AOS 1
The History of Western
Classical Music
1600-1899
Set Work 2
Mozart:
Symphony No. 40
in Gm
First Movement
Classical Music
1750 - 1825
A deliberate move away from highly decorated and ornate Baroque characteristics. Music from this period
echoes architecture of a clear cut and balanced structure, with a huge use of symmetry. Composers strived
to create Music of Beauty
KEY FEATURES
Simpler textures,
Oft en Homophonic – Melody and accompaniment became the standard.
Polyphonic/ monophonic used for specific purposes
Simpler melodies - repetition and even phrases with lots of ‘question and answer’ structures.
Expression markings given in scores including crescendos and diminuendos
Increased use of wind instruments, though the melody is still mainly in the strings. The wind
instruments tend to fill out the harmonies
The Piano – (replaced harpsichord) ability to produce lots of dynamics, became most
important solo instrument for Classical composers (not used in orchestra)
Clarinet Invented
Piano sonatas – Work for solo instrument and piano
Simple two and three part forms became building blocks for all Classical forms
String quartets – Two violins, viola and cello
Sonata form invented
More contrast within a piece- dynamics, keys, tunes, rhythms
New musical genres –Sonatas for solo instrument, concerto, string quartets and the Symphony
Symphony developed as a musical structure – huge orchestral works
Classical Orchestra
Strings, flutes, oboes, clarinets, bassoons, trumpets, horns, piano –much larger orchestra with better
developed instruments. Woodwind becomes a self contained section
Listen out for,
Classical symphony orchestra – strings, woodwind, brass and timpani
String quartets
Graceful, clear cut melodies with clearly marked phrases
Pleasant harmonies
Solo concertos – soloist plus orchestra
Alberti bass – Split chordal accompaniment
Famous composers
Wolfgang Amadeus Mozart (1756-91)
Franz Joseph Haydn (1732-1809)
Ludwig Van Beethoven (1770 – 1827)
Mozart – 1756-1791
Born in Austria
A child prodigy (young person of exceptional talent)
Toured Europe giving performances to royalty from the age of 6
Lived in Salzburg, Paris and Vienna
Died a pauper at the age of 35
Left over 600 compositions!
What is a Symphony?
A Large Scale orchestral work invented during Classical Period. Early symphonies were
like Italian Sinfonias – for strings and continuo, in 3 movements – slow – fast – slow. The
contrast in tempo translated to first symphony of 3 movements. It then continued to
develop throughout 19th and 20th Centuries and still today. As the symphony progressed it
had 4 movements as follows.
First Movement Second Movement Third Movement (not Fourth Movement
in early symphonies)
– Triple time
Fast Tempo- Allegro Slow Tempo – Slightly slower than Fastest Tempo
or similar Andante 1st movement
Usually in Sonata Forms included Form -Minuet and Form- Rondo, Sonata
Form Ternary and Theme Trio or variations
and Variations
Haydn, Mozart, Beethoven and Schubert – All Classical composers wrote
Symphonies.
Beethoven wrote 9 while Haydn wrote over 100! Mozart composed about 50
symphonies with many being commissioned by royalty or aristocrats.
The most likely place to hear a symphony would be in a concert hall.
During the Romantic era, Symphonies became longer and more elaborated.
The Symphony that this movement is from is 25 minutes in total
The word Symphony is Italian for ‘Sounding together’. – Classical orchestra used in a
symphony is all four instrumental families sounding together.
Symphony No. 40 (1788)
Facts..........
Key of G minor
4 movements
Use of sonata form for 1st, 2nd and 4th movements
3rd movement is a minuet & trio
Each movement has a different tempo
The first movement is molto allegro which means _________________________
No trumpets or timpani – unusual for a Classical Symphony!
A perfect example of well balanced melody lines, written in regular phrases of
four or eight bars – question and answer phrases. Also called Periodic /
Regular phrasing
Regular Cadences define structure
Classical Musical structures were usually balanced and symmetrical – Shown in
this piece by using Sonata Form
Homophonic texture is used allot in this piece, although Polyphonic sections are
also used.
Cantabile playing – legato and singing style
Chords are used to help structure also. Based on the main chords 1, 4, 5 and also
2 and 6
Contrast was shown using a variety of keys, melodies and dynamics
Growing orchestra and redundancy of continuo/harpsichord
Looking at the melody below, this is heard at the beginning of the extract.
Fill in the missing notes in bars 3 and 4.
N.B. You will more than likely get a question like this in the first part of your listening exam.
Look at the following signs/abbreviations. List one place where you can find them in the
score and write down what they mean:
‘div.’______________________________________________________________________
‘1’ _______________________________________________________________________
‘a 2’ ______________________________________________________________________
sf _______________________________________________________
tr ________________________________________________________________________
legato ____________________________________________________________________
staccato ___________________________________________________________________
crescendo __________________________________________________________________
Listen to the music and follow the score. You will notice that it is in 3 main sections, what
happens in the final section?
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
What you have heard is a movement in Sonata Form – the most important large musical
structure in the Classical period.
Sonata Form
Two fundamental ideas in Sonata form are Repetition and Contrast.
It developed from originally from Binary Form.
