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Eduqas A level Music > Haydn Movement III > Flashcards

Haydn Movement III Flashcards

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1
Q

Typically, what is the structure of the minuet in 3rd movements?

A

Binary form

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2
Q

What is the structure of the minuet in this movement?

A

Rounded binary form

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3
Q

What key does the minuet start in?

A

D major

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4
Q

Melodic features of bars 1-8

Minuet Section A

A
  • 8 bar phrase**
  • motif x: two quaver anacrusis followed by two staccato crotchets**
  • melody begins with ascending tonic triad
  • accents on 3rd beat add rhythmic interest
  • trill lasts for a whole bar (bar 7) followed by tonic chord in bar 8
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5
Q

Compare bars 1-8 with 9-16. Give 2 similarities and 2 differences. (4m)

Minuet section A + written out repeat

A

Bars 9-16 are a written out repeat of bars 1-8

Similarities:
- Both are 8 bar phrases
- Both phrases end on the tonic chord (but it is not typical for section A to end in the tonic)
-
Differences:
- Dynamics: Dynamics become p (piano) instead of f (forte)
- Rhythm: Repeated crotchets become minims
- Scoring: Lighter texture because some instruments drop out (no clarinets, bassoons, trumpets or timpani)

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6
Q

Bars 1-8: harmony and tonality

Minuet section A

A
  • D major
  • motif X antecedent based over tonic pedal based on tonic and subdominant harmonies
  • diminished touches through the use of chromatic auxiliary note bar 2 beat 3
  • consequent phrase ends with perfect cadence in tonic
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7
Q

What bar does minuet section B start in?

A

Bar 17

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8
Q

Describe bars 17-20

Minuet section B

A
  • Begins as opening with D major triadic motif then moves to B minor confirmed by perfect cadence in bar 19beat3-20
  • Diminished chords in bar 17 beat 3 and 18 beat 3
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9
Q

What key is the minuet in?

A

D major

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10
Q

Describe bars 20-26

Minuet section B

A
  • Hemiola from 20 beat 3 to 25 beat 1 (metre feels like 2/4 due to repeated 2 quaver crotchet rhythms)
  • First as B minor triad then E major which leads to a perfect cadence in A major (bar 25 beat 3 to 26)
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11
Q

Describe bars 26-34

Minuet Section B

A
  • Dominant preparation for modulating back to D major
  • Pedal on A in horns and low strings
  • A becomes the dominant due to use of A8 chord
  • Crescendo on timpani lead to return of D major
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12
Q

Describe bars 35 to 42

Minuet Section B

A
  • Return of A theme
  • Same as bars 1-8 with added quaver decoration in the melody
  • Tonic pedal in brass, timpani and bass.
  • Bars 40 beat 3 - 41: The falling interval is extended from a minor 7th to a 10th (showing development of A theme)
  • Bars 41 to 42: V-I perfect cadence in D major
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13
Q

Describe bars 43 to 52

Minuet Section B

A
  • Codetta
  • Vb-I in G major
  • Abrupt 2 bar rest
  • 2 bar trill over an A7 chord leading to 4 perfect cadences in D major
  • Followed by a repeat from the upbeat of bar 17 (Minuet section B repeats)
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14
Q

What is the form and key of the trio?

A

Rounded binary form
Bb major

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15
Q

What key is the trio in?

A

Bb major

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16
Q

What bars is Trio section A in?

A

Bars 53 to 64

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17
Q

Describe bars 53 to 64

Trio Section A

A

Contrast is created by
- New tonality
- Begins as if D minor, then Bb major chord in bar 55
- modulation Bb major is tertiary modulation/unrelated to tonic)
- Bb major key confirmed by perfect cadence in bars 57-58
- Abrupt dynamic contrast from forte to piano
- **New thematic material ** - rising 3rd and scalic quavers
- Legato scalic quavers accompanied by pizzicato strings
- Reduction in texture: only oboes, bassoons and strings

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18
Q

What key does the A section of the trio begin and then modulate to? Is this typical of the form?

Bars 53 to 64

A
  • Starts in Bb major with 3 cadences in Bb
  • Then a modulation to F major (dominant) by the end of the section achieved through the use of the pivot chord G minor in bar 62
  • This is typical of the form.
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19
Q

What section begins in bar 65?

A

Trio section B

20
Q

What section begins in bar 65?

A

Trio section B

21
Q

What bar does section B of the trio begin in?

