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GCSE PREP Flashcards

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1
Q

when and where was Beethoven born

A

1770 - Bonn, Germany

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2
Q

at what age did Beethoven first start studying music and with who

A

age 5 - he was taught by his dad

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3
Q

what did Beethoven do age 21

A

he moved to Vienna where he first became famous

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4
Q

when was Beethoven’s 5th symphony first performed

A

1808

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5
Q

what is functional tonal harmony

A

where the tonic, dominant, and subdominant notes are particularly important

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6
Q

what is the tempo marking of the first movement

A

‘allegro con brio’

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7
Q

what does ‘allegro con brio’ translate to

A

‘lively with spirit’

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8
Q

what is the structure of the first movement

A

Exposition, Development, Recapitulation, Coda

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9
Q

What is the structure of the Exposition?

A

1st subject, Transition, 2nd Subject, Codetta

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10
Q

what key is the 1st subject of the exposition in

A

C minor

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11
Q

what is the texture of the 1st subject of the exposition

A

monophonic

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12
Q

describe the motif in the 1st subject of the exposition

A

the motif descends a third

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13
Q

how does Beethoven extend the long notes in the first subject of the exposition

A

with pause marks and ties

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14
Q

how does Beethoven build up the excitement in the 1st subject of the exposition

A

the music becomes suddenly quiet, then rises in pitch until the whole orchestra joins in and plays forte

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15
Q

what key does the transition of the exposition move to and from what

A

C minor to Eb major

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16
Q

what is the texture of the 2nd subject of the exposition

A

homophonic

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17
Q

describe the articulation in the 2nd subject of the exposition

A

legato and conjunct

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18
Q

describe the motif in the 2nd subject of the exposition

A

the motif ascends a 3rd

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19
Q

how does Beethoven create motivic unity throughout the exposition

A

through the repetition of the same note rhythm

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20
Q

what key is the codetta of the exposition in

A

Eb major

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21
Q

how does the melody line 1st in the development of the first movement

A

the music is now a minor third higher

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22
Q

what is the dynamics of the development of the 1st movement

A

fortissimo

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23
Q

what is the purpose of the development in the first movement

A

to develop themes from the exposition to create conflict

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24
Q

what are some techniques that Beethoven uses to develop themes from the exposition in the development section, to create conflict?

A

Rhythm, Dynamics, Pitch, Instruments, Texture, Articulation

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25
Q

what are 3 examples of keys that the development of the 1st movement modulates to

A

G major, F minor, G minor

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26
Q

what is the purpose of the recapitulation of the 1st movement

A

to resolve conflict

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27
Q

how does the melody line change when the recapitulation first plays

A

the music starts an octave higher

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28
Q

what is the instrumentation for the recapitulation of the 1st movement

A

the whole orchestra plays - tutti

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29
Q

what do the timpani do at the pauses in the recapitulation

A

timpani rolls

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30
Q

what 2 things does the oboe do during the recapitulation

A

plays a countermelody and cadenza

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31
Q

what is the key of the first subject of the recapitulation

A

C minor

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32
Q

what is the key of the second subject of the recapitulation

A

C major - tonic major

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33
Q

what is different about the Coda at the end of the first movement of Beethovens 5th Symphony

A

they are usually short, but this one is 128 bars long

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34
Q

describe the Coda at the end of the first movement

A

128 bars long, there are 12 bars of perfect cadences, has extreme dynamic contrasts

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35
Q

how is the tempo of the 2nd movement different

A

it is a lot slower

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36
Q

how is the instrumentation of the 2nd movement different

A

brass instruments are less common

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37
Q

what is the tempo of the second movement

A

andante con moto

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38
Q

what does ‘andante con moto’ translate to

A

at a walking pace with movement

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39
Q

what is the structure of the second movement

A

theme and variations

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40
Q

what is the key of the second movement

A

Ab major

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41
Q

what is the structure of the 2nd movement

A

Theme A, Theme B, Theme A v1, Theme b v1, Theme A v2. theme B v2, Theme A v3, Coda

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42
Q

what does ‘dolce’ translate to

A

sweetly

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43
Q

how is the music at the beginning of ‘Theme A’ marked

A

dolce - sweetly

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44
Q

describe the dynamics of ‘Theme A’

A

mainly quiet with occasionally louder notes

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45
Q

what technique are the double basses using at the beginning of ‘Theme A’

