MOTIVE- The smallest possible musical idea. A recurring combination of notes and rhythms that are recognizable, in some shape or form, throughout the piece. Motives can be grouped together as sub phrases, which can grouped together as PHRASES.

PHRASE- The smallest possible musical statement that stands on it's own as a complete thought. These can vary in length and typically end in a state of either full or partial repose. This state of repose is also known as a CADENCE. PHRASES are often grouped together to form PERIODS.

PERIOD- When two PHRASES are played back to back and the 2nd of the two has a stronger CADENCE than the prior. This has a question/answer feel to it also known as the ANTECEDENT/CONSEQUENT.

CADENCE- The harmonic goal, or resting point, of a chord progression or musical passage.

AUTHENTIC CADENCE- Considered the strongest of all cadences, this is typically a DOMINANT (V) chord resolving to the TONIC (I) chord.

HALF CADENCE- Considered the weakest, this cadence often leaves one desiring a greater resolution and a "cliff hanging" effect of suspense. The HALF CADENCE typically resolves to a DOMINANT (V) chord.

DECEPTIVE CADENCE- This usually occurs when a chord progression ends on a VI chord (or any chord that includes scale degree 1) when you would expect to hear the TONIC (I) chord.

BINARY- This form consists of two sections, an A and a B section. The sections may be OPEN or CLOSED.

TERNARY- This form consists of 3 sections, often an A and a B section, with a return of the A acting as the 3rd section. Also, there may be a C section. The sections may be OPEN or CLOSED.

CLOSED- A closed section will end with a complete harmonic resolution, such as an AUTHENTIC CADENCE.

OPEN- An opened section will end with an incomplete harmony, such as a HALF CADENCE, that will want to move into the next section.

SONATA- Not to be confused with the sonata genre, this arrangement of musical ideas was popular in the Classical period. It involves the exposition (introducing the primary and secondary themes), the development (where these themes are played with and varied) and the recapitulation (where we return to the original material).

EXPOSITION- The first part of a sonata form, this introduces the PRIMARY and SECONDARY THEMES with a connecting TRANSITION between them.

TRANSITION- This short passage of music will allow for a MODULATION to a new key.

DEVELOPMENT- This begins the second part of the sonata form. During this section, a new key is introduced and the main themes are varied and played with. A new theme will sometimes also be introduced.

RETRANSITION- At the end of the DEVELOPMENT, this will be the transition back to the home key.

RECAPITULATION- Now that we have returned to the home key, we will repeat the EXPOSITION. The PRIMARY THEME will be just as it was in the EXPOSITION. However, the SECONDARY THEME will be in the original key or the PARALLEL major or minor of said key. The main thing is that we hold the TONIC of the original key. This will also require a different TRANSITION between the two themes.

RONDO- Usually this is the final movement of a symphony. It is typically upbeat and light hearted. The SMALL RONDO has five parts. The LARGE RONDO has 7 parts.

REFRAIN- Noted as the A section, this passage of music begins the rondo form. As the name implies, this section, or part, will return a few times within this form. This is typically considered the "hook", or the most recognizable part, of the piece.

EPISODE- After the refrain, a contrasting section will occur. This will be noted as B, C, etc.

The Church Sonata (Sonata de Chiesa)- These consist of several movements (often 4). The tempo pattern for these 4 movements would typically be largo - allegro - largo - allegro. These were dedicated to religious purposes.

The Chamber Sonata (Sonata de Camera)- These were usually solo or trio sonatas. They would open with a prelude that is followed by several small dance pieces that are usually in the same mode or key. Compositions like these were emerging in the mid to late 17th century by German composers such as Heinrich Biber, Dietrich Becker, Johannes Schenck. The terms “church and chamber” sonatas came about in late 17th century Italy, thanks to the works of Archangelo Corelli.

The Air- The air de cour (court) was a popular form of secular vocal music in France in the late Renaissance and early Baroque eras (1570-1650). During the reign of Louie XIII (1610-1635), this was the predominant form of secular music. Originally, this was a solo vocalist accompanied by lute. By the end of the Renaissance there could be up to 4 or 5 voices (with or without accompaniment). By the 17th century, they were often reduced down to their original arrangement of solo voice an solo instrument. They airs were strophic and in common time (4/4). The melody was usually within an octave range and involved little chromaticism. By the 18th century, composers, like J.S. Bach were composing airs with multiple instruments and no voice.

