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GCSE Music > Haydn - Symphony 101, 2nd Movement - The Clock > Flashcards

Haydn - Symphony 101, 2nd Movement - The Clock Flashcards

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1
Q

At what dynamic does the movement begin?

A

Piano

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2
Q

Describe the dynamics in the second melody of the first A section

A

They contrast between forte and piano

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3
Q

What is significant about the dynamics at the start of section B?

A

There is a dramatic change to forte

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4
Q

Dynamically, what is significant about the dynamics in the 1st Violin syncopated melody in the B section?

A

It uses sforzandos

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5
Q

What happens to the dynamics at the start of A2?

A

They return to piano

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6
Q

What happens to dynamics after the general pause?

A

They are piano again, with a sudden crescendo at the augmented sixth chords

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7
Q

What are the dynamics like during the tutti in A2? What effect do they have?

A

They are forte and fortissimo, and emphasise the climax of the movement

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8
Q

What happens to the dynamics just before the coda?

A

They reduce dramatically to piano

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9
Q

What is the metre of the piece?

A

2/4

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10
Q

What is the tempo of the piece?

A

Andante

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11
Q

Describe the use of rhythm in the melody

A

Dotted and double-dotted rhythms are used in the melody throughout, such as in the violin melody of the A section

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12
Q

Describe the ‘ticking’ theme

A

Alternating ostinato staccato quavers in the bassoons, and pizzicato quavers in the second violins and cellos/double bass (later joined by staccato flute in A2)

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13
Q

How does Haydn mark the change between sections?

A

With alternating D and C# semiquavers, for example in the violin between B and A2

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14
Q

Describe the rhythm of the new violin melody in section B

A

It is syncopated, beginning on the second quaver of the bar which is tied to another semiquaver

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15
Q

Describe what the flutes and oboes play in the tutti section of A2

A

A quaver countermelody over the violin melody

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16
Q

What interesting rhythmic feature is added in the tutti section of A2 in the melody, creating a sense of movement?

A

Sextuplets are added to the melody of the flutes, oboes, and violins

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17
Q

What is used in A2 to move into the coda instead of the prior D-C# alternating pattern?

A

Sextuplet scalic patterns in the violins, flutes and oboes link into the coda

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18
Q

How does the piece finish?

A

With quaver chords in strings, brass and woodwind

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19
Q

What is the form of the piece?

A

Extended ternary form (A, B, Developed return to A)

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20
Q

What takes place in the first A section structurally?

A

The main two melodies are introduced and repeated

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21
Q

What takes place in the B section structurally?

A

A contrasting G minor section

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22
Q

What takes place in the first part of the second A section structurally?

A

The main theme is reorchestrated with the flutes joining the bassoons in the ticking theme, and the oboes also adding harmony

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23
Q

What takes place in the middle of the second A section structurally?

A

There is a general pause, and then a variation of the theme in Eb major, incorporating all the strings and woodwind (flute plays countermelody, oboes, clarinets and bassoons play minim chords, 1st violin plays melody, other strings play ticking theme staccato)

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24
Q

What takes place in the last part of the second A section structurally?

A

There is a contrary motion link in woodwind and strings to D major and a monophonic D-C# chromatic link in 1st violin to a tutti version of the theme with added sextuplets

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25
Q

What happens in the coda structurally?

A

Dynamics and texture reduce, woodwind, horns and strings play three quaver tonic chords to finish

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26
Q

How does the first melody begin?

A

It outlines the notes of the G major triad

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27
Q

How is the melody structured in a way typical of the Classical period?

A

It has a balanced rising a falling shape

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28
Q

Describe the first melody rhythmically

A

It uses dotted and double-dotted rhythms

29
Q

What ornamentation is used in the first melody?

A

The first melody uses acciaccaturas

30
Q

Describe the phrasing of the melody

A

The first phrase is four bars long, while the second is five bars long due to the melodic sequence

31
Q

How is this melody played in the first A section?

A

It is played by the first violin, doubled by the flutes in the second half

32
Q

How is the melody played in the developed A section?

A

In the first part, it is played by the first violins while the flutes play a contrary-motion counter melody. In the tutti section, the melody is played by the oboes and first violins

33
Q

Describe the structure of the second melody

A

It begins as a repeating melody in sequence before modulating to D major with a descending semiquaver D major scale

34
Q

Describe a feature of the second melody typical of the Classical period

A

The use of staccato notes followed immediately by slurred, legato notes

35
Q

What does the oboe do when the second melody is played in the first A section?

