Development of Harmony and Tonality

Symphony?

Early Classical harmonies and tonalities simple: concentration on diatonic harmonies, cycles of 5ths. Modulation between tonic and dominant not always part of a specific structure of the early symphonies, but it was used for drama and tension, which eventually expanded into a structured sonata form.

-       This can be clearly seen in Stamitz’s Symphony No.2 in D major (1750) which is mainly made up of primary chords, thereby emphasising the melody over the simple harmony, and creating a sense of clarity and balance due to the smooth harmonic movement and clear cadence points. Simplicity still creates drama e.g., tonic pedal ascending violin buildup.  However, whilst the harmonies themselves are certainly typical of the Classical period, the structuring of the harmony and tonality in this piece was not as, unlike in later works, the tonic material returns in the development of the first movement as well as the recapitulation. This perhaps reflects the limited development in the use of harmony and tonality as key elements in the structure of the symphony (and the sonata form) at this time.

Symphony?

-       Similarly, the types of chords used in Haydn’s Symphony No.2 (c.1757-59) are very typically Classical: the first 36 bars of the piece use root position chords on the strong beats to add strength to the harmony; I and V are the most prominent chords, with secondary chords such as ii and vi being used only occasionally in the first 41 to add colour. However, Haydn adds interest to his harmony through the clever use of chromaticism, using a C sharp in bar 31 of the first movement to briefly create the sense of a modulation to D major (home key is C major) Additionally, like Stamitz, Haydn’s work evidences the lack of development of harmony as a key element in the structure of the sonata form at this time as he uses a minor key for the second subject in his first movement instead of the dominant, which would become standard later on. (but similar use of keys for drama)

Symphony?

-       However, like Haydn, Beethoven (No.5) is not afraid to use more chromatic harmonies to create interest and variety as shown in the Augmented 6^th – V progression, which is used as the first cadence in the symphony. Arguably, though, Beethoven went even further than Haydn as he used these more adventurous harmonies for a very different purpose – not just to decorate a melody, but to evoke emotion and drama. This is shown in his use of a 24 bar dominant pedal at the end of movement 3, which in itself, was not revolutionary as the dominant pedal had been a common feature of symphonic writing since the Early Classical period; it was the way in which this pedal was used – to build tension between the 3^rd and 4^th movement which are woven seamlessly together – which was novel as it allowed the harmony to be used for emotional effect by creating a tense and exciting transition between movements, rather than it simply being used as convenient way to support the melody and its modulations.

-       This inspired early Romantic composers like Mendelssohn or Schubert to use more adventurous harmonies, however they still mainly did this occasionally for tonal colour:

Symphony?

-       This is shown in Mendelssohn’s Italian Symphony (1833) which begins in the key of A major and ends in A minor, thereby like, Beethoven, creating the sense of a journey and direction through the symphony, although arguably Mendelssohn was even more innovative by ending his symphony in a minor key as this was very unusual at the time.
Also uses gently chromatic harmonies e.g., dim 7ths bar 37-38 of M1 made by chromatic descending violin melody.

Symphony?

-       Mahler (1894) also inspired by Beethoven: uses tonality to create the sense of striving towards a goal (he explained his symphony as being a depiction of the death of a hero and his soul striving towards God); this is why it starts in C minor and ends in E flat major. The rest of the symphony plays with this idea, moving hesitantly from dark minor keys into bright major ones (e.g., trombone chorale goes from D flat major to C major which later subsides into F minor - a ‘false dawn’ )

Symphony?

-       Schubert: Initially in Romantic period use of more chromaticism did not upset the strong tonal relationships/structures. E.g., in S2 of No.5 he modulates unexpectedly via an interrupted cadence to D flat major (flat subdominant) but then returns to F major via augmented 6^th.  

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-       Berlioz: lots of dim 7ths, often in semitonal sequences for dramatic effect. Broad ranging modulations in first movement intro, but still use of conventional movement to dominant for S2.

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-       Brahms No.3. First chord is F major (key of the piece), but this is destabilised right away by the use of A flats in the second bar and A naturals in the bar after that (hovering between F major and Minor, causing lots of instability emphasised by the two chords at the very start).

S2 is in A major, very distant key. Not only is there tonal instability in the piece, but the structural relationships between keys are destabilised.

Symphony?

-       Strauss Don juan is in E major, but starts with a flourish in C major (flat subdominant). Bold gesture fits the bold character of Don Juan.  

Symphony?

-       Dvorak (1893): Dvorak’s tonal language is broadly traditional, but the music has many modal inflections (like the flattened seventh in the main theme of the last movement) recalling the various folk music it draws upon. In addition Dvorak’s music often include surprising modulations and the introduction to the slow movement, which modulates to Db major from E minor through a very unusual chord sequence is a good example of this. Unusual modulation due to influence of spirituals and blues!!