The 6-6 linear intervallic pattern as a style feature in the symphonies of W. A. Mozart

Abstract

The research for this study entails a systematic classification of all significant instances of the 6-6 pattern in Mozart's symphonies. This data is further categorized according to embellishment types, and discussed with respect to Mozart's application of the model in his complete symphonies. Comparing Mozart's usage with that of Haydn's Paris and London symphonies, one finds that both composers often implemented the model as a means of developing material. Although Mozart and Haydn used the pattern in a variety of conventional ways in thematic and transition sections, there are some striking differences of treatment between the two composers. Haydn applied the pattern as retransitional material to a return of the opening theme. Likewise, his usage is predominantly diatonic. On the other hand, Mozart treated the 6-6 pattern with a high degree of stylization. As his symphonic technique became more distinctive, we find increasingly complex chromatic embellishments of the model. This study reveals that the 6-6 pattern is an important aspect of Mozart's symphonic technique throughout his career as symphonist.