Grand Valley State University ScholarWorks@GVSU Honors Projects Undergraduate Research and Creative Practice 2012 Commentary on the Arranging Process o the Octet in G Minor Mikay McKibbin Grand Valley State University Follow this and additional works at: htt://scholarworksgvsuedu/honorsrojects Recommended Citation McKibbin, Mikay, "Commentary on the Arranging Process o the Octet in G Minor " (2012) Honors Projects 134 htt://scholarworksgvsuedu/honorsrojects/134 This Oen Access is brought to you or ree and oen access by the Undergraduate Research and Creative Practice at ScholarWorks@GVSU It has been acceted or inclusion in Honors Projects by an authorized administrator o ScholarWorks@GVSU For more inormation, lease contact scholarworks@gvsuedu
Mikay McKibbin Commentary on the Arranging Process o the Octet in G Minor The urose o this roject was to analyze the way in which Mozart arranged the Allegro o his Serenade No 12, K 388 (Aendix C) into the Quintet in C Minor, K 406 (Aendix D) and to reverse the rocess to arrange the Allegro o his Quintet in G Minor, K 516 (Aendix E) into the Octet in G Minor (Aendix A) The Serenade No 12, K 388 was comosed in 1772 or 1773, and was later rearranged into the viola quintet Quintet in C Minor in 1779 In order to do so, three voices had to be cut; the instrumentation o the two works was also vastly dierent The serenade was a orm o harmoniemusik, or music or wind instruments (Hellver) This work included two oboes, two clarinets, two horns, and two bassoons The transormation rom the Serenade No 12, K 388 to the Quintet in C Minor, K 406 included a change in instrumentation, musical texture, timbre, and in some cases, voicings This aer includes scores o the Octet in G Minor ; scores or the Serenade No 12, K 388, Quintet in C Minor, K 406, and the Quintet in G Minor, K 516 ; and tables o hrases o varying orchestration o the ieces (Aendix B) A MIDI ile o the inal roduct is contained along with the aer, in an email attachment The scores or both the serenade and the quintet were obtained rom imslorg and analyzed in order to arrange the Quintet in G Minor, K 516 to the Octet in G Minor, using the notation sotware Sibelius 6 In order to acilitate this rocess, a series o tables were created These tables are included in Aendix B The irst table included an analysis o the Quintet in C Minor, K 406, while the second included an analysis o the Quintet in G Minor, K 516 These tables were consulted as a guideline in the arranging rocess For examle, the oening section o the Quintet in G Minor, K 516 (Aendix
D, age 94) begins with the melody in the violins, with harmony in violin II and viola I arts In order to arrange a similar oening or the Octet in G Minor, the table or the Quintet in C Minor, K 406 was consulted to ind a ortion with a melody with harmony texture The irst section occurs in measure 10 o the Quintet in C Minor, K 406 (Aendix D age 94) The score or the Serenade No 12, K 388 was then consulted in measure 10 The texture ound there consisted o melody in oboes I and II, with harmony in the remaining voices This was used as a guide to arrange the oening o the Octet in G Minor with melody in the oboe I art, with harmony in the clarinet I and II arts The same texture was not used as in measure 10 o the Serenade No 12, K 388, due to the overall dierence in the musical ideas o the sections Since the oening o the Quintet in G Minor, K 516 is relatively light in nature, a similarly light orchestration was used in the oening o the Octet in G Minor This rocess was used during the entire arrangement o the Octet in G Minor, while working each section designated in the tables