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Eduqas A level Music > Haydn Movement II > Flashcards

Haydn Movement II Flashcards

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1
Q

What is the overall structure of the 2nd movement?

A

Variation form

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2
Q

What is the structure of the A section?

A

Rounded binary form

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3
Q

What bar does the A section start in?

A

Bar 1

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4
Q

What key does the A section start in?

A

G major

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5
Q

A section

What cadence ends the antescedant ‘phrase a’?

A

Imperfect cadence

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6
Q

Describe bars 1-8 (A section)

A
  • 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
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7
Q

(Tonicisation section)

Describe bars 9-16 (B)

A
  • 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
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8
Q

Describe bars 17-37.

A
  • 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.
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9
Q

What bar does the B1 section start in?

A

Bar 38

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10
Q

What is the key from bar 38?

A

G minor

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11
Q

Describe bars 38-41

A
  • 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
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12
Q

Fill in the blank: There is an abrupt shift to the key of ________ from bar 42

A

D minor

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13
Q

How does Haydn modulate from D minor to Bb major from bar 46?

A

Uses pivot chord Bb major which acts as chord VI in D major and I in Bb major

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14
Q

Describe bars 42-45.

A
  • 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
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15
Q

Describe bars 46-56

A
  • 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
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16
Q

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)

A
  • 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)
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17
Q

What bar does the B2 section start in?

A

Bar 57

18
Q

Describe bars 57-59

A
  • Still Bb major
  • Strings only, with X motif shortened over I-V7-IV chord progression (was VI in opening)
19
Q

Locate a dominant 7th chord in 3rd inversion.

A

Bar 54 beat 4.

20
Q

State in full the key in bar 38 and how this is related to the key of the movement.

A

G minor - parallel minor

21
Q

Locate a diminished 7th chord in Bb major

A

Bar 66 beat 1 (Adim7)

22
Q

Locate a cycle of fifths.

A

Bars 48 beat 1 - 50 beat 1

23
Q

Locate a 9-8 suspension.

A

Bar 65 beat 1in violin 1, oboe 1 and flute

24
Q

Describe bars 60-69

A
  • 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
25
Q

Within bars 51-63, indicate where imitation can be found.

A

Bars 60-61 - oboe 1 and 2

26
Q

Within bars 51-63, indicate where a dominant 7th in 4/2 position can be found

A

54 beat 4

27
Q

Within bars 51-63. indicate where a cadential 6/4 can be found.

Ic-V

A

Bar 55 beat 3 to beat 4

28
Q

What bar does the link section start in?

A

Bar 70

29
Q

A’ section

Describe bars 74-81

A
  • 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
30
Q

What bar does the A’ section start in?

A

Bar 74

31
Q

Describe bars 70-73

A
  • Link section
  • Acts as a dominant preparation section on D7
  • 4 bars of D7 arpeggios played by vln1 with bassoon doubling on final bar
32
Q

State in full the key in bar 38 and how this is related to the key of the movement.

A

G minor - parallel minor

33
Q

Describe bars 82-89

A
  • Repeat of motif X (or phrase a) but now written out to allow fuller scoring and rhythmic variation (including dotted rhythms and sextuplets)
34
Q

Describe bars 90-97

A
  • Phrase ‘b’ based on bars 9-16
  • Again uses tonicisation
35
Q

Describe bars 90-97

A
  • Phrase ‘b’ based on bars 9-16
  • Uses tonicisation again
36
Q

Describe bars 98-140

A
  • Phrase ‘a’ from bars 17-37 but developed considerably
37
Q

Describe bars 141-end

A
  • As codetta in bars 33-37 but now extended
38
Q

Where is there a dominant 9th chord in the key of D minor?

A

Bar 43 beat 1

39
Q

Compare and contrast bars 57-60 with bars 1-8.

A

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

40
Q

Analyse the harmony and tonality in bars 65-68. (5m)

A
  • 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

Eduqas A level Music (23 decks)

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