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The Development Section Bars 101-164 Based entirely on the opening figure from the first subject. That’s this bit, here!

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Presentation on theme: "The Development Section Bars 101-164 Based entirely on the opening figure from the first subject. That’s this bit, here!"— Presentation transcript:


2 The Development Section Bars Based entirely on the opening figure from the first subject. That’s this bit, here!

3 Bars Follows a single G minor chord Chromatic chord (G#- B-D-F = Diminished 7 th ) leads to a woodwind chordal and scalic descent in to F# minor (remote key) before the violins enter with the theme F# Min

4 Bars First 4 bars of the first subject are played 4 times, in octaves, in the first violins. Played as a descending sequence. Chromatic harmony (Example = Chromatic chords in the Bassoons, bars ) 107

5 Bars Bars = V-I in E minor (modulated) Violas, cellos and Bassoons have the theme. Violins have a countermelody. This is played staccato to contrast with the legato theme. Woodwind provides chordal harmony. In Bar 118, we modulate to A minor and the melody and countermelody switch over. 118

6 Bars Bar 120D minor Bar 122G minor Bar 124C major Bar 126F major Bar 128Bb major o See next slide for the score to show the above. o Music rises by 4 notes every time we modulate. o Constant exploration of different keys is a major feature of the development section. Pay attention, we have a bit more to do.... Hush there, Goldendoodle! They are trying to concentrate and you are very cute and distracting


8 Bars Repeated A in the bassoon, violas and cellos form a dominant pedal (in D minor) The repeated A’s in the violins add to the effect.

9 Bars Texture is reduced, using the first 3 notes of the first subject as a motif. The motif is passed around the woodwind and strings, creating a dialogue effect. Various pedals are used in this passage, first by bassoons, then the horns, then the bassoons take over again until the start of the recapitulation. F pedalDominant of Bb minor G pedalDominant of C minor D pedalDominant of G minor (tonic key) Dramatically reduced texture F pedal in the bassoon Motif from First subject

10 Bars continued... Bars = forte passage. Powerful dialogue between upper and lower strings. Tension is provided by the dominant pedal (D) which only gets resolved at the start of the recapitulation

11 And that is all for the development section. Only the recapitulation and the coda to go. We are over halfway there folks! That’s OK Mozart, I quite like this symphony and it’s innovative display of unusual harmonic tension for the time.

12 The Recapitulation Not just a direct repeat of the exposition – The bridge is extended and the coda is far more developed than would be expected..... Bars are a direct repeat of bars 1-20 in the exposition

13 Bars : The Bridge Passage. 51 bars long this time, instead of 24! The function of the bridge section in the exposition is to modulate key between the 1 st and 2 nd subject. This is not necessary in the development as the 2 nd subject will be in the tonic key. So.... Mozart uses this opportunity to further develop the thematic material. The bridge is needed to provide structural balance to the piece as a whole – A Classical ideal.

14 Bars : The Bridge Passage cont... Bar : Theme begins as expected but almost instantly modulates to Eb major (Look for Ab’s). V-I cadence in Bars : Tutti section. Strong forte section heard in the exposition. Theme is split between upper and lower strings in alternating passages. Unlike bar 28 in the exposition, we now have a quaver bass countermelody going against the theme.

15 Bars : The Bridge Passage cont... Bars : The parts swap over (as we have seen happen before) Music modulates through F minor (bar 198), Eb minor (bar 205), reaching the home key at bar 211. Bars = Bars of the exposition, except we remain in the tonic key this time. Bar : Dominant pedal (D) in cellos, horn and bassoon preparing for the second subject. Bar 226: Bar of rest for dramatic pause/anticipation.

16 Bars : The Second Subject. Starts on the tonic key. Theme is shared between the strings and woodwind (like in the exposition). Reduced texture, dynamics. Bars : Short passage modulating to Eb major with a dominant pedal in the cellos and horns. Bars : Rising one bar sequences (look at the bass). Bars : Perfect cadence (Ic – V – I). Bars = Bars 66-72, but now in G minor (Tonic).

17 The Coda: Bars Bar : 3-note motif from the exposition is passed between the clarinet, bassoon and flute, with 2 note motif augmented in the violas and cellos.

18 The Coda: Bars Scalic flourish building towards the expected final cadence. ff passage is interrupted with p woodwind chords, with glimpses of the first subject in the second violins. This is then passed around the first violins, cellos, flutes, clarinets and bassoons.

19 The Coda: Bars Final Tutti, homophonic of chords I and V. Finishes with 4 emphatic full stops (G minor chords). Last 6-bars corresponds with the last 6-bars of the exposition. IVIIIIVI I IVV

20 And that’s all Folks! Now go and listen to the whole thing, both with the score and looking at your notes. Then answer the questions on page 33 I hope you enjoyed my 40 th Symphony!

21 Keywords Chromatic Chordal Scalic Remote Key Descending sequence Chromatic Harmony Modulate Staccato Legato Semitone Countermelody Dominant Pedal Texture Motif Sequence Augmented Homophonic Tutti Pathetique

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