|
|
|
alteration between loud and soft.
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
sudden shift, physically stepping from one level to another.
|
|
|
|
|
keyboard instrument
could make gradual dynamic changes, but only in a narrow range, from ppp to mp.
|
|
|
|
|
usually played by two instruments, a keyboard instrument and a low melodic instrument.
bass part accompaniment.
|
|
|
|
|
bass part with numbers
specify only basic chords, performer is given a great deal of freedom.
|
|
|
|
| a piece that sounds fairly complete and independent but is part of a larger composition. |
|
|
|
|
a small group of soloists is pitted against a larger group of players called the tutti.
solosists play with a group of musicians for the tutti.
fast slow fast, three movements
|
|
|
|
|
first and last movements of concerti grossi are in this form
based on alternation between tutti and solo sections.
tutti opens with a theme called the ritornello
|
|
|
|
|
opens the tutti in ritornello form.
returns in different keys throughout the movement in fragments.
|
|
|
|
|
a polyphonic composition based on one main theme, called a subject.
throughout different melodic lines imitate the subject.
flexible form
|
|
|
|
|
|
|
| second voice presents the subject in the dominant scale |
|
|
|
| the subject in one voice is constantly accompanied in another voice by a different melodic idea, called the countersubject. |
|
|
|
|
between presentations of the subject
transitional sections
offer new material or fragments of the subject or countersubject.
|
|
|
|
|
a subject is imiatated before it is completed, one voice tries to catch the other
common in fugues
|
|
|
|
| a single tone, usually in the bass is held while the other voices produce a series of changing harmonies against it. |
|
|
|
|
fugue subject can be turned upside down.
like, if subject moves upward by leap, the inversion will move downward the same distance.
|
|
|
|
| subject begins with the last note of the subject and proceeding backward to the first. |
|
|
|
| subject presented in which the original time values are lengthened. |
|
|
|
| subject appears with shortened time values. |
|
|
|
| an independent fugue is introduced by this short piece |
|
|
|
|
text of the opera, lyrics
set to music by the composer
|
|
|
|
|
writes the text of the opera.
dramatist
|
|
|
voice categories of opera
(from highest to lowest)
|
|
|
coloratura soprano – high, scales, trills
lyric soprano – high light voice
dramatic soprano – full powerful
lyric tenor – light, bright
dramatic tenor – powerful, heroic
basso buffo – comic roles, sings rapidly
basso profondo – very low, powerful, dignity
|
|
|
|
|
a song for solo voice with orchestral accompaniment.
outpouring of melody that expresses an emotional state.
lasts several minutes and has a definite beginning, high point, and end.
|
|
|
|
|
a vocal line that imitates the rhythms and pitch fluctuations of speech.
lead into arias often
words are sung quicly and clearly, often on repeated tones.
one note to each syllable.
used for monologues and dialogues that connect the more melodic secitons of the opera.
caries action forward
|
|
|
|
| three or more singers are involved |
|
|
|
| generates atmosphere and makes coments on the actions. sound creates a tonal background for the soloists in opera |
|
|
|
| gives cues and reminds the singers of words or pitches if they momentarily forget. |
|
|
|
|
open operas
purely orchestral composition
short musical statement from material heard later in the opera.
|
|
|
|
| drama that is sung to orchestral accompaniment |
|
|
|
| small group of nobles, poets, and composers who began to meet regularly in florence, prepared opera. |
|
|
|
| a male singer who had been castrated before puberty |
|
|
|
| only accompanied by a basso continuo |
|
|
|
| emotional high points and moments of tentsion that are supported by the orchestra |
|
|
|
|
aria in A B A form
after B section, th term da capo is written, which means from the beginning.
|
|
|
ground bass
or basso ostinato
|
|
| musical idea that is in the bass and repeated over and over while the melodies above it change. |
|
|
|
| a composition in several movements for one to eight instruments |
|
|
|
| so called because they had three melodic lines, two high lines and a basso continuo. actually features four instrumentalists, two doubling on the basso continuo. |
|
|
|
| an ornament consisting of the rapid alternation of two tones that are a whole or half step apart |
|
|
|
| sets of dance inspired movements. made up of movements that are all written in same key but differ in tempo, meter, and character. |
|
|
|
|
first presents a slow section with dotted rhythms that is full of dignity and grandeur. second section is quick and lighter in mood often beginning like a fugue.
