Haydn - Symphony 104 - Movement IV (Practice Questions)

Question 1

What is the form of Movement IV?

Answer 1

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

Question 2

What is the tempo indication for this movement?

Answer 2

Spiritoso (with spirit)

Question 3

What is the key that the movement begins in?

Answer 3

D Major (same as movement I)

Question 4

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

Answer 4

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

Question 5

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

Answer 5

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

Question 6

What is the structure of the First Subject melody?

Answer 6

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

Question 7

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

Answer 7

An octave higher

Question 8

What Fig. is presented in Bars 6 and 10?

Answer 8

Fig. X (‘Stamping’ theme)

Question 9

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

Answer 9

Sequence (Rising)

Question 10

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

Answer 10

Fig. Y

Question 11

What section starts in Bar 19?

Answer 11

Transition Section

Question 12

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

Answer 12

Fig. X (‘Stamping’ rhythm)

Question 13

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

Answer 13

Tonic Pedal

Question 14

What is the interval in the Flute in Bar 22?

Answer 14

A Tenth

Question 15

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

Answer 15

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

Question 16

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

Answer 16

Imitation (7th higher)

Question 17

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

Answer 17

Oboe

Question 18

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

Answer 18

Sequence (Descending)

Question 19

Describe the change in tonality in bar 35?

Answer 19

Tonicization of E Minor

Use of D#

Question 20

Describe the cadences over bars 35-37

Answer 20

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

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

Question 21

Describe the harmony from bars 41-45

Answer 21

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

Question 22

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

Answer 22

Figure. Z (1 Crotchet, 2 Quavers pattern)

Question 23

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

Answer 23

E Major

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

Question 24

What pedal is found in bar 46?

Answer 24

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

Question 25

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

Answer 25

F Major chord (bVI)

Question 26

Identify the cadence between bars 53-54

Answer 26

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

Question 27

What section begins from bar 54?

Answer 27

Second Subject of the Exposition

Question 28

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

Answer 28

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

Question 29

Bar 63 is a direct repeat of what bar?

Answer 29

Bar 61

Question 30

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

Answer 30

It reduces, as does the dynamic

Question 31

What Fig is reintroduced in bar 65?

Answer 31

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

Question 32

Describe the music of bars 65-72

Answer 32

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

Question 33

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

Answer 33

1. Increase in dynamic (f) | 2. Constant quaver pulse dominates the strings and bassoon.

Question 34

Identify the cadence (b.80.4 - 81.1.)

Answer 34

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

Question 35

Identify the cadence between b. 83.1 - 84.1

Answer 35

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

Question 36

Describe the orchestral texture from bar 84

Answer 36

Bassoon and strings only | Reduced from previous section

Question 37

Bar 84 marks the start of what section?

Answer 37

Second Subject (Part B)

Question 38

What happens to the key in bar 86?

Answer 38

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

Question 39

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

Answer 39

Circle of Fifths 91. 3 - A Major 93. 1 - D Major 93. 3 - B major 95. 1 - E Major.

Question 40

What begins in bar 102?

Answer 40

Codetta

Question 41

What 2 instruments hold the melody in bar 104?

Answer 41

Flute and Violin I

Question 42

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

Answer 42

Tonic Pedal

Question 43

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

Answer 43

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

Question 44

What returns in Bar 108?

Answer 44

Stamping theme (Fig. X)

Question 45

Describe the string writing in bar 109

Answer 45

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

Question 46

Describe the overall texture of strings in bars 118-120

Answer 46

Monophonic

Question 47

Function of the horns in bar 120?

Answer 47

Smooth the transition into the repeat

Question 48

Bar 118 marks the start of what section?

Answer 48

Development Section

Question 49

Describe the melodic material introduced bar 119?

Answer 49

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

Question 50

Describe the orchestral texture at the start of the development section

Answer 50

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

Question 51

Describe the primary idea of bars 125-128

Answer 51

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.

Question 52

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

Answer 52

E minor | D# in Oboe and Viola

Question 53

What returns in bar 129?

Answer 53

Fig. Y in Violin I

Question 54

Identify the chord in bar 129

Answer 54

D# Diminished 7th | D# - F# - A - C

Question 55

What is happening with Fig. Y in bar 133?

Answer 55

Ascending in the bassoon | Descending in the Violin I

Question 56

Identify the cadence from bars 137-139

Answer 56

F#7 to B minor | V7 - i (Perfect)

Question 57

What keeps the momentum going in bar 139?

Answer 57

Constant quaver rhythms in the upper strings

Question 58

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

Answer 58

Syncopation

Question 59

Identify the chord in bar 149?

Answer 59

A# - C# - E - G | A# Diminished 7th

Question 60

How does Haydn keep the momentum going from bar 149?

Answer 60

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

Question 61

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

Answer 61

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

Question 62

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

Answer 62

E minor | D# in Flutes, Oboes and Violins

Question 63

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

Answer 63

F# Major (the dominant of B minor)

Question 64

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

Answer 64

G Major | bII

Question 65

Unusual textural element of bar 166?

Answer 65

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

Question 66

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

Answer 66

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

Question 67

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

Answer 67

C# minor | Use of B# (Bassoon + Strings)

Question 68

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

Answer 68

C#m - F# Major- Bm | Circle of Fifths Progression

Question 69

Identify the important feature of the texture starting from bar 171

Answer 69

Imitation is used throughout this section

Question 70

Describe the overall shape of the bassline beginning in bar 179

Answer 70

Descending towards a C# pedal in bar 185

Question 71

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

Answer 71

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

Question 72

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

Answer 72

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.

Question 73

What section starts in Bar 195?

Answer 73

The Recapitulation

Question 74

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

Answer 74

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

Question 75

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

Answer 75

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

Question 76

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

Answer 76

There is a dominant pedal that starts from bar 215.

Question 77

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

Answer 77

The roles have reversed. They've swapped

Question 78

What section begins in bar 221?

Answer 78

Second Subject 2a

Question 79

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

Answer 79

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

Question 80

Bar 228 sees the return of what Figure?

Answer 80

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

Question 81

Identify the cadence between bars 245-46

Answer 81

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

Question 82

What is harmonically interesting about bar 247-251?

Answer 82

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.

Question 83

What begins in bar 265?

Answer 83

Coda

Question 84

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

Answer 84

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

Question 85

What material does Haydn begin the Coda with?

Answer 85

The material of the Codetta, bar 102

Question 86

Explain the harmony of bar 265?

Answer 86

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

Question 87

Describe the orchestral texture at bar 276

Answer 87

Woodwind trio that uses imitation

Question 88

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

Answer 88

G Major | Cancellation of C# to C natural.

Question 89

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

Answer 89

Move to D MINOR instead of D Major.

Question 90

Describe the string parts in bar 290-293

Answer 90

Descending arch-shape scalic runs

Question 91

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

Answer 91

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

Question 92

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.

Answer 92

1. There is a full orchestral section, now in ff dynamic | 2. Supported by Horns, Bassoons and lower Strings

Question 93

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

Answer 93

Subject 1 theme again.

Question 94

What new rhythm is introduced in bar 330

Answer 94

Triplet as an anacrusis to bar 331

Question 95

What Figure ends the movement?

Answer 95

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

Question 96

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

Answer 96

There is a dominant pedal that starts from bar 215.