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| German Classical composer whose career was based in teaching and performing. He wrote many symphonies, including Symphony No. 40 |
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| Austrain Classical composer known as the Father of the Symphony. He was a court composer. He composed Symphony no. 95. |
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| German Classical composer who is known as being the “bridge” between Classical and Romantic music. One of his most famous symphonies is Symphony no. 5. |
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| A large orchestral piece in several movements. |
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| A musical ensemble of four string players, or 2 violins, 1 viola and 1 cello. Can also refer to a piece of music written for this ensemble. |
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| A musical work that is written for one solo instrument accompanied by an orchestra. Typically has 3 movements. |
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| A form used in a symphony as an opening or middle piece. Contains Exposition, Development, Recapitulation and Coda. |
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| Drama presented in music, with the characters singing instead of speaking |
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| -A form developed by the Classical composers and used in almost all of the first movements of their symphonies |
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| Used in a symphony as a third movement. Based after a dance by the same name. |
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| -A type of sonata form developed for use in concertos. |
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| The main subject and its deviations. |
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| Used in a symphony as the final movement. Light and airy. |
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| Standard Movement Pattern |
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| Order in which a certain piece of music is performed. 4 movements, fast, moderate, slow and fastest. |
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| Exposed theme, or presentation of the theme |
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| 1. The second section of the sonata-form movement OR 2. The process of expanding or developing themes into a larger movement. |
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| 1. The third section in the sonata-form movement OR 2. A “recap” or review of the movement |
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| -In sonata-form, the section that comes between the first theme and the second group and makes the modulation; also called transition. |
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| -In sonata-form, the tune in the tonic key that begins the exposition. |
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| -In sonata-form, the group of themes that follow the bridge |
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| Used in a symphony to precede the first movement. |
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| A passage that brings a piece to a conclusion. |
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| A passage performed by all of the singers in an Opera. |
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| An improvised ornamental passage played by a soloist to show virtuosity. |
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| Fast moving passage in a symphony or string quartet that replaced the minuet and trio section. |
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| Standardized Instrumental Ensembles |
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| Instead of the constantly changing ensembles, these were standardized. |
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| A more specific use of volume in the classical period. |
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| Classical music generally features a melody-with-accompaniment arrangement with background chords supported by a foreground melody. |
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| Works shaped by areas of stable and unstable harmonies |
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| Melodies with periodic phrase construction |
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| Tunes arranged into short, often repeated sections. |
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| Multiplicity and contrast with movements |
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| Use of many different melodies within a single movement or even section. |
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| Varied surface rhythms within movements |
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| The music usually speeds up, slows down, speeds up again, etc. never keeping the same pace. |
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