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Great masters often serve as references for composing—not only as an unconscious influence, but also through the direct musical analysis of their works. Here we will review the harmony of the first movement of Symphony No. 25 in G minor by the great composer from Vienna.

Above each measure the harmonic symbols are written, as if it were a song or a jazz standard from the Real Book. We can see how the G minor chord changes to second inversion in the second measure (Gm/D), then moves to C minor in first inversion (Cm/Eb), and from there arrives at its dominant, D major, also in first inversion (D/F#).

It is important to emphasize that Mozart did not actually apply triads directly in the way we would today. Modern chord symbols are used here to provide a contemporary harmonic interpretation of something that was originally composed from a contrapuntal perspective rather than from block chords. It is also worth mentioning that the instrumental voices remain in octaves and even move in parallel octaves when the harmony changes—so the reader can see that the rules of traditional harmony are frequently broken.

The triads themselves become clearer starting in measure 5 with the arpeggios of G minor (Gm), C minor (Cm), and D7 in second inversion (D7/A). The minor seventh appears in what we interpret as a D arpeggio in measure 7, with the particular feature that it lacks the tonic. The tonic appears in the second half of the measure in the horn, which simultaneously plays the notes D and C (remember that it sounds a major second lower than written).

Another interesting element is the cadential form in measures 11 and 12, which returns to the tonic, G minor. In measure 13 the main theme appears again (remember the sonata form), and in measure 25 the second theme appears, which is the relative major of the key—B-flat major (Bb). This undoubtedly casts a ray of light over the somewhat somber melody of the minor key.

The author cannot help but recall the Viennese dance heard in the opening credits of the film Amadeus.

This analysis led me to an idea for a song in which we use exactly the same harmony from the first five measures for the introduction, and from there we play a bit with chords from the key. There is a progression from Eb to Eb7 with a C# moving to D—a motion that I also use in the song’s pre-chorus.

For the chorus of the song we employ the same strategy used by Herr Mozart: moving to the relative major of the key, Bb. Even the lyrics convey a burst of joy when they say, “Look how many things can fit inside a button.” From there we repeat the structure with the introduction, verse, pre-chorus, and a chorus that repeats to close—this time, simply for the pleasure of ending in G major, with a small use of what traditional harmony teachers call the Picardy third.

The lyrics of the song were inspired by the attitude of my five-year-old daughter when she is asked to stop playing. My little one looks so absorbed in what she is doing that sometimes I feel a bit guilty interrupting her. Still, every now and then it has to happen—but play is inherent to all human beings: sometimes with dolls, and when we grow older, with sounds.

Here we leave the song to share with readers.