Ellington and Haydn Comparisons (24 marks)

Melody
Haydn
Ellington
Harmony
Haydn
Ellington
Tonality
Haydn
Ellington
Rhythm and Metre
Haydn
Ellington
Instrumentation/Resources
Haydn

Esterhazy court orchestra at times had 6 violins, 1 of each lower strings, 2

oboes, 2 horns, 1 bassoon. Sometimes a flute but not in this symphony.
Performances of this in 1770/80s would have had larger orchestra.
Vio I / II are used in unison at beginning and in repeats/dev
Typical vio writing. Vio I more active than Vio II (26-31) (37+120), and vio I
has higher range 2 octave only goes below vio II at bar 32 briefly.
Viola range of a 9th, cello and bass same, but lower in their own range.
Lower strings generally move together in octaves.
String parts not technically demanding, doublestopping is used (tonics
at end) and harmonic support in places.
Arco with some staccato sections.
2 Oboes usually doubling violins same pitch and some augmentation
longer notes because the oboists would have probably struggled with
the articulartion of the semiquavers.(57-63)
Two 8ve range
Oboes - rests provide contrast of sonority and texture and relief to wind
players.
Part doubling Oboe I with Vio II (17-38)
Bassoon plays in passages where the oboes play. Doubles the string
bass line.
Horns, natural horns harmonic series limits notes. But used a crook to
transpose the key.
F major part of the Exposition, Haydn avoids horns altogether. Neither
concert F (the tonic) nor C (the dominant) was among the notes available
to him.

Cembalo (harpsichord) Baroque period a keyboard instrument part of

continuo improve chord acc above a figured bass line. customarily
formed part of the continuo, providing an improvised chordal
accompaniment above a figured bass

Ellington

Structure
Haydn

Sonata Form
(developed from Binary form)
Exposition (in tonic key Dm)
1st subject in Dm, 1-8, 13-16, (9-12 is a contrasting idea within it)
No transition or bridge passage (unusual for sonata form of this time)
2nd subject in F major (relative major where it is supposed to go!)17-38
(plainsong melody section)
Codetta (39-44)
Repeat of exposition this balances the sonata form so that it is closely related
to Binary form where it came from. (AB balance) then the development and
recapit dont seem so long in comparison to exposition if we class dev and recap
to be as one section (B in binary form)
Development (starts in Dm)
Lots based on first subject melodies normal for this style/time
It also refers to 2nd subject.
Goes through different keys where?
57-64 Gm,f,Dm, Am,
What do we notice about melodic lines here?
74-79 concluding section towards recap in Dm
Am,F, Dm..RECAP
RECAP
1ST Subject
Dm repeated as before but with silent horns
Short transition ending 94-99 ending on Dm V(?) to
2nd subject DMAJOR!!
Plainsong from original 2nd subject transposed to tonic major
- Horns larger role
139-144 CODA

Ellington

Normally a fantasy is a type of work that has no clear structure (moving through
the motions) but not in this case.
Head arrangement 0 harmonised theme provides a chord sequence for melodic
improv
Chorus 1 (Head/Introduction)
Interlude
Chorus 2 +3: Trumpet solo (Miley)
Chorus 4: Piano solo
Chorus 5: Trombone solo

Chorus 6: Trumpet solo (interrupted for coda)

Coda(chopin)
Uses 12 bar blues in intro
Texture
Haydn

number of instrumental lines often exceeds the number of parts, because

of doubling. E.g
In bars 18 and similar passages, for example, the seven staves on the
page might initially suggest a fairly full texture, but there are essentially
only two parts, each doubled in octave(s) with horns prolonging or
doubling some notes. One part is played by violins I and II in unison, plus
oboe I an octave higher (and rhythmically simplified) the other is taken
by viola, with cello and bassoon one octave lower and double bass the
octave below that. This prominent two-part texture is a reminder that in
much Classical music interest is polarised between melody and bass,
with other parts clearly subsidiary filling.
Away from bars 18 and similar passages, we find: monophony: A single
part in octaves (as in bar 43) but this is rare.
Three-part and four-part writing. In bars 4042, there are sometimes three
parts (where violins are in unison) and sometimes four (where they play in
thirds).
The viola is independent of cello and double bass, instead of doubling as
in bars 18. how often?
4 part writing e.g. BELOW

In bars 2631 there are four parts, as follows: oboe I and violin II:

Ellington

Most textures are homophonic E.G.

The main melodic interest is often in violin I as customary in Haydns time,
but the plainsong used as second subject is in violin II, in order that the
higher and more agile countermelody can be taken by violin I. bars.
Occasionally the parts all move together in the same rhythm
HOMORHYTHMIC notably in bars 912 and in the final bars 132133.
melody is supported by a rhythmically diverse accompaniment, as in bars
5356, or in sections based on the traditional church melody (bars 1738
and 100121). In the latter case, we can speak of melody-dominated
homophony even though the melody is not at the top of the texture.
Counterpoint: The two-part opening bars (18) and similar passages have
the vital characteristic the clear rhythmic differentiation of parts which
each have a definite melodic character, for the lower part is just as
melodic as the upper.

Opening and closing has trumpet and trombone playing in parallel sixths
3 mains sections
Interlude different amount of parts
Choruses Melody dominated homophony texture.
Accompanying instruments provide choral harmonies filled in underneath the solo
Piano chorus stride style acc.