harmony and tonality

• 1. Early Classical

  Stamitz Op.3 No.2

  • diatonic
  • funcitonal primary chords
  • pedals
  • return of tonic in development - lead sonata form

  Haydn no.2

  • circles of 5ths m1
  • s2 minor m1 - tonal contrast like Mozart
• 2. Haydn 104

  • introduction - ambiguous tonality (D minor)
  • mostly diatonic D major
  • circle of 5ths and neo 6ths
  • m2 in subdominant
  • phryggian cadence m3
  • traditional but developped chromaticism and modes(minimal)
• 3. Early Romantic

  Beethoven Eroica no.3

  • dramatic chormaticism - C# b.8
  • importance of diatonis harmony
  • heavily accented F maj7
• 4. Mendelssohn Italian

  • major -> minor
  • lots of pedals
  • m4 lots of 3rds and 8ves
  • dim 7ths
  • 1st inversion chords
• 5. Late Romantic

  Dvorak, New World

  • mostly traditional
  • modal inflections - flat 7 last movement
  • surprising modulations - m2 E min-> Db maj

  Strauss, Don Juan

  • highly chromatic
  • Emaj->Eminor
  • 1st chord = flat 6th - ambiguous tonality
  • moves chromatically -> V b.2