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Set Works - Haydn, Debussy, Poulenc and Reference Works > Haydn - Symphony 104 - Movement I (Practice Questions) > Flashcards

Haydn - Symphony 104 - Movement I (Practice Questions) Flashcards

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1
Q

The Form of Movement I

A

Sonata Form

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2
Q

Length of the Introduction Section

A

Bars 1 - 16

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3
Q

Length of the First Subject

A

Bars 17 - 49

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4
Q

Length of the Transition Section

A

Bars 50-64

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5
Q

Length of the Second Subject

A

Bars 65 - 98

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6
Q

Length of the Codetta

A

Bars 99 - 123

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7
Q

Format of the Development Section

A

Process 1 - Process 2 - Process 3 - Process 4

b.124-144) (b.145-154) (b.155-178) (b.179-192

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8
Q

Format of the Recapitulation (First Subject)

A

Bars 193-246

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9
Q

Format of the Recapitulation Second Subject

A

Bars 247 - 276

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10
Q

Format of the Recapitulation Coda

A

Bars 277 - End

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11
Q

Tempo of the Introduction

A

Adagio (Slow)

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12
Q

What is the stylistic musical feature of the Introduction?

A

Fanfare (Interval of a 5th)

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13
Q

Interesting rhythmic feature of the opening fanfare

A

Double dotted rhythm

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14
Q

What is the texture of Bar 3?

A

Homophonic. This is a contrast from the monophonic fanfare introductory passage

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15
Q

In Bar 3, there is a C# in the Violin I part, how is this important?

A

It is the raised 7th of D minor. This indicates there is a tonicization of D minor happening.

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16
Q

From Bars 5-7 there is a preparation for a move from D minor to F Major. How do we know this?

A

The use of C natural in Bar 5 in the Violin I.

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17
Q

What returns in Bar 7 and how has it changed?

A

Fanfare returns in F Major.

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18
Q

In Bar 9 there is an inclusion of an F#. What does this signal?

A

Raised 7th of the scale of G minor. Therefore, there is a tonicization of G minor.

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19
Q

Describe the compositional technique in the Violin I part in Bars 10-11

A

Sequence (Rising)

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20
Q

There is a G# in bar 10. What does this indicate?

A

Raised 7th in the key of A minor. Therefore, a tonicization of A minor.

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21
Q

In Bar 12, there is some unique happening in the Flute, Violin I, and Viola parts. What is it, and what effect does this have on the music?

A

Chromatic melodic line. Gives tonal uncertainty to the music.

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22
Q

Between bars 13 - 14 there is a cadence. Identify the 2 chords (e.g. C Major) and then identify the cadence.

A

A Major (A, C# and E) to D minor (D - F - A).
V- I in the key of D minor.
Therefore, it’s a Perfect Cadence.

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23
Q

In Bar 14 there is a return of the fanfare in D minor. What is different about the fanfare this time around?

A

It is half as long and the dynamics shift after one bar.

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24
Q

In Bar 15 there is a unique chord. Name the chord, how it is usually voiced (inversion) and it’s function in the music.

A

Neapolitan Chord.
Flattened second chord (bII) in first inversion. Here, G- Bb - Eb.
Acts as a replacement for the ii or IV chords, leading to the dominant chord (V(7) or I6/4 - V).

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25
Q

In Bar 17, there are 2 major changes in the music. What are they?

A

Change in tempo. Adagio to Allegro

Change in tonality. D minor to D Major.

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26
Q

The theme for the First Subject, introduced in Bar 17, consists of how many bars? How are cadences used in this theme?

A

16 bar theme, comprising of 2 x 8-bar phrases. The first 8 bars end on an imperfect cadence (b.24), the second 8 bars end on a perfect cadence into Bar 32.

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27
Q

What is the rhythmic device used in Bars 29 and 30?

A

Syncopation (in the manner of a hemiola)

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28
Q

Describe Bars 32-50, as they relate to the structure of the movement.

A

This section reinforces the tonal centre. It includes more brass and orchestration for a more bombastic/exuberant feel. It is NOT part of the transition section.

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29
Q

Describe the harmonic function of the brass from Bars 32-44?

A

They reinforce the tonal centre by playing a Tonic Pedal.

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30
Q

Identify the technique in Violin II in bar 32

A

Triple Stopping (playing 3 notes on the Violin at the same time).

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31
Q

Describe the harmony from Bars 32-38?

A

It mostly moves between the I (tonic) and IV (predominant) chords.

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32
Q

In Bar 40 there is a note that has been added to the underlying harmony. Identify the chord, how the added note came to be, and the result.

