Haydn Movement III Flashcards
Typically, what is the structure of the minuet in 3rd movements?
Binary form
What is the structure of the minuet in this movement?
Rounded binary form
What key does the minuet start in?
D major
Melodic features of bars 1-8
Minuet Section 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
Compare bars 1-8 with 9-16. Give 2 similarities and 2 differences. (4m)
Minuet section A + written out repeat
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)
Bars 1-8: harmony and tonality
Minuet section 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
What bar does minuet section B start in?
Bar 17
Describe bars 17-20
Minuet section B
- 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
What key is the minuet in?
D major
Describe bars 20-26
Minuet section B
- 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)
Describe bars 26-34
Minuet Section B
- 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
Describe bars 35 to 42
Minuet Section B
- 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
Describe bars 43 to 52
Minuet Section B
- 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)
What is the form and key of the trio?
Rounded binary form
Bb major
What key is the trio in?
Bb major
What bars is Trio section A in?
Bars 53 to 64
Describe bars 53 to 64
Trio Section 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
What key does the A section of the trio begin and then modulate to? Is this typical of the form?
Bars 53 to 64
- 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.
What section begins in bar 65?
Trio section B
What section begins in bar 65?
Trio section B
What bar does section B of the trio begin in?
bar 65
What key is tonicised in bar 67?
C minor
What is the texture in bars 65-94?
Contrapuntal texture
Locate a perfect cadence in C minor between bars 65 and 94.
Bars 66-67
Describe bars 65-78 beat 2
Trio Section B
- 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)
What bars is the Trio A’ section in?
Bars 78 beat 3 to 94
Compare bars 52beat3-64 with 78beat3-94 (6)
*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
What bar does the link section begin in?
Bar 94
Explain how Haydn develops his opening material in section B of the Minuet
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.
Describe Haydn’s use of harmony in bars 91-94. (2)
- 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
Discuss Haydn’s use of tonality in the 3rd mv minuet and trio.
- 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.
Locate an augmented 6th chord between bars 94 and 104.
*bar 99 beat 1 *(Bb aug6)
Locate a Phrygian cadence between bars 64 and 101
bar 99 beat 3 to bar 100
What key does the link section end in?
D major
What chord does A7 alternate with in bars 100-104 and what effect does this have?
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
What is the key in bar 55?
Bb major
What is the key in bar 62?
G minor
What is the key in bar 64?
F major
What is the key in bar 67?
C minor
What is the key in bar 70?
G minor
What is the key in bar 72?
G major
What is the key in bar 75?
C minor
What is the key at bar 78 beat 3?
Bb major
What is the key in bar 87?
Eb major
What is the key in bar 94?
Bb major
What is the key in bar 100?
A major