First Section Second Section Third Section
Exposition – Themes are Development – Themes go Recapitulation – Themes are
‘exposed’ / heard for 1st time through a number of twists and ‘Recapped’
turns
First Subject – Always in A development of one or both First Subject. This is repeated but
Tonic or home key. Usually subjects. It can be based on the sometimes slightly modified –
most lively or rhythmic. whole melody or a fragment or shorter, added ornaments
Transition / Bridge Passage few notes from the theme. Transition / Bridge. This balances
– A short linking section, used Example of features – Sequencing with the Exposition, but this time is
to modulate the Music to the – varying the pitch, Imitation, not needed for a modulation
2nd Subject. with slight changes, Making notes
Second Subject – Contrasts in longer and shorter – Second Subject – Stays in the tonic
both mood and key. The key is Augmentation and Diminution, key this time. Again, sometimes
related – e.g relative New rhythms, Inversion – modified – changing which
Major/minor or dominant key. turning the tune upside down. It instruments play the theme etc
Codetta / Closing Section – will also feature various keys, Coda - Not essential but will often
Brings the section to a close, deliberately avoiding the tonic and appear, particularly if there has been
uses material already used and dominant. a codetta–to balance the work out.
may modify it. Constantly changing with a The coda is longer than the codetta. It
restless feel. is the finishing section, largely in the
tonic key, bringing in material from
the whole piece, slightly varied.
N.b The whole Exposition is often repeated so that the listener will become familiar with the two subjects
before the development
STRUCTURE AND TONALITY
Complete the chart below by adding in the bar numbers:
Section Sub-section Description Key Bar
A melody characterised by a falling
First subject motif. Gm
Played by strings first
Bridge passage Full orchestra playing Bb
Exposition
Second subject A melody with descending chromatic Bb
patterns, shared between strings and (relative
woodwind major)
Codetta Reinforces the key centre Bb
Moves
Development through
various keys
Based on the first subject, which is developed and generally
fragmented around the
circle of
5ths
First subject First subject is repeated with some Gm
variation
Extended
Bridge passage Full orchestra playing Gm
Recapitulation
Second subject Second subject is repeated with some Gm
variation
Repeated perfect cadences to finish the
Coda piece. Gm
MELODY
Most of the melodies are made up of 4 bar phrases that sound like questions and answers.
Many of them are scalic. What does this mean?
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
HARMONY
This is a typical Classical symphony and therefore the harmony is ______________ throughout.
There are however times when Mozart uses chromatic chords such as the diminished 7th
and augmented 6th – mostly used in the development section where the tonality is more
ambiguous.
What harmonic device does Mozart use in the opening bars?
__________________________________________________________________________
He also uses this in bars 17-20, but what is different this time?
__________________________________________________________________________
A popular feature of Classical music was the use of the circle of 5ths as a chord
progression. Mozart uses this in a number of places but most notably in bars 57-58 and
bars 203-209. Its clever design is very helpful in composing and harmonizing melodies,
building chords, and moving to different keys within a composition.
RHYTHM, METRE AND TEMPO
Describe the tempo and metre of this movement in two sentences:
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
The rhythms are fairly simple though there are some use of dotted rhythms and
syncopation to help create momentum and interest. Can you find one example of each
within the score?
Dotted rhythm __________________________________________________________________________
Syncopation __________________________________________________________________________
TEXTURE
As with much music from the Classical period the main texture in this piece is
homophonic. He does however use dialogue between instruments. Look at the second
subject in bars 44-48 – first you hear the strings which is then answered by the WW. What
does Mozart do to this Q&A phrase in bars 52-55?
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
INSTRUMENTS
Wind, Brass, Strings. No continuo – Larger number of Wind instruments in Classical Music
could fill harmonies instead of a keyboard instrument. Clarinet was invented around 1730
– 2nd version included the clarinets. Mozart does not use Trumpets or drums, which were
usually included in the classical orchestration.
Notice how some of the instruments are in Bb and G. They are called Transposing
instruments. Notice that there are two horns in different keys – one in Bb and one in G.
As well as the clarinet and piano being invented in the Classical period the horn was also
another new arrival. The type of horn used at this time was called a natural horn. It had no
valves and therefore relied on the musicians lips to create different notes. The notes were
limited to their harmonic range. A horn in Bb would therefore only be able to play the notes
Bb D F and C. A horn in G would be able to play G B D and F. In order to maximise the
number of pitches Mozart had 2 horns – one in Bb and the other in G.
A natural horn with different sizes of crooks, the crooks did the job of transposing the
instrument.
DYNAMICS
Complete the chart below by filling the general dynamics for each section:
Section Sub-section Dynamics
First subject
Exposition Bridge
Second subject
Development
First subject
Recapitulation Bridge
Second subject
AoS 1
Mozart: Symphony No. 40
When you have learnt the meaning of the following keywords for the above set work write
them in here:
Terms Definitions
Symphony
Sonata Form
Exposition
Development
Recapitulation
1st and 2nd Subject
Bridge Passage
Orchestra
Sequence/
Sequential movement
Chromatic movement
Major and Minor
Dominant Pedal
Circle of 5ths
Diatonic
