m. 25: I I64
m. 26: vii/ii ii ? ii6 vii I6
m. 27: viio7 I6 V7/IV
m. 28: bIV V bIV
resolves in m. 29: V
I really struggled to find the right chord for the middle of measure 26.
Mozart set up a pretty solid ii chord structure all the way to the last chord which was the strong I chord. This gives the listener a false sense of moving forward into a pure major sound. Suddenly he throws a mixture chord (containing te) into the mix. It goes by so quickly its almost hard to hear the difference, Mozart brings it back in just before the resolution to make sure you heard it. The mixture chords are also in the same rhythmic and intervallic pattern as the surrounding parts, so it blends quite nicely. There is also a stepwise motion going down that camoflages the mixture chords a bit. This is a very fast paced and high energy excerpt. During the first listen I almost didn't hear the mixture chord, but the second time it was very clear. I liked the change of rhythm from the lower voice to the higher voice, it made me think there was a change coming up. Mozart gave very little warning about the mixture chords coming up and he did a very good job at making them blend with the music.
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1 comment:
The third chord of m. 26 is viio43/ii. m. 27 the third chord is V65/IV, be careful of inversions. And the first chord of m. 28 is a minor iv chord, not bIV (the third chord is something we will learn about later.)
The Te is actually part of a secondary dominant rather than a mixture chord. The first mixture chord is the viio7, so the chromatic note is Le. Interesting idea about camouflage. Think more about performance ideas.
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