Haydn 104 Flashcards
(15 cards)
Movement 1: intro
- bars 1 - …
- key of … minor
-tempo ……. For a dramatic, attention grabbing effect
- one theme (………..), played tutti in a ……. Style with ascending and descending intrvals
- 8
- D
- adagio
- monothematic, fanfare
Movement 1: intro (2)
-Bar 3, …… in texture and ……….
- ……… rhythms
- added …… and diminished 7 chord b… gives hint of major key - ………… harmony
- moving to ……………, relative to D minor
-Bar 7, repeats first motif in different key - mimics ……….. …….. . Contrast of dynamics (….). …….. added
- ……… cadence at end of motif anticipate end of intro. No brass because ………………
- reduction, dynamics
- dotted
- C#, bar 11, ambiguous
- F major
- sonata form, ff, flute
- perfect, can’t play F and C
Movement 1: intro (3)
- bar…., initial motif cute short then sudden ………… (pp)
- G chord in the strings, …………..
- Neapolitan on beat 3, ….. degree lowered by a …………..
- ends with falling motif in the ……. And ……………………. In A, so that you don’t know if its major or minor
- …… of silence
- 14, diminution
- subdominant
- 2nd, semitone
- oboe, suspended dominant 7
- crotchet beat
Movement 1: Exposition
- bars (…. - ……), starts in D ……….
- contrast of tempo, ………
- contrast of dynamics (p), unlike ……. Forte
- ……… rhythms and simple ……….. harmony - typical of classical
- mostly ………. Melody with some ………. Leaps
- follows classical style, phrases split into …… bars ( 2 x …..) with ……….. cadence halfway
- organisation and …………..
- 17, 123, major
- allegro
- tutti
- dotted, diatonic
- conjunct, disjunct
- 16, 8, imperfect
- symmetry
Movement 1: exposition (2)
- starts with D major chord, ………
- 1st ………. Solo, ……. ……… pitch to allow room to build
- bar 22, just ……..
- imperfect cadence bar ….., end of 1st 8 bars
- bar 29, slight change of melody D to …., not C, melody is ……..
-perfects cadence bar ….., end of ……..
- bar 32, ………! Same rhythm as 17. ……., celebratory
- tonic
- bassoon, mid range
- strings
- 24
- E, rising
- 31, phrase
- forte, tutti
What year was Haydn’s symphony 104: London, premiered?
1795
How many symphonies has Haydn done?
106
Movement 1: Exposition (3)
- b40, harmonic interest with an added …… and ……………. Chord
- in the first violin, same as bars 21 and 22 but with …………. …………..
- b42, ………….. change in oboes.
- the ……… acts as augmented reminder of ……… quavers (b18)
- more ………. Bass line
- b50, ……… cadence in woodwind, strings drive pitch ……. To …………………….
- F#, submedian (iv)
- rhythmic diminution
- harmonic
- flute, Scalic
- active
- perfect, down, allow room to build
Movement 1: Exposition (4)
- transition passage starts bar ….
- ….. added to show transition to A major, the ………. ………..
- E …….. note, prep for …………
- bar 64, ….. beat rest, shows change into the …… …………
- bar 65-98, ….. …………. In …. …………. (Dominant key)
- very similar to 1st section, ………………
- bar 66, …… in oboe, enriches piece with harmonic change
- bar 68, same as bars ……… but with more woodwind and interesting sonority
- bar 73-79 more ………. Counterpoint added in violins, ……… and ………
- 52
- G#, relative dominant
- pedal, modulation
- 3, 2nd subject
- 2nd subject, A major
- monothematic
- G#
- 17-28
- Immative, oboes and cello
Movement 1: Exposition (5)
- bar 79, …… …… chord
- bar 80, no ………… rhythms, ………. Dominant.
- fast progressions in ……… for end of ………..
- descending, ………… bass line - based on bars ………….
- bar 86, ……., like bar ……., orchestra joins in
- Codetta, bars …..-……, melodious. Totally ……
- ………….. descending arpeggio in the flute. ……….. melody in the strings
- bar 108, F# in ……. And ………., show move to ….. ………..
- …. Major chord, bar 111. Exploiting harmony
-ends bar 123 with ……….. and ……..
- dom 7th
- dotted, quaver
- strings, theme
- syncopated, 21+22
- tutti, 32
- 100-112, new
- A major, triadic
- oboe and violin, F# minor
- E
- brilliance, pace
Movement 1: development
- bars ……-…….
- an atmosphere of ……… and mystery, like the …………..
- key of …………., relative minor to D major
- the use of …………. Harmonies but ………. Melodies. Cadences are …………
- no ……….. phrasing
- variety of instruments ………..
- use of ……….. building
- 124- 193
- suspense, introduction
- B minor
- unstable, similar, avoided
- periodic
- registers
- textural
Movement 1: Development (2)
- use of …………, mimicking bars 3+4
- …………. bar 135 in flute, which varies rate of …………… change
- rhythm in the ………., ….……… maintaining the energy
- ……… from bar 137 drives to key change
- 139-144, violin 1, ……….., syncopations live bars …..+……
- descending bass line to go to ….. ……….., far from home key
- 145, key change, big ………… contrast: only ………. Strings. Developing ………..
- sequence
- chromaticism, harmonic
- brass, violins
- tutti
- hemiola, 21, 22
- C# minor
- textural, upper, codetta
Movement 1: Development (3)
- bar 150, circle of fifths in ………, descending to …. ………… in bar 155
- 155, …………. Of 105
- 157, E …….. after …. Bars
- change of mood, like …………, now ……… and vivid
- 163 onwards, …………… adds to rising ………..
- bar ……., Timpani back! For …………, playing a …. Which fits with the Augmented ….. chord
- 174, …. ………, dominant of the home key
- 179, B minor ………… ……….. of home key
- 183-185, melody rising due to …………… in bass line of ……. ……….
- 186-188, answers bass with 1st ………… own ……………. Line
- 192, …. ……….. 7th chord then silence to signal the end of the development
- bassoon, E major
- diminution
- minor, 2
- codetta, sparkly
- syncopation, tension
- 172, suspense, D, 6th
- F# major
- relative minor
- chromaticism, lower strings
- violin, chromatic
- A major
Movement 1: Recapitulation
- bars …..-……
- very similar to exposition, same ……….. at the start
- 201-207, …………….., like the melody is ……. ……
- …… change!, the 2nd part of first theme (after ….. bars) played by the …… and ……
- bar 208, still surprising …….. as before
- 216-219, ………….. octave higher
-b 218, brass originally had …………, now more ……….. - 222, 1st violin melody based on the …………………..
- 224, ………… rate increases, 2 ……… per bar
- …………… bass
- 193-294
- dynamics
- interruptions, split up
- 203, 8, oboe and flute
- forte
- 1st violin
- semibreves, rhythmical
- circle of fifths
- harmonic, chords
- ascending
Movement 1: recapitulation (2)
- 238, ….. …….., Haydn takes sections from the exposition and interrupts them with ……….
- melody is ……… around, ……………
- 257, similar to bar ….., but in the ……… key and shorter
- 266, like bar ….. but in the ……… key
- …… onwards, Coda. Loud, ……., grande finale
- 1st violin and flutes, ………… movements, ………….. and repeated notes. Typical of classical
- 290, 5 chords of chord …., to make perfect cadence of ……. To …. Clear
END
- 2nd theme, silence
- bounced, contrapuntal
- 80, tonic
- 99, tonic
- 277, tutti
- scalic, arpeggios
- 1, Amaj to Dmaj
