Development of the Symphony - Harmony/Tonality

Question 1

What were the features of harmony at the start of the Early Classical period?

Answer 1

At the start of the Early Classical period, harmony was primarily triadic (harmony with 3 notes) and diatonic (belonging to a key).

Question 2

How was harmony built during the Classical period?

Answer 2

Harmony would be derived from the use of a major or minor scale with a 3rd and 5th added above each note of the scale.

Question 3

What are primary chords, used heavily at the start of the Classical period?

Answer 3

Chords I, IV and V

Question 4

Were there extended chords in the Early Classical period?

Answer 4

Yes, but in a limited way. The only extended chord (4 notes or more chords) that was commonplace in this time period was the dominant seventh (V7) chord.

Question 5

What chromatic chords were used in the Mature Classical/Early Romantic?

Answer 5

In the Mature Classical, composers began to implement/explore more use of chromatic chords, notably the Neapolitan 6th, Augmented 6th and Secondary dominant/diminished chords.

Question 6

What is a circle of fifths progression and what was it commonly used for?

Answer 6

Circle of fifths is a progression that descends down by a 5th each time. It was common practice to see circle of fifths chord progressions being used to modulate between different keys within sections of a symphony.

Question 7

What were the innovations to harmony in the Late Romantic period?

Answer 7

In the Late Romantic period, there was a large expansion of harmonic practices. It was common to find chromatic harmony and extended chords (7ths, 9ths, 11ths).

Question 8

What harmonic practices were used in Stamitz’ Symphony in D (1750)?

Answer 8

In Stamitz, Symphony in D, Op. 3, No.2 (1750) the main thematic material in the first movement is supported with mostly primary chords in the key of D Major.

Question 9

What symphony can be used as evidence of a circle of fifth progression?

Answer 9

In Mozart’s, Symphony No. 25 in G minor (1773) he implements an entire circle of fifths progression in Bb Major in the transition section between the first and second subjects of movement I.

Question 10

What regular type of chord is found in Mendelssohn’s Symphony No. 4 ‘Italian’?

Answer 10

In Mendelssohn’s Symphony No. 4 ‘Italian Symphony’ in movement 3 he uses a dominant seventh with a flattened 9th (A7b9) (b.65).

Question 11

What unusual harmonic innovation is used in Mahler’s Symphony No. 2 ‘Resurrection’?

Answer 11

In Mahler’s, Symphony No. 2 ‘Resurrection’ (1894) at the climax of movement III he uses the ‘death shriek’ chord which is a Bbm chord with a C pedal.

Question 12

How were cadences used in the Early Classical period?

Answer 12

At the start of the Early Classical Period, Cadences were used as musical punctuation and would support periodic/sentence based melodies.

Question 13

How are cadences used in phrases?

Answer 13

Cadences are usually found in the final bar of a phrase, particularly a phrase that is balanced.

Question 14

How were cadences used in the Late Romantic period?

Answer 14

As chords and harmony expanded, cadential rules lessened with cadences being avoided/diluted toward the end of the period. This allowed music to build tension through lack of resolution.

Question 15

What kinds of cadences are used in Stamitz’ Symphony in D (1750)

Answer 15

In Stamitz, Symphony in D, Op. 3, No.2 (1750) there is use of a cadential pattern in the opening Mannheim Hammerstrokes (3 chords in D Major, 3 of A Major, creating a I – V – I progression).

Question 16

What unusual cadential technique does Tchaikovsky use in Symphony No. 6?

Answer 16

In Tchaikovsky’s Symphony No. 6 (1893), (b.153-160) the main theme avoids a cadence in D Major by refusing to go to D and the bass refuses to land on A (V).

Question 17

What is cadential deferral and how does Mendelssohn use it in his Symphony No. 4 ‘Italian’?

Answer 17

In Mendelssohn’s Symphony No. 4 ‘Italian’ (1833) (b.110), he uses cadential deferral. He sets up a period ending on V in the antecedent, but in the consequent rather than end on I, he defers the resolution and abandons the material using the opening material.

Question 18

How did tonality help with the transition from the Baroque to the Early Classical period?

Answer 18

Tonality has always played a big part in the development of the symphony due to its importance when moving from Baroque polyphony to Early Classical homophony.

Question 19

How was tonality used in the Early Classical Period?

Answer 19

As a result, melody-driven homophony was used in symphonies as a way to simplify material/harmony/tonality so that it could help to create tonal unity.

Question 20

How is the concept of ‘tonaly unity’ important in a symphony?

Answer 20

This concept of unity is important because if the music has an overarching tonic composers could start and end their pieces in the same key and visit different ones in the middle

Question 21

What did modulation look like in the Early Classical period?

Answer 21

In the Early Classical period, composers would modulate to closely related keys. These would usually be keys found either side of them on the circle of fifths.

Question 22

How was modulation used in the Late Romantic period?

Answer 22

Into the Romantic period, composers began experimenting with more ambitious modulation often moving to distantly related keys. This would often take time to prepare for which is why the proportions of some sections would get longer – to cater to the preparation of the modulation.

Question 23

What is ‘tonal antagonism’?

Answer 23

Tonal Antagonism is where the composer would modulate quite far away from the initial key, usually in a short space of time.

Question 24

What is ‘tonal escapism’?

Answer 24

Tonal Escapism was using modulation to distant keys as a way to ‘escape’ the tension and present something lyrical and dreamy.

