Home Previous Page Next Page Back to Index of Examples
Some Trademark Phrases with Sheet Music and Sound Clips
Two types of trademark phrases are listed:
Type-1: Standard phrase. The chords meet the musical definition..
Type-2: Variations on Type 1.
The "Z" examples are from the works of other composers that match the trademark phrase.
.........................................................................
Köchel numbers
Where 2 Köchel numbers are listed, the first number is from the 3rd Köchel edition (K-3),
and the second number is from the 6th edition (K-6).
"As Written" Version
The version listed as "As Written" is the original version written by Mozart.
Enharmonics, Interpolation, and Compression
In the following examples of trademark phrases, some notes have been changed to their
simpler enharmonic form, after listing the original notes.
For example, "Cb" may be printed on the sheet music. The simplified note would be the
enharmonic "B". The enharmonic form is labeled "Simplified".
Some chords have needed interpolation, and a few chords have been compressed.
The original or "As Written" version is always shown.
Enharmonic Example:
As Written: Cb----Eb----A
Simplified: B-----Eb----A
Interpolation Example:
As Written: D#-------------C#----G
Interpolated: D#----[G]------C#
Compression Example:
Interpolated: Eb-Eb---[G]----C#
Compressed: Eb---[G]----C#
Interpolated notes are in brackets [ ].
Compressed chords have some notes dropped.
The original or "As Written" version is always shown.
TYPE-1 - Standard Trademark Phrases
EARLY
=====
Some early compositions containing the Trademark Phrase. Sound clips only.
Click on the name to hear the sound clip.
E1: K.19d - Piano Sonata in C Major for 4 Hands, 1765, London
E2: K.43 - Symphony Nbr 6 in F Major, 1st Movement, 1767
E3: K.9a/5a - Piano Allegro in C Major, 1763
LATER
=====
Sheet Sound
Ex Locs Music Clip Description
A1 1 x x K.397 (K385g) Fantasy in D Minor for Piano.
A2 1 x x K.550 Symphony Nr 40 in G Minor, 1st movement.
A3 1 x x K.608 Fantasy in F Minor for Mechanical Organ.
A4 1 x x K.620 The Magic Flute, Overture.
A5 1 x - K.620 The Magic Flute, Act 1 Finale.
A6 1 x x K.594 Adagio and Allegro in F Minor for Mech Organ.
A7 1 x x K.594 Adagio and Allegro in F Minor for Mech Organ.
A8 3 x x K.355 (K.576b) Minuet in D for Piano
A9 1 x x K.310 (K.300d) Sonata in A Minor for Piano.
A10 1 x x K.626 Requiem in D Minor, Confutatis.
A11 1 x x K.421 (K.417b) Str Quartet in G Minor, Menuetto Mvmnt.
A12 1 x x K.396 (K.385f) Fantasia in C Minor for Piano.
A13 1 x x K.511 Rondo in A Minor for Piano.
---- --
13 15
Type-2 - Variations on the Trademark Phrase
B1 1 x x K.331 (K.300i) Sonata in A for Piano (w Rondo Alla Turca).
B2 1 x x K.620 The Magic Flute, Queen of the Night Aria.
B3 1 x x K.626 Requiem in D Minor, Confutatis.
---- --
3 3
Totals
16 18 Totals: 18 examples, 6 musical types
-----------------------------------------------------------------------------------------
Z1 1 x x BWV232 Bach's Mass in B Minor, Et incarnatus est.
Z2 1 - x Chopin Concerto in F Minor, Opus 21, 2nd movement
-----------------------------------------------------------------------------------------
Type-1: Standard trademark phrases.
A1. K.397 (K.385g) - Fantasy in D Minor for Piano.
From Presser's edition of "Mozart: Sonatas and Fantasies for the Piano",
edited by Nathan Broder, 1956.
(Last 10 measures of piece completed anonymously).
Signature: D minor (B-flat in signature).
Passage begins at measure 35.
Trademark phrase begins at measure 36, beat 4 (also found at m. 21).
