1 in B flat major (1794), an
exemplary usage of the 6-6 pattern in much the same manner as that in Mozart's K. 133/1
(Fig. 2.6). In his discussion of Haydn's advanced experiments with developmental
procedures, Landon quotes the main theme of No. 102/1:

26

Figure 4.5: Haydn/Landon Descending Diatonic with 7-6 Suspensions, No.102/1

Here Haydn displays his artistry in a blaze of glory. In the transition to the dominant,
the violins simultaneously present the inversion of the bass part (Ex. 6b), and this
together with the accompanying figure in the second violin (which grows out of the

68
main theme: Ex. 6a) is further developed in the exposition after the powerful second
subject (Ex. 6c) has been announced.^

In Chapter 2, the first movement of Mozart's Symphony No. 20 in D major (K. 133 of
1772) served well to demonstrate his mastery of the conventional musical language with
respect to the 6-6 pattern. The passage occurred as a transition to the dominant key area of
A major and a restatement of primary material. Although Haydn's use of this phrase
segment as a catalyst for further development in the exposition exceeds that of Mozart's
purposes some twenty-two years earlier, both composers initially place the model within a
transition to the dominant key, and apply the same rhythmic-melodic 7-6 embellishment to
the structure.

MOZART AND HAYDN: A COMPARISON OF CHROMATIC EMBELLISHMENTS

In general, chromatic embellishments of the 6-6 pattern in Haydn's Paris and London
Symphonies reveal a more discriminating usage compared to Mozart's approach in his
complete symphonies. Although Haydn's Paris Symphonies Nos. 82/1, 84/1V, and 88/1
contain musical structures incoiporating parallel sixths between outer voices, these
structures are reduced to a two-voice texture in which the stepwise bass progression is
disrupted by alterations of the root progression to such a degree that the basic 6-6 model is
dissolved. As a result, only two of Haydn's Symphoies, No. 94 and No. 95 from the first
London visit manifest chromatic embellishments of the 6-6 pattern, whereas seven of
Mozart'symphonies (encompassing his total output in the genre) contain chromatic

42 H. C. Robbins Landon, The Symphonies of Haydn (London: Universal

Editions and Rockliff Publishing Corporation, 1955), 578.

69
embellishments of the 6-6 pattern in descending and ascending form. This lack of
chromatic embellishments of the 6-6 pattern in Haydn's late symphonies is a primary
dictinguishing factor between Mozart's and Haydn's treatment of the model within the
symphonic form.
The Adagio Introduction of Haydn's "Surprise" Symphony No. 94 in G major,
unveils a chromatic embellishment of the descending 6-6 pattern which is more frequently
found in its diatonic guise.

V cadential pedal
Gm:

III
(V).

Figure 4.6: Haydn Descending Chromatic Embellishment, No. 94/Intro

Haydn magnifies the melodic line in bar 14 by momentarily shifting to the harmonic form
of the G minor scale. Initiated on a Bb^ (flat mediant) in bar 13, the pattern is essentially a
composing-out of dominant harmony, signified by the underpinning D pedal sustained
through mm. 13-14. The model operates in a cadential capacity at the close of the Adagio
Introduction, serving to establish a half cadence on the dominant, D7, in mm. 15-17. This
setting of the pattern effects a marvelous contrast between the Introduction and opening

70
Allegro theme in G major. The following symphony, No. 95 in C minor was also
composed during the first London journey in 1791, and contains a rare example of
chromatic embellishment of the 6-6 pattern.

ASCENDING CHROMATIC EMBELLISHMENTS

Although No. 95 is not recognized as among Haydn's most noteworthy symphonies,

it contains the single representative example to an ascending chromatic embellishment of
the 6-6 pattern in Haydn's Paris and London Symphonies.
In mm. 164-168 of the Finale, the passage functions within a retransition leading to
the final restatement of A proper material comprising the recapitulation (Fig. 4.7a). Haydn
enhances the 6-6 pattern by incorporating passing secondary leading-tone seventh chords
into the texture in bars 165 and 167, thus prolonging the elemental harmonic progression, c:
cm6-dm6-(cm64)-G.

