The Tour-of-Keys Model and the Prolongational Structure in Sonata-Form Movements by Haydn and Mozart SMT standing on the dominant

Transcription

1 The Tour-o-Keys Model and the Prolongational Structure in Sonata-Form Movements by Haydn and Mozart SMT 2018 Nicholas Stoia Examle 1. Tour o keys with one develoment key Haydn, String Quartet O. No. 1, iii, mm Andante develoment #: i... s s oco sequence (HK: iii) vb 8 vb cresc. (#:) Ger (#:) ( ) recaitulation HC standing on the dominant D: I (HK: I)

2 Examle 2. Haydn, String Quartet O. No. 1, iii, reductions. (a) Tour-o-keys model MT exosition ST develoment recaitulation MT ST 55 tour o keys: # (iii) "dominant-ness" "tonicness" (b) Tonal-olarity model encomassed by home-key dominant II

3 Examle. Tour o keys with two develoment keys searated by a tonicized region Mozart, Piano Sonata K. 280, iii, mm Presto develoment section g: (HK: ii) i... PAC F: tonicized region d: i... (HK: I) (HK: vi) (d:) HC standing on the dominant recaitulation F: I... (HK: I)

4 Examle 4. Mozart, Piano Sonata K. 280, iii, reduction. exosition MT Tr ST develoment # # recaitulation MT 108 ST tour o keys: g (ii) F (I) ton. reg. g: II d: III d (vi) "dominantness" "tonicness" "ivot region"

5 Examle 5. Tour o keys in which the dominant alone articulates the inal develoment key Haydn, Symhony No. 54, ii, mm Adagio assai 50 develoment section re-core core d: (HK: ii) dominant arrival (d:) PAC I6 F: I6 6 5 (HK: I) I (F:) PAC recaitulation a: 7 (HK: vi) vii dominant arrival standing on the dominant C: I... (HK: I)

6 Examle 6. Haydn, Symhony No. 54, ii, reductions. (a) Tour-o-keys model exosition MT ST develoment 50 ( ) recaitulation 7 75 MT ST 5--n tour o keys: d (ii) F (I) a (vi) dominant only (b) Tonal-olarity model encomassed by home-key dominant III

7 Examle 7. Tour o keys that concludes with two develoment-key dominants Haydn, String Quartet O. 54 No., i, mm develoment section Allegro G: z HC PAC sequence: (HK: biii) z (G:) II z b: i iii (HK: v) tonicized region sequence: 65 (b:) iv 6 II 5 D: 6 5 I... (HK: bii) tonicized region

8 Examle 7 (continued) (D:) z z D: I #: I vii (#:) (HK: ii) dominant arrival standing on the dominant z sequence z z z c#: (HK: vi) z dominant arrival standing on the dominant (c#:) dim. recaitulation E: I... (HK: I)

9 Examle 8. Haydn, String Quartet O. 54 No., i, reductions. (a) Tour-o-keys model exosition MT Tr ST develoment 59 A # # recaitulation MT Tr 107 A ST tour o keys: G (biii) b (v) ton. reg. G: iii #: iv D (bii) ton. reg. G: #:I # (ii) "dominant-ness" c# (vi) (b) Tonal-olarity model 72 encomassed by home-key dominant # # III

10 Examle 9. Tour o keys ending on /vi, ollowed by inverted home-key in the retransition Mozart, Piano Sonata K. 280, i, mm Allegro assai develoment section d: (HK: vi) i (d:) retransition recaitulation (d:) HC standing on the dominant F: 4 (HK: I) I

11 Examle 10. Mozart, Piano Sonata K. 280, i, reductions. (a) Tour-o-keys model exosition MT ST1 ST2 develoment recaitulation MT 8 ST1 ST2 A A tour o keys: d (vi) home key "dominant-ness" (b) Tonal-olarity model encomassed by home-key dominant A 4

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