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Any ideas on varying a Mozart theme?

I have always wanted to compose a Theme and Variations. I got the idea yesterday of taking a Mozart theme and varying it. Now I have gotten even more specific. Even though the Turkish March is not my favorite Mozart piece(his 40th symphony is my favorite or if talking specifically piano works, the K 545 is my favorite), it does have what I think is an excellent theme to develop into a theme and variations. That is the beginning A minor section in ABA' form.

There  are multiple reasons that I think this is a great theme to develop into a theme and variations but perhaps the strongest reason of all is that Mozart does not even touch that theme when it comes to development, he only develops the A major and F# minor sections of the rondo. The repeat of the A minor theme is a pure repeat, no note changes at all.

Since Mozart does not develop this beginning theme, that means I can do whatever I want with it in terms of development. I could have a variation where it goes from a March rhythm to a Waltz rhythm and the time signature changes respectively. I could have it modulate to another key like say Bb major via a pivot chord. I could do anything to it. Thing is, well, variations tend to build on each other so the second variation will often be more intense than the first variation and so on  as you get more and more variations.

This is what makes Theme and Variations harder than it seems. With each progressing variation it tends to get more intense but you somehow have to have a satisfactory ending to it and not leave the listener hanging on a fleeting cadence. I was wondering if you had any ideas on how to  vary the A minor theme of Mozart's Turkish March(bars 1-25 of the piece). 

I have been told to find a skeleton form of the theme and use that to get sister variations of Mozart's theme rather than just its progeny but how would I decide which notes to put into the skeleton?

Feedback on my Turkish March?

I composed a Turkish March months ago. It was my first go at rondo form and is one of very few pieces that I have written in the key of C major. C major is like my avoid key. If there is 1 key I would use least often, it is C major. Here are the reasons why:

C major sounds boring to me
Can't really get chromatic without questioning myself whether or not I am modulating(like the moment I write a Bb in a C major piece, I question myself if I am modulating to F major or not)
C major to me, is an overused key(seriously, the most common key in pretty much every music genre and from every composer from Bach to Mozart to Brahms, is C major)

So here is how I went about composing my Turkish March:

First I listened to Mozart's Turkish March from Piano Sonata no. 11 in A and Beethoven's Turkish March from The Ruins of Athens and found these similarities:

Major key
Basic eighth note pulse at quarter note = 110 BPM
Minor key used for harmony, drama, or both(mostly harmony in Mozart's case(the alternation of A minor with A major shows up in every movement of his 11th piano sonata))
Rondo form
Left hand sort of sounds like footsteps

I then took these and applied them to each of the sections of my Turkish March. I do use a plagal cadence early on but that is because I wanted to not have a sense of finality while still saving the dominant tendency for the PAC in the A section. Speaking of which, here are the sections:

A - Initial C major section
B - F major section
C - Up and down the major scale in the right hand, arpeggios in the left hand
D - A minor section
E - C minor section

Like Mozart's Turkish March, I also have a short coda to end the Turkish March. Here I experimented with using the major seventh as a dominant chord and I think it turned out well. I tended to use the subdominant chord to end the antecedent phrase of my periods here. I also only used C harmonic minor to transition from the E section to the C section. Overall, my harmonic progression in a lot of the sections was this:


I even accented the subdominant chord in the initial C major section to give it more of a dominant feel, even though it is the subdominant.  Here is a link to my Turkish March video:

Here is Mozart's Rondo Alla Turka for a comparison:

It is much faster than my Turkish March but other than the tempo and keys used and the actual melody, not much is different(5 or more distinct sections of the rondo, a section with arpeggios in the left hand and octaves in the right hand, coda for an ending with arpeggios in the right hand, both parallel and relative minor keys are used, bass notes not far from the third intervals(at most like a fifth away), octave alberti bass in the right hand in ending bars, are all commonalities between my Turkish March and Mozart's Turkish March)

What do you think of my Turkish March? Do you think I may have overused the subdominant here? I have been told that it sounds more like a gentle dance than a march but I don't know of any dance that is in 2/4 and I'm not even sure that it exists. I have also been told that there being so many thirds in the left hand muddies the piece and that it would be better if the bass note was like an octave away from where it is now.