164

J
1=T

J
n

*t
a=g=
p~

b
-j

-a

te te

&

2Z

Figure 4.7a: Haydn Ascending Chromatic Embellishment, No. 95/TV

The reductive sketch in Figure 4.7b illustrates that the presence of passing diminished
seventh chords does not negate the underlying diatonic 6-6 pattern, but rather augments its

71
length, and adds dramatic substance to the phrase as a whole. As a result of the overriding
6-6 voice-leading model, eb in bar 167 is enharmonically respelled as d#.

164

166

j(6

3
Cm:

168

(1?7=|6)

3
ii

Figure 4.7b: Haydn Middleground Reduction, No. 95/TV

In contrast, Mozart's chromatic elaboration of the pattern in the Andante of Symphony No.
5 (K. 22 of 1765!) is more daring than that of Haydn's in No. 95. Referring back to the
graphic reduction in Fig. 3.6b, we find that Mozart actually modifies the voice-leading to
such a degree that the 6-6 pattern in this passage verges on dissolution.
Essentially, Mozart's chromatic embellishments of the 6-6 pattern surpass Haydn's in
breadth and complexity. This is not to say that Haydn's symphonic language was less
cultivated than Mozart's, but further justifies the hypothesis of this study that Mozart's
elaborations of the 6-6 pattern are progressively idiomatic to his symphonic style, and
ultimately more stylized than that of Joseph Haydn's usage with respect to the Paris and
London Symphonies.

72

CONCLUSION

Table 1 of Appendix A demonstrates that as Mozart's style became progressively

distinctive, he increasingly favored the model as a means of establishing structural unity and
working-out musical ideas. Of Mozart's forty-one symphonies, twenty-one contain diatonic
and chromatic embellishments of the 6-6 pattern. Table 1 lists the total number of 6-6
patterns as divided among the movements of the symphonic format.

TABLE 1. MOZART: NUMBER OF MOVEMENTS

CONTAINING 6-6 PATTERNS
Symphonic
Format

Number of Movement
containing 6-6 Patterns

Percentage

First

14

41.1

Second

20.5

Third

8.8

Fourth

10 (2=third mov't Finales)

29.4

34

99.8

Table 1 reveals that the majority of diatonic and chromatic instances of the 6-6 pattern are
distributed relatively evenly among first and last movements of the symphonic layout. Table
2 provides a detailed breakdown of Mozart's distribution of the 6-6 pattern according to
embellishment type within each movement.

73

TABLE 2. MOZART: ARRANGEMENT OF EMBELLISHMENT TYPES

AMONG SYMPHONIC MOVEMENTS
6-6 Embellishment
Categories

Symphonic Movement
12
3
4

Total Percentage

1. Unembellished (I)

12

27

44.2

2. 7-6 Suspensions (II)

13

21.3

3. Passing diatonic six-four (III)

6.5

4. Chromatic (IV)

17

27.8

Total occurrences in mov'ts

Percentage

30
49.1

10
16.4

6
9.8

15
24.5

61

99.8
99.8

Approximately half of all instances of the 6-6 pattern take place in first movements as
melodic-rhythmic variations on the basic model. That is, of the sixty-one examples
documented in this study, almost half are unembellished diatonic settings in descending
form Category I), with 7-6 suspensions (Category II) and chromatic embellishments
(Category IV) equaling almost a quarter each the total number of examples.
A discussion of passing diatonic six-four embellishments (Category III) of the 6-6
pattern has been reserved for this section of the study to emphasize its uniqueness in the
symphonies of Mozart. In fact, only the Symphonies Nos. 18 (K. 130), 19 (K. 132), and
40 (K. 550) contain passing diatonic six-four chords.

