Bridge themes within a chromaticized voice exchange in Mozart expositions

Bridge sections by Mozart often include a quasi-thematic episode beginning on minor V, music flat sign III, or VI that leads to an augmented-sixth chord ushering in the V of V. Though strikingly individual and contrasting, such episodes are transitional in function and do not undermine the tonal polarity characteristic of classical sonata form. This article shows how bridge themes from K. 467/I, 482/I, 504/II, and 464/I are integrated within long-range chromaticized voice exchanges. These bridge themes often derive from the opening theme and introduce motivic and chromatic elements which pave the way for later events.