Harmony and Tonality

-Sturm und drang
-Stamiz op 3. No 2 double return of tonic (became standard for sonata form)
-Haydn no 2 C,G,C ( cycle of 5ths, diatonic)
-development sections modulate often, but only to related keys E.g. Haydn No. 13 development passes though B minor, relative minor)
-CPE Bach symphony in e minor uses dim 7ths in opentng =emfindsamer stil

-Reliance on tonic/dom continued
-Development sections began to get longer as they explored more keys
-Cadences still regular and occasional chromaticism
-Haydn 104, unusually starts dev in relative minor then modulates to unrealted key of C#-, followed by cycle of 5ths, Mvt 1 dominant pre
-Mozart no 41, modulates to subdom in devel 1st mvt, normal

-Slowed the rate of harmonic change, giving chords more meaning
-often uses unusual or remote modulations
-No 3, diatonic harmony, dramatic chromatisim, heavle accesnted
-No 6, dim 7th plays a large part in the creastion of the stomy mood

-Less reliance on regular cadences gives music forward momentum
-Still mainly diatonic but some chromaticism becoming
-Shubert sym no 5, harmonic and tonal twists, recap in sub dom
-Mendelsshon no 4, gently chromatic harmony, false recap in c major in develpment

-Started to explore more ideas
-Brahms mvt 1 F-Ab-F presence of F minor creates tonal instability reflecting storm
-Tvhaikovsky's no 4, mvt 1 has a tonal scheme that modulates though a seriae of mediant relationships
-Some composers used keys with no relation e.g. dvoraks no 9 mvt 1=E minor mvt 2=Db major

-major tonalities more widely used, minor sparingly for contrast. shift towards subdominant- flatwards.

-functional clearly defined, journey away and back from tonic. cadences define phrases.

-more adventurous, chromatic- looked back to JS Bach but also pushing to the limits- increasingly dissonant.

-complex chords, not reliant on cadential definition.

-primarily diatonic/functional but skilled at harmonic movement and dissonance.

-chromatic inflections built into functional system.

-several dom prep bars before modulation common. secondary dominants eg 2nd mvmt.

-characterised by intense and unusual modulations.

-often slowed harmonic rate of change- individual chords given intense meaning, establishing strong sense of key.

-early classical- I-D, II-G, III-D-G, IV-D. simple, direct harmony, pedals and primary chords.

-tonic returns in the development aswell as recapitulation.

-1st mvmt merely tonic-dominant-tonic, no wide exploration.

-early classical- sturm und drang style, starts in Dm, 1st mvmt sonata S1 returns in tonic major.

-mostly primary chords but tenseness created by dim 7ths + suspensions

-mid classical- adventurous harmony, 2nd mvmt bar 98 goes from tonic (G), to Cm, moves to Db, tritone from tonic.

-113 enharmonic shift to C# then moves to subdom major F# then uses F# + A as pivot- goes to D (dom of G) then back- all in 24 bars.

mid classical- less adventurous but harmonies more chromatic- sound richer as fills inner parts. start of each symphony declares tonic eg fp tutti D chord to start.

-late classical- 1st mvmt initially tonally ambiguous (bare 5th) Dm established bar 17.

-main theme presented major/minor. pace of harmonic change slow. 3rd mvmt double variations in Bb, distant to Dm.

-final mvmt begins with dissonant passage, which recurs later.

early/mid romantic- conservative, used classical harmony but expressive use of chromaticism.

-opens with repeated tonic chord S1 created from arpeggios. S2 in dominant. extensive pedals.

-2nd mvmt uses subdom minor- unusual. uses chromaticism resulting in dim harmonies (37-8). 4th mvmt in Am, unusual. modal.

mid romantic- uses harmony to change the context of the idee fixe. rising melody based on triadic mvmt.

-first heard in C w chromaticism to show yearning.

-in 4th mvmt heard in Gm b4 concludes w Gmajor chords. in 5th, heard on Eb clarinet- nightmarish (in Eb). DESPITE- largely based on primary chords.

late romantic- full of modal inflections (flattened 7th in last theme of mvmt) inspired by Czech + Native American music.

-includes surprising modulations eg intro to slow mvmt goes from Db to E in unusual progression.

late romantic- sad adagio Bm final mvmt (adhering to secret programme) recalls earlier ideas (cyclic) ends quietly, (recalls Beethoven 5? triumph/despair