txtCommentary1={\uldb Scoring}{\v 157258} also meant deciding which {\uldb chords}{\v 76801} would appear in {\uldb root position}{\v 165590} and which would appear in {\uldb inversions}{\v 106856}. This is a far more crucial matter than might appear on the surface. Chords in inversions sound unstable even when they are {\uldb consonant}{\v 78129} chords; those in root position sound stable. Too much instability produces confusion; too much stability produces stodginess. Mozart was
txtCommentary2=especially adept at creating a string of {\uldb harmonies}{\v 84040} in inversion that lead to an emphatic {\uldb cadence}{\v 21968} in root position. Listen to this {\uldb closing theme}{\v 77711} from the first movement with Mozart\'92s characteristic inversions moving to root position, and then listen to the {\uldb passage}{\v 90954} all in chunky root positions.{\fs24\uldb \'80}{\v next}