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

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

1
Q

What is the form of Movement IV?

A

Sonata Form, meaning that this Symphony uses Sonata Form in both outer movements (I and IV)

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2
Q

What is the tempo indication for this movement?

A

Spiritoso (with spirit)

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3
Q

What is the key that the movement begins in?

A

D Major (same as movement I)

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4
Q

What is the unique feature of this movement, in terms of inspiration?

A

The use of folk music features, such as the drone and the stamping rhythms.

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5
Q

What is the role of the horns, cellos and basses in bar 1?

A

They are sustaining the tonic pitch to emulate the sound of a “drone” in folk music

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6
Q

What is the structure of the First Subject melody?

A

8-bar Phrase (4 bar [Imp. Cad.] - 4-bar [Perf. Cad.])

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7
Q

What is different about the First Subject melody in bar 11 (oboe)?

A

An octave higher

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8
Q

What Fig. is presented in Bars 6 and 10?

A

Fig. X (‘Stamping’ theme)

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9
Q

Identify the compositional technique in the Violin II countermelody in Bars 11-12?

A

Sequence (Rising)

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10
Q

What Figure (Fig.) is introduced in Bar 13 in Violin II?

A

Fig. Y

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11
Q

What section starts in Bar 19?

A

Transition Section

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12
Q

What is found in most of the orchestra in Bar 19?

A

Fig. X (‘Stamping’ rhythm)

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13
Q

What is happening in the Horns, Timp. and lower Strings in Bar 19?

A

Tonic Pedal

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14
Q

What is the interval in the Flute in Bar 22?

A

A Tenth

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15
Q

What is significant about the Timpani part in bars 23-24?

A

It is tuned to support the tonic and dominant harmony by playing the tonic and dominant pitches (A and D)

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16
Q

What is happening in bars 31 and 32 between the Oboe and Flute?

A

Imitation (7th higher)

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17
Q

What is the Violin I doubling in bars 31-32?

A

Oboe

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18
Q

What compositional device is used in the Oboe in bars 31-32?

A

Sequence (Descending)

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19
Q

Describe the change in tonality in bar 35?

A

Tonicization of E Minor

Use of D#

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20
Q

Describe the cadences over bars 35-37

A

(b. 35.3): V6/5 (B7) - (b.36.1) I (Em) [Perfect]

(b. 36.3): V6/5 (E7) - (b.37.1) I (A) [Perfect]

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21
Q

Describe the harmony from bars 41-45

A

Mostly supertonic (ii) and dominant (V) chords used.

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22
Q

In Bar 44, there is a new theme (Figure) introduced. What is it?

A

Figure. Z (1 Crotchet, 2 Quavers pattern)

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23
Q

In Bar 44, there is a tonicization. What? and how do we know?

A

E Major

G# Oboe, D# Violin I) (F#/C#/G#/D#: E Major

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24
Q

What pedal is found in bar 46?

A

Dominant Pedal of A Major (The key we’re about to move to)

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25
Q

What is the chord in Bar 47. beat 3 as it relates to the key of A Major (incoming key)

A

F Major chord (bVI)

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26
Q

Identify the cadence between bars 53-54

A

Perfect Cadence (E7 - A Major) (V - I )

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27
Q

What section begins from bar 54?

A

Second Subject of the Exposition

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28
Q

What is unique about the roles of the Violins I and II, starting from bar 55?

A

They’ve reversed; Violin I plays the counter theme and the Violin II plays the main melody

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29
Q

Bar 63 is a direct repeat of what bar?

A

Bar 61

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30
Q

What happens to the orchestral texture in bars 64-65?

A

It reduces, as does the dynamic

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31
Q

What Fig is reintroduced in bar 65?

A

Fig. Y (quaver counter theme) however, it’s been melodically developed

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32
Q

Describe the music of bars 65-72

A

Fig. Y (quaver counter theme) becomes the primary theme and is developed amongst the instruments (starting upper strings, then to bsn. and cello)

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33
Q

Identify 2 prominent features of the music starting from bar 77.

