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

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1
Q

What is a “Minuet”?

A

The minuet or menuet is a type of French dance, made popular during the Baroque Period. If used in a symphony it is almost always the third movement. It is usually in 3/4 time or some variation of triple time.

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2
Q

What is a “minuet and trio”?

A

Refers to a musical form found in Classical symphonies. It would usually entail a “minuet dance” followed by a trio as the middle section. The minuet and trio would usually take one of two forms: ternary form (ABA) or rounded binary (ABA’)

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3
Q

What is the structure of Symphony No. 104’s Minuet?

A

Minuet (A+B+A’: Each section repeated) Trio (A+B+A’: Each section repeated) Minuet (A+B+A’: No repeats)
Each section has rounded binary form. Given that the final section has no repeats, you could argue that the entire movement is also one big rounded binary form.

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4
Q

What is the tonality of the opening to the movement?

A

D Major (F# - C#)

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5
Q

What is the structural texture of the opening Minuet?

A

Homophonic (Melody and Accompaniment: Melody Dominated Homophony)

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6
Q

What is the structure of the opening theme?

A

8-bar phrases (4 + 4)

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7
Q

Describe the anacrusis of the main theme

A

The anacrusis (upbeat into the bar) is ascending as part of a triad.

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8
Q

Describe the technique, found in most instruments in bar 7. This technique is favoured by Haydn at cadences.

A

Trill

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9
Q

Identify the cadence between bars 7 and 8.

A
A Major (V) - D Major (I)
Perfect Cadence
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10
Q

There is another perfect cadence between bars 15 to 16. How has this differed from the cadence between bars 7-8?

A

There is different vertical placement of the parts; flute and oboe are an octave higher

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11
Q

Describe the quality of the chord in bar 17, beat 3. What has caused this alteration of the chord?

A

A#-C#-E - A# diminished chord
Caused because the lower auxiliary (A) to the B note (which is the intended destination), has been raised to make it 1 semitone closer.

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12
Q

Bar 17 marks the start of what?

A

Section B

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13
Q

How long is Section B?

A

10 bars long; unusual for some in this time period, but not Haydn.

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14
Q

What is the change of tonality in bar 20? Using what means?

A
B Minor
Perfect Cadence (F# Major - B Minor)
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15
Q

The “2 Quaver, 1 Crotchet” pattern in bar 20 (beat 3) creates what kind of effect with the constant crotchets above?

A

Hemiola (not perfectly, but certain hemiola-esque)

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16
Q

In Bar 23, what chord is prolonged to support the semiquaver passages?

A

E Major

Dominant of the incoming key of A Major

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17
Q

Name 2 important changes to the music in Bar 26, beat 3.

A
  1. Notable reduction in orchestral texture

2. Reduction in dynamics (p)

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18
Q

Name the chord: Bar 28, beat 3.

A

Neapolitan Chord

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19
Q

In bars 30-34, there is a diminished “flavour” to the music due to a tritone (diminished 5th). Identify the tritone.

A

E- Bb

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20
Q

In Bar 35, there is a decoration of the main theme. How has it been decorated?

A

It is a quaver variation

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21
Q

Explain the function of the brass, timpani, and low strings in 35

A

Tonic Pedal (D)

22
Q

Explain bars 43-44 in the context of bars 41-42.

A

They are a repeat, except the tonal centre changes from D Major to G Major.

23
Q

Explain what is unusual about bars 44-46

A

Haydn finishes his cadence of G Major, waits a beat and composes a crotchet dyad B-D to signal something new, but then interrupts this with 2 bars of silence.

24
Q

Explain the harmony from bars 49-52

A

Dominant - Tonic Cadential Prolongation.

V - I repeated.

25
Q

Describe the texture of bars 33-34

A

Monophonic (Oboe and Violin in unison)

26
Q

Identify the cadence bar 59.3 - 60.1

A

F Major - Bb Major (V-I)

Perfect Cadence

27
Q

Identify the cadence bars 61.3 - 62.1

A

D7 in first inversion (V6/5) to G Minor (i)

Perfect Cadence

28
Q

Identify the cadence bar 63.3 - 64.1

A

C Major - F Major (V - I)

Perfect Cadence

29
Q

The use of F to Ab in bars 64-65 has the feel of what tonality?

A

F Minor

30
Q

Describe the use of the “Fig.” material in bar 65

A

Fig X (Ob.) is intertwined with a developed version of Fig. Y (Bsn./Vln.1)

31
Q

The use of B naturals in bar 65 signals the move to what tonality?

A

C Minor

32
Q

Describe the flute part from bar 66

A

Descant version of Fig. X

33
Q

There is a tonicization in bar 69. What is it? How do you know?

A

Tonicization of G minor. Through use of F# (raised leading tone) and E natural (raised 6th in Melodic Minor)

34
Q

In bar 71.3 to 72.1 there is a brief tonicization before the return to C minor. What is it? How do you know?

A

G Major.

Use of F# and the raising of Bb to B

35
Q

Explain the groupings in Violin II and Viola in bars 73-74

A

They are grouped every three notes. This gives the feeling of 6/8 as opposed to 3/4

36
Q

Identify the rhythmic technique that starts bar 75.3.

A

Hemiola-like.

Violin II and Bass (Crotchets) vs Bassoon and Violin I (Quavers)

37
Q

Identify the cadence in bars 77.3 to 78.1. Explain the significance.

A

C7 (II6/5) to F Major (V)
Imperfect Cadence
F Major is the Dominant of the home key of Bb Major

38
Q

Explain the orchestral texture from Bar 79

A

Reduced texture with 3rd in the Oboe, Bassoon and Violin I.

The strings return in bar 81 with pizzicato (plucked)

39
Q

Describe the flute melody in bars 84-87

A

Chromatic

40
Q

Explain what is happening with Fig. Y in Oboe/Violin I in bar 84.

A

It is being treated sequentially (rising)

41
Q

What happens, in terms of tonality, in bar 88.3?

A

Quickly shifts to G minor because of A#

42
Q

What material is being used in bar 90 from Oboe and Violins (both)?

A

Fig. X with a gentle scoring.

43
Q

Explain the bassline in bar 91

A

Chromatically ascending (Eb - E - F)

44
Q

Bar 95 marks the start of what section?

A

The Link section back to the Minuet

45
Q

What material does Haydn use for the start of the link?

A

The minor third material used at the start of the trio. Haydn would often organically grow his material to use for linking passages.

46
Q

What happens in bar 65 in the Violin II that moves to the Oboe 2, Viola and Bassoons.

A

Bb pedal. Tonic pedal

47
Q

Identify what is happening in the Oboe 1 and Violin I from bar 97

A

Chromatic melody
Oboe 1: F# - G - G# - A
Violin 1: F# - G - G# - A (integrating Fig. X into this)

48
Q

Identify the chord in bar 99.1

A

German Augmented Sixth

Bb - D - F - G# [of D Major]

49
Q

With the Ger. 6 chord in bar 99.3 moving to an A Major (V) chord in bar 100.1, there is a iv6 - V nature to this cadence. What is this type of cadence (iv6-V) known as?

A

Phrygian Cadence

50
Q

Describe the chord progression of bars 101 - 104

A

Alternating dominant and diminished chords over an A pedal