Since Serenade No 12, K 388 served only as a guide, I made many arrangement decisions For examle, the overall timbre o various sections had to be considered These decisions were generally made by examining the original score o the Quintet in G Minor, K 516 When melodic and harmonic material droed to lower voices in the original quintet (rom violin to viola or cello, or examle), the same thing haens in the Octet in G Minor This is seen in measure 9 o the Octet in G Minor (Aendix A, age 8) The melody dros rom oboe I to clarinet I, while the harmony dros down to horn I and bassoon I In measure 18 o the Octet in G Minor (Aendix A, age 10) all voices enter, as they do in the Quintet in G Minor, K 516 Measure 18 is the irst instance in which I decided the imlementation o doublings Due to the act that the octet has three more voices than the quintet, some o the arts had to be doubled In this case, horn II and bassoon II doubled horn I
Mozart doubled the melody line in many instances during the Serenade No 12, K 388 During the transormation to the Quintet in C Minor, K 406, these doublings were taken out The reverse takes lace in the Octet in G Minor An examle o this occurs in measure 20 (Aendix A, age 11) The melodic oboe I line is doubled in oboe II However, due to the high tessitura o the melody, the oboe II melody is layed an octave lower, to acilitate intonation Horns I and II, as well as bassoons I and II lay doubled harmonic material In measures where the melodic material is not in a high tessitura o the instrument, the melody is doubled in the same octave An examle o this can be seen in the bassoon I and II melody in measure 26 o the Octet in G Minor (Aendix A, age 8) Several examles o horn I doubling melodic material in oboe I occur in the Serenade No 12, K 388 Usually this occurs when the melodic material is reeated ater an initial statement, with the horn entering on the reeated section This idea is transerred to the Octet in G Minor, as seen in measure 34 (Aendix A, age 10) Horn I doubles the melodic material layed by oboe I, but an octave lower This occurs ater the initial statement o the melodic hrase by oboe I in measure 30 (Aendix A, age 9) As in the Serenade No 12, K 388, the majority o the melodic material in the Octet in G Minor occurs in oboe I, since it occurred in violin I o the ersective quintets Due to the range limitations o the instruments used, this transerence had to be altered in the Quintet in G Minor in a ew instances Measure 64 (Aendix A, age 22 23) holds one o these occurrences The sixteenthdotted eighth assage originally layed by violin I in the quintet is rearranged to the clarinet The art is doubled an octave below in clarinet II This haens because oboes generally cannot easily lay in a high tessitura without losing tone quality Octet in G Minor holds two ugue like sections, in which I took the most artistic license The irst ugue section occurs in measure 109 (Aendix A, age 35 36) The irst entrance o the subject
haens in oboe I The next entrance occurs in clarinet I Bassoon I enters with the third statement o the subject, while the ourth occurs in the horn This arrangement attemted to create statements o the subject with diering timbres or adjacent entrances A similar attemt was made in the second ugue section in measure 238 (Aendix A, age 70 71) The irst subject entrance occurs in oboe I, ollowed by clarinet I, clarinet II, horn I, then bassoon I To conclude this aer, I would like to address several learning exeriences I encountered during the comletion o this roject First and oremost, I learned what an extreme musical genius Mozart was His ability to artully crat