minuet haydn 104

what bars are in minuet a ?

1-16

key of a section

d major-unusual dosent modulate to dom at end if section

b section length

17-24

keys in b section

1st part of B: 17-26: Starts inD, immediate modulation toBm. Modulates toAfrom end 22. 2nd part ofB26-34:A majordominant preparation for return of D at bar 35

A1 length

35-42

a1 key

D major

Minuet Codetta

43-52

codetta key

D major

theme of a

theme a

theme of b

Triadic anacrusis opening of A section repeated 8ve lower and then develops

theme of a1

Theme from

opening now

decorated with

quavers

codetta theme

50-51 vln I inversion of opening triadic motif and 49-50 anticipates 4th movt theme

fetaures of a section

Anacrusis opening Triadic/conjunct melody bars 1-4 antecedent, 5-8 consequent Accents on 3rd beat bars 1-3 disrupt triple metre Bar 2 beat 3 chromatic lower auxillary creates diminished chord Tonic pedal over I/IVc bars 1-4 6-7 distinctive minor 7th fall in vln melody - to be developed later 7-8 V-I in D with tutti trill 9-16 written out repeat of 1-8 with lighter scoring, more legato articulation and quieter

features of b

17-26: 10 bar section = unusual phrase length (but not unusual for Haydn). Tutti orchestration, unison and 8ve textures Accents on 3rd beat bar 17 and 18 disrupts metre 17 beat 3 diminished chord 19-20 V-I in Bm (relative minor) 20 beat 3-22 hemiola in flute, oboe, bassoon and vc/db 24-25 and 25-26 V-I in A 27-34 reduced dynamic and orchestration. Triadic motif develops Tonic pedal 26-34 (first on horns and vc/db, then timp) becomes dominant preparation for return of D at 35 28 beat 3 - neapolitan 6th chord (major chord built on flattered 2nd, in 1st inversion - so in this case Bb/D in A major

features of a1

Tutti orchestration for return of opening theme, unison/8ve texture Tonic pedal in brass, bassoon and timps 35-40 40-41 falling 10th in vln/flute melody (was a 7th in bar 6-7) 41-42 V-I in D

codetta features

43-44 surprising V-I in G followed by high B/D then 2 bars tutti rest instead of expected development of G chord 47-48 2 bar trill on all except vla/vc/db which play dominant pedal of D 49-52 repeated V-I cadences in D 49-50 vln 1 suggests 4th movt theme 50-51 vln I inversion of opening triadic motif 50-53 fanfare figure in brass