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1
Q

PAC

A

V7-I. Bass line is So-Do, both chords in root position

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2
Q

IAC

A

Still V7-I, no So-Do bass line, chords don’ have to be in root position

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3
Q

HC

A

Ends on V7 chord. First chord can be anything

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4
Q

Plagal cadence

A

IV-I

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5
Q

Deceptive cadence

A

V-vi, requires follow up cadence more concluseive

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6
Q

Phrase

A

Independent musical idea terminated by a cadence

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7
Q

Motive

A

short melodic/rhythmic idea. Building blocks of phrases

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8
Q

Binary form

A

AA, BB. Common in dance/sonata movements from Baroque, and in minuets, trios and scherzos from Classical/romantic.

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9
Q

Bar form

A

AAB

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10
Q

Rounded Binary

A

AA, BA’, BA’

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11
Q

Ternary Form

A

ABA, or Minuet/Scherzo - Trio - Minuet/Scherzo (AB, CD, AB). In opera, Free intro; First song (binary, ternary, slower); Free transition; Cabaletta (binary, ternary faster)

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12
Q

Strophic

A

One part song form, words change each verse

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13
Q

Rondo

A

ABACA. A are called refrains, almost always in tonic. Some have coda at the end, might be more than 5 parts

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14
Q

Sonata and internal parts

A
  • Exposition (I to V; I to III or v) - Primary theme, bridge (bridges keys), secondary theme (in secondary key), closing (sequences, scales, motivic repetition, cadential in secondary key)
  • Development (tonally unstable) - Sometimes developments of primary theme, never settles
  • Recapitulation (Begins and ends with I/i). - Usually same as beginning: primary theme, bridge, secondary theme, closing. Secondary theme is in primary key this time.
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15
Q

Fugue

A

Imitative work
Subject (makes up Exposition)
Episode
Restatement

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16
Q

Fugato

A

In the style of a fugue, but not in strict fugal form

17
Q

Composite Form

A

Component sections can be broken down into formal models individually. Ex: Minuet/Scherzo (AABB), Trio (CCDD), Minuet/Scherzo (AABB)