In what ways is this sonata a work in the gallant style?

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In what ways is this sonata a work in the gallant style?

Mozart’s ‘Sonata in A’ can be described as being written in Gallant style.  This style was a simple but melodious style that was quite often used in the less complicated dances of the Baroque period, especially in the Minuet.  Soon however, the characteristics associated with gallant style spread from only being in dance music to being present in all types of pre – classical music.  This style of music is now known as Viennese Classical Music.  

  The first movement of Mozart’s ‘Sonata in A’ can be described as having a particularly gallant style, especially in the Minuet.  The characteristics of galant style are also more obvious in this piece than in any other of Mozart’s instrumental music.  

There are many references in ‘Sonata in A’ to the gallant style.

Firstly, there is clear emphasis on a single melodic line.  The melody can be clearly heard in the main opening theme over a simple syncopated accompaniment in the bass clef.  There is no counterpoint being used and the theme is allowed to stand out on it’s own without being dominated by a complicated accompaniment.  There is also a repeated ‘E’ in the bass clef accompaniment which simply adds to the lilt of the melody, making it more interesting to listen to.  In each of the different variations, this simple, yet effective accompaniment is continued.  In variation 1, single quaver chords consisting of only two notes instead of the usual three are being used to accompany the melody.  In bar 23 this is changed again, and this time, the accompaniment is fairly fast moving and consisting of semi quavers.  Variation 2 sees evidence of alberti bass being used while variation 3 uses an accompaniment of octaves played in semi quavers.  The simple, two note chords are brought back into use in variation 4.  In the trio section, the accompaniment appears to be very simple without a great note variation.  The melody has become far more complicated by this point and the simple accompaniment highlights this.

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At bars 4, 8, 12 and 16 and at other cadence points throughout the piece, period phrasing is evident.  A period is usually two phrases of equal length, with the first (antecedent) phrase ending in an imperfect cadence and the second (consequent) ending with a perfect cadence.  It is rather like a question and answer happening within the music.  Even throughout the different variations where the main theme is changed slightly each time, the periodic phrasing can still be heard resulting in the regular 8 bar patterns that can be heard.

The texture of this sonata is very ...

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