Harmony and Tonality Essay

Question 1

Describe the use of harmony and tonality in early classical symphonies

Answer 1

Mostly based on tonic-dominant relationship
Development sections would modulate often, only to related keys
Regular cadences
Frequent use of primary triads
Emfindsamerstil (Dim 7ths)
Occasional chromaticism
Sturm and Drang (minor key, dim 7ths)

Question 2

Early classical symphony examples

Answer 2

Haydn No.2 (C-G-C)
Stamitz Op.3 No.2 (primary triads)
CPE Bach E minor (Emfindsamerstil and chromatic opening)
Haydn No.26 (Sturm and Drang)

Question 3

Describe use of harmony and tonality in late classical symphonies

Answer 3

Reliance on tonic and dominant continued
Lengthier developments w modulations to unrelated keys
Sturm and rang sometimes used
More unusual modulations

Question 4

Late classical symphony examples

Answer 4

Mozart No.41 (Mvt 1 modulation from G major to Eb major)
Haydn 104 (see flashcard)

Question 5

Harmony and Tonality in Haydn 104

Answer 5

Tonic/dominant relationship seen in S1+S2 of movement 1 and 4 (D major to A major)
Unusual modulation to C# minor at 141 in movement 1
Sturm and Drang in movement 2 (bar 42 in D minor)

Question 6

Describe Beethovens use of harmony and tonality

Answer 6

Often used remote and unusual modulation

Switches movements to create unusual relationships between movements

Question 7

Beethoven examples

Answer 7

Beethoven No.1 (in development modulation A-Bb major- F major
Beethoven No.9 (scherzo and mvt 2 switched, so movement 3 is in Bb ,major where tonic would be expected

Question 8

Describe harmony and tonality in early romantic period

Answer 8

Still reliant on tonic/dominant
Mainly diatonic but chromaticism becoming more prominent
More unusual harmonic techniques
Interesting and Unexpected modulations

Question 9

Early romantic examples

Answer 9

Berlioz symphonie fantastique (lots of chromaticism in 4th mvt)
Mendelssohn No.4 (see flashcard)

Question 10

Mendelssohn No. 4 examples

Answer 10

Movement 1- tonic/dominant relationship between S1 and S2
Mvt 2- bars 37-8 dim 7ths in violin,
Mvt 2-sequential modulations (B minor-D major in bars 51-53
False recapitulation in C major (development of movement 1)

Question 11

Describe harmony and tonality in the late romantic period

Answer 11

Many unusual keys and modulations
Lack of cadences
More dissonance and chromaticism

Question 12

Late romantic examples

Answer 12

Tchaikovsky No. 4 (mediant relationships F-Ab-B-D-F)

Mahler No. 9- High pitch dissonance at end of mvt 3