35 36 37
K.397 - Measures 35, 36, 37
Sound clip: K397
Click on hyperlinks to hear sound clips
Key of passage: G minor
Chord locations: 36.4 and 37.3
Interpolation: Yes
Delayed Resolution: Yes
36.4 37.3
As Written: Eb-Eb----------C#-G ---> D-D---------D--F# K397-aw.mid
Interpolated: Eb-Eb---[G]----C# ---> D-D—--[F#]--D K397-int.mid
Compressed: Eb---[G]----C# ---> D—--[F#]--D
Musical TM: Eb---[G]----C# ---> D—--[F#]—-D K397-tm.mid
Proof using musical terms:
In the 2 chords, we see that:
1) The first chord is an Augmented 6th (ignoring the top G).
2) With Interpolation, the first chord is an Italian 6th.
3) The top note in the second chord is an octave higher than the
bottom note (D-DD).
4) With interpolation of the G and F#, the major 3rd moves down
1 semi-tone (Eb-G to D-F#).
1st Chord 2nd Chord
36.4 37.3
1. Eb---------CC# ---> D—------—-DD An Aug-6th in 1st chord
2. Eb---[G]---CC# ---> D—--[F#]—-DD An It-6th with Interp
3. Eb---[G]---CC# ---> D—--[F#]—-DD An octave in 2nd
4. Eb---[G]---CC# ---> D—--[F#]—-DD 3rds move down 1/2 step
This passage illustrates a typical focus by Mozart on the Trademark phrase,
where he funnels the music from measures 35 through 37 on the 2 chords of the
phrase. It could be called "relationships in G minor" as the lower
harmony, in thirds, cascades downward by half steps, from G to D using
6 notes, finally resolving into a D major chord.
Both major and minor thirds contribute to the "minor" sound of this passage,
including the Italian 6th chord.
2nd citation for this piece:
This passage is just one of two identical passages appearing in this piece -
the other appearing earlier beginning at measure 20, in the key of A minor.
IE, 2nd citation: Measures 20.4/21.3 .
These are the same notes used in the next example (A2): Symphony
Number 40 in G Minor, 1st movement.
A2. K.550 - Symphony Nr 40 in G Minor - 1st Movement.
From Schirmer's piano/four-hands score, volume 71.
Signature: G minor.
Trademark phrase begins at measure 15, beat 1.
K.550 - Measures 1-20
Click to hear sound clip
Note: Secondo - Bass clef at m10 in right hand
Trademark measures as written Without delayed resolution
Chord locs: 15.1, 16.1
Interpolation: No.
As Written: Eb-Eb---G-Bb-C#-Bb-C# ---> D-D----F#-A--D-F#-D
Compressed: Eb---G----C#-Bb ---> D----F#----D-F#
Musical TM: Eb---G----C# ---> D----F#----D
A3. K.608 - Fantasy in F Minor for Mechanical Organ.
From the Bärenreiter score, "Drei Stücke für die Orgel",
arranged by Friedrich Brinkmann (approx 1943).
Key of F minor.
Trademark phrase begins at measure 198, beat 4.
K.608 - Measures 194-199
Click to hear sound clip
Chord locs: 198.4, 199.1
Interpolation: Yes.
As Written: Db-------G---B-F ---> C-C-G-------C----E K608aw.mid
Interpolated: Db---[F]-G---B ---> C-C-G--[E]--C K608int.mid
Compressed: Db---[F]-----B ---> C----[E]--C
Musical TM: Db---[F]-----B ---> C----[E]--C K608tm.mid
Note: In the interpolated sound clip (K608int.mid), the top C may be
difficult to hear, but it is present in the MIDI file.
The first of the two chords in the interpolated version (Db-F-G-B) is
known as the French form of the augmented sixth.
A4. K.620 - The Magic Flute - Overture.
From Dover’s full score, 1985. Key of Eb.
Trademark phrase begins at measure 12, beat 4.
K.620 - Overture, Measures 1-15
Click to hear sound clip
9 measures
Chord locs: 12.4, 13.1
Interpolation: No.
As Written: Cb----Eb-----A ---> Bb----D------Bb
Simplified: B
B-----Eb-----A ---> Bb----D------Bb
Musical TM: B-----Eb-----A ---> Bb----D------Bb
Note that the Eb in measure 12, which is part of the trademark phrase, is
carried by the 2nd violins for 9 measures, from measures 4 through 12.
