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| The basic mood of a piece |
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| Alternation between loud and soft dynamics |
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| keyboard instrument part of the continuo |
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| Two instruments usually a keyboard and a cello. Played in accompaniment |
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| Showed bass notes of chord progression |
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| Piece that sounds complete but is a part of a larger composition |
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| When the full orchestra is playing |
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| Alternating between tutti and solo |
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| The melodic idea that accompanies the sebject |
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| Period of time for all pieces of Fugue to have subject |
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| When the interval of a fugue is reverses |
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| Where a fugue is played from back to front |
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| Making note values longer |
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| Making note values shorter |
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| The writer of the text to an opera |
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| Voice Categories of Opera |
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| Song like singing an an opera, usually foretells of lost love or death. Much more melodic |
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| Less song like singing in an opera. It is close to speaking. Used for plot advancement. |
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| Three or more vocalists working together in an opera. |
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| A group of singers performing together. |
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| The one who gives cues to the opera performers from a box off stage |
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| Pure orchestral opening to an opera which sets the overall affection |
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| A fellowship where poets, nobles and composers met and paved the way for opera |
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| A process in which a male is castrated to maintain the ability to sing higher |
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| Speech like melody accompanied by a basso continuo |
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| Speech like melody that is accompanied by a full orchestra |
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| Aria in ternary form. It repeats the beginning. |
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| Common in the Baroque period, the bass is repeated while the higher instruments continually change. |
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| A flutter that is used to alert the orchestra that it is almost time for them to play. It is an ornamentation. |
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| Collection of dance music all written in the same key |
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| Common opening to baroque suites. often started like a fugue. |
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| Hymn tunes sung to a religious German text |
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| Short organ composition used to remind the congregation of the melody |
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| Kyrie, Cloria, Credo, Sanctus, Agnus Dei |
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| Musical representation of specific poetic images |
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| Unaccompanied choral music |
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| Sacred // A Cappella // Polyphonic // Latin // Religious text |
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| Sacred // A Cappella // Polyphonic // Latin // Preset text |
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| Secular // A Cappella // Polyphonic // Vernacular // Poems and Mythology |
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| Sacred // Orchestra // Aria // Vernacular |
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| Sacred // orchestra // Aria // German |
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| Secular // Orchestra // Aria or Recitative // italian // Libretto |
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| improvised sounding solo passage – Bradenburg Concerto |
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| Sustain a dissonant note before releasing to a consonant one |
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Working mainly for the St. Mark’s Cathedral
Worked in seven cities
Dealt with word painting)
Orfeo |
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Was a choir Boy
English
Known for variety with the chorus
Dido and Aneas |
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St. Mark’s Connection
The Red Priest
La Primavera
Solo Concerto |
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Brandenburg Concerto (long cadenza)
Suite No.3
No. 140 Wachet Auf
Wrote for Lutheran churches
German
Organ Fugue |
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Messiah
Impresario (one that puts everything together) |
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Trio Sonata
Italian Violinist |
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| Ways to become a musician |
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Son of one
Apprenticed to one
Choir boy at church |
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Britain/English
As Vesta Was descending (about the queen) |
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