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Chapter 12: The Symphony

Chapter 12: The Symphony. Rondo Form. Key Terms. Rondo form Rondo Episodes Sonata rondos Finale. Closing Movement. Fast to very fast in tempo Sonata or rondo form favored Sonata-rondo hybrid sometimes used Light, tuneful, brilliant character May borrow popular or folk tunes

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Chapter 12: The Symphony

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  1. Chapter 12:The Symphony Rondo Form

  2. Key Terms • Rondo form • Rondo • Episodes • Sonata rondos • Finale

  3. Closing Movement • Fast to very fast in tempo • Sonata or rondo form favored • Sonata-rondo hybrid sometimes used • Light, tuneful, brilliant character • May borrow popular or folk tunes • Provides an exciting conclusion

  4. Rondo Form (1) • Based on principles of contrast and return • Light, tuneful rondo theme recurs throughout the movement • Contrasting episodes separate rondo theme statements • Possible formats include: • A B A C A Coda (A = rondo theme) • A B A C A B A • A B A C A D A

  5. Rondo Form (2) • Episodes • Contrasting sections • Tuneful in smaller works • Developmental and unstable in larger works • Because audiences know the rondo theme will return, composers play with that expectation at the end of many episodes

  6. Haydn, Symphony No. 95, IV (1) • You want to recognize the tune when it comes back, so… • Get to know the rondo theme • Consider these elements: • Melody - Articulation - Form • Mode - Harmony • Rhythm - Meter - Tempo • Tone color - Register - Dynamics • Texture - Accompaniment

  7. Haydn, Symphony No. 95, IV (2) • Haydn’s rondo theme • Note the a, b, & c phrases

  8. Haydn, Symphony No. 95, IV (3) • Features of Haydn’s rondo theme • Melody simple tune based on rhythmic motives • Articulation mix of staccato and legato • Form |: a :||: bc :| • Mode major • Rhythm varied, fast-moving • Meter duple • Tempo fast

  9. Haydn, Symphony No. 95, IV (4) • More rondo theme features • Tone color orchestra, first strings, then flute, oboe, bassoon, horns • Register middle to high • Dynamics soft • Texture homophonic • Accompaniment simple, mostly staccato figures (does not distract from melody)

  10. Haydn, Symphony No. 95, IV (5) • Haydn’s Episodes 1st: 2nd: • Elaborate, dramatic fugal sections • Power of full orchestra • Tonally unstable • Occasional surprises! (Episode 2) • Continuous motion, few cadences • Fugue subject uses opening motive of rondo theme

  11. Haydn, Symphony No. 95, IV (6) • Haydn’s Use of Surprise • Play from Episode 2 to end • C section “storm” interrupts fugue • Long retransition to last rondo statement • New harmonies for rondo theme • Coda interrupts rondo theme after first phrase • Sharp contrasts between piano and forte

  12. Rondo Form Review • Sectional, with clear cadences and distinct sections • Based on principles of contrast and return • Rondo theme a simple, easily recognized tune with symmetrical phrases and clear cadences • Typical format for Classical rondo: • A B A C A (Coda)

  13. Classical Symphony Review • Originated and came to prominence in Classical period • Large, multimovement work for orchestra • Each movement a distinct, complete musical work • Contrasts between movements (form, themes, key, etc.) embody Classical concept of “pleasing variety”

  14. Symphony Movement Plan Review • Movement I – moderate to fast tempo, sonata form • Movement II – slow tempo, no fixed form (sonata form, variations, rondo, or other) • Movement III – moderate tempo, triple meter, minuet form • Movement IV – fast tempo, rondo form or sonata form

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