musical ideas into one seamless iece is truly astounding I understand how diicult this endeavor is because o the diiculties I encountered while arranging the Quintet in C Minor, K 516 into the Octet in G Minor The woodwind octet is such a wonderul ensemble, with many timbres and tone color ossibilities I learned how to darken and brighten the overall timbre o the iece by exerimenting with several arrangements within the instruments available I also sharened my own ears I began to more easily hear mistakes within the music during laybacks By the end o the roject, I could even tell which instrument it came rom (which is sometimes diicult to do with MIDI instruments) These sorts o exercises are beneicial to a musician s develoment Because o this, this roject has been an invaluable exerience or me Reerences Roger Hellyer "Harmoniemusik" In Grove Music Online Oxord Music Online,htt://wwwoxordmusiconlinecomezroxygvsuedu/subscriber/article/grove/music/12392(accessed Aril 27, 2012)
Aendix A
Octet in G Minor Mozart Oboe I Allegro &b b c j J # n n J b Oboe II & bb c Bb Clarinet I & c # Bb Clarinet II & c b # Horn I in F & b c Horn II in F &b c Bassoon I b bc Bassoon II b bc
2 4 & bb Ÿ j j # # J # J & bb & & # # # # n # &b &b b b b b
8 & bb # 3 & bb & # j j # n # j n & &b # &b b b b # b b
4 12 & bb & bb Ÿ & j j b b # j n j # & &b # n b n &b b b # n n b b
16 & bb & bb & & &b &b b b b b # n J # n j # n b # n b J j n # j # j j # j j J J # j j # # j j # j j n j j j j # n J # n b J 5
6 20 & bb & bb & & &b &b b b b b # n J J # J J n nb b J J J J n b J n J b j J J J j b j j n # # j n j n j j # j j # # J J n # n J J j n b j n b # j j n j b j n j b b j j j n b b j b J b J J n J n b J J b J J
23 & bb b # n# b & bb b # & # & &b &b b b b # Ó j b b b # Ó j 7
8 26& bb J n# J n # j & bb J n# J n # & w w j & w w j &b w n &b w n b b b b J n # J Ó J n # J
30 & bb j j j j j & bb j j j # m & j j j j & j j m j j m &b Ó j m 9 &b b b Ó Ó Ó Ó m b b
10 34 & bb & bb & & &b j j j J j j n j j b &b m j b J m m m m m m m m b j j j j j j # j j j j m b b Ó Ó b b m Ó m
38 & bb & bb & & &b n J m m m m b J j j j # j m &b m m m m m j J n # j j j j j j n 11 b b Ó m m b b Ó Ó
12 42 & bb n J b m & bb j j n m & j j m & j j m &b j m &b m b b Ó Ó Ó J m b b
46 & bb Ó j J j 13 & bb & Ó & Ó &b j &b b b b n n b b Ó m m b b
14 50& bb J n # b n J J J n J & bb & j j j b n & &b j # j j j j j j j j j j &b b b Ó Ó Ó w b b
54 & bb j J n j J 15 & bb & & &b j j # j Ó j j j j # j j j &b b b w b b
16 58 & bb j b J J # n n b J J & bb & & &b j j j j # j b n j j b n # j b J j j b j b j &b b b w w nw b b
62 n & bb Ÿ n # n n w b J & bb J Ÿ & Ó w & # n # n tr w 17 &b &b Ó j J j j b b Ó J b b J
18 65 & bb j J j & bb j J j & & &b &b J J J j j j b b b b j J j j J j
68 & bb & bb & & &b &b J b b J b b J s s J s J # n J b # n J b # n s J b s s j # n J b s s s s s s s s J # n J b J # n J b J 19
20 72 & bb & bb & j j & j j &b j j &b J j b b b b
74 & bb j # n s & bb J # n & j # n s & j &b &b b b j b b # s s s s s # s 21
22 77 & bb J b b b nb nb nb 3 3 3 3 & bb & & &b &b s J b s J n s s s s b b Ó s b b Ó s b b Ó
80 & bb n # nbn n # n b nw 3 3 3 3 3 3 & bb Ó w Ó 3 3 23 & Ó w 3 3 3 3 b & Ó w 3 3 3 3 &b Ó w w &b Ó w w b b b b w w
24 83 w & bb tr w m J & bb n Ÿ 3 3 3 bw Ÿ & n n w j m Ÿ & w j m &b w j &b w m m 3 3 3 3 b b n m b b w m w j
86 & bb J J 25 & bb b b & j j j j j j b & j J j j w &b J J j j j &b j J j j b b b b b b b b
26 90 & bb b j b j # J & bb & & &b &b b b j j j J b j b j # j j j b b b b
94 & bb & bb & & &b &b b b b b U n J J J J U # U j # J J U J j j b U j n J J U j n J J U # # U n n 27 j j
