![[PNG]](#5102994518728001825_pag121_score1a.png.id-7702522051836932605.wrap-0.html.html){kind=link}
(b)
![[PNG]](#5102994518728001825_pag121_score1b.png.id-3089724709605518617.wrap-0.html.html){kind=link}
(c)
![[PNG]](#5102994518728001825_pag121_score1c.png.id-6246742859382997398.wrap-0.html.html){kind=link}
FIGURE XXXVI.
The methods of germination employed by Haydn in the foregoing illustration were typical of his time. Mozart commonly relies, in his development sections, on the interest provided by presenting some salient motive in a variety of keys and with polyphonic treatment. Examples of this are to be found in Figure XXXVI, containing (a) the original motive from the first movement of his string quartet in C-major, dedicated to Haydn, and (b), (c), short excerpts from the development section of the same movement.
It will be observed that in (b), the viola imitates the first violin while the second violin and 'cello reiterate the four eighth-notes of the original motive, and that, in (c), the 'cello takes the motive, while each of the three upper parts sounds the eighth-notes, staccato; the contrasts of key should also be observed. This is a very concise and logical example of the methods of generation employed by Haydn and Mozart.