Overall Key Words

Baroque era (1600-1750) • Harpsichord • Ornaments • Terraced dynamics • Basso continuo • Small orchestra (mostly strings, plus some wind) • Suite, sonata, oratorio, chorales, trio sonata • Bach, Handel, Vivaldi Classical era (1750-1810) • Slightly larger orchestra • Piano introduced • Alberti bass • String quartets • Symphony, solo sonata, solo concerto • Balanced, regular phrases • Haydn, Mozart, Beethoven Romantic era (1810-1910) • Lyrical, expressive melodies • Large orchestra • Wider range of dynamics • Richer harmonies and use of chromatic chords • Programme music • Opera symphony • Tchaikovsky, Grieg, Schumann, Dvorak, Brahms, Verdi, Wagner Form and structure BINARY A B Two sections: A usually ends in a related key (e.g. dominant or relative minor), but B returns to the tonic. B will contain with some change/contrast. TERNARY A B A Three sections: section B provides a contrast (e.g. new tune key change). A may return exactly or with some slight changes. RONDO A B A C A A longer form: A returns throughout the piece, with contrasting sections called ‘episodes’, containing new ideas and using different keys. MINUET AND TRIO II: AB: II II:CD :II AB The minuet was a type of graceful dance from the 17-18th century, and was often used as the 3rd movement in symphonies in the Classical era. The minuet had two repeated sections, the trio had two new repeated sections, with a return to the minuet at the end (no repeat). VARIATIONS A a A A A The main theme (tune) is repeated and developed a number of times in a variety of different ways. STROPHIC A A A A simple form where the song uses the same melody over and over. Scales and chords A CHORD is a group of two or more notes played at the same time. A TRIAD has three notes. A CHORD SEQUENCE/ PATTERN is a series of chords. DIATONIC HARMONY is based on the chords of major/minor scales. Primary chords I, IV, V Secondary chords ii, iii, vi, vii Devices Cadences The two chords at the end of a phrase Perfect V-I Strong ending – sounds ‘finished’; a musical full stop. Plagal IV-I Sounds finished but ‘softer’; Amen. Imperfect I-V, ii-V, vi-V Sounds unfinished. Interrupted V-vi Moves to an unexpected chord; ‘surprise’.