Studied by 6 people
Words Without Definitions
multi-movement cycle
overture
symphony
theme / variations
divertimento
serenade
Deceptive Cadence
Pretty much anything that ends on a VI or vi
Phrase ends on anything other than tonic or dominant
Pop music pop chord progression
I IV VI V
Plagal Cadence
Sub-dominant to tonic
I-IV
Has to end on a four
“A-men” cadence
Often found in hymns
Half Cadence
Should feel unfinished, feel like a question
Weak cadence and calls for more
Usually a half way point in a song
Start from any chord then end on a V chord
Can be an inversion
Only an occurrence in the West
Any phrase ending on a dominant (V, V7, vii)
Imperfect Authentic
AKA IAC
Second strongest cadence
Still V to I
Not in root position
The highest-sounding pitch will not be the tonic
Can still be the same G and C hordes but the C is not the highest-sounding pitch
Perfect Authentic
AKA: PAC
Root position V (five) (or seven) chord to root position I (one) chord
EX: In the key of C this would go from a G chord to a C chord
The highest voice has to be tonic
Has to be the name of the key we’re in
EX: In the key of C, the C has to be the highest-sounding pitch
Cannot be an inversion
The strongest cadence because it is tonic and in root
Cadence
Clear end of a musical phrase
How we get back home
Sense of a musical phrase feeling complete
classical era characteristics
1750-1825
music is for an audience
composers are writing big and full compositions with full ensembles, orchestras, and accompaniment
music is still written for big events
songs are written for requiem (death)
new instrumentation EX:
bassoon
bass clarinet
incorporating order and structure to keep listeners brains engaged
significant artists
Beethoven
Mozart
Schubert
opéra comique
an opera on a lighthearted theme
typically in French
with spoken dialogue
opera seria
usually classical or mythological themes
opera buffa
a comic opera especially one with characters drawn from everyday life
usually in Italian
ballad opera
a theatrical entertainment popular in early 18th-century England
taking the form of a satirical play interspersed with traditional or operatic songs
development
the beginning of the development is announced by a horn call
exposition
theme 1
based on the famous four-note motive in C minor
cyclical form
a theme or musical idea from one movement returns in another one
gruff
humorous trio in C major
four-note rhythm
short-short-short-long
symphony
vocal soloists and chorus join the orchestra
scherzo
a quick paced dance
a variant of the minuet
sonata
an instrumental work for one or two instruments
consisting of three or four contrasting movements
first movement concerto form
based on the recurring theme of sonata-allegro form and the double exposition
concerto
refers to a solo group and orchestra or a solo instrument and orchestra
cadenza
a virtuosic solo passage in the manner of an improvisation that comes toward the end of a movement
emphasized by the fast-slow-fast pattern
da capo
translates to from the beginning
minuet-and-trio form
a type of A-B-A form
consisting of a minuet, trio, and then minuet
coda
an extension of the closing idea
leads to the final cadence in the home key
recapitulation
the beginning of the third section
restatement
development
characterized by conflict and action
bridge
transitional passage leading to a second theme in a contrasting key
exposition
opening section of sonata form
modulates
moves to another key
sonata-allegro form / sonata form
a form which establishes a tonic key
modulates to another key
returns to the original key
chamber music
small ensemble music
2-10 players
refrain
the main theme that repeats
rondo
a lively movement
lighthearted feel
enlightenment
classical Ideals were strong and were combined with philosophical and intellectual movement
thematic development
varying a theme’s melodic outline, rhythm, or harmony
motive / sequence
the smallest melodic or rhythmic unit
absolute music
music with no text or story to hold it in place
the music is the story
