Movement I Flashcards
1
Q
1- 209
A
Exposition
2
Q
1- 66
A
First subject (exposition)
3
Q
66 - 92
A
Transition passage (exposition)
4
Q
93 -187
A
Second subject (exposition)
5
Q
187 - 209
A
Codetta
6
Q
210 - 368
A
Development
7
Q
210 - 284
A
First development section
8
Q
285 - 296
A
Fausse recapitulation
9
Q
297 - 368
A
Second development section
10
Q
369 - 510
A
Recapitulation
11
Q
369 - 391
A
First subject (recapitulation)
12
Q
391 - 404
A
Transition passage (recapitulation)
13
Q
405 - 455
A
Second subject (recapitulation)
14
Q
456 - 510
A
Third development
15
Q
510 - 586
A
Coda
16
Q
Home key
A
A major
17
Q
Form of the movement
A
Sonata form
18
Q
17
A
E major tonicisation
19
Q
19
A
Inverted cadence (V6-I)
20
Q
22 - 23
A
Root position perfect cadence
21
Q
23
A
Flutes, oboes and horns enter with fig ‘x’ - not developed
22
Q
41
A
V7/V (B7 with 4-3 sus)
23
Q
47 - 51
A
4 bars on dominant 7th chord - resolves to tonic of A
24
Q
51 - 66
A
Repeat of 2-10 with additional timps and enhanced scoring (oboes play S1, full orchestra supports)
25
66
Transition passage begins with antiphonal passage using oscillating quaver motif as strings alternate with the rest of the orchestra
26
70
B minor tonicisation
27
72
D major tonicisation
28
82
Return of S1 fig 'x' in violins
(emphasis on major/minor modes)
29
86
B major tonicisation (dominant preparation for next section)
30
93
S2 begins in E major
31
97
Shift to E minor
32
124
S2 transferred from clarinets and bassoons to flutes and oboes
33
132
Violins play gentle quavers underneath S2
Timps roll on 7th of chord B7 (i.e chord of B4/2 or V4/2)
34
142
Texture reduced to just strings
35
141
V6 chord resolves onto A major chord (reminder of S1)
36
143
F# tonicisation
37
158
pp solo clarinet solo reminder of S1 - augmented, gradually joined by the rest of the orchestra
38
171
S1 repeated with vigour played tutti and ff
39
182 - 183
Perfect cadence in E major
40
190 - 191
Lower strings outline bass notes of the perfect cadence on E - pizzicato
41
194
The cadence in reinforced and extended, pedal changes to dominant (B)
42
199
Codetta theme heard p above a pedal note E
43
209
The tonic of A major arrives in the last bar of the codetta
44
210
After the repeat the bar remains on the chord of E major (preparation for the development section)
Thematic material of S2a developed, fig 'y' played before this (fig 'y' manipulated through modulation, both contrapuntally and sequentially)
45
217
A minor tonicisation
46
220
D minor tonicisation
47
225
New melody introduced - a dance-like motif that never develops beyond the initial four bars
48
230
A minor tonicisation
49
231
Fuller chord of Eb9/7 acting as dominant for a perfect cadence
50
232
Root position A minor chord
51
233 - 234
D minor tonicisation
52
236
A minor tonicisation
53
237 - 238
Reduction of imitative texture - strings only for the next 23 bars
E minor tonicisation using perfect cadence - these two bars are then repeated
54
242
C major chord with diminished 7th chord on beat 2, then extended dominant chord
55
243
Resolution to G6-3
56
244 - 248
Based on previous four bars, but is a complete sequence (i.e one tone higher) - ends in A minor
57
249
Stretto section with antiphony heard above an 8-bar pedal on F# which is dominant preparation
58
266
Passes through B minor
59
269
S1 reinstated by woodwind - now in B major
60
273
Answering phrase by brass and timps
61
285
Opening phrase from S1 heard tutti, ff, in C major
62
289
Only first oboe plays from the woodwind section
63
289
C6-3 positioning
64
290
E4-2 positioning
65
291
Brief A tonicisation (initially a 6-5 inversion)
66
293
D6-3, F#4-2 chords
67
295
B6-5 resolution
68
297
Full orchestra returns - ff, developing S3
E major key here
69
301
Material heard over a brief cycle of fifths - Em-->A-->D
70
304
B7 resolution
71
305 - 308
Repeat of bars 297-301
72
309
Bassline descends
73
313
F# minor tonicisation
74
319
Full orchestra plays ff
S3 played in violins, clarinets, and flutes (F# major)
75
323
Tutti climax
S3 low in strings
76
325
F# major
77
327
Reference to fig 'x' reshaped, now heard descending over a C# major chord with C# dominant pedal (lasts 22 bars)
78
345
pp solo oboe joins and gently plays S1 with extended notes
79
369 - 386
= 3-22
Slight changes to scoring with oboe and trumpets added at the (very) start of the recapitulation
80
387
The modulatory section starting in bar 23 of the exposition changed to an interrupted cadence to the chord of the submediant minor
81
389 - 391
Reflects the harmonic move back to A major as in bars 17-19 of the exposition
82
383
Cadential phrase heard in violins I initially
83
399
Violins II join in cadential phrase an octave below violins I
84
391- 404
Reduces to woodwind accented chords (and horns)
85
405 - 418
Thematic material now heard in viola and cello with accompanying quaver idea in woodwind (fig 'y') in flute and clarinet instead of violin II and viola
86
412
Modulation to E major (dominant) followed by a cadential progression reinforcing this with a short dominant pedal in the bassoon
87
419 - 426
First 4 bars use the same melodic material as bar 405, though the theme is on violins and there is a cello dominant pedal