TABLE 3. MOZART: PLACEMENT OF 6-6 PATTERNS

WITHIN SECTIONAL DIVISIONS OF MOVEMENTS
Section of
Form

Number of
6-6 Patterns

Percentage

First Theme (FTh)

13.1

Second Theme (STh)

8.2

Closing Theme (CTh)

1.6

Thematic extension (Th ext.) 13

21.3

Transition (Tr)

19

31.1

Bridge (Br)

5.0

Development (Dev)

13.1

Retransition (RTr)

3.2

Coda

3.2

Total occurrences

61

99.8

The data in Table 3 reveals that Mozart preferred to utilize the 6-6 pattern in the
exposition of the symphonic form. Structurally, he consistently uses the model in a
conventional manner as transitional material modulating to the dominant key area for
presentation of the second group. The pattern is also commonly implemented as a thematic
extension, either setting-up or establishing a cadence marking segments of the phrase
period. Less often instances occur as developmental material. In these passages we find the
majority of chromatic embellishments on the model, whereas thematic settings usually take
on diatonic embellishments. Least often the 6-6 pattern takes place as actual closing theme
or retransitonal material. Compared to the layout of 6-6 patterns in the first and last
movements of Joseph Haydn's Paris and London Symphonies, Mozart's usage is more
varied and chromatic than that of Haydn's a point of discussion which will be taken up in
greater depth later in this conclusion.

A review of Mozart's symphonies also reveals several intriguing compositional trends

and questionable discrepencies with regard to his treatment of the 6-6 pattern. Representing
Mozart's earliest efforts in the symphonic genre, Symphonies Nos. 5-9 (composed during
the years 1764-1768) exhibit numerous moments of expert craftsmanship and
sophistication. During this period, Mozart uses the 6-6 pattern primarily as thematic
material in first and last movements, the most unusual example of which occurs in K. 22/n
(1765). Referring to Figures 3.6a and b, we see that by 1765 Mozart foreshadows his more
advanced chromatic embellishments as seen the late Viennese symphonies.
Another definite trend in Mozart's treatment of the 6-6 pattern take place in the
Symphonies No. 10 (K. 74), 42 (K. 75), and 12 (110/75b). In this group the model
appears most often as transitional and developmental material. With Symphony No. 16 in
C major (K. 128) this tendency continues. A noteworthy example of the 6-6 pattern as
developmental material arises in No. 19 (K. 132). Like K. 22/n, K. 132/H (1772) is an
outstanding example of Mozart's developing chromatic idiom.
With the "Little" G minor Symphony No. 25 (K. 183) of 1773, it has been suggested
by scholars that Mozart's compositional technique was becoming more distinguished.
Corresponding to the composition of K. 183, we observe a steady increase in Mozart's use
of the 6-6 pattern in his symphonies. Likewise, between the years 1773 and 1788, the
symphonies Nos. 28 (K. 200/173e, 189) and No. 41 (K. 551) are the only two lacking
significant instances of the 6-6 pattern. In fact, most of the symphonies composed during
the Sturm und Drang movement (1770-1780), as well as those of the Viennese period
(1781-1791), display a substantial number of embellished 6-6 patterns.
Table 4 gives Joseph Haydn's distribution of 6-6 patterns within the introduction, first
and fourth movements of the symphonic format. Unique to Haydn, we find instances of the
6-6 pattern in the introductions. Likewise, the data shows a large number of 7-6
embellishments in first movements. The same holds true of Mozart, who incorporates 7-6

76
suspensions nine of the total thirteen times in first movements. This suggesting that the 7-6
embellishment was a standard device, common to both composers' symphonic language.