Although the complete phrase consists of only 4 beats for the 2 chords,
the Eb exists as a common tone for 36 beats. The lone Eb stands out among
all the other notes, and ties the trademark phrase to a central “theme” of
the beginning of the overture: the sustained Eb.
A5. K.620 - The Magic Flute - Act 1 Finale (Nr. 8).
From Dover’s full score, 1985.
Signature: C.
Tamino: (A minor)
O ew'ge Nacht! Wann wirst du schwinden?
Wann wird das Licht mein Auge finden?
Chorus: Bald, bald...
Trademark phrase begins at Measure ??.
- Tamino, on the word "Licht" (Light), Beat 3.
K.620 - Act 1 Finale (Nr. 8)
Tamino, Priest, Chorus
Chord locs: Licht...finden
Interpolation: No.
As Written: F—-D#---A------D# ---> E----G#--B--E--G#
Musical TM: F-------A------D# ---> E----G#-----E
A6. K.594 – Adagio and Allegro in F Minor for Mechanical Organ.
From the Bärenreiter score, "Drei Stücke für die Orgel",
arranged by Friedrich Brinkmann (approx 1943).
Key of F minor.
1. Trademark phrase begins at measure 5, beat 1.
2. A second (duplicate) trademark phrase begins at measure 121, beat 1,
containing identical notes.
K.594 Beginning - Measures 1-9
Click to hear sound clip
Portion of a page from Mozart's thematic catalog ("Chronologisch-thematisches
Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts"),
6th Edition, Ludwig von Köchel et al, Breitkopf & Härtel, 1964.
(Mozart's thematic catalog shows the pedal notes doubled, as written for
the mechanical organ. We will use that version here for the sound clip,
and add an additional lower octave since the pedal notes can be somewhat
difficult to hear using MIDI files. With pipe "coupling" in the lower
registrations, such an effect would probably have been produced anyway
had the piece been played on a "real" organ instead of the limited
mechanical organ of the wax museum).
Chord locs: 5.1, 6.2 (and 121.1, 122.2)
Interpolation: No.
As Written: Db----F------B--Ab ---> C-G-C----E-----C
Compressed: Db----F------B--Ab ---> C----E-----C
Musical TM: Db----F------B ---> C----E-----C
The first of the two chords as written (Db-F-B) is known as the Italian
form of the augmented sixth.
Measures 5-7, where the phrase takes place, contain 33 notes of
MTM material, making this a fairly complex example of the usage
of the phrase.
A7. K.594 – Adagio, Allegro, Adagio in F Minor for Mechanical Organ.
From the Bärenreiter score, "Drei Stücke für die Orgel",
arranged by Friedrich Brinkmann (approx 1943).
Key of F minor.
Trademark phrase begins at measure 33, beat 3.5..
33 34 35 36 37 38 39
K.594 - Measures 33-39
Click to hear sound clip
Chord locs: 33.3, 34.1
Interpolation: Yes.
As Written: Db----F------B--F ---> C---------G--C---E
Interpolated: Db----F------B--F ---> C----[E]-—G--C
Musical TM: Db----F------B ---> C—---[E]-----C
The first of the two chords as written (Db-F-B) is known as the Italian
form of the augmented sixth.
A8. K.355 (K.576b) - Minuet in D for Piano (1786/1787/1790?)
From Schirmer’s edition, volume 382, edited by Ludwig Klee.
Key of D major.
1. Trademark phrase begins at measure 5, beat 3.
2. Trademark phrase begins at measure 7, beat 3.
Same pattern with different notes.
3. Trademark phrase begins at measure 9, beat 3.
Same pattern with different notes.
It appears 3 more times in the 2nd half of the piece, in similar locations
(MM 33,34; 35,36; 37,38) for a total of 6 times in this piece.
6 7 8 9 10 11
K.355 - Measures 1-11
Click to hear sound clip
Note for sound clip: A harpsichord sound was used for this clip as the
MIDI version of the piano is poorly suited to this piece. The harpsichord
sounds smoother and more professional in this case.
Note: It is thought by some Mozart scholars that this piece may have been
intended for a string quartet, rather than a piano.
Chord locs: 5.3, 6.1.5; 7.3, 8.1.5; 9.3, 10.1.5 (1st one shown below)
Interpolation: Yes.
