1. Melodic and harmonic devices
By Lachlan and Grace

2. The composer/piece we choose
The composer that we choose was Mozart and the song that we also choose was the Sonata No. 16 in C major k. 545 (allegro) .
Just like the typical sonata form the first movement of K. 545 consist of three main sections: exposition, development and recapitulation. In the exposition Mozart, introduced the primary theme of this sonata in key of C major with an accompaniment by Alberti Bass in the left hand.
Alberti bass is a kind of broken chord or arpeggiated accompaniment, where the notes of the chord are presented in the order lowest, highest, middle, highest. This pattern is then repeated.

3. The start four bars
The start of the piece we are greeted with a very well known phrase which is in C major. All of the notes in the first bar are from the C major triad in the melody and accompaniment. In the second bar, beat one there is a b in the top part and a d and g in the second part showing a g major triad which is the fifth away from the next chord C major the tonic.
If you look at the second part you can see that the second half of each bar, it goes back the tonic chord (C major) like the melody in every phrase it always resolves back.

4. In bar 5 there is a scale that is used Aeolian mode which is the c major scale going from a to a.
In bar 6 the same thing happens starting of g which is the Mixolydian mode going G to G
In bar 7 again but it’s the Ionian F to F
And again in bar 8 but it’s the Phrygian (fridgeian)
All of this is pretty much of on c major scale/chord which gets made into a sequence.

5. The next bar that I am analyzing is bar 9 to 12
The next bar that I am analyzing is bar 9 to 12. All the bars are heading to bar 12 where the phrase finishes. In bar nine the bass Part is playing a G and a B while the melody Part is playing a D this creates a G major triad. The whole phrase played in the melody is primarily on C major besides the two C Sharp's in the first bar. This creates dissonance because C sharp is a semitone away from C. in bar 11 is playing a repeated pattern which is very classical era thing to do the pattern consists of G major triad root position going to C major triad first inversion and then this all resolves in bar 12 when it finishes on G in the bass part and in the treble.

6. First theme in exposition- circle progressions, scalic runs etc.
Circle progressions embellish the harmonic movement of the first theme while extending the C tonality. The first theme concludes with a series of scalic passages that serve to oppose the opening triadic motion. These scalic passages, which occur in bars 5-12, close with a return to the arpeggiated motion of the opening theme. The harmonic movement in measure 11 illustrates a repetitive statement of a G major triad with a C major six-four chord embellishment. This harmonic pattern repetition serves to prolong the G tonal center through the inclusion of an authentic cadence which summarizes the recent modulation to G major 

7. First theme exposition

8. Exposition Transition
Bar 13

9. Exposition: Second Theme
The second theme, which is tonally centered in the dominant key of G major, commences after a measure of introductory material. This new theme uses a descending triadic passage, whereas the first theme employed an ascending passage.
The next phrase of the second theme employs a series of arpeggios instead of the scaler passages found in the first theme. During this arpeggiated section, a series of circle progressions occur which moves completely through the circle of fifths and returns to the starting point of G major. This full circle progression adds a natural unfolding to the music by following the most common progression and adds a sense of a drive to the cadence of the entire first section of the composition. The exposition is completed with a derivation of the opening triadic theme in A minor, the relative minor key of C major. This closing statement is embellished with grace notes and a long held trill, after the first measure, deviates from the original melodic material.

10. Exposition: Second Theme

11. Exposition: Second Theme
A codetta is located in of the exposition bars which emphasizes the most important circle progressions of the new key, G major and D major, tonally reiterating the key center of G major to the listener.
This creates familiarity and unity in the piece as it is an easy tune to remember, represented in the classical period. The exposition ends with a strong perfect authentic cadence in G major

12. Exposition: Codetta

13. Bibliography
major-k545-mozart/