1. Mozart – Symphony no.40 in G minor
AoS1

2. Classical Era
Is from
Music is different to the flamboyancy of Baroque music.
Inspired by the ancient world of the Greeks and Romans.
Traits of clarity, order and balance found in classical symphonies.

3. Classical music features
Apart from Mozart, other famous composers of the era include Haydn and Beethoven.
Balanced phrases (4/8 bars long)
Use of primary chords (I IV V)
Modulations are via the primary chords of relative minor/major

4. Classical music features continued
Introduction of instruments such as the clarinet and piano
Orchestras still string led but more woodwind and brass involvement (especially towards the end of the era).
Strings
Woodwind
Brass
Percussion
Violins
Violas
Cellos
Double Basses
Flutes (2)
Oboes (2)
Clarinets (2)
Bassoons (2)
Trumpets (2)
French horns (2)
Timpani

5. Symphony A symphony is simply a piece written for the whole orchestra.
It was invented in the Classical era and is still used in modern classical music.
Traditional it had 3 movements (fast-slow-fast)
As the period progressed, a 4th movement was added.
1st movement
2nd movement
3rd movement
4th movement
-Fast tempo
-Usually written in sonata form
Slow tempo
Various forms used including ternary and theme + variations
Minuet and trio
Fast tempo
Rondo or sonata form

6. Symphony no.40 in G minor Written in 1788 What is the key?
What other keys are related to it? (remember relative major/minor)
Our piece is just the 1st Movement, not the whole piece!
Firstly we need to understand the form its uses to structure the piece.

7. Sonata form Overall sections are: - Exposition - Development
- Recapitulation
Usually, the exposition is repeated twice.

8. Exposition The opening section of the movement.
There is another structure within this section.
- first subject (G minor tonic)
- bridge (modulates to relative major Bb)
- 2nd subject (Bb major)
- codetta (Bb major)

9. Development This is the middle section
It takes either the 1st or 2nd subject from the exposition.
It uses that melody/part of it and develops it by usually going through a lot of key changes.
Usually this section that uses chromatic harmony and avoids the tonic and dominant keys.

10. Recapitulation Based on the exposition and so has the same structure
- 1st subject
- Bridge
- 2nd subject
- coda
This time, the bridge section does not modulate and stays in tonic key (G minor) so 2nd subject heard in G minor.

11. Melody dictation You must memorise the violin I part bars 1-5.
Also do the same but with the violins and woodwind bars

12. Key relations
It is important to be aware of the primary chords of the 2 main keys used in the piece.
G minor
Bb Major
Tonic (I)
Bb major
Dominant (V)
D major
F major
Sub dominant (IV)
C minor
Eb major
Relative minor/major

13. Exposition – 1st subject
No introduction and starts quietly
Bars
What is happening
1-5
1st subject heard (1st violin)
5-9
1st subject heard but one tone lower (downwards sequence)
9-20
2nd part of 1st subject heard. Highlights dominant chord (V Dmajor)

14. Exposition – Bridge
Bars
What is happening
20-27
1st subject heard but modulate to Bb major (relative major)
28-44
Loud passage in Bb major, full orchestra.
First time horns are heard
30-33
One bar descending sequence in violins
34-43
Strong sfz chords
Last 6 bars dominant pedal note (F)
One bar rest ends bridge

15. Exposition – 2nd subject
Bars
What is happening
44-51
Melody is in Bb Major (relative major)
50-51
Perfect cadence
52-58
Melody is repeated by the string and woodwind parts have swapped
58-66
Theme extended by one bar sequences
Harmony dominant 7th chord in Ab major
Bass moves up chromatically
66-72
New 6 bar idea played by strings
Ends with perfect cadence.

16. Exposition – codetta 73-88 Idea passed from clarinet to bassoon.
Bars
What is happening
73-88
Idea passed from clarinet to bassoon.
Violins played augmentation of 1st 2 notes of theme
88-100
Last few bars based on one long perfect cadence
Homophonic texture
Last chord pivots piece back to the beginning or move onto the development

17. Development Based on the opening 3 notes of 1st subject Bars
What is happening
Single Gm chord, woodwind choral and scale descent to F#m.
1st four bars of 1st subject played 3 in times in octaves. Each time it is head at a lower pitch.
Descending chromatic chords.
Modulations occur going downwards in the circle of 5ths. (Em, Am, Dm, Gm, C, F, Bb) by bar 128.
Last 4 bars, repeat A in bass line form a dominant pedal note (we’re in Dminor at this point)

18. Development Bars What is happening 139-164
Texture reduced to 3 opening notes of 1st subject and dialogue between the woodwind and strings
Different pedal notes are played by Bassoon and then Horn and then Bassoon just before the recapitulation.
Last 8 bars is a strong Loud section with 3 opening notes dialoguing between upper and lower strings.

19. Recapitulation– 1st subject
Bars
What is happening
Exact replica of the Exposition section

20. Recapitulation – Bridge
Is 51 bars longer than in the Exposition section.
Bars
What is happening
As the bridge is not modulating to the relative major, Mozart develops the theme more.
Ist subject theme modulates quickly to Eb major.
Theme is split between upper and lower strings.
Counter melody in bass parts (constant quavers)
198 – violas, cellos, basses have melody.
Last 5 bars dominant pedal note of D as we have remained in G minor

21. Recapitulation – 2nd subject
Bars
What is happening
Second subject heard in G minor
Texture has been reduced
241- modulates to Eb major briefly
245- riding one bar sequences and chromatic bass line
254- melody same as in exposition for the end of the section but in g minor instead.

22. Recapitulation – coda Bars What is happening 260-276
3 note motif passed between clarinet and bassoon and augmented violins 2 note motif. (similar to exposition)
Starts off with a scalic run
Suddenly interrupted by quiet chords in woodwind
Final tutti homophonic section.
Extended perfect cadence in g minor.
Last 6 bars same as last 6 bars in Exposition but in G minor