Mozart

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Symphony No.40 Context
Written in 1788 (died in 1791). He wrote 41 symphonies. Classical period. 1st of 4 movements. Symphonies were to be performed in the concert hall.
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Symphony No.40 Structure
Sonata form. No real introduction. Exposition: 1st subject G minor, transition/ bridge passage, 2nd subject Bb major. Contrasts. Repeated. Developement: modulates widely (circle of 5ths). Recapitulation: extends bridge passage and coda.
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Symphony No.40 Tonality
G minor. Sonata form is based on key relationships. 1st subject is in tonic: G minor. Modulates during bridge passage, although there is some chromatic writing. Development: modulation through circle of fifths. (Im)perfect cadences, pedals.
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Symphony No.40 Harmony
Functional harmony: keys established by perfect cadences.Also imperfect pedals and pedals in tonic and dominant. Diatonic mainly: however few chromatic chords (dim7 creating dissonance). Mainly root position and 1st inverstion.
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Symphony No.40 Rhythm
Simple quadruple metre 4/4 throughout. Tempo is consistent: Molto Allegro. Anacrusis (1st): gives urgency. 1st) crotchets and quavers. Bridge passage and 2nd use dotted rhythms CONTRASTS. 2nd) syncopation. Repeated quavers throughout adds drama.
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Symphony No.40 Melody
Periodic phrasing (lots of 4+4). Well balanced and graceful melodic lines. Contrasting melodies. Melody often in violins, but is passed around in imitation in fragments. Conjunct and disjunct.
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Symphony No.40 Dynamics
1) quiet. Bridge) loud. 2) starts quietly, grows in volume towards end. Ends loudly. Mozart prefers clear contrasts between piano and forte, a few crescendos however. Ends loudly. Use of accents and articulation add to effectiveness of dynamics.
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Symphony No.40 Instruments
Typical classical orchestra, but no trumpet, timpani, and only 1 flute. Strings dominate, violins usually having melody. Sometimes strings are in octaves. Horns sustain harmonies, playing pedals. Woodwind sustain harmonies and play melodic material.
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Symphony No.40 Texture
Mainly homophonic but with some counterpoint in development. Octave doubling. 2) dialogue between strings and woodwind. Imitation, especially 1st 3 notes of 1st subject. Doubling of parts. Bars silence before 2nd.
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Card 2

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Symphony No.40 Structure

Back

Sonata form. No real introduction. Exposition: 1st subject G minor, transition/ bridge passage, 2nd subject Bb major. Contrasts. Repeated. Developement: modulates widely (circle of 5ths). Recapitulation: extends bridge passage and coda.

Card 3

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Symphony No.40 Tonality

Back

Preview of the front of card 3

Card 4

Front

Symphony No.40 Harmony

Back

Preview of the front of card 4

Card 5

Front

Symphony No.40 Rhythm

Back

Preview of the front of card 5
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