A

bar 65

22
Q

What key is tonicised in bar 67?

A

C minor

23
Q

What is the texture in bars 65-94?

A

Contrapuntal texture

24
Q

Locate a perfect cadence in C minor between bars 65 and 94.

A

Bars 66-67

25
Q

Describe bars 65-78 beat 2

Trio Section B

A
  • Motif from the start of the trio A section (anacrusic ascending 3rd, crotchet to minim) is developed into a melody and the scalic idea becomes a countermelody underneath it
  • No basss intruments
  • Contrapuntal texture
  • Perfect cadence in C minor (bar 66-67)
  • D7-G7 in 71 beat 3 to 72
  • Dominant pedal in bars 72-75
  • Bdiminished to Cm in 74 beat 3-75
  • C7 to F in 77 beat 3-78 (mperfect cadence in Bb major)
26
Q

What bars is the Trio A’ section in?

A

Bars 78 beat 3 to 94

27
Q

Compare bars 52beat3-64 with 78beat3-94 (6)

A

*52beat3-64 is Trio A whereas 78beat3-94 is Trio A’
* Same thematic/melodic material
* 52beat3-64 begins the same but ascending 3rd motif is now played in thirds
* 80beat3-84 beat 1 same harmony/chords as 55-58
* Initial idea developed with a brief tonicisation of Eb major in bars 86-87
* 53-64 ends with perfect cadence in F major whereas 79-94 ends with perfect cadence in Bb major

28
Q

What bar does the link section begin in?

A

Bar 94

29
Q

Explain how Haydn develops his opening material in section B of the Minuet

A

The opening material is:
o A 2 quaver anacrusis ascending in a tonic triad, then regular crotchets in ¾ time with an accent and change of harmony on the 3rd beat of the bar.
o The tonic key of D is clearly established by the ascending tonic triad and the use of chord I-IV harmony.
o The melody keeps returning to the dominant note of A in bars 1-4
o Antescedant and consequent phrase structure

∙In section B of the minuet, Haydn keeps the same rhythm and ascending triadic shape at the start, however the key is now B minor
∙ Instead of being based around the dominant note, the melody ascends up to high B at the start of the B section
∙ Haydn repeats the opening ascending triadic motif 7 times creating a hemiola effect in bars 20-24 bsn and cello part.
∙ Haydn returns to the opening section A theme from bar 34 beat 3 however he develops/decorates it by adding extra quavers e.g. violin bar 35.

30
Q

Describe Haydn’s use of harmony in bars 91-94. (2)

A
  • Bar 91 – 92 Eb pedal over which is a bdim chord leading to a C minor chord in first inversion (iib).
  • It is a perfect cadence in the key of Bb major, iib-ic-v-I
31
Q

Discuss Haydn’s use of tonality in the 3rd mv minuet and trio.

A
  • The minuet is in the key of D major. The trio is in Bb major.
  • These are unrelated keys (tertiary relationship).
  • This necessitates a link section at the end of the trio (bars 94-104) in order to modulate back to D major for the repeat of the minuet
  • He achieves the modulation via an augmented 6th chord in bar 99 which resolves to A major (the dominant).
  • This is strengthened by alternating it with G# diminished 7th chords – creating a dominant preparation section, which leads back to the minuet.
32
Q

Locate an augmented 6th chord between bars 94 and 104.

A

*bar 99 beat 1 *(Bb aug6)

33
Q

Locate a Phrygian cadence between bars 64 and 101

A

bar 99 beat 3 to bar 100

34
Q

What key does the link section end in?

A

D major

35
Q

What chord does A7 alternate with in bars 100-104 and what effect does this have?

A

A7 alternates with G#diminished 7 over a dominant pedal (A) which strengthens A as the dominant and prepares to modulate back to D major for the repeat of the minuet

36
Q

What is the key in bar 55?

A

Bb major

37
Q

What is the key in bar 62?

A

G minor

38
Q

What is the key in bar 64?

A

F major

39
Q

What is the key in bar 67?

A

C minor

40
Q

What is the key in bar 70?

A

G minor

41
Q

What is the key in bar 72?

A

G major

42
Q

What is the key in bar 75?

A

C minor

43
Q

What is the key at bar 78 beat 3?

A

Bb major

44
Q

What is the key in bar 87?

A

Eb major

45
Q

What is the key in bar 94?

A

Bb major

46
Q

What is the key in bar 100?

A

A major

Eduqas A level Music (23 decks)

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