Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
41 Cards in this Set
- Front
- Back
|
Classical |
A period of music (1750-1825) renowned for its emphasis on balance. Music would focus on symmetry, proportion, and clear lines. |
|
|
Romantic |
A period of music (1825-1900) renowned for its expression, dissonant harmony and frequent changing of tonality. |
|
|
Sonata |
A Classical (and later) work in three or four movements for a solo piano or solo instrument with piano. |
|
|
Virtuoso |
Displaying exceptional technical ability on an instrument. |
|
|
Register |
A particular part of the range of a voice or instrument, such as a high register or a low register. |
|
|
Sonata form |
A common structure for the first movement of a sonata typically made up of an exposition, development and recapitulation. |
|
|
Exposition |
Introduces the first subject in the tonic key and the second subject in the dominant or related key |
|
|
Development |
Develops ideas from the exposition, while passing through keys that are more distant from the tonic |
|
|
Recapitulation |
First and second subject return in the tonic key. |
|
|
Transition/Bridge |
Links the first and second subject together. It changes to the related key during the exposition, but remains in the tonic during the recapitulation. |
|
|
Codetta |
Ends the exposition, affirming the new key (that the music has modulated to). |
|
|
Coda |
Ends the movement by affirming the tonic key. |
|
|
Contrary motion |
Simultaneous melodic lines whose pitches move in opposite directions. |
|
|
Motif |
A short, distinctive melody or rhythm used in various ways to form much longer passages of music. |
|
|
Subject |
The theme of a fugue or one of two important themes in sonata form. |
|
|
Acciacatura |
Notated as a small note with a slash through the stem, played as quickly as possible. |
|
|
Mordent |
Played as a rapid movement between the note, the note above and back. |
|
|
Trill |
Played as a rapid alternation between the note and the note above |
|
|
Tonic pedal |
When note 1 of any key is sustained (usually in the bass) as chords change above it. |
|
|
Modulation |
Change of key |
|
|
Dominant pedal |
When note 5 of any key is sustained (usually in the bass) as chords change above it. |
|
|
Perfect cadence |
Dominant (V) to Tonic (I) |
|
|
Imperfect cadence |
A cadence ending on chord V and sounding incomplete. Usually preceded by chord I, ii or IV. |
|
|
Interrupted Cadence |
Most commonly comprises chord V followed by chord vi. |
|
|
Dominant preparation |
A passage that creates expectation for the return of the tonic key, typically at the end of the development in a sonata form movement. |
|
|
Diminished 7th |
A four note chord made up solely of minor 3rd intervals, E.g. C Eb Gb and Bb. |
|
|
Alla breve |
A pulse of two minim beats in a bar. |
|
|
Allegro molto e con brio |
The Italian term for very fast and with vigour. |
|
|
Augment |
To double in note value. |
|
|
Diminish |
To halve in note value. |
|
|
Dotted rhythms |
Long – short rhythmic pattern. |
|
|
Grave |
The Italian term for slow. |
|
|
Ostinato |
A repeated rhythmic pattern. |
|
|
Syncopation |
Strongly accented notes played off or against the beat. |
|
|
Alberti bass |
A figuration commonly used in the Classical period, made up of broken chords used as an accompaniment |
|
|
Broken chord |
The notes of a chord are heard separately but in close proximity to each other. |
|
|
Homophony |
A texture comprising a melody part and an accompaniment. |
|
|
Homorhythmic |
A type of homophonic texture in which all parts have the same rhythm. |
|
|
Monophonic |
One unaccompanied melody. |
|
|
Polyphonic |
Two or more independent melodic lines occur simultaneously |
|
|
Murky bass |
An 18th Century term for broken octaves (rapidly alternating notes that are an octave apart). |