As Written: D----------B#--F#-F# ---> C#---------C#---E#
C F
Simplified: D----------C---F#-F# ---> C#---------C#---F
Compressed: D----------C---F# ---> C#---------C#---F
Interpolated: D---[F#]---C ---> C#---[F]---C#
Musical TM: D---[F#]---C ---> C#---[F]---C#
A9. K.310 (K.300d) - Sonata in A Minor for Piano.
From Presser’s edition, edited by Nathan Broder, 1956.
Key of A minor.
Trademark phrase begins at measure 57, beat 4.4..
K.310 - Measures 56-58
Click to hear sound clip
Chord locs: 57.4, 58.1
Interpolation: No.
As Written: C-----E--G--A#--E ---> B----D#-----B
Musical TM: C-----E-----A# ---> B----D#-----B
A10. K.626 - Requiem in D Minor - Confutatis (Nr. 5).
From Kunzelmann’s piano/vocal score edited by Franz Beyer, 1983.
Key of A minor.
Signature: C.
Trademark phrase begins at measure 15, beat 4.4..
Requiem K.626 - Confutatis, Measures 15-17
Note: See also the variation version (Type-2)
Click to hear sound clip
Note: Sound clip begins at the last beat of the preceding measure (14.4).
Chord locs: 15.4, 16.1 (flam-mis a-cri-bus AD- DI-ctis)
Interpolation: No.
As Written: F-----A---F---D# ---> E-E----G#-----E-B-E---E
Compressed: F-----A-------D# ---> E----G#-----E-B
Musical TM: F-----A-------D# ---> E----G#-----E
A11. K.421 (K.417b) - String Quartet in G Minor - Menuetto Movement.
From Dover’s edition, Mozart: Complete String Quartets, 1970.
Key of G minor.
Beginning at Measure 30, Beat 3
26 27 28 29 *30* *31* 32 33 34 35 36
K.421 - 3rd movement, Measures 26–36
Click to hear sound clip
Viola clef notation retained in image.
Chord locs: 30.3, 31.1
Interpolation: No.
As Written: Bb----D-D---G# ---> A-E--C#-----A
Compressed: Bb----D-----G# ---> A----C#-----A
Musical TM: Bb----D-----G# ---> A----C#-----A
Note that the resolution of the trademark phrase is partially anticipated
by the 2nd violin and viola in measure 30, beat 2, with the (E)-C#.
This is the 2nd of the 6 "Hayden Quartets".
A12. K.396 (K.385f) - Fantasia in C Minor for Piano.
From Schirmer’s edition, volume 382, edited by Ludwig Klee.
(Completed by Maximilian Abbe Stadler).
Key of C minor.
Beginning at Measure 32.
K.396 - Measures 32-33
Click to hear sound clip
Chord locs: 32.2, 32.3
Interpolation: Yes.
As Written: Eb----G-----C#-Bb ---> D-A----------D---F#
Interpolated: Eb----G-----C#-Bb ---> D-A--[F#]----D
Musical TM: Eb----G-----C# ---> D----[F#]----D
The timing, accuracy, and thoroughness in the sound clip is as
close to the sheet music as could be achieved with the software.
Note that a variation on the trademark phrase occurs in measure 33
beginning at beat 2, with the difference being a “D” instead of an E-flat
for the bottom note of the first chord (the half-note at beat 1 of measure
33), and the F-sharp in the second chord being supplied by the grace
note in the treble clef at beat 3.
Variation: D----G-----C# ---> D----F#----D
A13. K.511 – Rondo in A Minor for Piano.
From Schirmer’s edition, volume 382, edited by Ludwig Klee.
Key of A minor.
Beginning at Measure 74, Beat 6.
K.511 - Measures 73-75
Click to hear sound clip
Chord locs: 74.6, 75.1
Interpolation: No.
As Written: F----A---A--(B)--D# ---> E—---G#--(A#)--B---E
Musical TM: F----A-----------D# ---> E----G#------------E
The lower E in the 2nd chord occurs 1 beat before the rest of
the notes and is technically detached, but clearly part of
the phrase. The B and A# function as grace notes, and they too
move down a half step, just as the F-A/E-G# thirds do.
.........................................................................