| flauto piccolo (fl. picc.) |
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| orchestra follows the soloist |
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| improvised (or written-out) ornamental passage for soloist |
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| plucked (string instruments) |
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| resume bowing (string instruments) |
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| always/continuously plucked (string instruments) |
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| slightly faster than andante |
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| capriccioso, quasi recitando |
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| capriciously, almost recitative-like |
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| return to a precise tempo |
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| a little more agitated/moved |
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| at the performer’s pleasure |
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| very moderate tempo (slower than allegro) |
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| in horn playing, stopped horns |
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| lively, brisk, and playful |
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| a little pressing (getting faster) |
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| at the performer’s pleasure |
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| quick, continuous reiteration of a single pitch |
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| detached (but not as short as staccato) |
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| change of instrument and/or tuning (“muta in G/d” for timpani means to change the timpani’s tuning to G and d; “muta in flauto piccolo” in a flute part means to change to the piccolo) |
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| bon marcato e staccatissimo |
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| well-marked and with extreme staccato |
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| to be performed as on the first playing |
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| very broadening, becoming slower, sometimes with crescendo |
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| general class of pitches produced by sounding the second or some higher harmonic of a vibrating system such as a string |
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| spirit, spirited, usually in association with fast tempo |
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| with the stick of the bow of a stringed instrument OR with the drumstick |
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| Prelude a “L’apres-midi d’un faune” |
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| Prelude to “The afternoon of a faun” (by Claude Debussy) |
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| sweet, soft and expressive |
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| a continuous or sliding movement from one pitch to another |
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| to bow over the fingerboard |
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| diminuendo (dim.) et retenu |
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| becoming softer and held back |
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| always/continuously animated |
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| change to Bb (si is the French name for the English pitch “B”) |
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| very prominent or standing out |
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| (movement) any self-contained and thus at least potentially independent section of a larger work |
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| meme mouvement et tres soutenu |
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| same movement and very sustained |
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| up bow (string instruments) |
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| down bow (string instruments) |
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| same movement as the beginning |
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| in harp playing, prepare (to set pedals in appropriate positions for coming passages) for Eb (Mi is the French name for the English pitch “E”) |
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| dans le mouvement plus anime |
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| in more animated movement |
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| a harsh or brassy tone (esp. on the horn) |
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| tres lent et tres retenu jusqu’a la fin |
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| very slow and very held back until the end |
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| last 2/3 of Romantic period; composers tried to celebrate their countries; Russia is primary country |
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| in St. Petersburg, Alexander Borodin, Modest Mussorgsky, and Nikolai Rimsky-Korsakov were the most well-known |
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| Rimsky-Korsakov’s most well-known piece; program music; based on “1,001 Nights” |
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| conveys a story or concept |
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| 1867-1918; French; pianist; Paris conservatory; trained as Romantic; bohemian; Impressionistic; 3 style periods (more conservative toward death); “emancipated dissonance” |
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| in art, focused on precise color, fluidity… musical movement followed artistic movement… akin to symbolism in literature |
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| invented use of grand pause for dramatic effect |
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| won by Debussy; allowed 1 year’s study in Rome for sole purpose of composing |
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| group of like things (oratorio, lieder, etc.) |
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| course specifically on Beethoven, Haydn, etc. |
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| course studying a specific period |
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| 1600-1900 (Baroque, Classical, Romantic); aka the Tonal Period |
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| multi-movement work for orchestra; each movement/piece is complete in and of itself |
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| multi-movement work for orchestra *w/ solo instruments*; Baroque period had solo concerto and concerto grosso (depending on # of solo instruments – concerto grosso had a solo group called a concertino: usually 2 violins) |
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| Baroque concerto with a solo instrument |
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| Baroque concerto with a solo group called a concertino (usually made up of 2 violins) |
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| no woodwinds/brass; continuo (accompaniment) – usually harpsichord; firm bass and florid treble; bass played continuo line with harpsichord |
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| writing in multiple parts |
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| no valves – all done with mouth |
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| C clef – alto or viola clef if middle line is C; tenor clef if line above that is C |
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| section of melody thrown back and forth from part to part |
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| written-out round – each part comes in on same melody on same pitch at different times |
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| the plot that holds the piece together; what one does to alter the plot |
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| 1750-1825; symphony, concerto, string quartet, sonata (all multi-movement works – normally 4, concertos 3); 1) fast 2) slow 3) dance/minuet 4) faster; Haydn, Mozart, Beethoven |
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| worked in Leipzig, Germany at end of career; important to everything except opera; cantatas (weekly ~ 300); oratorios; Passions (events leading to Christ’s crucifixion) |
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| different instruments repeat same melody on different pitches at different times |
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| end in a major third (Baroque) |
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| 1st Rondo – ABA; 2nd Rondo – ABACA; 3rd Rondo – ABACADA |
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| 1770-1827; German; worked in Vienna, Austria; born in Bonn; alcoholic and musician father; brought to Vienna by Haydn; went deaf early; composed 32 piano sonata, 9 symphonies (3-Eroica 6-Pastorale 9-Choral) |
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| Beethoven’s Symphony No. 8, Op. 93 |
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| Beethoven’s contemporary, invented metronome |
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| sonata form without development |
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| sacred choral composition (not for everday service); text from Roman Catholic service |
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| Kyrie, Gloria, Credo, Sanctus & Benedictus, Agnus Dei |
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| official language of Roman Catholic Church; 1962 decision that Mass could be said in vernacular |
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| 3 statements represent Holy Trinity; until 14th century, almost all music was subdivided into 3 beats/measure to represent Trinity) |
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| highest note in a phrase (focal point) |
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| died of syphylus at age 31 |
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| text for opera, word book (by a librettist) |
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| Giuseppe Verdi opera; based on “Le roi s’amuse” (the King Amuses Himself) by Victor Hugo; made king into duke for censors; Count Monterone curses Duke & Rigoletto – Gilda will be compromised |
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