Haydn - Clockwork Symphony - 2nd Movement
- Created by: msilvester28
- Created on: 19-10-20 17:13
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- Clock Symphony- Movement 2
- Composed by Haydn
- Section A
- Section A1
- Melody
- Acciaccatura - Melodic Decoration
- Melodic Sequence
- Scalic Features
- Chromatic Passing Note
- Balanced Phrasing - unusual as 9 bars of it
- Triadic Movement
- Harmony
- Tonic Dominant Chords
- Use of Perfect and Imperfect Cadences
- Use of Dominant 7th
- Texture
- Melody and Accompniant
- Part Doubling As Bassoon Doubles Lower Strings
- Rhythm + Metre
- 2/4 Time
- Double dotted Rhythm in opening violin melody
- Repetitive quavers in accompiant to create tick tock effect
- Tonality
- G Major
- Instrumentation
- Violin I plays melody
- Violin II, cello and bassoon play accompniant
- Playing Techniques
- Pizzicato on Violin II
- Arco on violin I
- Staccato
- Slurring
- Triple stopping
- Melody
- Section A2
- Melody
- Scalic movement
- melodic sequence
- Repetition
- 2 bar descending D Major 2 octave scales
- Melodic Development
- Harmony
- Inverted pedal on domminent
- The same as before
- Texture
- sparse texture
- antiphony / call and respone between cello and violin II
- part doubling between oboe, violin I and violin II
- Playing Techniques
- tick tock motif is bowed instead of plucked
- Instrumentation
- No brass,timpani or clarinet
- woodwind part doubles or plays pedal notes
- Rhythm and Metre
- dotted rhythm
- double dotted rhythm
- Tonality
- Passing modulation through D Major which is the dominant
- Returns to G Major
- Melody
- Return of Section A1
- Texture
- Fuller texture - viola plays triple stopping
- flute doubles violin I
- Texture
- Tempo
- Andante which is typical of a second movement
- Articulation
- stacatto
- Legato
- Extremely specific
- In a group of semi quavers 2 are slurred and 2 are staccato which is typical of Haydn
- Structure
- Within the A section there is a section 1, a section 2 and a return of section 1
- Dynamics
- Wide range of Dynamics
- Section A1 - quiet
- Section A2 - big contrast - sf - diminuendo to crescendo
- Return of section A1 - pp
- Section A1
- Section B
- Melody
- Massive use of melodic sequence
- descending dotted motif developed from A section
- New melodic idea introduced in bar 52
- Dramatic descending arpeggio used as part of a descending sequence
- Violin II takes over new melodic idea
- syncopation highlighted by sf
- contrasts to conjunct movement previously used
- Chromatic linking phrase used to join major and minor section
- Structure
- Tonic minor
- 1st half is a development from dotted rhythm motif
- At bar 52 a new melodic idea is introduced
- Harmony
- Chords I,IV,V
- Imperfect cadence at end
- Last 6 bars of section has a dominant of G Major pedal played by cellos and double basses
- Bar 48 contains a diminished 7th as minor 3rds are stacked
- adds drama
- loved by classical composers
- Texture
- starts with a tutti texture in bar 36 which is the 1st time the entire orchestra is heard which creates a rich, full effect
- massive part doubling - woodwind doubles strings
- Imitation between violin I and violin II until end of B section
- musical conversation through B section between Violin I and II
- Tick tock continues in the accompniant
- Bar 52
- detached tick tock quavers in cello
- repetitive urgent demi-semi quavers in Violin I, Violin II and Viola
- Disjunct melody in violin I
- Pedal in trumpet
- chordal dotted rhythm pattern in woodwind creates different layers
- Monophonic at end which contrasts to full texture - violin I
- Instrumentation
- first time brass, timpani and clarinet are heard
- basic clarinet part as only just invented
- Playing Techniques
- Bowed
- Articulation
- Staccato
- Accents
- Rhythm and Metre
- Developed and explored dotted rhythm motif
- Bar 52 has a new melodic idea which is syncopated
- Off beat chords in bassoon and oboe
- Demi-semi quaver movement passed between violin I and violin II
- starts as melodic movement then in Bar 52 is the accompaniment
- Tempo
- Andante
- Tonality
- Changes to G Minor which is the tonic minor
- Bar 52 modulates to Bb Major
- B section ends on chord V of G Major which is an imperfect cadence
- Dynamics
- sf (particularly in bar 52 to accent syncopation)
- forte dynamics
- Bar 52 is ff
- B section has extremely loud dynamics
- Dimminuendo at end leading to pp
- Melody
- Return of A Section
- Variation 1
- Melody
- demi-semi quaver motif from B section
- Chromatic linking pass
- First time the woodwind have independent lines instead of part doubling or pedal notes
- Violin I is playing the exact melody from A Section
- Bar of silence before the second variation
- Instrumentation
- No strings except Violin I play
- No brass or timpani are playing
- Flute oboe and bassoon are playing
- Texture
- Chamber texture as small group of instruments are playing
- Rhythm and Metre
- double dotted rhythms
- dotted rhythms
- Tonality
- G Major
- Articulation
- Staccato
- Flute changes between staccato and legato
- Dynamics
- pp
- Melody
- structure
- Variation 1
- Variation 2
- Variation 3
- Variation 2
- Tonality
- Eb major
- Rhythm
- dotted rhythms
- demi-semi quavers
- Melody
- rising sequence with altered melodic development
- Tick tock motif in accompaniment
- Chromatic linking passage developed into a rising sequence
- Contrary motion
- Texture
- Octaves
- Musical conversation between flute and violin I
- Harmony
- Pedal note on Eb
- Diminished chord
- Tonality
- Variation 3
- Dynamics
- p
- f
- Contrasting dynamics
- crescendos and diminuendos
- ff
- pp
- Harmony
- Final perfect cadence is 8 bars before the end
- 3 tonic chords - 3 G major Chords
- Dominant 7th which implies perfect cadence whilst taking away from definite cadence
- Pedal notes
- Inverted pedal notes
- Tonic, Dominant HArmony
- Tonality
- G Major
- Melody
- sextuplets decorate melodic line
- doubling parts thickening the texture
- descending scale showcases the timbre before the end
- Tick tock motif
- Texture
- call and responce
- Imaitation
- tutti texture
- Rhythm and metre
- Juxtaposition of double dotted, straight rhythms and sextuplets
- use of triplet and sextuplet rhythms
- instrumentation
- All instruments are playing
- Dynamics
- Variation 1
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