Thread: Music Analysis

I thought I'd start a thread in which TC members can analyze particular pieces (kind of like a "book club", but for music). These discussions would be grounded in the written score, and can be anything from academic analyses to specific parts that are particularly moving. To get it started, I'm going to share some of my comments on the first movement of Haydn's 104th symphony. The score can be found HERE.

Three comments:

1. I like the surprises in the slow introduction. The C-natural in bar five, a surprise after the C-sharps in the preceding two bars, takes the music to the relative major. The interval of the fifth in bar 15, which contrasts with the fourths in bars 2 and 8, pushes the music to the A7 that leads to the Allegro.

2. The seemingly insignificant F-naturals in bars 105 and 107 make the modality (major/minor) of the exposition coda ambiguous; later (bars 152-5), the same motif brings the music through a series of quick harmonic changes (which make sense, as it alters the modality in its first appearance) and sets up the tutti major/minor contrast in bars 156-9.

3. The theme (first heard in bars 18-25) starts on the third of the scale and falls to the tonic. This "breath" lessens the tension created by the dominant chord that precedes it (especially because the second and third notes of the theme can be read as part of a V7 chord). The lessening of harmonic tensions puts weight on the dynamic contrast of the fanfares that start in bar 33.

Does anyone else have observations, comments, or questions on this movement?

Of course I analysed this with Christian Karlsen during some lessons, i will type them up and then come back!

I can't contrubute much because I don't read scores. But I do think no.104 is such an utterly civilised symphony of his. I have three versions of it on recording (Academy of Ancient Music/Hogwood, London Classical Players/Norrington and Hanover Band/Goodman). Such a reassuring piece; nothing pretentious.

That's a great thread actually.

If you don't mind, I'll share the "right" way (IMO) of listening to the development part in general:

1. Setting a starting point for the development part (usually when the first theme ends).
2. Listening to the first theme while being fully focused on every element including the (seemingly unimportant) secondary motifs.
3. Listening to the complete development (and dividing it afterward to several sections, if possible).
4. Identifying the theme/motif in each section.
5. Evaluating the changes the have been done in the first theme, their quality and implementation form.

Opinions on this way?

@ emiellucifuge: That's great... I'm looking forward to reading your comments.
@ HarpsichordConcerto: That's true; but there are also some very interesting harmonic moments that (for me) make the symphony rather edgy. I'll have to check out Hogwood's recording;I have his Brandenburgs and love them.
@ Boccherini: That sounds like a good plan. I'll do a division of the development section for Haydn now and then we can discuss the changes Haydn makes in the motifs and themes (and why they work/don't work).

So, for the development (bars 125-194):

I'm going to identify motifs and themes for easy reference:

The theme is heard in bars 18-25 in the first violin part. This can be divided into the first phrase (the first four notes), the second phrase (the rising eight notes to the B-A half notes) and the third phrase (the descending half notes to the end).

Motif A is heard in bars 96-7 in the first violin part (it's A-G#-B-A-C#-E).

Bars 125-145 are based on phrase two of the theme
Bars 146-155 are based on Motif A
Bars 156-166 are a series of "fanfares" and acts as a transitional passage
Bars 167-178 return to phrase two of the theme
Bars 179-194 play both on phrase two and the earlier fanfares mentioned above.

Does this division work?

For those without a score (or not so good at following them) you can always use timings in a youtube video for particular points as well.

Originally Posted by BuddhaBandit

The theme is heard in bars 18-25 in the first violin part. This can be divided into the first phrase (the first four notes), the second phrase (the rising eight notes to the B-A half notes) and the third phrase (the descending half notes to the end).

Isn't it bars 17-24? (according to that score)
Yes, your division of the theme to 3 phrases works properly.
For those who want to follow the theme on YouTube, it's here between 1:58-2:07 (practically until 2:069 or something but nevermind).
HarpsichordConcerto, I think that following the score (I've linked) while listening might help you, at least for the theme.

Originally Posted by Boccherini

Isn't it bars 17-24? (according to that score)
Yes, your division of the theme to 3 phrases works properly.
For those who want to follow the theme on YouTube, it's here between 1:58-2:07 (practically until 2:069 or something but nevermind).
HarpsichordConcerto, I think that following the score (I've linked) while listening might help you, at least for the theme.

What do you guys have to say about the second theme ? Starts at 3.18 in that youtube video.

Interestingly enough, I started to analyze this piece last night. I haven't done much musical analysis before on pieces this size and have only been learning analysis by myself with the aid of books and such (no classes). Because of this, I have a few questions about the exposition, which I have analyzed. Sorry if the questions sound stupid lol, I'm learning. I'd appreciate it if somebody could provide me with some insight on some of these.

1. What would the main theme be considered to be? My thought would be measures 1-4 since the motivic content seems to be developed the most in the development. But there are other parts in the exposition that, receive a lot of attention for development too.

2. There seems to be a deceptive cadence in measure 10, and an authentic cadence two measures later in measure 12. Is this how most people would view it?

3. The Bb in measure 12... Is this part of the secondary dominant harmony V7 of IV? How else could the harmony at this point be interpreted?

4. Am I correct in analyzing the harmony in measures 17 and 19 as V of VI and V of V, respectively?

5. Where does the modulation to G take place? It sounds like it takes place in measure 19, which would make the pivot chord V of V in C, and V in G. Anybody have any other view?

If you could refer to the youtube video it would make things a lot easier for us who don't read scores.