Describing music
Tonality and harmony
The overall key of the movement is G major. Section A1 is in the key of G major and a dominant pedal on D is played on the oboe from bar 7. There is a dramatic contrast in tonality in section B as the music modulates to the tonic minor (G minor).
A new key signatureA pattern of sharps or flats at the beginning of a piece of music indicating which are to be played. triggers rapid changes in the tonality The key which the piece of music is in. The key is indicated on the score at the start of the music often with sharp (#) and flat (b) symbols. . The middle section moves through G minor to B鈾 major and ends in D major.
Section A2 is mainly in G major before moving through D major and reaching E鈾 major. There is a diminished chordA chord that is a collection of minor thirds stacked on top of one another. in bar 48, beat 2, which is an example of dissonance When at least one note conflicts with the harmony of the chord or key signature. harmony. At bar 107, the introduction of C鈾 leads to the key of D major in bar 108. From bar 113, the key returns to the tonic of G major.
Texture
The texture is mainly melody and accompanimentA type of texture where there is only one clear melody and an accompaniment that plays different notes and rhythms but is supporting the melody.. There is an example of unisonTwo parts with matching rhythms and pitch or played in octaves. texture between bars 21 and 23. There is also antiphonal A melody performed by two distinctly separate groups at separate times. writing between violin 1, violin 2 and viola from bar 42, and monophonicA texture consisting of a solo musical line. texture between bars 63 and 64. There is monophonic texture between bars 110 and 112 in Section A2. The final three chords of the movement are homophonicA texture where lines of music move together by step, often sounding together to form block chords..
Dynamics and articulation
Haydn employs varied articulation in the movement. He adds staccato, slurs, bowings and accents. He also uses contrasting dynamics throughout. Theme A begins piano (p), and Theme B alternates between piano (p) and forteShortened to f when written in the score. It means to play the music loud. (f) every half bar. When Theme A returns at bar 26, the dynamic is pianissimoor pp. A dynamic level that means to play the music at very soft volume. (pp).
When section B begins at bar 36, the dynamic is forte (f) and the orchestra is heard playing tuttiAll instrumentalists to play.. This sudden contrast, along with the minor tonality creates drama in the music. A sforzandoOr sf - suddenly, with force. (sf) is heard from bar 36 and accents in bars 50 to 51. From bars 63 to 64 the dynamic gets softer. In section A2, when Theme A returns the dynamic is pp. There is an abrupt change from pp to fortissimo (ff) between bars 136 to 137 before ending the movement pp.
Instrumentation
Haydn writes for a Classical orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, two French horns, two trumpets, timpani and strings. In the score there are two transposing instruments - clarinet and French horn.
At the start, the 鈥榯ick-tock鈥 theme is played by the bassoon, violin 2, cello and double bass and the main theme by violin 1. The bassoon plays staccato Notes played detached. and the second violins, cellos and double basses play pizzicatoA playing technique in which the strings of an instrument are plucked. No brass or percussion is heard until the minor section B. Here, all the instruments play tutti for the first time.