Jupiter Symphony – Third Movement
Measure
1
Sub-section
A
17
B
Description
 C Major
 16 measures: 8+8
 Antecedent based on a descending line with chromatic elements.
 The consequent (mm. 9-16), begins with a similar chromatic
descending figure but in the second part (mm. 13-16) the figure
abandons chromaticism in favor of arpeggios.
 Harmonically this section moves from I to V.
 Second violins and violas, and to some extent cellos, maintain an
Alberti-like accompaniment.
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
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33
A’



The opening figure (violins and oboes) maintains some elements
from previous section (descending contour and chromaticism).
A pedal of G (brass timpani and bass) keeps it anchored in the
dominant.
As in the previous section, this parts ends when the chromatic
elements give way to clearly stated arpeggios (mm. 24-27) that
bring the section to the tonic.
Similar to “A” section (violin I joined by flute and oboe I). However,
a series of ornamentations (trills) and contrary motion line (viola)
join the original antecedent.
The consequent (mm. 36-43) is substantially transformed. It begins
similarly to the first section (m 9). However here (mm. 36-51) in
addition to similar changes in the antecedent (extra lines and trills)
it is extended by a contrapuntal section of the woodwinds (mm. 4951).
The last part of this section (52-59) is similar to mm. 9-16 but in the
tonic.
60 – Trio
C



A very simple cadence V-I opens this section (antecedent)
It is responded by a simple descending line (consequent).
This pattern is repeated two times, the first time ending in the
dominant (m. 63) and the second time in the tonic (m. 67).
68
D

Sturm and Drang section (storm and stress) created by F dynamics
and by modulations to Am-Em/E-C-Em/E, all over a pedal of E.
The cadences presented (mm. 68-69, 70-71, 72, 73, and 74-75) are
reminiscent of the cadence that opened the trio.

80
C’

Similar to the ”C” section with small addition of voices, notably flute
and bassoon (mm. 86-87).