TABLE 4. HAYDN: ARRANGEMENT OF EMBELLISHMENT TYPES

AMONG SELECTED MOVEMENTS OF HAYDN'S PARIS AND
LONDON SYMPHONIES
6-6 Embellishment
Categories

Symphonic Movements
Intro 1
4
Total Percentage

1. Unembellished (I)

11

40.7

2. 7-6 Suspensions (II)

10

37

3. Passing diatonic six-four (ID)

4. Chromatic (IV)

22.2

Total occurrences in mov'ts

13

10

27

99.9

Table 4 lists the sectional divisions of the first and fourth movements in the Paris and
London Symphonies, and provides a breakdown of Haydn's usage of the 6-6 pattern within
these subdivisions. Of the twenty-seven total instances of 6-6 patterns, approximately a
quarter take place as primary thematic material. Referring to Table 5, one observes a
curiously proportionate disbursal of 6-6 patterns between introductory, transitional, and
developmental sections. Haydn's placement of the model in retransition sections served him
well as a means of intensifying the return to opening first theme material marking the
recapitulation, and differentiates his usage of the pattern from that of Mozart.

77
TABLE 5. HAYDN: PLACEMENT OF 6-6- PATTERNS WITHIN
SECTIONAL DIVISIONS OF MOVEMENTS
Section of
Form

6-6 Embellishment Categories

TTT
TV
II
Total Percentage
I

Introduction

First Theme (FT)

Second Theme (ST)

Closing Theme (CT)

14.8

25.9

Thematic extension (Th ext.) 2

7.4

Transition (Tr)

14.8

Development (Dev)

14.8

Retransition (RTr)

18.5

Coda

3.7

Total occurrences

11

10

27

99.9

Unlike Haydn's usage in the Paris and London groups, Mozart's treatment of the 6-6
pattern is bold and inventive; a device which he developed as an important aspect of his
symphonic idiom. In conclusion this study has provided considerable evidence that the 6-6
pattern is an important aspect of Mozart's symphonic style.

78

APPENDIX A
TABLE 6. INDEX OF 6-6 PATTERNS IN MOZART'S SYMPHONIES

CATEGORIES:
I-Diatonic, not embellished
II-Diatonic with suspensions
El-Diatonic with six-four chords
IV-Chromatic

Kochel/Svmphonv
No. /No.

Kev

FORM SECTION
FTh=First Theme
STh=Second Theme
Tr=Transition
Dev=Development
RTr=Retransition
CTh=Closing Theme
Cdt/Coda=Codetta/Coda
Th ext.=extension of Th
material; usually corresponds
with a cadential phrase

Mov't Form Segment

MM Nos.

Category

j16/no. 1
London, 1764-5

Eflat

19/no. 4
London, 1765 D maj

[No 6-6 Patterns]

[No 6-6 Patterns]

221no. 5
The Hague,
Dec 1765

Bflat 2. Andante

76 (42a)/no. 43
Uncertain, ?Vienna,
autumn 1767

F maj 1. Allegro

FTh
11-15
IV(II)
FTh
18-22
IV
Note: In mm. 11-15 the 6-6 pattern is revoiced as a 10-10 pattern with 7-6 suspensions

Tr

24-28

II

79

43/no. 6
Vienna, autumn 1767 Fmaj

[No 6-6 Patterns]

45/no. 7
Vienna, 1768

D maj 2. Andante

FTh

24-42

48lno. 8
Vienna, Dec 1768

D maj 2. Andante

FTh
STh
Coda

3
19
42

I
I
I

73/no. 9
Salzburg or Italy
late 1769-early 1770 C maj

[No 6-6 Patterns]

81 (73l)/no. 44
Uncertain,
?Rome, Apr 1770

D maj

[No 6-6 Patterns]

97 (73m)/no. 47
Uncertain,
?Rome, Apr 1770

D maj

[No 6-6 Patterns]

95 (73n)/no.45
Uncertain,
?Rome, Apr 1770

D maj

[No 6-6 Patterns]

84 (73q)/no. 11
Uncertain,
Milan and Bologna
Jul 1770

Dmaj

[No 6-6 Patterns]

74!no. 10
Milan, 1770

G maj 3. Allegro

Tr

22-23i

75/no. 42
Uncertain,
?Salzburg 1771

F maj 1. Allegro

Tr

29-31/

II

Tr

106-108

II

80
110 (75b)lno. 12
Salzburg, Jul 1771

Gmaj 1. Allegro

96 (lllb)lno. 46
Uncertain, Milan,
Oct-Nov 1771

C maj

[No 6-6 Patterns]

