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

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

1
Q

What are the features of second movements within Classical Symphonies? Think of tempo, mood, key and structure.

A

Slower than the first. Usually Andante, Adagio or Largo
They are often more lyrical than the first.
They will be in a different key to show contrast
They usually have some form of 3-part structure.

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2
Q

What are the main features of Haydn’s Second Movement in Symphony 104?

A

Andante
G Major
Tripartite (3-part) structure Opening, Middle and Final section.

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3
Q

Why is this movement NOT in ternary form (ABA)?

A

It cannot be classified as a ternary form because it has no real contrasting section. There is a single theme that is developed over the movement. This would make it closer to a form of Themes and Variations than ternary. It does, however, have 3 parts, so we call it “tripartite”.

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4
Q

What key does the movement start in?

A

G Major

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5
Q

Most of the material grows out of 2 intervals. What intervals?

A

A 2nd and a 5th

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6
Q

What is the structure of the main theme?

A

8-bar phrase (4 bars x 4 bars)

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7
Q

What is the texture of the opening?

A

Simple homophonic texture on reduced strings.

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8
Q

In what bar is Fig. X introduced? What are the features of this figure?

A

Bar 5 in Violin I.

There is a double dotted quaver followed by demisemiquaver, and finished with 2 staccato quaver notes.

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9
Q

Describe the harmony in bar 6; chord and function.

A

There is a C# diminished chord. It allows for a modulation to D Major by the end of the phrase.

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10
Q

What is the cadence from the final quaver of bar 3 into bar 4?

A 
G Major (I) to D7 (V7)
Imperfect Cadence
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11
Q

What is the cadence from the final quaver in Bar 7 to Bar 8?

A 
A Major (V) to D Major (I)
Perfect Cadence as we're in D Major now.
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12
Q

What is the tonicization in Bar 9?

A

C Natural and G# imply A minor.

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13
Q

What is the tonicization in Bar 12?

A

F natural (minor 3rd) insinuates D minor

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14
Q

What is the tonicization in Bar 14?

A

A minor with use of G# (raised 7th)

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15
Q

What happens to Fig. X in Bar 16? What is it’s function?

A

Chromatically altered to smoothen the transition back to Section A.

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16
Q

What is the cadence leading from the end of Bar 15 into 16?

A

A Major to D Major in the key of G Major
[V of V] to V
Imperfect Cadence

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17
Q

What compositional technique is being applied to Fig. X in the Bassoon and Violin in Bar 21?

A

Rising Sequence

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18
Q

What is the chord at the end of bar 22? What is it’s function?

A

Augmented Chord (D#+) smooths the transition into the Interrupted Cadence which is a C minor chord (enharmonically) this then leads to a C diminished chord, followed by a C Major chord. C is arguably the tonal centre in this progression.

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19
Q

How is Fig. X different in bar 26?

A

It is in 3rds with the Second Violin.

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20
Q

Explain the chord on the first beat of Bar 29?

A

C#- E - G

C# Diminished (Half)

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21
Q

The Codetta begins in which bar? What is unusual about it?

A

Bar 33.

It is 5-bars long, meaning it is unbalanced.

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22
Q

What is the most prominent instrument in the Codetta, and why?

A

Violin I, because it highlights the Tonic and Dominant harmony but also reflects the semiquaver runs of bars 14-15.

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23
Q

Identify the motivic (relating to a motif) feature that links the Bassoon in Bar 33, the Violin II in Bar 35 and the Cello/Bass in Bar 37.

A

They are triadic. They outline the notes of the triad (chord).

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24
Q

What harmonic feature is found in the Cello and Bass part of Bars 33-36?

A

Tonic Pedal (G) in G Major.

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25
Q

Where does the “Middle Section” begin?

A

Bar 38

26
Q

What is the tonality of the first 4 bars of the Middle Section?

A

G minor

27
Q

Describe the orchestral texture at Bar 38

A

Homophonic with the flute carrying the melody.

Simple three part texture with Flute, Oboe and Bassoon.

28
Q

Describe the Harmony in Bar 40. Are there chords that pop up more frequently in this bar?

A

Mostly diminished

[C - Eb - F#(Gb) = C dim.] - [A - C - D#(Eb)= A dim] - [G - Bb - C#(Db) = G dim.]

29
Q

What happens in Bar 42?

A

An abrupt orchestral tutti in D minor.

30
Q

What is happening in the upper winds (Flue, Ob.1 and Ob.2) in Bar 43?

A

Countertheme to the Violin I part

31
Q

Describe the rhythmic device in the upper woodwinds in Bar 44.

A

Syncopation

32
Q

How does Haydn build intensity using rhythm in bar 42? Look at the strings.

A

Uses semiquavers constantly; rhythms that, up until this point, have been sparingly used.

33
Q

Explain the harmony from Bars 46-48.

A

Haydn uses the submediant chord of D minor (Bb Major) in beat 1 of Bar 46 as a pivot chord into the Bb Major key. To establish this as the new key, he performs a typical “ii - V7 - I” progression during bar 47 to cadence into Bar 48.

34
Q

Describe what feels “unusual” about the end of Bar 55.

A

Haydn leaves a V7 chord (F7) hanging up in the air when he abruptly enters the next bar with silence. This doesn’t feel entirely resolved, even though we return to the correct resolution the bar after.