A
  1. Increase in dynamic (f)

2. Constant quaver pulse dominates the strings and bassoon.

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34
Q

Identify the cadence (b.80.4 - 81.1.)

A

E7 - A
V - I (A major)
Perfect Cadence

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35
Q

Identify the cadence between b. 83.1 - 84.1

A

E Major - F# Major
(V- VI)
Type of interrupted cadence.

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36
Q

Describe the orchestral texture from bar 84

A

Bassoon and strings only

Reduced from previous section

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37
Q

Bar 84 marks the start of what section?

A

Second Subject (Part B)

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38
Q

What happens to the key in bar 86?

A

Move to B minor (Use of the F# chord as the V of B minor)

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39
Q

Although there are a lot of chords between bar 91.3 - 95, the entire progression outlines a familiar chord pattern. What is it?

A

Circle of Fifths

  1. 3 - A Major
  2. 1 - D Major
  3. 3 - B major
  4. 1 - E Major.
40
Q

What begins in bar 102?

A

Codetta

41
Q

What 2 instruments hold the melody in bar 104?

A

Flute and Violin I

42
Q

Describe the function of the 2nd Bassoon, Brass, Timp. and lower strings in bar 102

A

Tonic Pedal

43
Q

What can you observe (and hear) about the main melody starting from bar 102?

A

It is the same melody as Subject 1 but in rhythmic diminution.

44
Q

What returns in Bar 108?

A

Stamping theme (Fig. X)

45
Q

Describe the string writing in bar 109

A

The Violins and Viola is in unison. The Celli and Basses are an octave lower

46
Q

Describe the overall texture of strings in bars 118-120

A

Monophonic

47
Q

Function of the horns in bar 120?

A

Smooth the transition into the repeat

48
Q

Bar 118 marks the start of what section?

A

Development Section

49
Q

Describe the melodic material introduced bar 119?

A

It combines the first 2 bars of Subject 1 with the material from bars 3 and 4

50
Q

Describe the orchestral texture at the start of the development section

A

Initially string-based (118- 122), then full orchestra (122 onwards)

51
Q

Describe the primary idea of bars 125-128

A

There is a 3-note staccato pattern that is a part of a descending sequence. In the Oboes, this has been dovetail across each Oboe.

52
Q

There is a Tonicization in bar 128. What is it? How do you know?

A

E minor

D# in Oboe and Viola

53
Q

What returns in bar 129?

A

Fig. Y in Violin I

54
Q

Identify the chord in bar 129

A

D# Diminished 7th

D# - F# - A - C

55
Q

What is happening with Fig. Y in bar 133?

A

Ascending in the bassoon

Descending in the Violin I

56
Q

Identify the cadence from bars 137-139

A

F#7 to B minor

V7 - i (Perfect)

57
Q

What keeps the momentum going in bar 139?

A

Constant quaver rhythms in the upper strings

58
Q

What rhythmic device is found in bar 149 in the Viola?

A

Syncopation

59
Q

Identify the chord in bar 149?

A

A# - C# - E - G

A# Diminished 7th

60
Q

How does Haydn keep the momentum going from bar 149?

A

He moves the constant quaver pulse into the Violin II part, in the form of thirds.

61
Q

What is the function of the Violin I from bar 150?

A

The crotchet patterns outline the triads of the chords in the harmony (triadic)

62
Q

Starting from bar 151, there is a tonicization. What? and how do we know?

A

E minor

D# in Flutes, Oboes and Violins

63
Q

In Bar 156, there is a modulation to a new key. What key?

A

F# Major (the dominant of B minor)

64
Q

Considering the recent move to F# Major, what is the chord (and it’s roman numeral) in Bar 158.3?

A

G Major

bII

65
Q

Unusual textural element of bar 166?

A

A bar of silence. This is typical within this Symphony from Haydn

66
Q

In bar 166, there is another modulation. What is it and how did Haydn achieve this?

A

Move to G# Major. Haydn uses the bar of silence and then lifts the pedal parts up by a tone

67
Q

Bar 168 introduces a new tonicization. What is it and how do you know?