112/no. 13
Milan, Nov 1771

Fmaj

[No 6-6 Patterns]

114/no. 14
Salzburg, Dec 1771

A maj

[No 6-6 Patterns]

124lno. 15
Salzburg, Feb 1772

G maj

[No 6-6 Patterns]

Tr
19-24
I
Dev
109-119
IV
Note: Transitional passage in mm. 19-24 expanded from 4 bars to 111 bars in mm. 111119

mino. 16
Salzburg, May 1772 C maj 1. Allegro

20-21

I
I
I
II

130lno. 18
Salzburg, May 1772 F maj 4. Molto All. Tr
Tr
Br

35-362/
64-661
1252-128

I
IV
IV(ID

132/no. 19
Salzburg, Jul 1772

E flat 2. Andante

Dev

104-108

IV(HI)

133/no. 20
Salzburg, Jul 1772

Dmaj 1. Allegro

Tr
Tr

62,64/
145,147

II
II

3. Allegro
129!no. 17
Salzburg, May 1772 G maj

Tr
Tr
RTr
Th ext.

24-25,
108-109
76,79, 82

[No 6-6 Patterns]

134/no. 21
Salzburg, Aug 1772

A maj 2. Andante
4. Allegro

Tr
Tr
Tr

161 & 163

(141a)/no. 50
Salzburg, 1773-74

D maj

[No 6-6 Patterns]

184
(166a, 161a)/no. 26
Salzburg, Mar 1773

E flat

[No 6-6 Patterns]

199
(162a, 161b)/no. 27
Salzburg, Apr 1773

G maj

[No 6-6 Patterns]

162/no. 22
Salzburg, Apr 1773

Cmaj 1. Allegro

54
39-42/
1124-117

Thext.
404-422
Thext.
1074-1092
Note: 404-422 repeated in 454-472; 1074-1092 repeated in 1124-1142

181 (162b)/no. 23
Salzburg, May 1773 D maj

[No 6-6 Patterns]

182

(166c, 173dA)/no. 24
Salzburg, Oct 1773 B flat
183
(173dB)/no. 25
Salzburg, Oct 1773

G min 3. Menuetto
Trio
4. Allegro

[No 6-6 Patterns]

FTh
Th ext.
Tr

5-6/25-26
17,19
283-312/

Tr

1373-1412

82
201
(186a)lno. 29
Salzburg, Apr 1774

A maj 1. Allegro

FTh
FTh
Coda
3. Menuetto Th ext.
4. All. c. spir. Th ext.

133-192
1193-1262
1913-1991
42-5
13-151

I
I
IV
I
I

3/
115
44-45/
160-161
111-114

I
I
I
I
IV

D maj 1. Allegro A. Dev

Dev

1324-133/
1354-136

I
I

G maj 2. Andante

1763-179

202

(186b)lno. 30
Salzburg, May 1774 D maj 1. Molto All

4. Presto

Th ext.
Th ext.
Tr
Tr
Dev

200

(173e, 189k)lno. 28
Salzburg, Nov 1774
297 (300a)/no. 31
Paris, Jun 1778

318lno. 32
Salzburg, Apr 1779
319/no. 33
Salzburg, Jul 1779

C maj

[No 6-6 Patterns]

FTh

B flat 1. Allegro A. Th ext.

4. Allegro A. Th ext.

338/no. 34
Salzburg, Aug 1780 C maj 2. Andante
FTh
Note: Entire B section incorporates 6-6 pattern
385lno. 35
Vienna, late Julearly Aug 1782

963-99
14-15

IV
I

45-60

Dmaj 1. All. c. spir. Tr

43-481
II
STh
51-56
IV
II
149-1512
Tr
rv
156-162
STh
Note: 43-48i revoiced with 10-10 pattern between outer voices; 149-1512 = 6-6 pattern

83
425/no. 36
Linz, late Octearly Nov 1783

C maj 3.Men. (Trio) Th ext.

