This exercise is about highlighting certain features in Mozart’s Sonata No. 16 in C major. Here is my marked score:
Overall, this development section is very short – only thirteen bars in length (bars 29-41) The material is based on the short G-major arpeggiated codetta that closed the exposition (bars 26-27), this time commencing in g minor. Creating a polyphonic texture, Mozart intertwined the ascending and descending scale passages that were heard in the transition (bars 5-13), with the hands changing the function (annotated with orange arrows). Almost the whole development is sequential, both on a larger level – bars 29-32 being transposed a fourth lower in bars 33-36, and the smaller level – the ascending and descending scale passages going first a major second higher (bars 31-32) and appearing in different intervals later. The whole section modulates from g minor – d minor – a minor – F major, ending on the cadence IVb to V. Interestingly, the recapitulation of the first subject area is actually a false recapitulation in the subdominant – a famous example at that.
In short, I have already analysed this sonata a few years ago when I studied musical form. It was still nice to go back to it and remind myself of certain features.