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Symphonies - Coggle Diagram

- - - - oboes doubled strings
      - horns = fanfare-like figures
      - eg. No.1
      - melodic material shared between violin parts
      - cello and double bass doubled
      - 2 horns, 2 oboes
    - - eg. No 21 in A maj
        
        oboe played more important role
      - flute and bassoon added
    - - strings scored as ripieno with concertino of 2 violins and cello
      - wind become soloists
      - trio section includes prominent solo part for double bass
    - - trumpet added - independent of horns
      - cellos independent from double basses
      - more WW independence
  - - - eg. No.1 in E flat
        
        strings, oboes and horns
      - eg. No. 11 in D and No. 12 in G
        
        prominent tunes in oboes and flutes
        
        cheery violin lines
        
        fanfares
    - - eg. No. 25 and 40 in Gm
        
        more horns
        
        oboes gaining independence
    - - more WW independence
      - larger wind section - clarinets added
  - - - 2nd sub of 1st mov is in lower strings which is unusual
    - - mov. 2 bird songs in flute, oboe and clarinet
      - mov. 3 bassoon only plays tonic/dominant - represents slumbering villager
      - mov. 3 WW soloists
      - mov. 4 timpani rolls and string tremolo represent thunder
      - mov. 4 extends instrumentation by adding piccolo, trombones and timpani
    - - large orchestra, choir and 4 soloists
      - choir and soloists in 4th mov.
- - - - alternation of tonic-dominant harmony
      - cadential figures
    - - Violins tended to be in thirds, sixths or octaves
      - eg. No 1 - 'Manheim Roller' = pedal note with tune over the top
    - - wider ranging modulations
      - eg. No. 45 in F#m
        
        unusual key
        
        unexpected key relationships
  - - - eg. No.1 in E flat
        
        pedal notes
    - - unusual keys eg. No. 25 and 40 in Gm
        
        link to Haydn 'Farewell'
    - - eg. Paris symphony
        
        aug. 6th used just before 2nd sibject
      - more colourful harmony
  - - - full of minor key tension
      - tonally ambiguous at start but partially outlines Cm chord
        
        ominous opening
      - augmented 6th
      - diminished 7ths
      - the key of the 2nd mov. is a third away from the key of the 1st - mediant relationship tonality
    - - major keys
      - drone basses (usually open 5ths)
      - simple harmonies
      - mov. 4 tonal instability
        
        heavy use of dim. 7ths
    - - chromatic harmony (dim 7) right at the beginning
- - - - 1st two symphonies had 3 movementd
      - wasn't until 3rd symphony he added minuet
      - final movements often in 3/8 or 6/8
    - - majority in 4 movements
      - 1st mov. sonata form
      - some written in Church sonata form
        
        eg. No. 21 in A maj.
    - - slow introductions to 1st mov.
    - - church sonata form dissapeared completely
      - used idea of slow start by using slow introductions
      - eg. No. 45 in F#m
        
        development of 1st movement introduces entirely new theme
    - - finales often in rondo/sonata rondo form
      - slow intros normally in minor mode
      - monothematic sonata form
  - - - eg. No. 1 in E flat
        
        3 movements
        
        1st mov. sonata form
        
        slow 2nd mov.
        
        3rd mov. fast in 3/8
    - - eg. No. 15 in G
        
        final 'Presto' mov. - piece doesn't end when you expect it to
    - - eg. Prague symphony
        
        3 movements
      - Symphony 40 has no introduction
  - - - 'fate motif' present in more than 1 mov.
    - - 5 movements
    - - scherzo mov. 2nd instead of 3rd
      - 4th mov. = short symphony in itself
    - - very short intro
      - development is long and introduces a brand new melody
        
        link to Haydn Farewell
      - main tune is 5 bars instead of 4 or 2
- - - - unison passages
    - - often bold unison proclamation before fast mov.
      - use of counterpoint/polyphony
      - eg. Sturm und Drang Symphonies
  - - - eg No.1 in E flat
        
        bold opening
  - - - mov. 4 full tutti orchestral chords (sometimes on the 2nd beat) = sudden shock