444 (425a)/no. 37
?Linz, Nov 1783

G maj

504lno. 38
Vienna, Dec 1786

443-471

[by Michael Haydn; Intro by Mozart]

Tr
92-94i
FTh
2-4i/ll-12i
Tr
33-341
Note: The Presto incorporates 6-6 pattern as primary material throughout

D maj l.Allegro
4.Presto

543lno. 39
Vienna, Jun 1788
Eflat l.Allegro
CTh
Note: Example of ascending diatonic 6-6 pattern
550/no. 40
Vienna, Jul 1788

II

279-280

IV
II
n

Gmin l.Allegro

Tr
28-33
I(III)
RTr
1602-165
IV
BrtoCdt
247-251
IV
Note: Rare diatonic passing B flat, tonic six-four chord occurs in bar 31
4.Allegro A. Br to CTh
96-993
IV
STh
71-751/
I/II(ni)
STh
247-253
I/II(ni)
Note: Rare diatonic passing B flat tonic six-four chord occurs in bar 74; at corresponding
location within Recapitulation a passing tonic Gm six-four chord occurs in bar 249

551/no. 41
Vienna, Aug 1788
C maj
[No 6-6 Patterns]
Note: 6-6 Pattern greatly obscured within two-voice texture in mm. 172-177 of Allegro

84

APPENDIX B

TABLE 7. INDEX OF 6-6 PATTERNS IN MOVEMENTS 1 AND 4

OF J. HAYDN'S PARIS AND LONDON SYMPHONIES

Paris Symphonies
No.
Year

Kev

Mov't

Form Segment

MM Nos.Category

[No 6-6 Patterns]

87
1785

85 'La Reine'
1785 or '86
[No 6-6 Patterns]
Note: In mm. 227-229 of Mov't 1 occurs a voice exchange with parallel sixths in the outer
voices. In adition, the passage incorporates a passing Bb tonic six-four chord in bar 228
Not a 6-6 pattern
83 (81a) 'LaPoule'
1785

G min

84
1786

E flat 4. Vivace

[No 6-6 Patterns]

86
1786

Dmaj

82 'L'Ours'
1786

C maj 4. Vivace

FTh

22-6/

Coda

200-206
2522-256

[No 6-6 Patterns]

Tr

94-972

85

London Symphonies
No.
Year
Kev

Mov't

Form Segment

MM. Nos. Category

96
1791

D maj 1. Adagio/ Allegro

Intro Th

43-5

II

95
1791

Cmin 4. Vivace

RTr

164-1681

IV

93
1791

D maj 1. Adagio/ All. ass.

FTh
FTh
Dev
Dev
Tr

25-26/
186-189
1222-127
1492-151
194-198

II
II
I

G maj 1. Ada. cant./ Viv.

4. Allegro molto

Intro-ext.
Tr
RTr

32-151
542-561
164-1681

IV
I
IV

B flat 1. Ada./Allegro

Dev
RTr

1534-154
207-208

IV
II

94
1791

98
792

n
II

97
1792
C maj 4. Presto assai
Note: In mm. 712-76 of B section of 5-part Rondo; quasi-6-6 pattern incorporated into
contrapuntal texture sustained throughout section (I)
99
Vienna, 1793

Eflat 1. Adagio/Viv. assai Intro-Thext. 5-72

101
1794

Dmaj 1. Adagio/Presto

Tr
RTr

653-67
3022-306

IV
I

100
Vienna & London
1794

G maj 4. Presto

RTr

280-283

IV

86

102
1794

B flat 1. Largo/All. viv.

4. Presto

103
1795

E flat

104
1795

Dmaj 1. Adagio/ Allegro

Intro Th
FTh
FTh
FTh-ext.

42-44
25-29/
290-2921
1354-1363

I
II
II
I
I

143-1492
189-191

II
II

64-73/

[No 6-6 Patterns]

Dev
FTh

87
List of References
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