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1) slow introduction
2) interaction between solo & tutti
3) dynamic contrast (sudden changes between fortissimo/piano
4) Homophonic texture through solo parts
5) Fermata on the dominant of C minor before going into 1st subject
6) Addition of clarinet
7) Timpani provides harmonic support (pedal point)
8) Vivace Assai tempo after slow introduction
9) main theme appears in the strings only
10)Recapitulation (full orchestra)

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1. Sudden change in dynamics
2. Homophonic textures
3. Idiomatic writing for the strings
4. Hierarchical, eg. vl 1 and vl 2 have most parts
5. Tutti (all instruments play) is included
6. Woodwind support strings in the thickening of harmonic texture
7. Tenuto is played at the beginning of the symphony
8. Pedal points by cello and double bass
9. 2 different forms of tempo
10. Many repetitions

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Calligenia, Henrie, Kat Ying, Soon Lin, Varence

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Calligenia, Henrie, Kat Ying, Soon Lin, Varence

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1. Sudden dynamic changes, for instance ff to p at the start of the symphony.
2. Pedal point by timpani
3. Cut time
4. Tutti and solo parts
5. Use of clarinets
6. Repetitious patterns of rhythm
7. Homophonic texture
8. Fermata at the end of slow introduction
9. Many sforzando and marcato signs
10. Use of appoggiaturas

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1. Dynamics mostly only Forte and Piano. Sometimes Fortissimo and Sforzando.
2. But at the exposition, Forte and Sforzando are mostly used.
3. The flutes, clarinets and fagotte has solos
4. Staccatissimo?

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1. Flute solo and violin 1 have the same rhythmic patterns as seen in bars 5-8.
2. Sudden dynamic changes
3. Use of sforzando on a weaker beat as seen in bars 34 and 36
4. Homophonic texture
5. Imitation in bars 52-56
6. Clarinet solo and violin 1 share the same rhythmic patterns as seen in bars 71-75
7. Melody is taken by the winds while the strings pls the accompaniment in bar 121
8. Use of appoggiaturas in bars 106-120, 139, 143
9. Articulation of notes; staccatos and staccatissimo
10. Syncopation in bars 82-86

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1. The 1st Violins pass the theme/melody to the 1st Clarinet, which then passes the theme/melody to the 1st Flute (these changes of roles are all over the piece)
2. "Style Galant" deployment.
3. Clarinets are added to the instrumentation of the piece and play a significant role in the piece.
4. Wide dynamics range (p to ff).
5. Piece starts with a slow introduction (adagio), and then goes on to Vivace Assai (bar 19)
6. There is a trill at bar 86 by the flutes and clarinets, which doesn't happen anywhere in the piece.
7. At bar 94, use of pizzicato is used.
8. Syncopations
9. Woodwinds has solo features.

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1. Big contrast in dynamics(slow introduction)
2. A lot of scale patterns(exposition)(recapitulation)
3. Frequent occurence of crossing strings(recapitulation)(coda)
4. Use of sfozando
5. Staccatissimo and staccato
6. Arpeggios(exposition)
7. Technically demanding
8. Modulation
9. Appogiatura(bar 107)
10. Bass plays chords separately.

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1. Use of sfz
2. Starts with slow introduction (for 18 bars)
3. Complete instrumentation except for trombones and tuba
4. Use of stacatossimo (bar 88)
5. Lines passing between instruments (96-104)
6. scalic passages
7. Bass and cello often pass a broken chord(?) quaver line
8. Flutes double violins at points
9. Theme keeps repeating
10. More use of winds playing melodies

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1.The speed of the musica begins very slowly, But At the start of bar 19,the tempo gets faster.
2.Sometimes, The Winds are added to the symphonic writting.
3.From bar 92 to bar103, only solo woodwinds are required.
4.sudden change of dynamics in bar 59

5.Sudden change of tempo（Quick tempo changed to slower tempo）in bar 92 of the Development section.

6.Added the Appoggiatura at bar16 of the slow introduction, in the double winds.
7.There are accented staccatos in the final bars of the Expossition.
8. The Coda from bars 174 to bar 183 is scored for solo woodwinds.
9.Haydn scored bars 179 to 182 for second horns and not the first.

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( Yi Yue, Eunice, Qin Yi, Wu Fei)
2) The clarinets that are used are clarinets in B and E#
3) Clarinet and timpani had a change of clefs
4) The development section,bars 92-93 had only 1 flute and 1 oboe playing
5) the bassoon in the coda has a change of key
6) bar 200 in the coda has a staccatissimo on each chord for accent
7) haydn builts up a crescendo from bars 177- 183
8) a2 in bars 67 and 118 -120, states that the clarinet and bassoons are playing in unison respectively.
9) In bar 71, the clarinet has a solo part followed by oboe in bar 76. Both are playing the same rhythm but in different key
10) In bar 147 the bassoon and the upper strings enters in syncopated rhythm

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2 sections: Adagio (bar 1-18); Vivace Assai (bar 19 onwards)
Clarinets were used