common opening, type of piece heard at beginning of baroque oratorios and operas
|
|
|
|
|
hymn tune
sung to a german religous text
one note to syllable
|
|
|
|
| short composition based on the hymn tune that reminded the congregation of the melody |
|
|
|
|
originally menat a piece that was sung
principle means of musical expression in the lutheran service
sermon in music that reinforced the minister’s sermon
|
|
|
|
|
a large scal composition for chorus, vocal soloists and orchestra
set to a narrative text
differes fro opera, no acting scenery or costumes.
most based on biblical stories, but usually they are not intended for religious services.
|
|
|
|
|
melodic accompanied recitative
vocal line is something between a recitative and an aria, more lyrical than the one, less elaborate than the other.
|
|
|
|
|
refers to the form of a single movement.
opening fast movement of a classical symphony, sonata is usually in sonata form.
also used in slow movements.
consists of the exposition, development and recapitulation.
|
|
|
|
| sets up a strong conflict between the tonic key and the new key, and between the first and second themes |
|
|
|
| leads from first theme to second theme. |
|
|
|
| often the most dramatic section of the movement. |
|
|
|
| short musical ideas developed within a composition |
|
|
|
|
brings resolution as we hear the first theme in the tonic key again.
all principle matter is the same as the exposition but in tonic key.
|
|
|
|
| rounds off a movement by repeating themes or developing them further. always ends in tonic key. |
|
|
|
|
a basic musical idea, the theme is repeated over and over and is changed each time.
each variation is unique and may differ in mood.
|
|
|
|
|
accompanies original melody
creates polyphonic texture.
|
|
|
|
|
often used as the third movement of classical symphonies, string quartets and other works.;
originated as a dance.
written for listening. in triple meter, moderate temp
A B A (trio, minuet, trio)
|
|
|
|
| usually in A B A form like minuet, ;and in tirple meter, but moves more quickly and has more energy and drive and humor. |
|
|
|
| a work that’s usually light in mood, menat for evening entertainment. |
|
|
|
|
features a tuneful main theme, which rturns several times in alternation with other themes. common patterns are
A B A C A
A B A C A B A
|
|
|
|
|
contains a development section like that in sonata form and is outlined
A B A development A B A
|
|
|
|
|
an extended, ambitious composition typically lasting between 20 and 45 minutes, exploiting the expanded range of tone color and dynamics of the classical orchestra.
1. vigourous fast movement 2 lyrical slow mocment 3. dancelike movement 4. brilliant heroic fast movement
|
|
|
|
| a three movement work for an instrumental soloist and orchestra. |
|
|
|
| in first and sometimes last movements, special unaccompanied showpiece for the soloist |
|
|
|
| designed for the intimate setting of a rom in a home or palace rather than public conert hall |
|
|
|
|
written for two violens, a viola, and a cello.
most important form in classical chamber music
1. fast 2. slow 3. minuet or scherzo 4. fast
|
|
|
|
|
|
|
| concerto grosso, fugue, baroque opera, baroque sonata, baroque suite, cantata, oratoria |
|
|
|
| monteverdi, purcell, corelli, vivaldi, bach, handel, |
|
| main forms of classical period |
|
| sonata form, theme and variations, minuet and trio, rondo |
|
| main genres of the classical period |
|
| classical symphony, classical concerto, classical chamber music, opera |
|
|
|
|
|
|
|
|
dido’s lament
;
composer?
|
|
|
|
la primavera movement I
;
composer?
|
|
|
|
|
|
|
evry valley shall be exaulted
;
composer?
|
|
|
|
symphony number 4 in g minor 4th mvnt
;
composer?
|
|
|
|
symphony 94 2nd movement
;
composer?
|
|
|
| symphony number 5, second movement |
|
|