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| A complex form used in almost all multi-movement instrumental works since around 1750. The form divides into three forms, exposition, development, and recapitulation. |
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| is where the primary themes are introduced, The secondary themes are usually in contrasting keys in the exposition. (the Beginning section of a Sonata-Allegro Form) |
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| is where thematic materials are extended and treated. (middle section and most developed) The development also avoids the tonic key. Development can be contrapuntal and can include imitative or fugal sections. |
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| is where the theme is restated. (Final section of the Sonata-Allegro Form) |
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| A final segment of a movement or composition that has been added after a point at which the work could have been concluded. |
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| Minuet Sonata Form (Rosen) = Stedman’s Song form with Trio |
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| 3 parts just like the Sonata-Allegro Form, but with different themes. It is a dance form of a song. |
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| is a large form that uses either a melodic pattern or a harmonic pattern as the subject of a series of variations. |
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| is a musical form in two related sections, both of which are repeated. It’s usually used to choreograph dances. |
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| is a melody that is the primary material of a section or movement. |
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| is a short melodic fragment that tends to reappear frequently in a composition; can also apply to a rhythmic motive in the same sense. |
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| A literary movement in the 18th century Germany whose title became associated with the almost forced expressiveness of the music of C.P.E. Back and other of the period. |
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| is associated with the rococo period in music history; characterized by a simplicity of texture (simple melody with accompaniment), Fast tempos, incessant rhythmic activity that propels the music very energetically and employs other elements of melodic embellishment |
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| is pertaining to a type of musical texture or layout of parts or voices that has a single melody with a more or less chordal accompaniment. |
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| pertains to a texture created by the combining of two or more melodic lines. The use of counterpoint creates a polyphonic texture. |
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| is another way of saying major scale. A major mode has a major third (two wholes steps) above the tonic pitch; also describes a triad or chord with a major third as its lowest-sounding third; also describes intervals of thirds and sixths. A major interval is a half step larger than a minor interval. |
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| is the mode that locates a minor third above the tonic, or first, scale degree in the tonality; Minor Scale is usually comprised of a tonic (name of the scale), minor third and then a perfect 5th. |
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| is the first scale degree. It also refers to the chord built on the first degree. |
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| is the 5th one of the scale, so if the Tonic is C, then the Dominant key is G. |
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| is form of music based on imitative counterpoint. The composition starts with only one voice stating the theme or subject; then a subsequent voices enter successively with an imitation of the subject while earlier voices continue in more freely contrapuntal lines. |
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| An imitative contrapuntal form in which a late-entering voice repeats exactly what the first voice has played or sung. Ex. 3 Blind mice |
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