A

pizzicato

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46
Q

what are 2 important features about the rhythm in ‘Theme A’ of the 2nd movement

A

there is a dotted rhythm throughout with occasional triplets

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47
Q

what is the rhythm of the violins in ‘Theme B’ of the 2nd movement

A

triplets

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48
Q

what is different about the articulation in ‘Theme B’

A

the double basses play pizzicato and the violas play staccato

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49
Q

how does ‘Theme B’ conclude regarding dynamics

A

the section ends with more pianissimo music and some chromaticism

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50
Q

what do the cellos do in ‘Theme B” while the violins gradually rise in pitch

A

They gradually descend in contrary motion

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51
Q

describe the articulation of ‘Theme A Variation 1’

A

legato

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52
Q

describe how the rhythm changes in ‘Theme A Variation 1’

A

the dotted rhythm has been replaced by smooth continuous semi-quavers

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53
Q

describe the articulation of ‘Theme B Variation 1’

A

the violins play legato demi-semiquavers instead of the original staccato triplet semi-quavers

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54
Q

in ‘Theme B Variation 1’ describe what the brass do as the violins play staccato demi-semiquaver broken chords

A

they play the forissimo tune

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55
Q

describe the viola and cello music in ‘Theme A Variation 2’

A

even faster - they play demi-semiquavers

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56
Q

After strings play fragments of theme A in ‘Theme A Variation 2’, what is the order of the woodwind entries?

A

Clarinet, bassoon, flute, oboe

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57
Q

How is the theme played in ‘Theme A Variation 3’

A

it is played in a staccato version with the detached character being emphasised by the rests

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58
Q

what is the key of ‘Theme A Variation 3’

A

A flat minor - the tonic minor

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59
Q

what happens to the flute tune in ‘Theme A Variation 3’

A

It is doubled by the clarinets and bassoons

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60
Q

what does the passage of chromatic rising scales at the end of ‘Theme A Variation 3’ lead to?

A

a fortissimo tutti statement of the A Theme in the tonic key of A flat major - the music now is legato

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61
Q

what does ‘piu mosso’ translate to

A

increased motion

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62
Q

what is the tempo marking of the Coda in the 2nd movement

A

piu mosso

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63
Q

how does the Coda of the 2nd movement end?

A

the music ends with repeated tonic chords and perfect cadences

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64
Q

Describe the melody of Choro music

A

the flute plays the solo line

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65
Q

describe the harmony of Choro music

A

the music tends to use diatonic major and minor keys

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66
Q

describe the form of Choro music

A

it typically has three sections in rondo form - ABACA

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67
Q

describe the rhythm of Choro music

A

most Choro pieces are in 2/4

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68
Q

when are where did Choro music emerge

A

it emerged from the urban neighbourhoods of Rio in 1870

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69
Q

what does ‘Choro’ translate to

A

to weep

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70
Q

what is the traditional instrumentation of Choro music

A

a flute, a cavaquinho, guitars, and a pandeiro

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71
Q

what instrument usually provides the bass line in choro music

A

a guitar

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72
Q

Describe a cavaquinho

A

a small, plucked lute of portuguese origin with four metal strings

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73
Q

how is the cavaquinho played

A

with a pick

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74
Q

describe what a bandolim is

A

a flat-back variant of the mandolim

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75
Q

describe a pandeiro

A

a tambourine-like hand frame with metal jingles around the rim

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76
Q

what is the typical rhythm of Samba music

A

2/4

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77
Q

what is a ‘paradinha’ in Sama

A

a percussion break

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78
Q

what happens during a ‘paradinha’ - percussion break

A

the bateria stops playing the main samba groove to play a call and response phrase

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79
Q

describe the rhythm of Samba music

A

often syncopated with a fast and energetic tempo

80
Q

describe the texture of Samba music

A

polyrhythmic

81
Q

what is the context about Samba music

A

it is an afro-brazilian form of clamorous dance music that is associated with carnivals

82
Q
A
83
Q

where did Samba music first emerge

A

the poor hillside neighbourhoods of Rio de Janeiro

84
Q

when did Samba take over from Choro music

A

1920-1940

85
Q

what is a ‘bateria’