28 99 & bb Ó J b b b b J b nb b b & bb Ó J b b b n J nb b b b & Ó j b Ó Ó b j & Ó j Ó Ó j b n &b Ó b j Ó Ó j b &b b b b Ó j n b Ó j b b b Ó j n Ó j Ó j b Ó Ó j b
103 & bb Ó b b J bw 29 & bb Ó & j b b b j b b & Ó b &b &b b b b b b b b b b Ó Ó j b b Ó bw j b b j b b b b bw b b
30 107 & bb n b b j b j j b j j & bb n b b Ó j j j & n j j & Ó j j j b &b n Ó j j b b b &b Ó j j b b b b b Ó b Ó Ó Ó Ó Ó
111 & bb b b n & &b &b b b m & bb j j n n m & j b b Ó m m m m m m m m b b Ó Ó m Ó j j j j j n J n b j b j j j j Ó j b j j b j j 31
32 115 & bb & bb & j j j j & &b &b j # b m b b b n # m j b j n b b j n J j J j n n j j n j j Ó Ó Ó Ó Ó
119 & bb J m & bb Ó b n b J J & & m m j # j j n # j # j m &b j # n j b J 33 b &b j j j n j b b b b m m Ó Ó Ó m m Ó m m Ó Ó Ó m m Ó
34 123 & bb b & bb & & J # n &b &b b b b b m j b b # n m m b b m b Ó Ó J b n Ó n J j n j n j b b j # n b J j # n b J # n # m b J # n #
127 & bb # n J # n J # n b J n b J & bb # J # n # J # n # n J b nn J & # j # j # # # j # n n n &b & # j # j # # j n n b # Ó Ó Ó Ó 35 j j n &b Ó # Ó # Ó Ó b b b b w w w w
36 131 & bb & bb b J n J J # J J # J # J # n b j & b & &b j # # j n j # # n j # n j j # # # Ó # Ó Ó Ó &b b b b b Ó Ó Ó Ó n # w w w n #
135 & bb Ÿ J # n n b J j 37 & bb Ó & & # # b # # n &b Ó &b Ó b b Ó b b Ó
38 139 & bb j # # J # # J & bb & & # # # # &b &b b b b b j
143 & bb 39 & bb Ó b j b & & &b j # n # j n # b &b n b b b # n j b b
40 147 & bb & bb Ó & b b # n & &b &b b b b # n b J nb b J # j b n b j b b
151 & bb Ó n J J & bb Ó J b J b & n j j j b b & Ó j b &b b n n j b j b &b Ó j b 41 b b b Ó j b Ó j b b
42 155 & bb & bb b J n J b n n & b j b j # j & Ó j # j n j b &b j b j # j &b Ó j # j n j b b b Ó j b b b j
158 & bb # n J # n b # b J J & bb # & & &b j j # &b j j # b b# n J # n b # b J J J b b n j b j # n j # j j n J b j # J J J # j j n J J # j j # j j n j j j j # # j # j b J 43
44 161 & bb n & bb & & &b &b n n b b n b b J J J J b # n b b J J j J b # b J n j b j n n j n j n b j n b j n j j j n b b j b J b J J b # # j j n j b n J j n j b b b b n n j b j b j j b #
164 & bb n# b J & bb & &b &b w b b b b n J & # w w w n Ó j J n Ó j J 45
46 167 & bb J n# n # j j j & bb J n# n # j j & w j j & w j j &b n Ó &b n j j b b n # J b b n # J Ó Ó Ó Ó
171 & bb j j j J j & bb & & m j j # n m m m &b j j j j # j j j j j Ó j j j 47 &b b b b b j j j # j Ó Ó m m m Ó j Ó Ó Ó Ó
48 175 & bb b J J J & bb & & &b &b b b b b m j n J m m m m m m j j b j m m j j j j j j j j m m m m m j m m J J J j Ó Ó Ó Ó Ó Ó Ó Ó
179 & bb & bb & & j j j Ó m &b n # &b b b b b n # j nn # # m j j # # # Ó J m m j j j # # # Ó m j # j n n Ó J m j j j Ó m Ó Ó Ó Ó 49
50 183 & bb m n # Ó j & bb Ó j & & &b &b b b Ó J m b b Ó Ó m # # # n
187 & bb J j n J j bb n J & bb J j n J j bb n J J n J n 51 J J & & &b &b b b j j j j # b j # j j j j j b j j j j b Ó Ó Ó Ó b b Ó Ó Ó
52 191 & bb # b J & bb # b J J # J n # J # J n # & j j & j j # # n j &b j j nn # J &b j j nn # J b b Ó nw # b b Ó nw #
195 & bb j J j j j b & bb j J j j j b 53 & j j j # # j j j b n & j b &b j j # j b &b j j # j b b bbw nw b bbw nw n j
54 198 & bb j J n n b # J J # & bb j J n n b # J J # & & &b &b b b b b b b j # j j # b j j # n # j # # n n J j b j b n n # j n # j n bw bw j j nw nw
201 & bb tr # # w j & bb # tr # w j Ÿ & j n w tr & # # w # &b Ó j j &b b b b b Ó j n j Ó Ó j j Ó Ó j j 55
56 204 & bb # j # j # j # & bb # j # j # j # # & # & &b # # j j j &b n j j n j b b b b # j j # j # j j # j
207 & bb & bb & & &b &b b b b b J J # n s s J J # n s s j j # n j s s # s s s s s s s s s s j # J # # j J # n n 57
58 211 & bb J # j & bb J # j & # # n # n & j # &b &b b b b b j # # #
213 & bb J # s & bb J # s & # # nn # n j & j # j # &b # &b b b b b # # Ó s s s s 59
60 216 & bb J # n n b # nnb # nnb 3 3 3 3 & bb & s s s j # n j # n n # n# Ó & 3 3 3 3 # Ó &b Ó &b s # s b b n Ó s Ó b b
