Harmony in the 3rd movement

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  • Created by: nfawre
  • Created on: 30-05-15 14:55

Minuet

  • A section: The division between the repeated 8 bar phrase at the start of the minuet is aided by the tonic pedal used for the first 4 bars. It is quite similar to the tutti section of Bar 32 in the first movement with the use of a I IVc I chord progression. There is largely diatonic harmony which allows the timpani to play more.Beat 3 of Bar 2 is chord IV but it has a diminished tonic. This creates chromatic harmony. The main melody is added to by the second violins and second oboe playing a thrid down. The clarinets and trumpets support the tune with more sustained parts. Haydn breaks the rules by not modulating at the end of the A section however as the A section is not repeated he is unable to modulate to the dominant.
  • B section: Although it starts in the same key we know that soon a modulation is going to occur. The B section starts with a tonic triad but the the As sharpen modulating to B minor which remains until around bar 22. Haydn then moves around the circle of 5ths going to E major in Bar 23 and A major from Bar 24 landing the music in the dominant.Having reached A major we need to resolve to the tonic and this means A major must become the dominant again. This is done by creating an A pedal and naturalising the G#s. In Bar 35 we resolve to D major. Near the end of the minuet there is a trill followed by 3 bars and 1 beat of V-I chords- at this point there are two chords per bar.
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Trio

  • To provide a contrast to the Minuet the trio modulates further afield. It is written in Bflat major.This change is eased into with 2 bars, 1 beat of unaccompanied tune which starts on the mediant of the new key- D ( causes ambiguity as this is the tonic of the home key). The new key is only clarified in the third bar when a new tonic chord is played. The music sounds more graceful which is partly because the key is four degrees flatter than the home key of D.
  • Section A: There is a modulation to the dominant following long lines of flowing quavers. This makes it sound unfinished and makes it easier for Haydn to modulate, He doesn't start to do this further until Bar 62 where a IIb chord in F major is played followed by a V on the 1st beat of Bar 64 and this resolves to chord I in F major.
  • Section B: This starts in C minor and you can hear this straight away. At Bar 69 there are F#s which suggest the music is heading towards G minor- a I-V modulation. A second phrase converts the G tonic back to a dominant allowing the music to modulate to C minor with the introduction of Bnaturals and Aflats. The G minor as the dominant leads back to Bflat major as this is the relative major of G. The music finishes on a perfect cadence.
  • There is no Coda as we are not in sonata form. Furthermore it would sound strange returning to the minuet as the two sections are in pretty unrelated keys. Instead there is an extended 10 bar section with a rising chromatic scale where the first four notes are over a tonic pedal. When he fourth note is played over the Bflat it creates a 6th chordand both resolve to A,
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