Question 25

What symphony has an example of **tonal antagonism**?

Answer 25

In Beethoven’s Symphony No.1 (1801) **movement 3**, he establishes the key of **C major** in the first 8 bars, then begins the process of modulating to **Db Major** (5b) by b.25. This has a **Neapolitan relationship** to the starting key and was ambitious for its time. It’s an example of tonal antagonism.

Question 26

What is an example of **tonal escapism** in a symphony?

Answer 26

Tonal Escapism is found in Schubert’s Symphony No. 8 (1822). In the first movement is sonata form in b minor. The transition section doesn’t modulate and 2 horns and bassoons quickly slip chromatically into the new key G major (VI – very unusual)

Question 27

How does Dvorak use **modulation** in the second movement of his Symphony No. 9 (1893)?

Answer 27

In Dvorak’s Symphony No. 9 (1893) in movement II, he modulates from E major to Db Major in 7 bars, showing Late Romantic composers skill in handling distantly related keys.

Question 28

Was there are expected 'tonal plan' in Early Classical symphonies?

Answer 28

Not really. What was apparent was the composers desire to have the second movement in a contrasting key from the first. Sometimes it would be a move to a different key, other time it could be a move to the parallel minor/major mode.

Question 29

What was the tonal plan that became more standardised in the Matural Classical period?

Answer 29

By the Mature Classical period and the four movement standard, the pattern for tonal plan emerged. Movement I would be the tonic key, movement II would be in a contrasting key, movements III (a dance) and IV would be in the tonic key.

Question 30

How were minor key symphonies handled in the Mature Classical period?

Answer 30

In symphonies in the minor key, the expectation was that the finale could be handled differently. Either it remained dark/sad or it could shift to the **parallel major** as if from dark to light.

Question 31

What were the **tonal conventions** in sonata form compositions?

Answer 31

There were tonal conventions for sonata form compositions. It is a necessary feature that the second subject of the exposition is in a **different key**. This helps the listener in separating the 2 sections. In addition, the development section would usually move the exposition material through a **number of different keys**. When the recapitulation reintroduces the exposition material, both subjects were to be kept in the **tonic key**. No modulations.

Question 32

What is the tonal plan of Stamitz' Symphony in D (1750)

Answer 32

In Stamitz, Symphony in D, Op. 3, No.2 (1750) the tonal plan follows the expect plan (D, G, D and D – the same Haydn uses in the 104th)

Question 33

How does the tonal plan of Stamitz' Trio Symphony in E Major (1758) differ from his Symphony in D?

Answer 33

It doesn't have a significant contrast - he uses the parallel minor as a contrasting key (E, e, E, E)

Question 34

How does Beethoven treat the minor mode in his Symphony No. 9 'choral' (1824)?

Answer 34

In Beethoven’s Symphony No. 9 (1824), he begins the piece in D minor, but for the end he opts for D Major instead to the uplifting Ode to Joy.

Question 35

How does Tchaikovsky break convention in his *Symphony No. 6* 'Pathetique'

Answer 35

In Tchaikovsky’s Symphony No. 6 (1893) he begins in b minor but ends in b minor too. This is to reflect the slow tragic sadness of his final movement. This also breaks convention of finales.

Question 36

How did Haydn follow/break conventions in his Symphony No. 104 'London'?

Answer 36

1. Haydn followed the expected tonal plan for symphonies at the time – Mvt. 1 tonic key (D), Mvt.2 contrasting key (G) Movt. 3 and 4 tonic key (D) 2. Haydn also followed balanced, periodic phrases that were reinforced with cadences. For example, the subjects from the sonata form movements (1 and 4), are **periodic** ending with **perfect cadences**. 3. Haydn used a **modulating period** in movement II - Haydn’s opening theme is a melody in G major that modulates to D major at the end of the phrase through use of a pivot chord (viio of D) 4. Haydn would use several chromatic chords in this symphony that were common in usage for the time period (Mature Classical). For example, In the introduction to Movt. 1, Haydn uses a Neapolitan 6th chord in D minor. In movement 3, at the end of the trio, Haydn uses a German Augmented 6th to move back to the key of D Major (tonic key) in preparation for the minuet. 5. Haydn did follow the expected tonal plan in his sonata form. In both sonata form movements, Haydn modulated to the dominant for the second subject (expected) 6. Haydn explored some rather interesting modulations in some of his movements. In movement II, which begins in G Major, Haydn modulates to Db Major for the middle section, which is a move from 1 sharp to 5 flats. In movement III, he uses a chromatic melody line to modulate from Bb Major to D Major, using an augmented 6th chord

Question 37

How did Mendelssohn use harmony/tonality in his Italian Symphony?

Answer 37

1. The first movement begins in A Major, but unusually the final movement ends in parallel minor **A minor**. 2. He uses a false reprise in the first movement in **C Major** (instead of expected A Major) 3. Second movement is in D (**subdominant minor**). This is generally unusual, but a preferred choice of Mendelssohn. 4. The aeolian mode in movement II gives the harmony a **modal** flavour. 5. Third movement is in A Major (expected) 6. Mendelssohn’s gently **chromatic harmony** are the diminished sevenths in bars 37-8 of the Andante, which are created by the chromatic descending melody in the first violin. 7. Mendelssohn likes to explore parallel minor keys when in major, as he does in b.97 of the first movement where the dominant turns briefly to the **dominant minor**.