Please enable JavaScript.
Coggle requires JavaScript to display documents.
Movement 3 - Coggle Diagram
Movement 3
Section C
Bar 40 beat 3/ 41, falling interval of a 10th, shows development
Bar 41, trill, perfect cadence in tonic to finish
Tonic pedal in brass/ bass, simple quaver decoration of theme
Codetta, bars 43-53 (unusual features)
Section A1; bar 35-42, return to section A played f by full orchestra
Bar 43/44, repeats previous ideas from previous 2 bars
From bar 3 pp, builds anticipation for return to material from section A
Music feels like it is going in new direction, crotchet rest, high echo of chord G, 3rd, and 5th of chord in upper woodwind and violins, sudden 2 bar rest (dramatic)
Bar 30, hint of opening theme in oboe/ flute, diminished flavours above dominant 7th, timpani roll on diminished 7th
Music restarts with 2 bars of a quiet trill above dominant pedal in viola/ string bass, builds to 4 repetitions of perfect cadences in D major, fanfare figuration in brass, theme played in violins and clarinet (double stopping)
Bar 28 beat 3, Neapolitan 6th, reminder of section A
-
Bars 27-34, sustained pedal on A major (new tonic) heard in octaves in horns, reduced texture, quieter, motif A introduces G natural, acts as dominant preparation to return to D major
-
Section B
Bars 65- 72, returns to 8 bar phrase format
Change in texture, motifs x and y make contrapuntal, no bass instruments
-
Bar 66, ideas imitated creating busy texture
-
Opening of section B suggested to be in F minor, bar 67 C minor is tonicized
Bar 65, descending minor scale
Bar 67, solo oboe and violin 1 are in unison when they play quaver figuration, decorated by flute playing figure x in high pitch, independent melody, intervals of figure are altered
Bar 69, briefly go to G minor
Bar 72, phrase modulates to G major
Bar 75, back to C minor, violins play figure y in 6th, suggests music is in 6/8, creates hemiola feel
Bar 78, ends on imperfect cadence IIb- V chord F, dominant of home key Bb
-
Section A
First 4 bars compared to second 4 is distinctive, fall of a minor 7th, reminds of interval of a 2nd in movement 2 (bars 2-3)
Perfect cadence in D major, trills last whole bar played by all instruments apart from bass
-
Section A repeat; bars 9-16, repeat written out due to alterations
Homophonic, metre disguised by accents at ends of bars until bar 7
Texture change: no clarinets/ bassoons, played at p not f, legato (no staccato)
Thematic content played on flute, oboe 1, violin 1 and violas an octave lower
Rhythmic change: same cadence as bar 7/8, trill present, chordal placements have been rearranged, section ends in tonic key (unusual)
Theme A, anacrusis at beginning, triadic, interval of perfect fifth, reminiscent of movement 1, timpani in D support opening in D major
Bar 2 beat 3, diminished chord, chromatic aux chord
Bars 1-8 in D major, divided into 2, tonic pedal based on subdominant harmonies
Link passage
Idea of a minor 3rd motif heard at beginning of trio, being expanded
-
Unusual for period, going from Bb to D major prepares for modulation
-
-
Bar 97, change in pitch to F#, creates interval of augmented 5th
Bar 99, German augmented 6th rising line moves to G# above pedal note
Bar 100 and onwards, Phrygian cadence, minor chord ivb-V, pedal note in violas and bassoon move to A, dominant preparation to return in minuet and key of D major
-
Instruction ‘menuet da capo’ at end of section, play without repeats
Section A
Bar 55, string pizzicato crotchet chords, homophonic, Bb major, not closely related to D major, tertiary modulation because its flattened submediant
Melody obscured by continuous run of quavers, played legato, accompanied by pizzicato strings
After previous 3 perfect cadences, unaccompanied motif (monophonic), feels as if changed from D major to minor
Orchestra reduced to 1 oboe, flute joins, series of brief tonicizations of different keys
Bars 53-64, repeated (AA), violin 1 and solo oboe in unison (interval of minor 3rd ), repeated, legato in violin 1s
Bar 59 beat 3/ 60, V7- I in Bb major
Bar 61 beat 3/ 62, Vb- I in G minor
Bar 63, imperfect cadence I-V onto C major, key ends in F major with perfect cadence at bar 63 beat 3/ 64, modulation more traditional than minuet
-
Section C1
Sudden pause for 4 beats, after this figure x plays (thinner texture)
Bar 89, added violin 2s, play octave below in G minor
-
Bar 84, thematic material written using sequences, melody moves upwards, flutes play descending, chromatic dotted minim, playing over Bb pedal
Bar 91, C minor, the 3rd of chord is in bass, rises chromatically to E natural. This leads to F bass, creating cadential 6/4 progression in Bb major, home key of trio
-
Bars 79-94, thicker texture
Overall
Minuet repeat of section A written out, no repeat marks, section A ends in tonic, unusual (there is normally modulation end)
Trio is lyrical, expressive writing for woodwind
2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D, 2 trumpets in D, timpani, strings
-
Minuet: D major, Trio: Bb major
-
Section B
Bar 21, hemiola (cross rhythmic pattern) 2 quaver crotchet pattern
Bar 23 beat 3, shift to E minor, supported by staccato quavers in violins, creates chromaticism, acts as dominant 7th of A major, ends in A major
Bar 19/20, perfect cadence in B minor
Bar 18 beat 13, diminished hints because of auxiliary notes
Bars 17-26, unusual length, starts with theme A, still in tonic key (octave lower), trumpets play f for assertive feel, horns join at bar 20, unison and octave textures