The Joke - Haydn

-Written in the classical period (1732-1809)

-Written for a string quartet

-Functional harmony, does not convey emotion

-Passing chromaticism is used throughout

-Frequent cadences that are often followed by the returning of section A, preceded by supertonic chords

-2nd inversions are often left unresolved for suspense as part of the humour

-Use of pedal, dominant and inverted tonic

-Dissonance created by appoggiatura, suspensions and dominant 7ths and 9ths

-Use of chromatic inflection

-Some scalic movement

-Mainly stepwise and conjunct

-Occasional use of ornaments

-Double and triple appoggiaturas

-Frequently periodic and symmetrical phrases

-Regular phrase lengths 

-Use of broken chords

-Compound duple time signature (6/8)

-Change of time signature in 'adagio' to 2/4

-Note lengths are generally no shorter than a quaver, these are fairly constant

-A few semi/demi-semi quavers in the adagio section

-Rests especially towards the end are key to emphasising the joke that the piece is conveying

-Rondo form

Bars 1-36: A B A (repeat)

Bars 36-70: C

Bars 71-107: A B A (no repeat)

Bars 107-140: C1

Bars 140-148: A

Bars 148-152: Adagio

Bars 152-172: A (with additional rests)

-Diatonic

-E flat major defined by pedals and cadences

-Modulates to A flat major and F minor in section C with occasional brief excursions to B flat major

-Only movement between relative keys

-String quartet

-Texture varies with the number of parts playing

-Use of double stopping thickens texture

-Mainly melody dominated homophony

-There is use of canonic texure and monophony

-Use of functional harmony

-Predominantly melody dominated homophony

-Periodic phrasing in the melody

-Written for a string quartet

-Anticedent and consequent halves of phrases

-Balanced structure

-Mainly diatonic with passing chromaticism for colour

-Melodies are built from arpeggio and scales

-Relatively slow rate of change

-Use of pedal