A

C# minor

Use of B# (Bassoon + Strings)

68
Q

Identify the chords in bars 169-171-173. What is important about them?

A

C#m - F# Major- Bm

Circle of Fifths Progression

69
Q

Identify the important feature of the texture starting from bar 171

A

Imitation is used throughout this section

70
Q

Describe the overall shape of the bassline beginning in bar 179

A

Descending towards a C# pedal in bar 185

71
Q

What tonality do we move through from bars 185-190? How do you know

A

F# Minor

Use of G# (key signature) and E# (leading tone)

72
Q

What is the chord in bar 192? and how does Haydn use this to return to D Major

A

C# Major (dominant of F#m)
He moves from C# Major - D Major as an interrupted cadence (V-VI)
This allows him to used the D pedal in bar 193 to return to D Major.

73
Q

What section starts in Bar 195?

A

The Recapitulation

74
Q

How does the Recapitulation version of Subject 1 differ from the Exposition?

A

The first 8 bars are omitted and it is more fully orchestrated.

75
Q

How is the transition section different in the Recapitulation from the Exposition?

A

It’s shorter: lowered from 35 bars to 18.

76
Q

How has the transition section been changed to cater for the Second Subject in the tonic key?

A

There is a dominant pedal that starts from bar 215.

77
Q

Describe the Violin parts in bars 217-218 in comparison to bars 219-220

A

The roles have reversed. They’ve swapped

78
Q

What section begins in bar 221?

A

Second Subject 2a

79
Q

What material is the Second Subject in the Recapitulation based upon?

A

Bars 55-62, but it’s been reorchestrated in the horns, bassoons and lower strings

80
Q

Bar 228 sees the return of what Figure?

A

Figure X (Stamping theme) moves towards the tonicization of A Major (Dominant of Home Key)

81
Q

Identify the cadence between bars 245-46

A

D Major (Second Inversion) - A Major
I6/4 to V
Imperfect

82
Q

What is harmonically interesting about bar 247-251?

A

Rather than return to the Tonic key for the Second Subject, Haydn uses an Interrupted Cadence (V-VI) to move to B Major, he then tonicizes E minor briefly, using the D# in the Flutes and then returns to D Major in bar 251.

83
Q

What begins in bar 265?

A

Coda

84
Q

What is unusual about the Coda section in terms of length?

A

It is 70 bars long! This was incredibly unusual for the time.

85
Q

What material does Haydn begin the Coda with?

A

The material of the Codetta, bar 102

86
Q

Explain the harmony of bar 265?

A

It is a Secondary Dominant chord. In this instance it is the Dominant chord of the Dominant chord.
A7 is the dominant of D Major. E7 is the dominant of the A7.
The E7 will resolve to A7 which will later resolve to D

87
Q

Describe the orchestral texture at bar 276

A

Woodwind trio that uses imitation

88
Q

There is a tonicization in bar 280. What is it, and how do we know?

A

G Major

Cancellation of C# to C natural.

89
Q

What is the surprise, in terms of tonality, at bar 287?

A

Move to D MINOR instead of D Major.

90
Q

Describe the string parts in bar 290-293

A

Descending arch-shape scalic runs

91
Q

In bars 307-308, how does Haydn use the Fig. X theme?

A

To punctuate the return of the Tonic key (D Major)

92
Q

In bar 309, there is a return to the Tonic Key. Identify 2 key features of the music in this passage that differs from previous returns to D Major.

A
  1. There is a full orchestral section, now in ff dynamic

2. Supported by Horns, Bassoons and lower Strings

93
Q

What are the Flute and Violin hinting at in bar 311?

A

Subject 1 theme again.

94
Q

What new rhythm is introduced in bar 330

A

Triplet as an anacrusis to bar 331

95
Q

What Figure ends the movement?

A

Fig. X stamping theme ending with a Perfect Cadence (V7 - I)

96
Q

How has the transition section been changed to cater for the Second Subject in the tonic key?

A

There is a dominant pedal that starts from bar 215.

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

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