Haydn - Clockwork Symphony - 2nd Movement

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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
      • 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
      • Return of Section A1
        • Texture
          • Fuller texture - viola plays triple stopping
          • flute doubles violin I
      • 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 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
    • 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
      • 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
      • 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

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