Haydn Symphony 104 Movement 3 MINUET

Main Tonality of the Minuet

D major

Time signature of the Minuet

3/4

Tempo of the Minuet

Allegro

Form and Structure of the Minuet

Section A - 8 bars (Repeated). Not exact repeat though (1-8, 9-16)

Section B - 10 bars

Section C - 8 bars

Section A1 - 8 bars

Codetta - 10 bars

B C A1 and Codetta are repeated after Codetta finishes

AA BABA

Section A

16 bars long.

Antecedent and Consequent phrase (Period) 0³ - 4², 4³ - 8²

8³ - 16 is not exact repeat of 1-8

Ends in the tonic key of D major.

Harmony in Section A

Perfect cadence in D major 7-8, 15-16

Rhythm in Section A

Lots of anacruses - Leads into the next phrase.

Mainly crotchets, minims (sometimes dotted minims) and rarely shorter note values e.g. quavers

Articulation in Section A

Mainly staccato notes

Not a lot of slurred / legato notes but they come in at the anacruses when they do

Texture in Section A

Full orchestra during bars 1-8. (Tutti)

Thinner texture from 9-16

Overall Homophonic Texture

Melody in Section A

Minor 7th fall (B-C# 6³-7¹)

Ornamentation into the perfect cadences (7, 15)

Conjunct movement mainly

Opening 3 notes (DF#A) Makes triadic chord. Perfect 5th between D and A. Similar to Movement 1

Tonic pedal notes in Cello and Bass (1-4, 9-12)

Dynamics in Section A

Bars 1-8 are forte with forzandos on the 3rd beat of nearly each bar. Emphasises the 3rd beat and creates the anacrusis feel.

9-16 is piano and the only dynamic change is on the crotchet before the trill in bar 15

Section B

10 bars long

17-26

Starts the same as Section A but an octave lower in the violin 1

Repeats after codetta

Harmony in Section B

Modulates to B minor in 19³, diminished feel

Chord shifts to E major in 22³, acts as V⁷

Bar 26 ends in a A chord (bare 5th as no C or C#)

Pedal note in Trumpet 22³-26

Circle of 5ths 20³ - 26²

Rhythm in Section B

Anacrusis into the start of section B, same as section A

Hemiola 20³-25¹

More quavers seen in this section than in section A

Articulation in Section B

Slurred notes on the anacrusis beats normally

Slurred on the quavers in the hemiola

Still staccato more prominently in this section

Texture in Section B

Full orchestra playing throughout the whole section although timpani plays the least.

Octave texture at the start of the section

Melody in Section B

Mostly conjunct movement

Mainly descending movement, particularly in bars 23-25

Dynamics in Section B

Starts forte with forzando bursts on the 3rd beat of bars 17 and 18

Section C

8 bars long

Bars 27-34

Starts in A major

Harmony in Section C

G natural, suggests that the A major is a dominant (7th) preparation to return to D major (tonic key)

Neapolitan 6th 28³ B^b D F (strings)

Sustained pedal note in Horns 27-30

Rhythm in Section C

Mainly crotchets and quavers

Longer note values seen in bass line and horn pedal

Articulation in Section C

Same articulation as earlier sections with mainly staccato notes.

However there are more slurred notes. They are in pairs.

Texture in Section C

Thinner and reduced texture with fewer instruments playing (No clarinet, horn stops after the pedal, flute oboe and bassoon jump in midway through the section)

Melody in Section C

Melody in strings seems more arpeggiated / triadic

Rare big leaps

Flute and Oboe share melodic fragments of section A

Timpani roll

Dynamics in Section C

Reduced dynamics. Mainly piano

In Flute and Oboe’s fragments, forzando bursts on the anacrusis beats

Pianissimo on timpani roll, crescendos into next section

Section A1

8 bars long

35-42

In D major, similar feel to Section A. Variation of it

Harmony in Section A1

Tonic pedal notes on D in Horns Trumpets Timpani (35-39), Bassoons Cellos Double Basses (35-38²)

Perfect cadence in D in bars 41-42 similar to how section A ended

Rhythm in Section A1

Diminution of the main theme and quaver decoration (quaver notes in between main notes of the theme)

Mainly same rhythms as before

Articulation in Section A1

More slurred pairs of quavers

Rest of articulation same as A

Texture in Section A1

Full orchestra playing (Tutti)

Homophonic like Melody and pedal accompaniment

Melody in Section A1

Mainly conjunct, Very few leaps

10th fall in Flute bar 40³ - 41¹ (B-G)

Dynamics in Section A1

Same as Section A

Forte with forzando bursts on the 3rd beat of each bar.

Codetta

10 bars long

43-52

43-44 repeats 41-42

Fanfare figuration in Clarinets 49-52

Goes back to Section B after.

Goes to Trio after 2nd time

Harmony in Codetta

43-44 has a V⁶₅ —> 1 in G major

Dominant pedal in Viola, Cello and Double bass 47-48

4 repetitions of perfect cadences in bars 49-52

Rhythm in Codetta

Mainly crotchets. Some dotted minims. Very few quavers

Articulation in Codetta

All legato tounged except for the anacrusis after the trills and on the third beat of bars 49-51

Texture in Codetta

Full orchestra (Tutti)

Homophonic

Melody in Codetta

Lots of trills in this section (43, 47-48)

Double stopping in violins

Dynamics in Codetta

2 bar silence bars 45-46

Piano for the trill, instinctive crescendo into forte for bars 49 onwards.