Well, I think reasons for time, let's go ahead and
we'll advance it up to the beginning of the development section.
So now we should listen to this whole complex once again.
We're not gonna do that, we're gonna proceed here.
We're gonna go into the development section and
it's kind of fun the way Mozart starts the development section here.
[MUSIC]
Let me ask you this, we started here.
[MUSIC]
The development begins higher or lower?
[MUSIC]
Yeah?
>> Lower.
>> Lower. So, he's dropped down to the dominant.
He's now in the dominant.
[MUSIC]
And if he continued as he had,
[MUSIC]
That's what he would have done.
That's not what he does, however.
[MUSIC]
He's sitting here.
[MUSIC]
And he ends up there.
So we get this sort of dissonant shift, and it's a signal.
It's like the composer holding up a sign, development, time for the development now.
Okay. So something, we've shifted.
We were sort of slapped in the face,
telling us we're at a new point in our form.
A new section in our form, the development section.
So as we listen to this,
we'll hear Mozart move quickly through some lots of different keys.
I wouldn't be able to tell you what keys they are.
I really wouldn't.
But I do know that he moves through different keys.
Then we will hear a re-transition start.
But here is my challenge to you, and why I started putting all these things up here,
which theme does he choose to develop here?
Kind of interesting.
Does he go with the first theme?
[SOUND] or the [SOUND] or
the [SOUND], so which one?
[MUSIC]