A 
Chord vi (B minor) of D Major.
The added A# comes from a chromatic step down from B to A# in the Bsn., Clo., Bass.
Adds colour and richness to the chord. (BmM7)
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33
Q

In Bar 41, we see the return of Fig. Z. How has it been changed?

A

Changed from minims to crotchets. Therefore, there has been rhythmic diminution.

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34
Q

The theme in Bars 40-41 (Flute, Oboe, and Violin I) is manipulated in Bars 42-43. How?

A

Made into a descending sequence.

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35
Q

There is an increase in intensity in Bar 47. What causes this?

A

The increased use of quavers in the upper strings.

36
Q

In bar 52 there is a tonicization of a new key. What is the new key and how has this happened? What is the relationship of this new key to the original key of the movement?

A

A Major
Continued use of G#. (D Major: F#-C#) (A Major: F#-C#-G#)
A Major is the Dominant Key of D Major.

37
Q

At the start of Bar 57, we’ve moved tonal centre again. What is the new key, how do we know, and how does Haydn reinforce this?

A

E Major
Use of G# and D#
Uses the Double Bass and Brass to pedal an E note.

38
Q

In Bar 61, we move from E Major back to A Major. How do we know this?

A

The use of D natural in the Violin II.

E Major: F#,C#,G#,D#) —> (A Major: F#,C#,G#

39
Q

In Bar 65, the second subject begins. What is unique about the second subject to this symphony?

A

It is monothematic. This means that it is exactly the same theme as the first subject, but it has been moved to the dominant key.

40
Q

In Bars 68-70, there is a rhythmic device used between Violin II and Viola. What is it?

A

Syncopation

41
Q

Describe the role of the Flute part in bars 77-80?

A

Countermelody to support the main melody in Violin and Oboe.

42
Q

What is a unique feature of bars 77-78 in Violin I and Oboe?

A

A chromatic passage that enriches the harmony.

43
Q

What is the cadence between bars 79-80? Name the chords and identify the cadence (remember we are in A Major currently)

A

E Dominant 7th (E7) and F# minor.
V7 and vi in A Major
Interrupted Cadence.

44
Q

In Bar 86, the brass, cello/bass and timpani are doing the same thing. What are they doing and how is this structurally important?

A

They are playing an A note. The tonic of the current tonal centre. Therefore, they are playing a tonic pedal to reinforce the key.

45
Q

In Bar 89 in the Violin part, there is a compositional device used to end the violin motif. What is it?

A

Sequence in the last half of the bar. Down a fifth

46
Q

In bars, 92-96 describe the dynamics and what effect this has.

A

There is a fz marking on the second beat of every bar. This changes the rhythmic pulse during this section.

47
Q

In Bar 92, describe the function of the Cello and Bass part.

A

Dominant Pedal

48
Q

In Bar 98 there is a cadence to signal the move to the Codetta section. What chords are used and what is the subsequent cadence?

A 
E dominant seventh (E/G#/B/D) to A Major (A/C#/E)
Chords V (E7) to I (A Major)
Perfect Cadence
49
Q

Describe the shape of the motif in the Flute and Violin I in Bars 101 and 103.

A

Descending Triadic (outlines a triad chord) pattern.

50
Q

Describe the chord progression during bars 110-113. Name the chords, and highlight any observations about them.

A

F#m (b.110: vi) - B7 (b.111: II7) - E/E7 (b.112: V(7)) - A Major (b.113: I)
Circle of Fifths Chord progression as it moves down a fifth each time.

51
Q

What does Haydn do in bars 116-118 in the Clarinets to thicken the texture?

A

Has them in octaves with each other.

52
Q

In Bar 125, we begin the development section. What key does this start in, and how do we know?

A

B minor

Use of A# (raised 7th degree)

53
Q

In bars 127-130, Haydn avoids a clear tonality. How?

A

Increased use of chromaticism among the parts.

54
Q

What Figure appears in bar 129? Which instruments play it?

A

Fig. Z

Violin I and Viola.

55
Q

In bar 127, we have another tonicization of a key. What key and how do we know?

A

E minor

Use of D# (raised 7th)

56
Q

In bar 132, there is a return of a figure from the First Subject. What figure and in what instruments?

A

Fig. Y in the Flutes and Oboes.

57
Q

Bar 132 marks the start of a section with increased “elision”. What is elision?

A

The combination and mixture of many motifs in order to keep the momentum of the piece of music moving forwards.

58
Q

In bar 137, there is a change of key again. What key have we moved into?

