Essay - Harmony and tonality

Question 1

Harmony and tonality - pieces to talk about

Answer 1

Stamitz Op 3 No 2
Mozart 40
Haydn 104
Beethoven 5
Beethoven 9
Mendelssohn 4
Berlioz Symphonie Fantastique
Dvorak 9
Liszt Faust Symphony

Question 2

Harmony and tonality - Stamitz Op 3 No 2

Question 3

Harmony and tonality - Mozart Symphony 40

Answer 3

Only one of his two symphonies in minor key

Question 4

Harmony and tonality - Haydn 104

Answer 4

• Haydn’s use of harmony and tonality are entirely functional in keeping with the mature classical style. Structure is defined by key, and modulations move to a key which is directly connected to the key before through the dominant tonic relationship.
• The most adventurous use of tonality is where he arrives at Db major in the middle of the final section of the 2nd movement → to go back to tonic, shifts enharmonically to C#minor, then through a sequence of cadences using diminished chords
• Trio is in Bb major (unusual) - necesitates link section for minuet repeat in tonic.

Question 5

Harmony and tonality - Beethoven 5

Answer 5

• Begins in Cm, ends in C major → Represents triumph over adversity → philosophical idea replaces gallant style

Question 6

Harmony and tonality - Beethoven 9

Answer 6

• 1st mv: Beethoven’s Symphony 9 and Brahms Symphony 1 → Unique approach to sonata form is a tertiary key relationship → S1 in tonic key, S2 in mediant.

Question 7

Harmony and tonality - Mendelssohn 4

Answer 7

• Mendelssohn’s harmonic language is broadly the same as that of his Classical predecessors. He uses chromaticism and modulates quite widely but not significantly more than Haydn and Mozart. His relatively slow harmonic rhythm is enlivened by interesting and colourful textures
• This symphony is one of the first to start in the major and end in the minor. The reverse journey from minor to major is familiar from Beethoven’s fifth and ninth symphonies
• Mv 3 - A2 section modulates around related keys as expected - this development includes further modulation. The trio takes a similar form to this.

Question 8

Harmony and tonality - Berlioz Symphonie Fantastique

Answer 8

• 1st mvt starts in C minor. Changes to the tonic major, returning to C minor less than 10 bars later. Transition section is in the key of Ab major (tertiary relationship to C)
• The tonality is frequently obscured by chromaticism in the melody and harmony.
• Chromatic harmony includes diminished seventh chords
• Suspensions are used (e.g. in the idea fixe)
• The movement ends with a series of IV-I plagal cadences to suggest the religious overtones of his love for the woman. (Hymns end with plagal cadences)

Question 9

Harmony and tonality - Dvorak 9

Answer 9

• Use of tertiary key relationships and chromatic colour suggest Dvorak is romantic composer but he often uses basic primary chord harmony (e.g. 9th symphony 2nd mvt theme)
• 2nd mv begins with series of highly chromatic chords that take 4 bars to resolve to the key → First 2 chords are a tritone apart
• Then harmonises simple folk theme with primary chords
• Uses modal inflections (e.g. flattened 7th in 4th mv theme)

Question 10

Harmony and tonality - Liszt Faust Symphony

Answer 10

• Liszt Faust Symphony - his harmonic language is chromatic and ambiguous
• The opening of his Faust Symphony is tonally ambiguous, being based on augmented triads.
• Falling semitones create the impression of resolving suspensions, but they ‘resolve’ to the augmented triad.