[Listening] Test 1 (Easy Mode) Flashcards
O_____ Ed E_____
-G_____
-_____’s Lament
-One of the most famous _____ from the __th c.
-_____ _____ Accomp. (_____ style detail)
-_____ simplicity (single _____ _____)
-_____ _____ (2 note slurs)
Orfeo Ed Euridice
-Gluck
-Orfeo’s Lament
-One of the most famous arias from the 18th c.
-Broken Chord Accomp. (Classical style detail)
-Lyric simplicity (single melodic line)
-Melodic sighs (2 note slurs)
S_____ Q_____, Op. __, No. _, mvt. _
-H_____
-“_____ and _____ style”
-G_____
-Transitional work between 1st and 2nd style of string quartet (_____ w/ _____ vs. _____ _____)
-_____ development (specifically in _____ _____) using _____
String Quartet, Op. 33, No. 2, mvt. 1
-Haydn
-“New and special style”
-Gallant
-Transitional work between 1st and 2nd style of string quartet (solo w/ accomp. vs. 4pt counterpoint)
-Thematic development (specifically in development section) using counterpoint
S_____ No. ___ (_____) in D Major, mvt. 1
-H_____
-_____ intro w/_____ rhythm (reminiscent of _____ _____)
-_____ _____ to balance intro
-Begins in __, continues in __
-1st theme restated as 2nd theme, just in _____ (_____ _____); changes of _____ creates _____ form
-No _____ _____
Symphony No. 104 (London) in D Major, mvt. 1
-Haydn
-Slow intro w/dotted rhythm (reminiscent of French overture)
-Long coda to balance intro
-Begins in Dm, continues in DM
-1st theme restated as 2nd theme, just in dominant (mono thematic); changes of tonality creates sonata form
-No basso continuo
S_____ No. ___ (_____) in D Major, mvt. 1
-H_____
-_____ intro w/_____ rhythm (reminiscent of _____ _____)
-_____ _____ to balance intro
-Begins in __, continues in __
-1st theme restated as 2nd theme, just in _____ (_____ _____); changes of _____ creates _____ form
-No _____ _____
Symphony No. 104 (London) in D Major, mvt. 1
-Haydn
-Slow intro w/dotted rhythm (reminiscent of French overture)
-Long coda to balance intro
-Begins in Dm, continues in DM
-1st theme restated as 2nd theme, just in dominant (mono thematic); changes of tonality creates sonata form
-No basso continuo
C_____ No. __ for _____ and _____, in Bb Major, K. 595, mvt. 1
-M_____
-_____ _____ he wrote
-_____ in every respect
-Textbook example for _____ _____ _____
-Balance between _____ and _____
-Specifically written for _____ (not another _____ instrument)
-_____ and _____ _____
-Rarely _____ _____ __
Concerto No. 27 for piano and orchestra, in Bb Major, K. 595, mvt. 1
-Mozart
-Last concerto he wrote
-Classical in every respect
-Textbook example for concerto sonata form
-Balance between piano and orchestra
-Specifically written for piano (not another keyboard instrument)
-Melodic and harmonic chromaticism
-Rarely repeats himself 2x
C_____ No. __ for _____ and _____, in Bb Major, K. 595, mvt. 1
-M_____
-_____ _____ he wrote
-_____ in every respect
-Textbook example for _____ _____ _____
-Balance between _____ and _____
-Specifically written for _____ (not another _____ instrument)
-_____ and _____ _____
-Rarely _____ _____ __
Concerto No. 27 for piano and orchestra, in Bb Major, K. 595, mvt. 1
-Mozart
-Last concerto he wrote
-Classical in every respect
-Textbook example for concerto sonata form
-Balance between piano and orchestra
-Specifically written for piano (not another keyboard instrument)
-Melodic and harmonic chromaticism
-Rarely repeats himself 2x
S_____ No. ___ “_____,” mvt. 1
-B_____
-added ___ _____ _____; expansion of orchestra
-_____ prominent
-Separate _____/_____
-More _____ _____/_____
-__ note symbolizes _____’s _____/_____ _____
-F_____
-_____ _____ - modifying a _____ so it appears/sounds _____
-__ _____ and _____ _____ entrance creates _____ since _____ enter “_____”
Symphony No. 3 “Eroica,” mvt. 1
-Beethoven
-added 3rd horn part; expansion of orchestra
-Woodwinds prominent
-Separate cello/bass
-More dynamic markings/contrasts
-C# note symbolizes hero’s arrival/daring deeds
-Fragmentation
-Thematic transformation - modifying a theme so it appears/sounds new
-V7 tremolo and tonic horn entrance creates drama since horns enter “early”
S_____ No. ___ “_____,” mvt. 1
-B_____
-added ___ _____ _____; expansion of orchestra
-_____ prominent
-Separate _____/_____
-More _____ _____/_____
-__ note symbolizes _____’s _____/_____ _____
-F_____
-_____ _____ - modifying a _____ so it appears/sounds _____
-__ _____ and _____ _____ entrance creates _____ since _____ enter “_____”
Symphony No. 3 “Eroica,” mvt. 1
-Beethoven
-added 3rd horn part; expansion of orchestra
-Woodwinds prominent
-Separate cello/bass
-More dynamic markings/contrasts
-C# note symbolizes hero’s arrival/daring deeds
-Fragmentation
-Thematic transformation - modifying a theme so it appears/sounds new
-V7 tremolo and tonic horn entrance creates drama since horns enter “early”
P_____ S_____ No. __, Op. __, “_____,” mvt. __
-B_____
-_____ form
-_____ _____ (_____ _____) missing
-_____ throughout entire sonata (based on _____ _____ figure)
-H_____ e_____
-T_____ d______
-D_____ c_____
-L_____________
Piano Sonata No. 23, Op. 57, “Appassionata,” mvt. 1
-Beethoven
-Sonata form
-Repeat sign (double bar) missing
-Development throughout entire sonata (based on neighbor tone figure)
-Heroic epic
-Technically demanding
-Dynamic contrasts
-Looooooong
H_____, L_____
-S_____
-_____ lied
-_____ (_____ _____) accompaniment suited for the _____
Heidenröslein, Lied
-Schubert
-Strophic lied
-Simple (broken chord) accompaniment suited for the text
E_____, L_____
-S_____
-3 characters (_____, _____, _____)
-_____ _____ represent _____ _____ and _____ _____
-each time _____ _____ _____ for his _____ the _____ are transposed _____ a step
-_____ changes when _____ sings (_____, _____ _____, _____ _____)
-_____ leid
-based on poem by _____
Erlkönig, Lied
-Schubert
-3 characters (Father, child, Erlking)
-Triplet 8ves represent galloping horse and anxious father
-each time child cries out for his father the notes are transposed up a step
-Accomp. changes when Erlking sings (waltz, broken chord, repeated chords)
-Ballad leid
-based on poem by Goethe
