ground bass
can be literally repeating bass line, or repeating bass harmony; dido’s lament
rounded binary
|: A :|: B A?:|
— I->V or i->III/v/V in A. A?end on I/i
— B is “closed”- has a real ending
— codas expected to sit on tonic
double reprise tertiary
|: A :|:B A 😐
sonata exposition
1st TG (I/i) smooth, symmetric; transition typically ends w/ dom of new key; 2nd TG (V/III) modulation; repeat
sonata development
tonally unstable —>V (w/out modulation)
1st TG (I/i); transition; 2nd TG (I/i or I); repeat including development
5 part rondo; 7 part rondo
A B A C A; A B A C A B A
sonata rondo
A B A development A B A
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)

solo concerto expositions
orchestral exposition: 1st TG(I), transition, 2nd TG(might modulate).
Soloist Exp: after o.e. 1st TG(I), transition, 2nd TG(new key)
solo concerto recap
1st TG, transition, 2nd TG: orch hits I64, soloist cadenza–> V7, codetta
fugue subject
main thematic idea. 1st entry in I/i, 2nd entry in dom, 3rd entry in I/i
fugue answers
tonal answer- pitches of subj. changed for harmonic reasons; real answer- exact transposition
fugue counter subjects
CS1- 1st harmony to subject; codetta- area bc subj entries; episode- area bt appearances of subj
very strict form of imitation; dux- 1st voice; carnes- following voice