Prokofiev Question

Using a movement of your choice, analyse how Prokofiev's use of tonality and
harmony affects the expressive quality of the music.

Movement 1
In movement 1 of Classical Symphony by Sergei Prokofiev, tonality and harmony are
used to affect the expressive quality of the music.
In bar 1 of the first movement, a D major ascending arpeggiated phrase is used to
produce a fanfare in the music. In addition, this D major section is played over a
Mannheim rocket, which adds more brightness to the melody. D major is also a
brighter key than C major. This arpeggio includes repeated statements of the tonic,
D. For example, on the first note, nearly all instruments play D, reinforcing the key
of the piece. In sonata form, the tonic and dominant keys are used, so D and A
major are used, very strong keys.
At bar 11, the piece suddenly modulates into C major without the use of a pivot
chord. C is the leading note of D, and normally this would sound out of place and
unstable. The use of modulation suggests a destabilised quality to the music.
At bar 19, the first theme of the exposition is heard, which is in D major, but hints at
the next key, A major, through use of the G#. This melody produces a simple
quality, as only diatonic notes are used.
At bar 28, the piece modulates to B minor, a quick, fleeting modulation, which
shows that the theme is adaptable to both major and minor keys.
At bar 42, a dominant preparation pedal (E) is heard in the double bass and cello
parts, which serves to anticipate the tonic of the next theme, A. This adds a quality
of suspense.
At bar 46, the second theme in A major is heard. A major is not as strong as D
major, which contrasts the themes.
At bar 81, several perfect cadences are played in order to add a sense of closing to
the exposition. Both the scales and arpeggios of A major are played, in order to
solidify the position of the music in A major.
At bar 87, the development begins, which goes through keys such as D minor
quickly. This causes a turbulent quality which corresponds to the rhythmic instability
of the piece, for example, the use of stretto in bar 123.

At bar 131, the piece modulates to A minor, which prepares for a modulation to the
relative major, C major. At bar 140, the recapitulation is heard in C major which then
modulates to D major, a mirroring of the exposition.
The recapitulation ends at bar 194 for an extended coda in D major. It does not
change keys, which gives the audience a sense of stability and security.