Haydn symphnoy 26

melody

- Like much plainsong, 2nd subject melody predominantly stepwise- violin moves disjunctly based on broken chords
- 1-8 each of first 3 phrases have repeated notes in syncopated rhythm then an upward leap inc maj 6th in b 4 - this leads to stepwise descent creating suspensions against the bass
9-12 semitone descent F-E 'sighing motif' piano, minor key + rests give sighing emotion
1-16 employ periodic phrasing
cycle of 5ths 57-63

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based on major and minor scales and largely dependent on functional harmony
exposition changes from Dmin to Fmaj (relative major) which is predictable.
development = Fmaj for 10 bars, gmin 55-65, amin from 65
Most memorable is the change to Dmaj for second subject of recap modulating from the tonic minor to major was uncommon in the Baroque but relatively common in the classical.

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the harmony, as common in the classical period is functional, with special emphasis on dominant and tonic functions in establishing tonality in perfect cadences and elsewhere
Bars9-12 I,Vb heard 4 times in succession in dmin
a few diminsihed 7ths which work to create harmonic tension e.g bars 4 and 69 and 71
suspensions also create harmonic tension e.g double sus at end of evangelists passage (25) and a characteristically classical triple suspension at 'christ' 31

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