The first strain of K599n4 is a textbook sentence, though one might perhaps count against it the literal repetition of the basic idea, complete with orchestration, in bars 3-4. The continuation phrases brings its fragmenting sequence down by step from D6, circled—note the "mirroring" D6 in the flute at the end of the bar—to C6, then Bb5, the final bar producing still another hanging third, A5. The first flute, however, regains D6 and—resoundingly doubled by the other winds—moves upward D6-Enatural6-F6, as F: ^6-^7-^8. The design of this cadence is quite close to what we saw in K 585n3 yesterday.
The Four Menuets, K601 were composed in early February 1791. Among these, n1 is a curiosity in its complexity and its emphasis on chromaticism. One can imagine a bored Mozart setting himself an interesting challenge just to see what he could make of it. The wedge figure in the antecedent—see the arrows in the two violin parts—is repeated at the dominant level to open the complementary phrase, but with some changes. The lower voice in bar 5 is a third farther away from the upper one: D#5 against A3 to begin bar 3 is now C#4 against A#5, or six half-steps become nine. In bar 6, the counterpoint is effectively inverted at the octave by the doubling of the second violin in the first flute -- boxed at "c" -- and the flute then completes the figure to close -- see the box at "d".