220 & bb 3 b # # n b # w 3 3 & bb & w 3 m3 3 3 3 3 3 3 3 w & w m m 61 # &b &b w w 3 3 3 3 # Ó b b w n m b b Ó m
62 223 & bb tr # w n j J # & bb Ÿ nw & Ÿ j j j J j j j w j j j Ÿ & j j j j # j &b &b # j j j j j j j J j j b b 3 3 3 3 # b b
227 & bb j n # J n # b & bb n b j # 63 j # & & j &b j n # j n # b j # &b # b b # n n j n # J n n j j # b b b n b
64 231 & bb U j # j j n j & bb U j # j J U & j # j j U & j j j U &b j # j j n U &b j # J n b b U n b b n U n
235 & bb U U j n J # J J J j J 65 & bb & & &b &b b b U U J J J J j U U j j j # j Ó j U U j j n j b j U U b # b b
66 239 & bb # n n b # # n n b & bb & & # n # n # # n # n &b j b &b b b w # n # n Ó J # n # n # n # n n b # # n n b b n # b b
243 & bb & bb & b j j j j b j j j j # Ó j # j & j j 67 &b &b b b b b n Ó # J J Ó b # Ó Ó j j Ó Ó Ó Ó
68 248 & bb & bb j j j j j w j j j j j w & j j # & &b # j j # # # # j # j &b b b b b # # Ó Ó j # Ó Ó j Ó Ó j
252 & bb # n n b # # n n b 69 & bb # n n b # # n n b & & &b &b b b n j n j j j Ó j Ó j j Ó j j b b j Ó j j
70 255 & bb # & bb # Ó & j Ó & j Ó &b Ó &b b b Ó b b Ó # Ó Ó Ó Ó
Aendix B
Quintet C Minor K 406 Violin I Violin II Viola I Viola II Cello 1 4, melody three octaves Melody Melody Melody octave below Melody octave below Melody 2 octaves below 5 7: melody w/counteroint and Melody Counteroint Counteroint Res Drone whole note harmony 8 9: melody in thirds w/ctt and Melody Melody third Counteroint Counteroint a Drone drone below m3 below 10 12: melody w/st harm Melody St Harm 3rd St Harm root St Harm 7th St Harm 5th 13 16: melody w/harm Rest Rest Melody Countermelody Drone harmony 17 21: Melody w/harm Melody Harm Harm Harm rest 22 25: melody with st Harm and Melody St Harm 1 st hal o St Harm 1 st St harm 2 nd hal Drone drone bar hal o bar o bar 26 27: melody w/ ctt and drone Rest Melody Ctt rest drone 28 33: melody with st harm Melody St Harm 3rd St harm root St harm 5 th St Harm 7 th 34 39: melody in 3 octaves Melody Melody Melody octave below Melody octave below Melody 2 octaves below 40 41: solo melody Melody Rest Rest Rest rest 42 47: melody with alberti bass Melody Alberti bass Drone Rest root dnbeat and drone 48 53: melody in octaves, alberti Melody Drone Melody octave Alberti bass Root dnbeat bass and drone below 54 59: melody in octaves, alberti Melody Alberti bass Melody octave Drone Roob dnbeat bass and drone below 60 65: melody in thirds, motor Melody Melody 3 rd below Melody octave Melody 3 rd and Motor bass bass below octave below 66 74: melody in 3 octaves, st harm or drone Melody Melody octave below St harm or drone St harm or drone Melody 6 th and two octaves below 75 78: melody in 6ths, st harm or St harm or St harm or drone Melody Melody 6 th below Rest drone drone 79 80: melody in thirds, st harm Melody Melody 3 rd below St harm St harm Qt bass notes 81 89: melody in 6ths, cntmelody, Melody Cnt Melody Cnt Melody 3 rd Melody 6h below Static bass static bass below 90 92: melody, cntmelody, harm, Melody Harmony Cnt Melody Harmony St bass st bass 93 94: melody in 3 octaves Melody Melody Melody octave below Melody octave below Melody 2 octaves below 95 102: melody with harmony Rest Rest Melody Harmony Harmony 103 107: melody with harmony in Melody Harmony Harmony 3 rd Harmony 5 th Rest intervals below below 108 110: melody with motor harmony Melody Motor harmony Motor harmony Motor harmony Motor harmony straight eighths 111 114: melody with harmony Melody harmony Harmony Rest Rest (hal notes) 115 121: melody with oset melody, static harmony Melody St Harm 5 th St Harm 3 rd St Harm Root Melody oset one measure 122 125: Melody in sixths alternating voices Melody Melody a 6 th down Alternating Melody Alternating melody a 6 th down Bassline same rhythm as alternating melody
