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| orchestral outburst during recit |
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| speechlike basso of dry recit |
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| Catholic study of old Palestrina style |
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| Serious composition for organ or harpsichord, using one subject or theme in continuously |
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| larger scale keyboard piece than the ricercare |
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contrasting sections for keyboard or ensemble
rhythmic themes and liveliness |
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| two treble instruments (usually violins) with basso continuo. |
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| church, could substitute for parts of liturgy |
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| series of stylized dances |
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| full orchestra of concerto |
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| J.S. 6 concertos in F-S-F structure (Cothen 1721) different concertino instrumentations |
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| I (1722 Cothen) 24 pairs of preludes and fugues in all keys, demonstrates new tuning system II (1740) 24 more |
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| Metastasio (early Classical) opera promotes morality |
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| religious dramatic music incorporating narrative, dialogue, and commentary, no props or costumes |
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| sudden forte or piano, a la harpshichord |
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Continuous or near-continuous singing
Staged, with scenery, costumes, and action, ie. L’Orfeo |
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| 16th C musical rules dominated text |
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| Baroque Italian text dominated music, broke rules and used dissonances |
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| specifying only melody and bass with figures to indicate chords other than root position, improvised |
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| improvisatory keyboard, Frescobaldi |
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| refrain variations of bass line |
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| Lully reconciled with ballet, Divertissements (diversions) of dancing and choral singing were interspersed throughout. |
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| collection of keyboard variations J.S. based on Frederick the Great theme, trio sonata with flute (Leipzig 1747) |
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| J.S. 18 canons and fugues based on same subject in d minor, order of difficulty (incomplete Leipzig) |
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| majestic beginning, then fast, from ballet tradition |
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| ABA form, embellished repeat to display virtuosity, Scarlatti |
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| mass ordinary with no deacon |
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| mass ordinary with deacon |
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| songs for solo voice with continuo; any setting of strophic poetry |
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| style between aria and recit, Orfeo |
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| speech-song, invented by Peri, steady basso continuo |
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| ballet dances, inspired by French orchestral music, no standard order |
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| groups of dance movements (ACSOG): 1 Preludes(improvisatory style)2 Allemande (Begins with an upbeat)3 Courante (Triple or compound meter) 4 Sarabande(slow tempo)5 optional 6 Gigue |
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| dramatic, operatic religious setting that adopted theatrical idiom |
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| the name of the small group in concerto grosso |
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| keyboard collection ie. Goldberg (1741 Leipzig) |
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| J.S. setting of Ordinary, adapted from earlier compositions |
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| organ settings of chorales |
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| orchestra plays exposition, then soloist |
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| comedic interlude in Italian comic opera |
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| 2 violins, viola, cello 4 mvt. popularized by Haydn, also Mozart, Beethoven, Schubert |
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| C 1800 normal size, slow intro Haydn-isms “Imitation” |
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| Eb Eroica tribute to Napoleon 1803 twice normal size, bigger sound “Externalization” |
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| F Pastoral programmatic, bird calls, storm, rainbow 5 mvts 1807-8 |
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| d/D Choral includes voices, turkish percussion, “Reflection 1823 |
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| modern, not baroque, chic, smooth, easy |
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| comic opera: 6 or more singers, sung throughout, caricatures, Italy |
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| orchestral 3/4 movement, F-S-F |
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| Haydn #93-104 invited by Salomon 1791, 95, standard instrumentation 2202 2 2/t… |
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| continuous movements story |
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| late baroque elegance, galant style in music |
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| French comic opera, used popular songs (Vaudevilles), spoken dialogue |
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| exposition I-V, development (different keys, retrans) recapitulation I (coda), Haydn mastered, defined classical style |
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| ABA 3/4 dance third movement |
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| joking, fast, evolved from minuet |
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