A

a large percussion section

86
Q

what is a tamborim

A

a small round frame drum without jingles

87
Q

what is an agogo

A

a cowbell

88
Q

what is a Ganza

A

a cylindrical rattle/shaker

89
Q

what is a Reco-reco

A

a notched scraper

90
Q

what is a Caixa

A

a snare drum

91
Q

what is a Cuica

A

a bucket shaped friction drum

92
Q

what is a repenique

A

the lead drum which plays the solo line

93
Q

what is a Surdo drum

A

a large drum- there are 3 which all play different rhythms

94
Q

what forms the texture of Indian music

A

Melody, Drone, Rhythm

95
Q

what instruments play the melody in Indian music

A

Sitar, Sarangi, Bansuri

96
Q

what instrument usually plays the drone in Indian music

A

the tanpura

97
Q

describe the drone of Indian music

A

it is continuous and plays the tonic and dominant notes of the raga

98
Q

what instrument usually plays the rhythm in Indian music

A

the tabla

99
Q

what is the rhythm based on in Indian music

A

fixed patterns called tala

100
Q

what is the melody of Indian music based on

A

a raga

101
Q

describe the melody of Indian music

A

Based on a raga - very decorated with lots of ornamentation

102
Q

describe the Sitar

A

a bowed string instrument

103
Q

Describe the Sitar’s playing techniques

A

pitch bending

104
Q

what are the tabla

A

two small drums which provide rhythmic accompaniment

105
Q

describe the tanpura

A

it is used to play the drone - plays the tonic and dominant notes of the raga

106
Q

describe the texture of Chinese music

A

heterophonic

107
Q

what is the melody of Chinese music based off of

A

the pentatonic scale - it is also inspired by nature

108
Q

what is the Dizi (china)

A

a bamboo flute

109
Q

what are some playing techniques of the Dizi

A

vibrato

110
Q

what is the erhu (china)

A

a violin that sounds like the human voice - plays decorated melodies

111
Q

what is the Chin (china)

A

a long string zither - similar to Japanese koto

112
Q

what are some playing techniques of the Chinese Chin

A

glissandi

113
Q

describe the melody of Japanese music

A

based on the pentatonic scale, through composed, no chordal harmony

114
Q

describe the texture of Japanese music

A

heterophonic with some polyphony

115
Q

compare Japanese and Chinese music

A

Japanese tends to sound more ‘experimental’ than Chinese music

116
Q

describe the Koto (Japan)

A

a long string zither (similar to a harp on its side), played with a plectrum to create a ‘twangy’ sound

117
Q

name some playing techniques of the Koto (Japan)

A

glissandi, tremolo, pitch-bending

118
Q

describe the Shakuhachi (Japan)

A

a bamboo flute similar to the Chinese Dizi

119
Q

describe the Sho

A

a mouth organ which has 17 bamboo pipes to represent the 17 chords it can play

120
Q

describe the texture of Gamelan music

A

heterophonic

121
Q

describe the rhythm of Gamelan music

A

rhythms build in complexity, there will often be a faster ostinato pattern with a longer, slower moving layer underneath

122
Q

describe the melody of Gamelan music

A

based off the slendro or pelog (different length scales); pitch range is limited

123
Q

what are metallophones (Gamelan)

A

wooden or metal bars played with a wooden mallet

124
Q

what is the purpose of the drums in Gamelan music

A

to indicate tempo changes

125
Q

what are the 3 main instruments in Gamelan music

A

Metallophones, Tuned gongs, Drums

126
Q

what scale is Arab music based off

A

maqam

127
Q

describe the rhythm of Arab music

A

based off fixed cycles called iqa’at

128
Q

describe the melody of Arab music

A

small range, ornamented, improvised, imitation

129
Q

describe the Oud (Arab)

A

similar to a guitar

130
Q

what are some playing techniques of the Oud (Arab)

A

pitch-bending/sliding

131
Q

describe the Rabab (Arab)

A

similar to Chinese ‘Erhu’

132
Q

describe the rhythm of African music

A

heavy emphasis on percussion instruments, polyrhythmic, lots of syncopation with emphasis on 2nd and 4th beat

133
Q

what is the most important part of African music

A

the rhythm

134
Q

describe the texture of African music

A

often call and response

135
Q

what is the Kora (Africa)

A

has a harp-like sound, made from a large gourd cut in half and covered with skin

135
Q

describe the voices in African music

A

vocal texture is homophonic, voices move in parallel motion

136
Q

what is the Balafon (Africa)

