"PHRASING!"
antedecent + consequent
period
cadence with V-I progression and scale degree 3 in the melody line
IAC (imperfect authentic cadence)
Exposition sections: main theme, _______, subordinate theme, (codetta)
transition
ABACABA
the technique whereby the motive that ends a section is immediately repeated to begin the next section.
Linkage
presentation + continuation
sentence
b.i. + c.i. (no cadence) = ??
C.B.I.
a section of sonata form that sometimes occurs after the recapitulation
coda
|: A :|: B A(') :|
small ternary (or rounded binary)
vi in a minor key, or bVI in a major key, for example
Chromatic Mediant
C.B.I. + consequent
hybrid
a type of cadence that occurs when we expect a PAC but end up elsewhere
evaded cadence
the thinning of texture/a rest at the end of the transition
medial caesura
passages in fugues that separate entrances of the subject (but not in the exposition)
episodes
the concluding fast aria in a standard nineteenth-century Italian opera scene
the only difference between an antecedent and a compound basic idea (CBI)
the presence of a cadence (only in antecedent phrases!)
an overlapping of subject entrances before an ongoing statement by some other voice finishes (in a fugue)
stretto
a short modulating passage that prepares the recapitulation if the development does not have a cadence in the home key
retransition
when entries of the subject are presented with the same intervals but in the opposite direction
inversion
a symphony in which the same themes recur across multiple movements
Cyclic symphony
an 8-measure sentence + an 8-measure sentence
compound period
elision or overlap
the most common scenario for the end of a transition is a HC in the new key. the second most common scenario is _______
HC in I
a form that clearly divides into 3 parts (ABA), where the A and B sections are themselves binary, rounded binary, or ternary forms
compound ternary
the texture of an aria (melody + accompaniment) outside of the formal context of an aria
Arioso