Form

Question 1

perfect authentic cadence

Answer 1

V-I, with scale degree 5 and scale degree 1 in the bass

Question 2

imperfect authentic cadence

Answer 2

V-I, but the bass does not end on scale degree 1. Instead, ending on scale degree 3 or 5, still indicating a I chord

Question 3

half cadence

Answer 3

Cadence that arrives on the V chord. Typically this involves either a predominant chord (such as ii or IV) or a secondary dominant chord, arriving on V at a strong cadential point.

Question 4

Phrygian half cadence

Answer 4

iv6-V in minor key
Chord progression where subdominant chord in 1st inversion is followed by the dominant chord.
Ex: E minor, A minor (C,E,A) moving to B major (B,D#,F#). Bass voice moves in half step motion

Question 5

Plagal cadence

Answer 5

IV-I (amen)

Question 6

Deceptive cadence

Answer 6

Sounds like it is going to I, but instead resolves to vi, the relative minor. Ex, V-vi in major; V-VI in Minor

Question 7

phrase

Answer 7

Complete musical statement that can rely on tonic and dominant chords. Typically, a phrase is punctuated by a closing gesture (cadence). Phrase model is typically T-PD-D-T

Question 8

Motive

Answer 8

Smallest identifiable musical idea. It can consist of a pitch pattern, rhythmic pattern, or both

Question 9

Contrasting period

Answer 9

Two phrases (antecedent and consequent) that begin differently and end with different cadences.

Question 10

Parallel period

Answer 10

Two phrases with nearly identical music, except for the cadences. Both the antecedent and consequent begin the same way and contain the same structure, but end with different cadences. For example, a four bar phrase that ends with an IAC and a four bar phrase that ends with a PAC

Question 11

Double period

Answer 11

A group of 4 phrases (2 pairs) comprised of an antecedent group and a consequent group. Each pair usually begins with same material). Second pair ends with more conclusive cadence. Usually a melodic scheme of abab’.
Typically the following cadential structures:
HC HC HC PAC
IAC IAC IAC PAC
IAC HC IAC PAC

Question 12

Binary form

Answer 12

Two distinct sections, A and B. typically where each part is repeated.
Sectional - A section ends on tonic in home key (baroque sonatas and dance suites)
Continuous - first section ends on half cadence or in secondary key (Minuets from classical and romantic)
Bar form - AAB

Question 13

Ternary form

Answer 13

A compositional form with three major sections:
A - thematic material
B - contrasting theme
A - restatement of opening theme
Typically the contrasting theme is quite different from A section of the form

Possible romantic composers - Chopin, Mendelssohn, Brahms

Question 14

rounded binary form

Answer 14

Typically ||: A :||: B A’ :||

Possible Baroque composers - Bach, Handel, Scarlatti couperin
Classical - Haydn, Mozart, Beethoven (early classical)

Question 15

Strophic

Answer 15

A repeated A section with varying text on each repeat

Question 16

Rondo

Answer 16

ABACABA
Palindromic form typically following this key structure:
Major - I, V, I, (minor I, vi, or IV), I, I, I
Minor - Minor I, III, Minor I, (I, VI or iv), minor I, Minor I, minor i

Question 17

Sonata form (major)

Answer 17

Exposition: Primary theme (I) - transition (modulating) - Secondary theme (V) - Closing theme (V)

Development: Fragmentation and sequencing (V+modulations) - Retransition (V pedal)

Recapitulation: Primary theme (I) - transition (tonicizations) - Secondary theme (I) - Closing theme (I)

Question 18

Sonata form (minor)

Answer 18

Exposition: Primary theme (minor i) - transition (modulating) - Secondary theme (III) - Closing theme (III)

Development: Fragmentation and sequencing (III+modulations) - Retransition (V pedal)

Recapitulation: Primary theme (minor i) - transition (tonicizations) - Secondary theme (minor i) - Closing theme (minor i)

Question 19

Sonata-rondo form

Answer 19

Rondo form where the C section is replaced with a Development
ABA-Dev-ABA

Question 20

ritornello form

Answer 20

“The little thing that returns”
A recurring refrain that alternates with freer episodes
Prologue of Monteverdi Orfeo

Question 21

concerto form

Answer 21

Alternating sections featuring different instrument groups (original Baroque concerti), or alternating sections featuring instrumental soloist and full orchestra

Question 22

Fugue

Answer 22

Contrapuntal composition based on a short melody/phrase that is introduced by one part and successively taken up by others through interwoven parts

Subject, Answer, Episodes, Additional subject entries, stretto, Coda

Question 23

Fugato

Answer 23

A fugue-like part of a composition that is not based on strict fugal form

Question 24

Exposition

Answer 24

The opening large section of sonata form. Usually consists of the primary theme, transition to secondary theme, secondary theme, and closing theme. Modulates from I to V in major, minor I to III in minor

Question 25

Development

Answer 25

The middle section of sonata form. Less harmonically stable, but focused around V (dominant). Lots of sequencing and modulations, ending with a Retransition on V7 to return to primary theme

Question 26

Recapitulation

Answer 26

The return of the primary theme in sonata form. Typically a direct copy of the original primary thematic material from the beginning of the piece (I in major, minor I in minor)