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| single movement that consists of three main sections: exposition, development, and recapitulation |
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| first section of a sonata form movement, which sets up a strong conflict between the tonic key and the new key; and between the first theme and second theme |
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| in the exposition in a sonata form, a section which leads from the first theme in the tonic, or home, key to the second theme, which is in a new key |
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| second section of a sonata form movement, in which themes from the exposition are developed and the music moves through several different keys |
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| fragment of a theme, or short musical idea, that is developed within a compositon |
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| third section of a sonata form movement, in which the first theme, bridge, second theme, and concluding sections are presented more or less as they were in the exposition, with one crucial difference: all the principle material is now in the tonic key |
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| in a sonata form movement, a concluding section following the recapitulation and rounding off the movement by repeating themes or developing them further |
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| form in which a basic musical idea is repeated over and over and is changed each time in melody, rhythm, harmony, dynamics, or tone color; used either as an independent piece or as one movement of a larger work |
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| melodic idea that accompanies the main theme |
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| compositional form-derived from a dance-in three parts: minuet (A), trio (B), minuet (A); often used as the third movement of classical symphonies, string quartets, and other works, it is in triple meter and usually in a moderate tempo |
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| from the beginning; an indication usually meaning that the opening section of a piece is to be repeated after the middle section |
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| instrumental composition, light in mood, usually meant for evening entertainment |
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| compositional form featuring a main theme (A) that returns several times in alteration with other themes; often the form of the last movement in classical symphonies, string quartets, and sonatas |
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| orchestral composition usually in four movements, exploiting the expanded range of tone color and dynamics of the orchestra |
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| extended composition for instrumental soloists and orchestra, usually in three movements: fast, slow, fast |
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| unaccompanied section of virtuoso display for the soloist in a concerto, usually appearing near the end of the first movement and sometimes in the last movement |
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| music using a small group of musicians; larger than a soloist, less than an orchestra |
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| a composition for two violins, a viola, and a cello; usually consisting of four movements |
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| Austrian; sent to Vienna; gave lessons at the Cathedral of St. Stephen; music director of Austria-Hungarian Empire; invented classical symphony and string quartet |
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| Austrian; sent to Vienna; gave lessons at the Cathedral of St. Stephen; music director of Austria-Hungarian Empire; invented classical symphony and string quartet |
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| mood and emotional expression |
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| fluctuation in mood gradually or suddenly; tastefully accepted range of emotions; natural sounding, tasteful |
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| numerous rhythmic patterns provide variety and contrast; unexpected pauses, syncopation, and variety between long and short notes |
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| change gradually or suddenly; enables |
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| wind and brass instruments used for contrast and timbre |
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| tuneful, first phrase ends in incomplete cadence and second with full cadence, dissonance to provide suspense and excitement |
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| mostly homophonic with fluctuation of texture |
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| From Salzburg, Austria; wrote in almost every musical form;hated being treated like a servant and broke free at 25 and left for Vienna; child prodigy |
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| born in Bonn, Germany; left Bonn to study with Haydn in Vienna where he stayed for the remainder of his life |
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