A

a type of xylophone made of wooden notes on gourd resonators

137
Q

what is a gourd

A

a hollowed out, hard skinned fruit

138
Q

how can you break down the periods of music

A

DRSMITH

139
Q

what is DRSMITH

A

Dynamics, Rhythm, Structure, Melody, Instrumentation, Texture, Harmony

140
Q

what time period was Baroque music

A

1750-1825

141
Q

describe the dynamics of Baroque music

A

terraced dynamics

142
Q

describe the rhythm of Baroque music

A

relentless rhythmic movement

143
Q

describe the melodies in Baroque music

A

melodies are long, ornamented and include sequences

144
Q

describe the instrumentation of Baroque music

A

heavy on strings, often includes a basso continuo and harpsichord

145
Q

describe the texture of Baroque music

A

polyphonic, often imitative

146
Q

describe the harmony of Baroque music

A

dissonant, harmonies are prepared and resolved

147
Q

what are some example composers of Baroque music (there are 5)

A

Bach, Handel, Vivaldi, Purcelli, Corelli

148
Q

what time period was Classical music

A

1750 - 1825

149
Q

describe the dynamics of Classical music

A

contrasting dynamics, frequent diminuendos and crescendos

150
Q

describe the rhythms of Classical music

A

regular rhythms

151
Q

describe the structure of Classical music

A

structures were strictly adhered to

152
Q

describe the melodies of Classical music

A

melodies have balanced phrasing and are often ‘call and response’

153
Q

what instruments were introduced in the Classical period

A

clarinet and piano

154
Q

describe the texture of Classical music

A

homophonic

155
Q

describe the harmonies of Classical music

A

harmonies often had perfect cadences and were rarely dissonant

156
Q

what are some example composers from the Classical period? (there are 3)

A

Mozart, Haydn, Beethoven

157
Q

what was the time period of the Romantic period

A

1835-1900

158
Q

describe the dynamics of the Romantic period

A

extremes of dynamics were used eg fff or ppp

159
Q

describe the rhythms of the Romantic period

A

increasingly complicated

160
Q

describe the structures of the Romantic period

A

often determined by a story

161
Q

describe the melodies of the Romantic period

A

melodies were long, lyrical and found in all instruments of an orchestra

162
Q

describe the instrumentation of the Romantic period

A

large orchestras

163
Q

describe the texture of the Romantic period

A

thick texture due to the large number of instruments involved

164
Q

describe the harmonies of the Romantic period

A

increasingly dissonant

165
Q

what are some example composers from the Romantic period (there are 5)

A

Tchaikovsky, Chopin, Liszt, Schubert, Schumann

166
Q

Describe impressionist music

A

most common mediums were orchestra and piano, has rhythmic ostinatos

167
Q

what is an example composer from impressionist music

A

Debussy

168
Q

describe minimalist music

A

limited musical features, repetition of small ideas, rhythm and texture are more important than melody, largely tonal

169
Q

what is an example composer from minimalist music

A

Steve Reich

170
Q

define conjuct

A

moving in steps

171
Q
A
172
Q

define disjunct

A

moving in leaps

173
Q

define chromatic

A

moving in semitones

174
Q

define triadic

A

arpeggiated

175
Q

what is a sequence

A

a repeated melodic pattern

176
Q

what is an anacrusis

A

a melody that starts before the 1st beat of the bar

177
Q

what is ornamentation

A

melodic decoration

178
Q

define melisma

A

more than one note per syllable

179
Q

define syllabic

A

one note per syllable

180
Q

define heterophonic

A

lots of moving parts

181
Q

define polyphonic

A

many parts moving at the same time

182
Q

define homophonic

A

multiple parts moving at the same time

183
Q

define monophonic

A

one single melodic line

184
Q

define acapella

A

unaccompanied singing

185
Q

define unison

A

all parts playing at the same time

186
Q

what is polyrhythm

A

when two or more rhythms with different pulses are being played against eachother

187
Q

what does tenuto mean

A

held

188
Q

define pizzicato

A

notes should be plucked

189
Q

define dolce

A

sweetly

190
Q

what is an acciaccatura

A

a crushed note

191
Q

define ‘sempre pui p’

A

always more quietly

192
Q

what is duple metre

A

has two beats per measure

193
Q

what is compound metre

A

when beats are divided into 3 or 6

194
Q

what is a hemiola

A

where 2 groups of 3 beats is replaces by 3 groups of 2 beats

music gcse (1 decks)

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