Mozart wrote the Minuet, K. 6 quoted above, when he was 7 years old. It exhibits a tonal organization which is typical of the period: a modulation to the dominant key [measure 5 through 8], balanced by a return to C major immediately after the first double bar. In addition to the structural chromaticism involved in the modulation, there are 4 instances of ornamental chromaticism: C sharp [m.2] and D sharp [m.4] are accented passing tones; D sharp [m.6] and G sharp [m.14] are passing tones. This miniature binary piece also exemplifies perfect symmetry of phrase organization: [(2 + 2) + 4] + [(2 + 2) + 4]. As both 8-measure groups are to be played twice, the Minuet is 32 measures in length.
Studies in Music Theory by Harrison, Martin and Fink, states that ‘Rhythmic grouping occurs when a series of durations coalesces into a single musical unit. Phrases are rhythmic groups, discrete units of connected musical motion that are demarcated by clear beginnings and endings. We distinguish between phrase groupings [which end in a cadence and a convincing point of arrival] and subphrase groupings [shorter groups within phrases]. Caesuras, where breaths may be taken, define the limits of rhythmic groups. Rhythmic groups frequently end with a rest or relatively long note value.’
The symmetry of the grouping of the Minuet lies in the nearly exact rhythmic repetition of the first 8-measure phrase in the second half. Within each phrase are two 4-measure subphrases, the first of which has an internal grouping of (2 + 2) and the second of which is a single connected group. Thus, caesuras occur at the ends of measures 2, 4, 8, 10, 12 and 16, and [perfect authentic] cadences occur only in measures 8 and 16.
A question for further investigation: aside from tonality, what are the differences between the 2 phrases?
In the next post, asymmetrical rhythmic grouping will be the focus.
The example is quoted with the permission of the authors.
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