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Allegro in F by Haydn | Classical Piano Lesson | Video - Duration: 7:03.

welcome to Liberty Park music I'm Michelle Huang on your piano instructor in today's

lesson we'll look at Allegro in F by Joseph Haydn

let's first take a look at the piece in general after the initial hearing you

probably have figured out that this is in ternary form with a brief coda in the

first a section the main theme forms the first phrase then the phrase is repeated

with a slight alteration in the second part of the phrase the B section begins

with the same rhythmic motive as the beginning phrase I'll repeat it twice in

short two little two-bar phrases then a series of descending to no slurs then an

octave higher like an echo followed by another series of two now slurs play by

the right-hand and accompanied by the left hand chords

here we have the return of the a section

however this time the second phrase is different from the first time the coda

has the same thematic material from the first phrase but only in snippets

after an overview of the sections and structure of Haydn's Allegro in F

let's take a closer look at how Haydn developed one motivic theme throughout

the piece the main theme which consists of a 2-note slur and a series of eighth

notes in staccato followed by twisting turns 60 no passage

Haydn was very fond of taking one theme developing that theme in many different

ways throughout the piece for example in measure 7 Haydn took a snippet of the

main theme the sixteen or passage here and reshape it in measure seven

at the beginning of the B section the first part the main theme is reused

using the same rhythms for different pitches at a lower register the corner

writing here suggested this section sounds like chamber music as each voice

is played by a different instrument be sure to bring out the top melody the

brilliance here is that even though the rhythm motive is the same the material

sounds different hide and then uses the two now slur motive from the beginning

of the piece throughout the rest the B section most of times descending in

different intervals

other times ascending

sometimes the intervals stay the same but the articulation changes

when the a section returns it begins exactly the same as the first a section

but in the second part Haydn decides to bring the register down and ascend from

there with a crescendo to create a climax

the code has essentially taken from the last part of the main theme they spun

out into a series of short snippets of ascending eighth notes on the left hand

and double notes on the right hand in different registers again getting of

these changes in register as change in instrument the lower register can be

think of as a low instrument such as a bassoon high register maybe the flute

Haydn ends with the left-hand octave in the right hand core with a grin ending

think of this ending as the whole ensemble orchestra playing together

see you next time