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| can be literally repeating bass line, or repeating bass harmony; dido’s lament |
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|: A :|: B A?:|
— I->V or i->III/v/V in A. A?end on I/i |
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A B A
— B is “closed”- has a real ending
— codas expected to sit on tonic |
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| 1st TG (I/i) smooth, symmetric; transition typically ends w/ dom of new key; 2nd TG (V/III) modulation; repeat |
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| tonally unstable —>V (w/out modulation) |
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| 1st TG (I/i); transition; 2nd TG (I/i or I); repeat including development |
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| 5 part rondo; 7 part rondo |
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| not actually a form- describes structure of concerto grosso but not no set itinerary; concertino- soloist; ripieno- larger ensemble, alternates w/ concertino
— R1(I) e1 R2(new key)…Rn(I) |
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| solo concerto expositions |
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orchestral exposition: 1st TG(I), transition, 2nd TG(might modulate).
Soloist Exp: after o.e. 1st TG(I), transition, 2nd TG(new key) |
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| 1st TG, transition, 2nd TG: orch hits I64, soloist cadenza–> V7, codetta |
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| main thematic idea. 1st entry in I/i, 2nd entry in dom, 3rd entry in I/i |
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| tonal answer- pitches of subj. changed for harmonic reasons; real answer- exact transposition |
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| CS1- 1st harmony to subject; codetta- area bc subj entries; episode- area bt appearances of subj |
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| very strict form of imitation; dux- 1st voice; carnes- following voice |
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