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;
85 Cards in this Set
- Front
- Back
Baroque years
|
1600-1750
|
|
Classical years
|
1750-1820
|
|
Baroque key features (5)
|
Sudden dynamics
Simple harmonies - with lots of repetition Lots of ornaments Harpsichord and basso continuo Polyphonic texture |
|
Classical key features (3)
|
Balanced phrases
Gradual dynamics Piano and clarinet |
|
Binary form - structure and period
|
AABB - the two parts contrast by modulating.
Classical and Baroque |
|
Ternary form - structure and period
|
AABBAA - the two parts contrast by modulating.
Last section can be slightly altered (A1). Classical and Baroque |
|
Ternary form - different kinds
|
Baroque - Arias - ABA (till where it says "fine") was used for operas.
Classical - Symphonies - ABACDCABA (minuet and trio) |
|
Rondo form - structure and period
|
ABACADA - section A is known as the refrain/main theme which is in the home key. Each episode modulates for contrast.
Classical and Baroque |
|
Theme and Variation - structure and period
|
Main theme - variation 1 - variation 2 - variation 3.
The tune varies in many ways. Classical and Baroque |
|
Melodic Inversion
|
Turning the melody upside down
|
|
Retrograde
|
Playing the melody backwards
|
|
Sequencing
|
Repeat the rhythm but vary the pitch.
Ascending - go up in pitch Descending - go down in pitch |
|
Imitation
|
Repeating a phrase with slight changes
|
|
Imitation
|
Repeating a phrase with slight changes
|
|
Ostinato
|
Playing a melody over and over again whilst the rest of the piece changes round it
|
|
Sonata Form - structure (define) and period
|
Exposition - Development Recapitulation
Exposition - exposing the themes Development - developing and varying the themes Recapitulation- themes are recapped but slightly altered May have a bridge to link sections together and a coda to end the piece neatly Classical |
|
First subject of Exposition in Mozart
|
Starts piano which is unusual
Violins play a falling motif in octaves whilst the viola plays a tonic pedal by playing Gs Violins become a dominant pedal by playing D The piece modulates to B flat major. |
|
Bridge section of Exposition in Mozart
|
Starts forte which progresses to sforzando. The chromatic notes and descending sequences played by the violins also help to build tension
|
|
Codetta section of Exposition in Mozart
|
Imitation between clarinet and bassoon based on the opening 3 notes.
Goes back to beginning to repeat whole of exposition to ensure balance and familiarity of themes |
|
Development section in Mozart
|
Lots of chromatic notes used.
Explores different keys Contrast between legato woodwind and staccato string counter melodies |
|
Second subject of Exposition in Mozart
|
Strings and woodwind swap over parts creating dialogue
|
|
Texture of Mozart
|
Homophonic
|
|
Tempo of Mozart
|
Molto allegro - very fast
|
|
Metre of Mozart
|
Half common time 2/2
|
|
Recapitulation section of Mozart
|
Lots of cadences and scales.
Ends with four tonic chords at end for a clear finish |
|
Romantic years
|
19th century
|
|
Romantic key features (3)
|
Dramatic and sudden dynamics depicting emotions
More expressive (more markings on music) Virtuoso playing |
|
Monophonic
|
Single line of music
|
|
Homophonic
|
Lots of parts moving together
|
|
Polyphonic
|
Lots of individual lines
|
|
Heterophonic
|
Two or more melody lines with differences and an accompaniment
|
|
How did the piano develop during the Romantic period?
