The Tour-of-Keys Model and the Prolongational Structure in Sonata-Form Movements by Haydn and Mozart SMT standing on the dominant
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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
12 Bibliograhy Andrews, Harold The Submediant in Haydn s Develoment Sections. In Haydn Studies: Proceedings o the International Haydn Conerence, Washington D.C., Ed. Jens Peter Larsen, Howard Sewer, and James Webster New York: Norton. Anson-Cartwright, Mark Chromatic Features o E!-Major Works o the Classical Period. Music Theory Sectrum 22 (2): Beach, David A Recurring Pattern in Mozart s Music. Journal o Music Theory 27 (1): Burstein, L. Poundie Surrising Returns: The II# in Beethoven s O. 18 No., and Its Antecedents in Haydn. Music Analysis 17 (): True or False? Re-Assessing the oice-leading Role o Haydn s So-Called False Recaitulations. Journal o Schenkerian Studies 5: The Hal Cadence and Other Such Sliery Events. Music Theory Sectrum 6 (2): Striking Aroaches to Recaitulations. Talk resented at EuroMAC June 2017, Strasbourg France. Bushler, David Harmonic Structure in Mozart s Sonata Form Develoments. In Mozart Jahrbuch 1984/ London: Bärenreiter Kassel. Cadwallader, Allen, and David Gagné Analysis o Tonal Music: A Schenkerian Aroach. New York: Oxord University Press. Calin, William E Classical Form: A Theory o Formal Functions or the Instrumental Music o Haydn, Mozart, and Beethoven. New York: Oxord University Press. Clark, Suzannah Analyzing Schubert. New York: Cambridge University Press. Gasarini, Francesco. [1708] 196. The Practical Harmonist at the Harsichord. Trans. Frank S. Stillings, ed. David L. Burrows. New Haven: Yale School o Music. Heokoski, James, and Warren Darcy Elements o Sonata Theory: Norms, Tyes, and Deormations in the Late-Eighteenth- Century Sonata. New York: Oxord University Press. Koch, Heinrich Christoh. [1787, 179] 198. Introductory Essay on Comosition: The Mechanical Rules o Melody, Sections and 4. Trans. Nancy Kovale Baker. New Haven: Yale University Press. Partial translation o ersuch einer Anleitung zur Comosition, vols. 2. Leizig: Adam Friedrich Böhme. Ko, David Chromatic Transormations in Nineteenth-Century Music. New York: Cambridge University Press. Kraus, Joseh C Mozart's Chromatic Third Relations: Evidence rom the Late Quartets and Quintets. Journal o Musicological Research 9 (4): LaRue, Jan Biocal Tonality in Haydn Symhonies. In Conventions in Eighteenth- and Nineteenth-Century Music: Essays in Honor o Leonard G. Ratner. Ed. Wye J. Allenbrook, Janet M. Levy, and William P. Mahrt Stuyvesant [NY]: Pendragon Press. Lauer, Edward oice-leading Procedures in Develoment Sections. Studies in Music rom the University o Western Ontario 1: Petty, Wayne C Koch, Schenker, and the Develoment Section o Sonata Forms by C. P. E. Bach. Music Theory Sectrum 21 (2): Ratner, Leonard Classic Music: Exression, Form, and Style. New York: Schirmer. Rosen, Charles Sonata Forms. New York: W. W. Norton & Comany. Rothstein, William Common-Tone Tonality in Italian Romantic Oera: An Introduction. Music Theory Online 14 (1). Schachter, Carl Unoldings: Essays in Schenkerian Theory and Analysis. Ed. Joseh N. Straus. New York: Oxord University Press. Schenker, Heinrich. [195] Free Comosition. Trans. and ed. Ernst Oster. Hillsdale [NY]: Pendragon Press. Shamgar, Beth On Locating the Retransition in Classic Sonata Form. Music Review 42 (2): Smith, Charles Musical Form and Fundamental Structure: An Investigation o Schenker s Formenlehre. Music Analysis 15 (2 ): Webster, James Haydn s Farewell Symhony and the Idea o Classical Style. New York: Cambridge University Press. Willner, Channan Chromaticism and the Mediant in Four Late Haydn Works. Theory and Practice 1:
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