Haydn Symphony 104 movement 1
Section Bar numbers
Introduction 1 - 16
Exposition 17 - 123
Subject 1 17 – 49
Transition 50 - 64
Subject 2a 65 - 79
Subject 2b 80 - 98
Codetta 99 - 123
Development 124 - 192
Recapitulation 193 - 276
Subject 1 193 - 246
Subject 2 247 - 276
Coda 277 – 294
Introduction – Adagio (1-16)
Bars 1 and 2
- Tonic and dominant fanfare motif
- Rising 5th interval in bar one is reflected by a fall to the dominant in bar 2
- The lack of a 3rd (mediant) makes it ambiguous whether the music is in D
major or D minor
Bar 3
- Here D minor is confirmed through F naturals and C#s
- Narrower pitch range/tessitura
- Conjunct movement
- Inverted chords are used here until bar 6
Bar 7
- Tonic and dominant fanfare motif now in F major (relative major)
Music has modulated to F major through C naturals and a perfect cadence
- No brass here
In the classical era Brass was known as ‘natural brass’ as it had no valves
and therefore couldn’t play notes outside of the harmonic series, this
made brass a very limited group of instruments
Bar 15
- Bar 15 beat 3 has a subdominant chord and is followed by a Neapolitan
6th chord
Exposition – Allegro – D major (17-123)
Subject 1 (17–49)
- Phrase 1 ends with an imperfect cadence
- Phrase 2 ends with a perfect cadence
- Played by strings and bassoon at the start
- Bars 1 and 32 of Subject 1 have the same rhythm
- The minims from bars 5 and 6 are inverted in bars 13 and 14
Bar 40
- Move to the submediant chord with some chromaticism
Transition (50–64)
- Material is built on the repeated notes in bar 3 of subject 1 (bar 19)
Bar 50
- Perfect cadence in D major
Section Bar numbers
Introduction 1 - 16
Exposition 17 - 123
Subject 1 17 – 49
Transition 50 - 64
Subject 2a 65 - 79
Subject 2b 80 - 98
Codetta 99 - 123
Development 124 - 192
Recapitulation 193 - 276
Subject 1 193 - 246
Subject 2 247 - 276
Coda 277 – 294
Introduction – Adagio (1-16)
Bars 1 and 2
- Tonic and dominant fanfare motif
- Rising 5th interval in bar one is reflected by a fall to the dominant in bar 2
- The lack of a 3rd (mediant) makes it ambiguous whether the music is in D
major or D minor
Bar 3
- Here D minor is confirmed through F naturals and C#s
- Narrower pitch range/tessitura
- Conjunct movement
- Inverted chords are used here until bar 6
Bar 7
- Tonic and dominant fanfare motif now in F major (relative major)
Music has modulated to F major through C naturals and a perfect cadence
- No brass here
In the classical era Brass was known as ‘natural brass’ as it had no valves
and therefore couldn’t play notes outside of the harmonic series, this
made brass a very limited group of instruments
Bar 15
- Bar 15 beat 3 has a subdominant chord and is followed by a Neapolitan
6th chord
Exposition – Allegro – D major (17-123)
Subject 1 (17–49)
- Phrase 1 ends with an imperfect cadence
- Phrase 2 ends with a perfect cadence
- Played by strings and bassoon at the start
- Bars 1 and 32 of Subject 1 have the same rhythm
- The minims from bars 5 and 6 are inverted in bars 13 and 14
Bar 40
- Move to the submediant chord with some chromaticism
Transition (50–64)
- Material is built on the repeated notes in bar 3 of subject 1 (bar 19)
Bar 50
- Perfect cadence in D major
