Haydn Movement II Flashcards
What is the overall structure of the 2nd movement?
Variation form
What is the structure of the A section?
Rounded binary form
What bar does the A section start in?
Bar 1
What key does the A section start in?
G major
A section
What cadence ends the antescedant ‘phrase a’?
Imperfect cadence
Describe bars 1-8 (A section)
- Consequent and antescedant phrase structure
- Double dotted rhythm
- Bar 1: Basic melody with escape notes in between
- Interrupted cadence V-VI (1 beat 2 -> 2 beat 1)
- Bar 4: First phrase ends with a decorated imperfect cadence
- Bar 6 new ending harmonised by C#dim -> modulate to D major
- Ends in dominant key of D major with Ic-V-I cadence
(Tonicisation section)
Describe bars 9-16 (B)
- Bar 9: Cello has motif X (double dotted) as bassline to violin melody
- Bar 10 beat 1: A minor tonicised
- Bars 11-12 melodic and harmonic sequence of bars 9-10
- 14: A minor tonicised with anticipation notes in v1
- 16: D major pivot chord (V)
- 16: Rhythm of X motif leads into reprise of A
Describe bars 17-37.
- Bars 17-20 same as bars 1-4 but with bassoon doubling the tune in violins
- 21-25: Extension of motif X through use of sequence -> leads to interrupted cadence and pause on C major chord
- 26-32: 4 bar phrase that ends with chromatic interrupted cadence -> descending stepwise quavers lead to V7-I in G major (32 beat 3 - 33 beat 1)
- 33-37: Codetta -> vln2 have semiquaver motif from bar 14.
- Tonic pedal of G underpins primary chords harmony with a strong perfect cadence in G major.
What bar does the B1 section start in?
Bar 38
What is the key from bar 38?
G minor
Describe bars 38-41
- Huge textural and tonal contrast (quiet dynamics)
- G minor
- 4 bar phrase based on X motif but now in minor key and solo wind instruments only (contrasting sonority)
- Bars 40-41: Diminished chords
Fill in the blank: There is an abrupt shift to the key of ________ from bar 42
D minor
How does Haydn modulate from D minor to Bb major from bar 46?
Uses pivot chord Bb major which acts as chord VI in D major and I in Bb major
Describe bars 42-45.
- f loud dynamics
- D minor -> tonic and dominant root position harmony underlined by timpani
- Violins have a tune developed from motif X while flutes and oboes have a new countermelody
Describe bars 46-56
- Modulation to Bb major begins in bar 46 -> Bb chord acts as pivot chord (both VI in Dm and I in Bb major)
- 47-48: II7-V-I cadence in Bb
- 48-49: Melody is now in scending sequence + harmony moving every quaver beat.
- 51-55: Melody in arpeggiac figurations + harmony moving every quaver beat
- Until 54-55: Harmonic pace doubles + imperfect cadence in Bb -> leads to abrupt rest
After the bar of silence (bar 56), the opening theme is reinstated in the key of Bb major.
What is the most important difference between this statement and bars 1-4? (apar from key)
- Only the consequent phrase is played, no antescedant
- Harmony goes I-V-IV in 57-58 instead of I-V-VI in 1-4 (no interrupted cadence)
What bar does the B2 section start in?
Bar 57
Describe bars 57-59
- Still Bb major
- Strings only, with X motif shortened over I-V7-IV chord progression (was VI in opening)
Locate a dominant 7th chord in 3rd inversion.
Bar 54 beat 4.
State in full the key in bar 38 and how this is related to the key of the movement.
G minor - parallel minor
Locate a diminished 7th chord in Bb major
Bar 66 beat 1 (Adim7)
Locate a cycle of fifths.
Bars 48 beat 1 - 50 beat 1
Locate a 9-8 suspension.
Bar 65 beat 1in violin 1, oboe 1 and flute
Describe bars 60-69
- Whole orchestra playing (tutti)
- From bar 60, modulating from Bb major to G major
- 60-63: 2 bar melody based on ‘x’ motif on vln1 and oboe1 -> imitated 1 bar later by vln2 and oboe2
- 62-63: sequence of previous 2 bars
- 65-66: descending semiquaver figure (first heard in 14-15) and faster harmonic rhythm
- This leads to a long section of dominant preparation on D7
Within bars 51-63, indicate where imitation can be found.
Bars 60-61 - oboe 1 and 2
Within bars 51-63, indicate where a dominant 7th in 4/2 position can be found
54 beat 4
Within bars 51-63. indicate where a cadential 6/4 can be found.
Ic-V
Bar 55 beat 3 to beat 4
What bar does the link section start in?
Bar 70
A’ section
Describe bars 74-81
- Same as bars 1-8 (motif X) but with added woodwind
- Flute doubles vln1 an octave higher, bassoons and 2nd violins continue the broken chord/arpeggio figurations
What bar does the A’ section start in?
Bar 74
Describe bars 70-73
- Link section
- Acts as a dominant preparation section on D7
- 4 bars of D7 arpeggios played by vln1 with bassoon doubling on final bar
State in full the key in bar 38 and how this is related to the key of the movement.
G minor - parallel minor
Describe bars 82-89
- Repeat of motif X (or phrase a) but now written out to allow fuller scoring and rhythmic variation (including dotted rhythms and sextuplets)
Describe bars 90-97
- Phrase ‘b’ based on bars 9-16
- Again uses tonicisation
Describe bars 90-97
- Phrase ‘b’ based on bars 9-16
- Uses tonicisation again
Describe bars 98-140
- Phrase ‘a’ from bars 17-37 but developed considerably
Describe bars 141-end
- As codetta in bars 33-37 but now extended
Where is there a dominant 9th chord in the key of D minor?
Bar 43 beat 1
Compare and contrast bars 57-60 with bars 1-8.
Similarities:
- Same melodic theme and same rhythm
Differences:
- 57-60 is a shortened version of the opening theme
- 57-60 like 1-4 but end on perfect cadence instead of imperfect
- 57-60 only consequent phrase played but both antescedant and consequent phrases in 1-8
-57-60 different harmony in second bar - no inerrupted cadence
Analyse the harmony and tonality in bars 65-68. (5m)
- The key is G minor in 65-67
- Bars 65-66 (vln1): Chain of 9/8 suspensions resolved on the 2nd semiquaver of each bar. The chords are Cm, Bb, A diminished, G minor
- Bars 67-68: D7 and Gm alternating every quaver beat before resolving to D7 in bar 68
- D7 and Gm alternation strengthens D7 as the dominant of G major
- Preparing for dominant prepation to modulate back to G major for repeat of the A section