The French Overture- This type of form is often used as an opening to a larger piece, such as a ballet, opera or a suite. It’s typically divided into 2 parts, thus binary. The first section is more stately with dotted rhythms. The second section will be faster and fugal and will often contain material from the first section. The first use of this form was by the hand of Jean-Baptiste Lully in pieces like his opera, “Théséé". Henry Purcell used this form in his opera, “Dido and Aeneas”. Handel also used this form in his oratorio, "Messiah”. This form became useful in many different styles of composition. EXAMPLE: Purcell “Overture to Dido and Aeneas” by The Ancient Music Ensemble

The Alamande (Germany)- These were in duple meter (2/4 or 4/4). Initially this dance was slow and intended for walking pace type dances. Dancers would walk the length of the room with arms interlaced. They would take three steps, balance on one foot and repeat. As the century went on, this part got a little faster. The word "alamande" translates to “German”.

The Courant (France)- In contrast to the previous Allemande, this dance was in triple meter (3/8) and more upbeat. The word "courant" comes from the French word for “running”. These dance moves would involve running and jumping and faster paced larger movements.

The Saraband (Spain)- This dance was a bit more stately. It was often in simple triple meter (3/4) with an accent on beat 2. This dance originally involved couples with castanets. This style was inspired by Arab influence via Spain.

The Gigue (England)- This dance was in 6/8 and faster, in contrast to the saraband. The jig dates back to 15th century England. The French "gigue" is moderately fast with irregular phrasing. The Italian "giga" sounded faster than the French gigue but often had a slower harmonic rhythm and more regular phrasing.

The Prelude- By definition, a prelude is an action or event serving as an introduction to something bigger or more important. In the Baroque era, it did just that. In the mid to late 17th century, composers started to pair preludes with fugues. Pachelbel was among the first to do this but Bach’s prelude and fugues were more widely known. Many of Bach preludes were in theme and variation form.

The Ritornello- Translated from Italian as “little return”, this idea goes as far back as the 16th century. Venetian composer Giovanni Gabrieli would use the ritornello as a tutti passage (full orchestra) that would reoccur within his pieces. In the Baroque period, this became a popular technique in opera. The A section would establish a theme. The following B section would contrast that theme. Then the piece would return back to A. These sections could be subdivided with ritornello framing each subdivision. Vivaldi established a set of conventions that many in the Baroque period would later follow.

The Fugue- French for "chasing" or "fleeing", the fugue has 3 main sections. During the EXPOSITION the main theme, (or the “subject”) is stated successively in each of the voices. First, it’s one voice alone. During the ANSWER, as this voice goes on, another voice joins in with a second statement transposed to the dominant key. If the transposition is exact, we call it a “real answer”. If it is altered to avoid a key change, it is called a “tonal answer”. The third statement returns to the main key.

The Tocatta- From the Italian translation “to touch”, the toccata first came about in the late Renaissance of Northern Italy. These were initially for harpsichord or organ. In these compositions one hand would perform virtuosic runs and melodies while the other hand accompanies with chords and/or implied harmonies. Then the hands will switch roles. Girolamo Frescobaldi was a pioneer of the Baroque toccata. These were more sectional, more intense, more virtuosic and lengthier in general.

The Concerto- The concerto consists of three movements:

1-A fast movement in sonata form (allegro). This is sually the most involved movement. It may start with an orchestral introduction or it may get right into the main theme with the soloist. In sonata fashion, this section will expose two contrasting themes.

2-A slower more lyrical movement (adagio). This is a moment for the soloist to show their expressive talents. This is punctuated by its contrast to the other two movements that surround it.

3-Another fast movement. Once more, the soloist digs into more complex and virtuosic melodies. And at some point, there is a return to other previously exposed themes and motives. This is also referred to as “rondo”.

The Choral- This is a piece of music that was designed to be sung in the Lutherine church service. The organist would play a prelude to give the melody to the congregation. The congregation would sing the chorus or choral. These eventually became 4 parts vocal pieces. Bach was know for his chorals.

The Oratorio- In style and form, the oratorio closely resembles opera. Though it is narrative, there are no costumes, props, scenery or other dramatic stylings that you might find in opera. It involves soloists, chorus and orchestra. Also compared to operas, oratorios are more chorus heavy, rather than soloists. Oratorios consist of several movements. Some of these may be, but not limited to the RECITATIVE, ARIA, CHORUS

The Cantata- “Cantare", in Italian, means “to sing”. In 1620, Italian composer, Allesandro Grandi published a piece called “Cantade et Arie a voce sola”. This was the first known use of the word in regards to composition. Many Italian composers followed this style. It was mainly secular in theme (cantata de camera). But, like the sonatas, there was also the “cantata de chiesa” which was religious in theme. By the Baroque era, a more standardized form for the cantata took shape. It was chain of recitatives and de capo arias (ABA).