A

B Major
Note this will be closely related to B minor but with major 3rds instead.
In this instance, the D#s are the raised 3rds.

59
Q

Name the rhythmic device in bar 139 in Violin I?

A

Syncopation

60
Q

In bar 141, there is a B# that is included (Flute & Violin). What does this indicate?

A

A tonicization of C# minor.

B# is the raised 7th degree.

61
Q

How does Haydn reinforce the change of key to C# minor in Bar 145?

A

Perfect Cadence (V7 - i)

62
Q

Name one feature from Bar 145, that is a contrast from the bars before it?

A 
Reduced orchestral texture (fewer instruments)
Reduced dynamics (volume)
63
Q

Describe the harmony from bars 150-155? Name the chords and identify any harmonic progressions.

A

D#7 - (b.150) - G#m (b.151) - C#7 (b.152) - F#m (b.153) - B7 (b.154) - E (b.154)
Circle of Fifths Chord Progression.

64
Q

Identify the compositional technique used between bars 159-162 in the Violin I and Flute parts.

A

Descending Sequence.

65
Q

In Bar 172, there is an interesting use of chord. What is it? and what is it’s function?

A

Augmented 6th chord.

Strongly wants to resolve to the V chord. In this instance, it’s the F# of B minor.

66
Q

Bar 176, we have finally arrived at a new key, following the events of the previous bars. What key?

A

B minor

67
Q

In bar 183, the cello/bass help to smooth the transition back to the tonic key. How exactly?

A

They play an ascending scale until they arrive at the dominant pedal and continue to repeat the dominant note until the resolution back to D Major.

68
Q

Describe the flute part from bars 185-188.

A

Chromatically ascending melody line.

69
Q

What figure does the Violin I perform, and develop, from bar 185?

A

Figure Y

70
Q

In bar 192, there is the return of a typical characteristic of this symphony from Haydn. What is it?

A

Silence (with a fermata symbol above, indicating it be held until appropriate)

71
Q

In bar 192, there is the return of a typical characteristic of this symphony from Haydn. What is it?

A

Silence (with a fermata symbol above, indicating it be held until appropriate)

72
Q

Describe the introduction of the recapitulation in Bar 193?

A

Quieter dynamic than the previous section
More sparse/reduced orchestral texture
Somewhat anticlimactic than what is usually expected.

73
Q

Describe bars 201-207

A

Three-part orchestral texture with a solo Flute and 2 oboes.

74
Q

Describe the Harmony from bars 220-226. How has this changed?

A

Circle of Fifths Progression (Down a fifth each time)
E7- A7 - D7 - G7 - C#o - F#o - Bm7 - E7 - A
Supported by Woodwinds this time.

75
Q

Describe the harmonic function of bars 223- 225 in the Flute.

A

Suspensions held over the bar resolving in the next chord.

76
Q

What has happened to the harmonic rhythm in bars 224-225?

A

Sped up. 2 chords per bar instead of the usual 1 chord per bar.

77
Q

From bar 222-233, describe three uses of rhythm.

A
  1. Most of the parts use the same rhythm (somewhat homorhythmic)
  2. The bassoon and bass are given quaver rhythms which increased intensity
  3. The suspension in the flute is caused by syncopation across the bar.
78
Q

Describe the chords from bars 238 - 241 (beginning of bar).

A

Series of diminished chords

D#o - F#o - C#o - Eo.

79
Q

What is the characteristic feature of bars 242-243?

A

The grand pause, aka, the extended silences in this Symphony.

80
Q

In bar 250-51, the main material is presented in the Flute and Violin II. What interval is between them?

A

A sixth.

81
Q

In bar 254, we see the reappearance of a figure in the parts. What figure and why is it important?

A

Fig. X
Because it wasn’t heard in the development section like the other figures. Therefore, it has more impact and helps Haydn with his monothematicism “problem”.

82
Q

Describe the music at bar 260

A

The horns play a tonic D pedal, whilst the surrounding music is reminiscent of fanfares and celebrations.

83
Q

In bar 278, one bar after the start of the Codetta, Haydn teases with a tonicization that never materialises. How does he do this?

A

He hints at a tonicization of A Major, by using a G# but he cancels it one bar later with a natural, returning to D Major, the tonic key.

84
Q

The Codetta (b.277) begins with one of the main figures in most of the parts. Which one?

A

Figure Y

85
Q

What compositional technique is used in the upper strings in bars 286-7?

A

Rising Sequence

Set Works - Haydn, Debussy, Poulenc and Reference Works (22 decks)

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