Haydn - Symphony 104 - Movement III (Practice Questions)

Question 1

What is a “Minuet”?

Answer 1

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.

Question 2

What is a “minuet and trio”?

Answer 2

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’)

Question 3

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

Answer 3

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.

Question 4

What is the tonality of the opening to the movement?

Answer 4

D Major (F# - C#)

Question 5

What is the structural texture of the opening Minuet?

Answer 5

Homophonic (Melody and Accompaniment: Melody Dominated Homophony)

Question 6

What is the structure of the opening theme?

Answer 6

8-bar phrases (4 + 4)

Question 7

Describe the anacrusis of the main theme

Answer 7

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

Question 8

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

Answer 8

Trill

Question 9

Identify the cadence between bars 7 and 8.

Answer 9

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

Question 10

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

Answer 10

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

Question 11

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

Answer 11

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.

Question 12

Bar 17 marks the start of what?

Answer 12

Section B

Question 13

How long is Section B?

Answer 13

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

Question 14

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

Answer 14

B Minor
Perfect Cadence (F# Major - B Minor)

Question 15

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

Answer 15

Hemiola (not perfectly, but certain hemiola-esque)

Question 16

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

Answer 16

E Major

Dominant of the incoming key of A Major

Question 17

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

Answer 17

1. Notable reduction in orchestral texture

2. Reduction in dynamics (p)

Question 18

Name the chord: Bar 28, beat 3.

Answer 18

Neapolitan Chord

Question 19

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

Answer 19

E- Bb

Question 20

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

Answer 20

It is a quaver variation

Question 21

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

Answer 21

Tonic Pedal (D)

Question 22

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

Answer 22

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

Question 23

Explain what is unusual about bars 44-46

Answer 23

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.

Question 24

Explain the harmony from bars 49-52

Answer 24

Dominant - Tonic Cadential Prolongation.

V - I repeated.

Question 25

Describe the texture of bars 33-34

Answer 25

Monophonic (Oboe and Violin in unison)

Question 26

Identify the cadence bar 59.3 - 60.1

Answer 26

F Major - Bb Major (V-I)

Perfect Cadence

Question 27

Identify the cadence bars 61.3 - 62.1

Answer 27

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

Perfect Cadence

Question 28

Identify the cadence bar 63.3 - 64.1

Answer 28

C Major - F Major (V - I)

Perfect Cadence

Question 29

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

Answer 29

F Minor

Question 30

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

Answer 30

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

Question 31

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

Answer 31

C Minor

Question 32

Describe the flute part from bar 66

Answer 32

Descant version of Fig. X

Question 33

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

Answer 33

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

Question 34

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?

Answer 34

G Major.

Use of F# and the raising of Bb to B

Question 35

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

Answer 35

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

Question 36

Identify the rhythmic technique that starts bar 75.3.

Answer 36

Hemiola-like.

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

Question 37

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

Answer 37

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

Question 38

Explain the orchestral texture from Bar 79

Answer 38

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

The strings return in bar 81 with pizzicato (plucked)

Question 39

Describe the flute melody in bars 84-87

Answer 39

Chromatic

Question 40

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

Answer 40

It is being treated sequentially (rising)

Question 41

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

Answer 41

Quickly shifts to G minor because of A#

Question 42

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

Answer 42

Fig. X with a gentle scoring.

Question 43

Explain the bassline in bar 91

Answer 43

Chromatically ascending (Eb - E - F)

Question 44

Bar 95 marks the start of what section?

Answer 44

The Link section back to the Minuet

Question 45

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

Answer 45

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

Question 46

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

Answer 46

Bb pedal. Tonic pedal

Question 47

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

Answer 47

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

Question 48

Identify the chord in bar 99.1

Answer 48

German Augmented Sixth

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

Question 49

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?

Answer 49

Phrygian Cadence

Question 50

Describe the chord progression of bars 101 - 104

Answer 50

Alternating dominant and diminished chords over an A pedal