I am currently reading Part 2 to the AB Guide to Music Theory where I am on "Aspects of Melody". Eric Taylor talks about antecedents and consequents in the opening bars to Mozart's Piano Sonata (K576) on page 177 chapter 18/4, but what he says isn't matching up to me. He is saying:
"Here, the antecedent and the consequent are almost identical in their first sections: their rhythms are exactly the same, and both are formed from the notes of chords (I in the first section of the first phrase, and II in the first section of the second phrase). Notice the importance of the two cadences (imperfect at the end of the first phrase, perfect at the end of the second) in producing the question and answer effect."
You can find the excerpt of the piece here. I know the last quaver in bar 7 is a V chord in D, but the last quaver in bar 3 doesn't replicate that of a IV chord, though it has the bass note of it.
Am I missing something really obvious?