A

It plays an inverted pedal over the top

36
Q

Describe the instrumentation of the piece as a whole

A

Classical orchestral instrumentation:

  • 2 flutes
  • 2 oboes
  • 2 clarinets in A
  • 2 bassoons
  • 2 horns in G
  • 2 trumpets in C
  • Timpani in D and E
  • Violins 1 and 2
  • Viola
  • Cello
  • Double bass
37
Q

Which instruments are transposing and what does this mean?

A

The clarinets, horns and trumpets are transposing, all having music written in a different key so that it sounds the same as that of the other instruments

38
Q

Which notes are the timpani tuned to?

A

The tonic and dominant (I and V)

39
Q

What technique is used by the second violins and cellos/basses when playing the ticking theme in A1?

A

Pizzicato

40
Q

Describe the texture at the beginning of the piece

A

Homophonic

41
Q

Why can the texture at the beginning of the piece be described as homophonic (melody and accompaniment)?

A

The first violin plays the main melody, while the bassoons and lower strings play the ‘ticking’ theme accompaniment staccato/pizzicato

42
Q

How does the oboe add to the homophonic (melody and accompaniment) texture in the second half of the main theme?

A

It plays an inverted pedal

43
Q

What happens to the texture at the start of section B?

A

It becomes much thicker due to the tutti. Polyphony is also used here

44
Q

What happens to the texture at the start of A2?

A

The texture is reduced significantly - only flutes, oboes, bassoons and first violins play

45
Q

Where is there a call and response between violin 2 and cello/double bass?

A

During the second melody of the A1 section

46
Q

Describe the texture just after the start of section B of the first and second violins and the viola

A

Their texture is antiphonal - they imitate each other

47
Q

Describe the texture in the tutti section of A2 for the final variation of the theme

A

The texture here is polyphonic

48
Q

Where is there a unison texture in the piece?

A

In the strings violins and oboes during the second melody of the A1 section

49
Q

Where is there a monophonic texture in the piece?

A

In the violin 1 D-C# transition from B to A2, and in the same chromatic link between the thin-textured Eb major section and the tutti D major section of A2

50
Q

What is the texture of the coda?

A

Homophonic

51
Q

In what key is the piece written predominantly?

A

G major

52
Q

What happens harmonically to the second melody of A1?

A

It cycles through the dominant key of D major through the use of a descending D major scale

53
Q

What happens harmonically to the first melody of A1?

A

The first phrase ends in the key of D major due to the C# accidental. The second phrase ends on a perfect cadence in G major

54
Q

What type of harmony is used for the second melody of A1?

A

Tonic and dominant harmony, e.g. the D inverted pedal played by the oboe

55
Q

How do the strings harmonise with the A1 melody?

A

Violin 2 and cello/double bass play pizzicato and arco (staccato) quaver, mostly tonic and dominant, harmonies . The viola plays pizzicato triple stops containing the tonic and dominant

56
Q

In what key does the B section begin?

A

In G minor (the tonic minor)

57
Q

What chord progressions are used at the start of the B section?

A

i - V(7)c - ib passing chord progressions are used in the keys of G minor, C minor and F major (bass notes ascend in step)

58
Q

What happens harmonically after the tutti G minor section?

A

There is a modulation to Bb major (the relative major or G minor)

59
Q

What cadences are used in the Bb major section and what do they achieve?

A

Imperfect cadences (V7-I) are used, creating tension

60
Q

What other cadence is used in the Bb major section?

A

A cadential 6/4 is used (Ic-V7)

61
Q

To what key does the piece modulate to after the general pause?

A

Eb major, a completely unrelated key

62
Q

What happens harmonically after the modulation to Eb major?

A

There is a contrary-motion link in woodwind and strings to the key of D major

63
Q

On which chords does the piece end?

A

On tonic (G major) chords

64
Q

What was typical of phase lengths in the Classical era?

A

They were balanced

65
Q

What was typical of the melodies of the Classical era?

A

They were clearly defined, usually with two or more contrasting themes

66
Q

What was typical of the rhythms of the Classical era?

A

They were clear and regular

67
Q

What was typical of the dynamics of the Classical era?

A

There was a greater range used compared to those of baroque

68
Q

What was typical of the timpani in the Classical era?

A

They played the tonic and the dominant notes

69
Q

What was typical of the texture of the Classical era?

A

It was usually homophonic to make the main melody stand out

GCSE Music (4 decks)

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