126 129: Melody with harmony Melody Melody m3 below Hal note harmony Quarter note harmony Quarter note harmony 130 133: melody in 3 octaves Melody Melody melody octave below Melody octave below melody two octaves below 134 135: melody with Melody Counteroint Counteroint Rest Drone counteroint and whole note harmony 136 138: melody w/cntt and Melody Counteroint Counteroint Counteroint Drone drone 139 141: melody with static Melody St harm third St harm root St harm seventh St harm ith harmony 142 145: melody w/harm Rest Rest Melody Countermelody Drone harmony 146 150: Melody w/harm Melody Harm Harm Harm rest 151 158: melody with countermelody and bass (motive) Melody Countermelody 1 st hal o bar Countermelody 1 st hal o bar Countermelody 2 nd hal o bar Bass with motive 159 164: melody with st harm Melody St harm 5 th St harm 3 rd St harm root St harm 7 th 165 170: melody in 3 octaves Melody Melody Melody octave below Melody octave below Melody 2 octaves below 171 176: melody alternating voices w/drone harmony Melody/drone harmony Melody/drone harmony Drone harmony Drone harmony Drone harmony (one melodic motive) 177 179: melody with alberti bass Melody Rest Alberti bass Alberti bass Quarter bass and quarter note bass 180 182: melody w/alberti bass Melody Alberti bass Drone Drone Quarter bass and drone 183 185: melody in 2 octaves, Melody Melody an octave Alberti bass Alberti bass Quarter bass alberti bass and quarters below 186 188: melody with drone, Melody Melody an octave Drone Alberti bass Quarter bass alberti bass and quarters below 189 194: melody in 2 octaves, Melody Melody an octave Counteroint Counteroint Quarter bass cntnt and quarters below 195 200: melody in 2 oct, cntnt, Melody Countermelody Melody an Countermelody Motor bass motor bass 201 206: melody in 2 oct, st harm, countermelody Melody Melody an octave below octave below Alternates st harm and drone 207 208: melody, countermelody, st harm 209 213: melody, countermelody, motor harmony 214 229: melody, countermelody,motor,harmony 230 231: melody in 3 octaves Melody melody Melody an octave down an octave below Alternates st harm and drone Countermelody Melody Countermelody/st harm root St harm 7 th St harm 5 th St harm 3 rd Melody Rest Motor Rest Countermelody harmony Melody Countermelody Countermelody Harmony Motor Melody an octave down Melody 2 octaves down
Quintet in G Minor K 516 1 8 melody w/ st harm 9 17 melody w/st harm 18 23 melody in 2 octaves, harmony, st harm 24 25 melody w/harmony 26 28 melody w/st harm and countermelody 29 43 melody w/st harm and quarter bass 44 46 melody w/countermel ody 47 48 melody in bass 49 52 melody w/st harm and quarter bass 53 melody w/counteroin t, st harm and drone 54 melody in octaves and thirds, drone, quarter bass 55 62 melody, countermelody, st bass and drone 63 67 melody w/alternating countermelody, st harm 68 71 melody in octaves, harmony 72 75 melody with harmony Violin I Violin II Viola I Viola II Cello Melody St Harm St harm Rest rest Rest Rest Melody St harm St harm Melody Melody octave below Harmony Harmony St harm Melody St harm St harm St harm Countermel ody Melody St harm St harm St harm Quarter bass Melody Rest Rest Rest Countermel ody Rest Rest Rest Rest Melody Melody St harm St harm St harm Quarter bass Melody Counteroint Counteroint 3 rd Melody Melody octave below below Melody octave and 3 rd below St harm Drone drone Quarter bass Melody St bass Countermelody St bass Drone Melody Melody Melody 2 nd hal bar countermelody Melody octave below 1 st hal bar eighth harm St harm St harm 1 st hal countermel ody Harmony Harmony Harmony 2 nd hal bar eighth harm Harmony countermel ody
