Mozart is able to dramatize this graceful movement by including a strong sense of chromaticism. As the movement begins almost entirely within the parameters of E-flat major, chromaticism is slowly included more and more, until eventually the movement manages to reach a climax and fade away gently into the opening gesture. Another prevalent feature of this style is the various sigh features. This motif is usually doubled in the clarinet and viola, over a poignant melody in the piano. Even Mozart is able to exaggerate this figure, then having the piano join the other voices in this sighing action, leaving dramatic pauses in between. The final iteration of strumming and drang is the use of varied and sudden dynamics. Seen already in the opening gesture, Mozart has the first chord played loudly, with the following gesture marked as piano, allowing him to speak as an afterthought; overall further emphasizing the colloquial nature of the piece. Through impressive gestures of sensitivity and sturm und drang, Mozart is able to create the playful, intimate and conversational atmosphere in which the Kegelstatt trio is embodied; overall, signifying how appropriate the original artists and audience were in the piece