35
Q

Describe the texture (both structural and orchestral) at bar 56.

A

Homophonic, but with more legato sustained notes than the staccato theme found before.
Reduced light texture, using strings at a piano dynamic

36
Q

From Bar 60 describe the change to Fig. X

A

It has been adapted to include a 4-3 suspension. This means that the note resolves later in the bar, increasing the tension. This is imitated throughout the other parts, starting in Violin I/Oboe I and moving to Violin II and Oboe II.

37
Q

Describe the Flute, Bassoon and Lower Strings from Bar 60

A

Arpeggiations of triads using staccato notes. This leaves a gentler feel to the music.

38
Q

Describe 2 things that are happening in Bars 55-56

A

Each bar contains 2 x 4 semiquaver patterns.

  1. The first note of each four-note pattern moves down a descending stepwise scale. These are harmonised with chords in root position (IV7 - iii7 - ii7 - I7).
  2. The final 3 notes of the four-note pattern outline a triad (in first inversion) that is a 3rd down from the previous chord. (ii6 - I6 - viio6 - V6)
39
Q

What is the harmony of bar 67

A

V7 (D7) of the Tonic key (G Major)

40
Q

Describe the role of each part in Bars 69-74

A
  1. Flute and Violin play a motif that outlines the V7 chord of the tonic key.
  2. The Violin II plays triple stops to support the harmony.
  3. The brass, timpani and lower strings play a dominant pedal.
41
Q

Describe how bars 74 - 81 have changed from the opening theme.

A
  1. Added woodwind support.

2. Bassoon and Violin II have some semiquaver patterns left over from the middle section.

42
Q

In Bar 82, there is a variational change to the theme. What is it?

A

The use of dotted rhythms

43
Q

Describe the music from Bars 84 -87

A

Haydn explores having the theme presented in different intervals. The violins begin in unison and move to 3rds apart, finally ending by supporting the underlying harmony. In Bar 85, the Flute and Bassoon play 2 octaves apart. On the final demisemiquaver note of bar 87, there is a full orchestra tutti.

44
Q

What section is Bar 90 most similar to?

A

Section B (Bars 9-16) of Movement II.

45
Q

What is the tonicization in Bar 90-91?

A

A minor

Use of G# (raised 7th)

46
Q

What is the tonicization in Bar 92?

A

D Minor

Use of F natural (minor 3rd) and C# (Raised 7th)

47
Q

What tonality does bar 93 imply?

A

C Major as the F# is cancelled to a natural.

48
Q

What is the tonicization in Bar 94?

A

A minor again

F natural and G# (raised 7th)

49
Q

What rhythmic variation from Section B is found in Bar 96?

A

Sextuplets

50
Q

Identify the orchestral texture beginning in Bar 102

A

String only texture.

51
Q

Describe the tonicization in bars 105-107. Explain the relationship of the tonicization from the tonic key and how this is developed.

A

There is a tonicization of C minor; inclusion of Eb (minor third)
This is the Subdominant Minor (iv) of the Tonic key (G Major)
The inclusion of the Eb and C allows Haydn to smoothly modulate to Ab Major in bar 107.

52
Q

Describe the harmonic function from bars 107- 111

A

The Ab Major chord acts as a dominant pedal which prepares for a Perfect Cadence to Db Major in Bar 112.

53
Q

Following the fermata (pause) in Bar 113, explain the harmonic shift and how this was realised.

A

There is an abrupt shift to C# minor, with a Flute cadenza (solo passage).
This was smooth as the chord beforehand, Db Major, is enharmonically identical to C# minor, with 1 note difference. Haydn simply flattened the third.

54
Q

Identify the orchestral texture at Bar 114.

A

Woodwind only

55
Q

Identify the supporting harmony in bars 115 and 116.

A 
Primarily Diminished
(B# - D# - F# - A - = B#dim) - ( E# - G#- B - D = E# dim)
56
Q

Explain the harmonic shift in Bars 117-118.

A

Cadenza ends on F# Major. The next section begins in F# minor. We call this modulation to a parallel minor.

57
Q

Explain how, in Bars 120-21, Haydn manages to move us back to the tonic key.

A

He raises the C# from an F# minor chord (F# - A - C#) to a D. This creates a D Major chord (D - F#- A). Once he adds the flattened seventh (C Nat), it creates the V7 chord of the tonic key which gives the gravity needed to pull us back to the tonic.

58
Q

Identify an added feature of Bar 122.

A

The theme returns with added brass for a fanfare.

59
Q

What do we get another one of, in bar 131?

A

Flute Cadenza

60
Q

Bar 135 corresponds with bars 27-32 earlier in the movement. What is different?

A

The inclusion of semiquaver sextuplets (included in the lower strings)

61
Q

Bar 141 marks the start of what section

A

Codetta

62
Q

In the final Codetta, where does the material come from? Has it changed? What are the unique features?

A

The Codetta (142- End) is related to the Codetta of Bars 33-37. It has been expanded to 12 bars instead of 5. The unique features are:

  1. More repetition that is split amongst the parts (not just Violin I).
  2. Use of a soft horn fanfare 149-150 (rare at the time).
  3. Ends with a Perfect Cadence and three accented I chords.

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

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