with countermelody 76 78 melody in octaves, harmony 79 81 melody with quarter/drone harmony 82 melody in thirds, quarter bass, drone harmony 83 84 melody with quarter harmony and drone 85 87 melody w/st harm and quarter bass 88 94 alternating melody, countermelody, quarter harmony 95 96 melody, st harmony, quarter bass 97 102 melody in 3rds, harm, bass countermelody 103 104 alternating melody, drone harmony 105 106 melody, countermelody, harmony 107 109 melody w/ st harm, quarter bass Melody Melody Melody octave below Quarter/ drone harmony Harmony Harmony Harmony (same rhythm as viola I) Quarter/drone harmony Quarter/drone harmony Drone harmony Drone Rest Melody Melody m3 down Quarter bass Drone Melody(irst hal)/drone Quarter/drone Quarter/drone Quarter harmony/ melody(sec ond hal) Melody St harm 3 rd St harm root St harm 5 th St harm 5 th Melody Harmony/melody alternating Quarter harmony Countermelody Quarter harmony Melody St harm St harm St harm Quarter bass Melody Melody m3 down Harmony Harmony countermel ody Melody/dro ne Melody/drone Melody Rest Drone Melody Countermelody Countermelody Rest Harmony Melody St harm St harm St harm Quarter bass 110 124 Melody/st Melody/st harm Melody/st harm Melody/st harm Melody/st
alternating melody, st harm 125 132 melody, countermelody, harm, st harm 133 137 melody w/st harm 138 139 melody, countermelody /harm, st harm 140 143 melody w/st harm 144 melody, harmony 145 155 alternating melody, harmony 156 161 melody in 2 octaves, harmony 162 163 melody w/harmony 164 166 alternating melody, st harm 167 179 melody w/st harm, quarter bass 180 184 alternating melody 185 192 melody, st harm, quarter bass harm Melody Countermelody/ harmony Countermelody/ harmony Countermelody/ harmony harm St harm Melody St harm Sth arm Rest Rest Melody Countermelody/ harm St harm Rest Rest Rest Rest Melody St harm St harm Rest Melody Harmony Harmony Harmony Alternating melody/har mony Melody Alternating melody/harmony Melody octave below Alternating melody/harmony Alternating melody/harmony Alternating melody/har mony Harmony Harmony Harmony Melody Harmony Harmony Harmony Harmony Alternating melody (2 nd hal o bar) St harm St harm St harm Alternating melody (1 st hal o bar) Melody St harm St harm St harm Quarter bass Alternating melody Rest Rest Rest Alternating melody Melody St harm St harm St harm Quarter bass
193 200 alternating melody, harmony, drone 201 208 alternating melody, countermelody, harmony Alternating melody Countermel ody Harmony Alternating melody Alternating melody Harmony Drone harmony Harmony Harmony Alternating melody
Aendix C
Serenade in C Minor or 8 Winds, K388 1
Serenade in C Minor or 8 Winds, K388 2
Serenade in C Minor or 8 Winds, K388 3
Serenade in C Minor or 8 Winds, K388 4
Serenade in C Minor or 8 Winds, K388 5
Serenade in C Minor or 8 Winds, K388 6
Serenade in C Minor or 8 Winds, K388 7
Serenade in C Minor or 8 Winds, K388 8
Serenade in C Minor or 8 Winds, K388 9
Aendix D
Quintet No2 in C Minor, K 406 1
Quintet No2 in C Minor, K 406 2
Quintet No2 in C Minor, K 406 3
Quintet No2 in C Minor, K 406 4
Quintet No2 in C Minor, K 406 5
Quintet No2 in C Minor, K 406 6
Quintet No2 in C Minor, K 406 7
Quintet No2 in C Minor, K 406 8
Aendix E
Quintet No4 in G Minor, K 516 1
Quintet No4 in G Minor, K 516 2
Quintet No4 in G Minor, K 516 3
Quintet No4 in G Minor, K 516 4
Quintet No4 in G Minor, K 516 5
Quintet No4 in G Minor, K 516 6
Quintet No4 in G Minor, K 516 7
Quintet No4 in G Minor, K 516 8
Quintet No4 in G Minor, K 516 9