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Exposition Analysis Haydn: Symphony No. 104

            Haydn opens the exposition by modulating from the tonic minor in the slow introduction to the tonic major and opens with 4 main motifs to be used throughout the exposition. Motif (a) being the first 4 note legato motif; (b) being the scalic quaver rise of a fifth; (c) being the staccato notes all playing the same with an appoggiatura on the last note; and (d) being the descending four note fall following that.The rise of a fifth between (b) and (c) gives link back to the slow intro where it does the same in the first two bars, the appoggiatura in (c) also links back to the many seen in the slow intro. Haydn harmonizes (d) between the bass and violin 1 in thirds and has violin 2 playing a similar fall syncopated between that of the bass to give a feeling of a driving rhythm. The phrase ends with an imperfect cadence; then it's repeated only (d) is inverted and the acceding scale gives a feeling of anticipation with a perfect cadence at the end as it leads into the transition section.
             The start of the transition section uses only the tonic and sub-dominant chords alternating between them on each bar at bar 36. The brass section play a tonic pedal note throughout the first bit before playing a tonic fanfare when the music changes. As the music changes the rest of the instruments play through a short, two bar, falling sequence twice. Haydn then uses II7, V7, I where I plays an ascending scale with bass and treble in thirds again but the violins play an ascending broken scale. He then repeats II7, V7, I again an octave up without the scale. Instead motif (c) appears in bar 51 and (b) in 53. The key starts modulating into the dominant as shown by the use of the G# and in doing so Haydn uses a double suspension of a 9"and a 4,3 in the violins. (a) is brought back now but inverted and repeated for emphasis of the dim7 chord used to give a driving force to the music. Here there's an abrupt modulation to the secondary dominant and the bass plays a secondary dominant pedal note in preparation for the perfect cadence back into the dominant as the transition section ends and the second subject starts.

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