Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

MUSIC > Haydn Symphony 104 - Development > Flashcards

Haydn Symphony 104 - Development Flashcards

You may prefer our related Brainscape-certified flashcards:
Ultimate Music Theory flashcards
1
Q

What does the development begin with?

A

A V7b perfect cadence in B minor (bars 124-125)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

What keys does the piece move to at 128?

A

E minor (128) A minor (129) suggestion of B7 (F#, D#, A) at 130

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

What chord do we hear at 131-132?

A

F#minor7 (IIb7 of E minor)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

What chord do we hear at 136?

A

Diminished 7th on A# (A#,C#,E,G)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

What is the key at 137?

A

B major

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

What chord do we hear at 141?

A

G#7 (G#, B#, D#, F#)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

What chord do we hear at 143?

A

G#7 (same as 141) but with the 7th(F#) in the bass

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

What melodic idea is the first section based on?

A

Repeated four note motif with descending appogiatura from bars 3 and 4 of the first subject

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

What happens to the two bar motif at 128-130?

A

It is extended to three bars

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

What do we hear at bars 131-133?

A

A variation of the repeated four note motif with descending appoggiatura imitated between lower stings and upper woodwind

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

How is the two bar motif treated at bars 137-144?

A

Treated sequentially (B,A,G#,F#)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

What is the texture at 124-130?

A

Homophonic texture in strings alone

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

What textural feature do we hear at 131-133?

A

Imitation between lower strings and upper woodwind

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

What is the texture at 137-144?

A

Tutti

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

What harmonic feature does section two have?

A

Descending circle of 5ths (150) D#m,G#m,C#,F#m,B,E

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

What chord do we hear at 145?

A

C#minor first inversion (E in bass, descending C#minor triad in first violins)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

What melody does section two develop?

A

Closing theme from the exposition (103-106), repeated note motif continues to be explored in violas and bassoon

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

What is the texture in section 2?

A

Homophonic

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

What is the key at 155-156?

A

E major

20
Q

What is the key at 157-158

A

E minor

21
Q

What do we hear in the trumpets and clarinets at 155-158

A

Tonic E pedal

22
Q

What do we hear in the lower stings and bassoon at 155-158?

A

Dominant to tonic in lower strings and bassoon

23
Q

What does the harmony do at 159-165?

A

Moves down by step following notes of Eminor C/Bm/Am/G/F#m Em/D#dim C/B

24
Q

What happens to the harmonic rhythm at 163-164?

A

Quickens to every half bar

25
Q

What key are we in at 167-171?

A

Eminor

26
Q

What chord do we hear at 172?

A

Augmented 6th chord (G,E#,D)

27
Q

What do we hear in cellos and bases in 174-178?

A

F#dominant pedal

28
Q

What does the third section end with?

A

Perfect cadence in Bminor (178-179)

29
Q

What is the melody in section three based on?

A

Focuses on bars 3-4 of the first subject

30
Q

How is the repeated note motif different?

A

Rhythmically displaced by a beat, creates suspensions (as in b50 transition)

31
Q

What happens to the melody at b163-164?

A

Reduced to 2 note repetition divided between upper woodwind and 1st violins

32
Q

What happens to the melody at 166-167

A

Moves to lower stings and is imitated by clarinets and horns

33
Q

What is the texture like in section 3?

A

Mainly Homophonic with tutti at 172 with the first introduction of time I in development

34
Q

What textural feature do we hear at 166-169

A

Imitation

35
Q

What textural device do we hear at 174-178?

A

F# dominant pedal

36
Q

What key is the start of the fourth section in?

A

B minor (179)

37
Q

What do we hear at 185-192 in cellos bases horns trumpet and timpani?

A

Dominant A pedal

38
Q

What does the fourth section end in?

A

Perfect cadence V7-I in Dmajor 192-193

39
Q

What melodic idea is section four based on?

A

Bars 3-4 of first subject

40
Q

What melodic feature do we hear at bars 185-188

A

Rising chromatic scale in the flue and 1st violins

41
Q

What texture do we hear in section 4?

A

Tutti texture at 185 over the dominant A pedal

42
Q

What key does the exposition end in?

A

A major (the dominant)

43
Q

What are the bar numbers of the first section?

A

124-144

44
Q

What are the bar numbers of the second section?

A

145-154

45
Q

What are the bar numbers of the third section?

A

155-178

46
Q

What are the bar numbers of the fourth section?

A

179-192

MUSIC (11 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions