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  • Created by: Alice
  • Created on: 07-01-14 18:40

Key/ Tonality

Key and tonality of Haydn's no. 26 

- Whole movement in D minor

- 2nd Subject in relative major

- Recapitulation in tonic major

- Development in F major (B55 G minor to F major B57) 

- Development has many sequences

- Leads to A minor (B74) 

- Perfect Cadences (B8, B44, B52, B87) 

- Diatonic Keys

- Modulates often from subject to subject

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Key/ Tonality

Key and tonality of Haydn's no. 26 

- Whole movement in D minor

- 2nd Subject in relative major

- Recapitulation in tonic major

- Development in F major (B55 G minor to F major B57) 

- Development has many sequences

- Leads to A minor (B74) 

- Perfect Cadences (B8, B44, B52, B87) 

- Diatonic Keys

- Modulates often from subject to subject

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Rhythm

Rhythm of Haydn's symphony No. 26

- 1st Subject very syncopated, passes parts on the beat across the walking bass (B2) 

- Clear beat (B9-B12) - Common of classical music contrasting ideas

- Common time

- Rhythmic imitation in Coda, rhythmic unison (last 4 notes) 

- Note Value's are limited

- The rhythm distinguishes the pieces with contrasting ideas; 

Appoggiatura - leaning notes, strong to weak

-  Each subject is set apart by rests 

- Quaver arpegiation , anacrusic phrases (B58) 

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Melody

Melody of Haydn's Symphony No.26

- Tune, 1st Subject: Violin 1 and 2

- Tune 2nd Subject: 2 oboes and Violin 2

- 2nd Oboes in 3rd have tune (B65) 

- Recap, 2nd Subject: Horns, Oboes, 2nd Violin have melody - Horns lead as it is the only part that horn can play as it is crooked in the key of D

- 2 bar scalic melodies

- Presented as doubled to reinforce melody

- Arpegiation, melodic lines outline broken chords. Arpegio of diminshed 7th chord (B69-71) - Example of 'Sturm und Drang' in minor key 

- 1st Subject idea goes over diminished 7th (B92) 

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Phrase Structure

Phrase Structure of Haydn's Symphony No.26

- Sonata Form: Archetypal feature of classical music

- 1st Subject - 8 Bars: Balanced phrasing influenced by Humanism and Enlightenment moves towards simple (simplicity, balance, order) (B9 -B12)

- 2nd Subject: 9 Bars: Irregular phrasing originated from medieval plain song 

- Simple writing 



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Texture

Texture of Haydn's Symphony No.26

- Predominately homophonic

- Polyphonic texture: Baroque was largely contrapuntual with undertying continuo 

- Baroque style walking bass: Doubled by Cello's and Bassoon's 

- Two part texture

- (B100) 1st Horn, 1st Oboe, 2nd Violin play tune. Fullest texture in the pieces. The 2nd Horn has pedal notes (can play properly as it is in the key of D) 

- Coda: (B126) Rhythmic imitation between Oboes, Horns, Violins and Bassoons (B128-B129), Perfect cadence happening over again (B127), doube/triple stopping for greater texture

- Homophonic texture (B9) 

- Unison (B1) 

- Inverted Pedal (B45 - 47) Thickens texture

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Orchestration

Orchestration of Haydn's Symphony No. 26

- Pre Classical used for domestic - In passion tide

- Small Orchestra: Oboes, Bassoons, Horns, Violins and Cello's 

- Viola has no independance, doubles in unison or octaves

- Violins play counter melodies (B17) 

- Double read play melodic materials (B65) 

- Simple writing, limited rane and limited difficulty

- No independence of Oboe, shows Baroque sound 

- Violins often doubles by 1st Oboe and mainly carry melody (B2) 

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