Motif 1

Introduced by Altos
Syllabic

Motif 2
Introduced by Tenors Melismatic
Descending Sequence
Motif 3
Introduced
by Altos
Repeated 3
times
Motif 4 Introduced by
Tenors and Bases
Unison, then Harmony
Long Pedal Notes
Part of
Messiah- an
Oratorio
Mainly homophonic, but some
parts polyphonic- a lot of
imitation- and unison at the end
Allegro
Time
Signature
Finishes Adagio
with Plagal
Cadence
AOS1 REVISION
A
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G
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L
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R
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P
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S
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N
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4
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G

M
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Small Orchestra- no
percussion or
trumpets
Sonata
Form
Exposition- Themes are introduced. 1
st

subject G Minor, 2
nd
Subject Bb Major
Has Bridge
Passage and
Codetta
Development- Messes with 1
st

idea of exposition: Trial by key,
dynamic, length etc. Listener
forgets original tune
Recapitulation- Replays
the exposition with
changes- resolves the
piece after development
2
nd
subject in G Minor,
Bridge goes through
multiple keys, ends
with double perfect
cadence
Molto Allegro
Starts quietly, unusual for a
symphony, but Bridge is forte
Written
in 1788
Written
1741
Imitation
in
Codetta/
Coda
Pedal points in development
section
Ternary Form
A- Db Maj.
B- C# Min.
A- Db Maj.
Coda
Other Keys Explored
in A and B
Uses ornaments such as turn in
bar 4
Important Romantic Feature
In Section A it is 7 note, in A it
is 10

Section A
explores Bb
minor (relative)
Sostenuto
throughout
Section B- more dramatic
Melody now in
bottom part,
raindrops in top
Crotchets in
the bass
Gradual Building of
dynamics and
texture
Raindrop notes
are doubled in
octaves

Section B
explores G#
minor and F#
minor
Begins Sotto
Voce but
builds up
Ends very quietly
and high with
ritenuto