GAM2 Form and Structure: First, the form and structure of Mozarts Symphony No. 40 will be described.

. There is use of sonata form; this is a typical structure of the Classical/Romantic period. Sonata form is a 3 part structure in which each part has two subjects. The first part is exposition; this starts with the first subject on G minor, and then is followed by a transition to the next subject which is in B (flat) major. This modulation contrasts the two subjects, as well as their different melodies contrasting too. The second subject is then followed by a codetta, which is a little conclusion to the music which marks the end of the exposition. The second part to sonata form is development; this is the movement of the music into various foreign keys. There are two subjects again, the first subject is now fragmented and has various key changes as well as sequence. There is then a bridge in between the two subjects like before, showing a similar pattern, and the second subject is now in G minor. There two subjects are again followed by a codetta which leads onto the third part of the sonata form. The final part to sonata form is recapitulation; this is a re-cap and repeat of the certain melodies and keys used. This repetition of sections and musical ideas embeds the music into the audiences mind. This sonata form will have a fast tempo, which is also typical to the period this music was composed in by Mozart. Tonality: Secondly, tonality of the movement will be looked at. The tonic key of the piece is G minor, however, typical of sonata form the 2nd subject in the exposition is in a different key; b (flat). This is in the relevant major to G minor. In development it modulates through a variety of different keys. In recapitulation, in the second subject it changes back to G minor. After the end of recapitulation, and then the repeats the piece ends with a perfect cadence chord in the tonic key of G minor, this concludes the piece, making it sound finished. This is unlike to is the piece was left perhaps in an imperfect cadence which does not end in the tonic key making it sound unfinished or leaves the audience hanging waiting for more. The perfect cadence is played by the whole orchestra, with tutti. Melody: Thirdly, melody will now be analysed. There is a particular phrase/theme which is repeated and used throughout the whole movement, whether it is in the tonic key, in a modulated key, played on the violins or on woodwind instruments. The melody in subject one starts on the fourth beat of bat number ______ and is repeated throughout, this is the weak beat of the bar, and this is known as an anacrusis. The shape of the melody and its use of two quavers followed by a crotchet is a falling semitone motive this rhythmic idea is used as the basis of the piece. There is also use of question and answer phrasing where a four-bar phrase is answered by another four-bar phrase this repeated pattern also helps to embed the melody into the audiences mind.

The melody in subject two mainly uses longer note values and starts on the first beat of the bar. It has a melody shared between strings and woodwind (clarinets and bassoons) and has a more lyrical and relaxed mood. Like the first subject, it uses semi-tone differences between notes and falling phrases to make the piece sound purposeful and not random. The wind instruments in the piece are paired, 2 oboes, 2 clarinets, 2 bassoons, 2 horns and flutes? This makes it easier to emphasise certain parts of the piece with either forte or piano. Texture: Finally, texture will be defined. There is mainly use of homophonic textures, with melody dominated homophony, with other accompanying melodies. There is melodic interest in 1st Violins mainly playing the main theme, with woodwinds occasionally playing the melody line instead. The two horns used play simple parts, with long sustained notes used to emphasise the cadences at the end of each part. This is due to the fact that the horns structure in the Classical period was very basic and could only play a few notes. In the exposition section first six bars, this is to. In the development section there is a dense texture with use of polyphony. There is also use of counterpoints in the development section. A tonic pedal is used in the