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