|
Increased to 7 octaves
Became bigger allowing a bigger dynamic range Had pedals to sustain notes Strings and frame became tougher |
|
div
|
"divisi" - part is divided between the players
|
|
Structure of Mozart
|
Symphony - 4 movements (some in Ternary, some in minuet and trio)
|
|
Structure of Chopin
|
Ternary form with a Coda
|
|
Tonality of Mozart
|
Switches between G minor and its relative major (B flat major)
|
|
Tonality of Chopin
|
D flat major but it modulates to its enharmonic equivalent c sharp minor
|
|
Metre of Chopin
|
Common time 4/4
|
|
Tempo of Chopin
|
Sostenuto - sustained (slow)
Rubato |
|
Texture of Chopin
|
Homophonic
|
|
Section A of Chopin - mood and features
|
Calm and mysterious
Introduces the "raindrop" Septuplets Modulates to A flat major |
|
Section B of Chopin - mood and features
|
Violent and powerful - storm
Enharmonically modulates to c sharp minor Inverted pedal occurs; melody changes to left hand Doubles raindrops in octaves - throbbing |
|
Diminuendo
|
Gradually decreasing the dynamics
|
|
Crescendo
|
Gradually increasing the dynamics
|
|
Section A1 of Chopin
|
Returns to key of D flat major
|
|
Coda of Chopin
|
Raindrops come back
Dynamics die down Piece slows down |
|
Rubato
|
Loosened tempo
|
|
Dominant
|
Fifth note in a scale
|
|
Sub-dominant
|
Fourth note in a scale
|
|
Tonic
|
First note in a scale
|
|
Imperfect Cadence
|
1-5/5-4
|
|
Perfect Cadence
|
5-1
|
|
Pivot note
|
Note common to both keys
|
|
What did the arpeggios in Chopin represent?
|
Spreading arpeggios expressed his feelings of loneliness
|
|
Why is it called a "Raindrop"?
|
Repeated pedal notes - sustain
Falling motifs |
|
Sotto voce
|
In an undertone - soft and quiet
|
|
Atonal
|
No keys, chords or cadences
|
|
Klangfarbenmelodie
|
Tone colour melody
|
|
Structure of Peripetie
|
Free Rondo
|
|
Metre of Peripetie
|
3/4 and 2/4 but not constant
|
|
Tempo of Peripetie
|
Sehr Rasch (very quick)
|
|
Haupstimme
|
Principal voice
|
|
Nebenstimme
|
Secondary voice
|
|
Bell up
|
Raise instrument making the bell in air - louder
|
|
Hexachord
|
Set of six pitches
|
|
Complement
|
Other six notes not used in hexachord
|
|
Melody of Peripetie
|
Dissonant and angular - making the piece frantic
|
|
Expressionism key features:
|
Large orchestra
Atonal No constant metre Extreme pitches Very sudden dynamics |
|
Burlesque
|
Parody or humorous piece
|
|
Vaudeville
|
A form of entertainment popular in 1700s where popular songs were performed with alternative words
|
|
Opera-bouffe
|
Light opera (with dialogue and comical content)
|
|
Operetta
|
Light opera
|
|
Extravaganzas
|
Stage shows containing a variety of acts
|
|
Melodramas
|
Dramas in which spoken lines are punctuated by music
|
|
Minstrelsy
|
A form of entertainment popular in the 1800s where actors would pretend to be slaves poking fun at the rich and powerful
|
|
Push notes - definition and effect
|
Come in before the beat - shows the excitement Tony feels for the future (meeting Maria)
|
|
Structure of Something's Coming
|
Theme A - Theme B - Theme C
|
|
Metre of Something's Coming
|
Mix between 3/4 and 2/4
|
|
Tempo of Something's Coming
|
Fast (176)
|
|
Texture of Something's Coming
|
Homophonic
|
|
Tonality of Something's Coming
|
D major but it modulates to C major and G major
|
|
Tritone - definition and effect
|
Augmented forth with six semitones between them - "devils chord" - to create tension
|
|
Blue notes - definition and effect at end of Something's Coming
|
Flattened 7th chords
Leaves piece sounding unresolved |
|
Short riffs and driving rhythms in Something's Coming - effect
|
Excitement
|
|
Effect of um-pah bassline in Something's Coming
|
As it is not syncopated this syncopates with the syncopated riffs
|