CANTATA: A piece that’s sung as opposed to played.
CHORALE: A hymn tune of the Lutheran church.
BASSO CONTINUO: A part for keyboard (harpsichord or organ) and cello or bass. The keyboard player reads the cello line and provides an accompaniment based on the figured Bass.
FIGURED BASS: The numbers written under the cello part indicating chords and their positions to the keyboard player.
CHORUS: A piece for choir.
RECITATIVE: A style of singing that is more related in pitch and rhythm to speech than song. In the 18th Century it was used extensively in Opera as “Dialogue” between Characters.
RECITATIVO SECCO: (Dry) Accompanied only by continuo.
RECITATIVO STROMENTATO: More expressive and accompanied by the orchestra.
IMITATION: Contrapuntal device whereby a motif or phrase is presented successively by different voices.
INVERSION: To turn a motif or phrase “up-side down”.
ARIA: A song for 1 or more voices, popular in Opera and Cantata as a contrast with Recitative.
CHACONNE: A type of piece that was written as a set of variations on an Ostinato.
OSTINATO: A musical idea repeating many times.
PEDAL POINT: A sustained or repeated note over which the harmonies change.
CADENCE: Point of rest.
MODULATION: Change of key.
WORD PAINTING: Where the composer gives prominence or illustrates words in musical terms.
MELISMA: A motif that has more than 1 note per syllable is said to be melismatic. Often used as word painting.
SYLLABIC is where 1 note per syllable is used.
CANON: A polyphonic composition in which a part is imitated by 1 or more parts so that successive statements of the melody overlap.
POLYPHONY: Any rhythmically independent movement between parts.
COUNTERPOINT: A combination of 2 or more independent melodies.
TERNARY FORM: A structure consisting of 3 sections-ABA.
DA CAPO: (D.C.) Back to the beginning as in the Da Capo Aria.
DAL SEGNO: (D.S.) Back to the sign.
SEQUENCE: A motif which is repeated at a different pitch in the same part
CHORALE: A hymn tune of the Lutheran church.
BASSO CONTINUO: A part for keyboard (harpsichord or organ) and cello or bass. The keyboard player reads the cello line and provides an accompaniment based on the figured Bass.
FIGURED BASS: The numbers written under the cello part indicating chords and their positions to the keyboard player.
CHORUS: A piece for choir.
RECITATIVE: A style of singing that is more related in pitch and rhythm to speech than song. In the 18th Century it was used extensively in Opera as “Dialogue” between Characters.
RECITATIVO SECCO: (Dry) Accompanied only by continuo.
RECITATIVO STROMENTATO: More expressive and accompanied by the orchestra.
IMITATION: Contrapuntal device whereby a motif or phrase is presented successively by different voices.
INVERSION: To turn a motif or phrase “up-side down”.
ARIA: A song for 1 or more voices, popular in Opera and Cantata as a contrast with Recitative.
CHACONNE: A type of piece that was written as a set of variations on an Ostinato.
OSTINATO: A musical idea repeating many times.
PEDAL POINT: A sustained or repeated note over which the harmonies change.
CADENCE: Point of rest.
MODULATION: Change of key.
WORD PAINTING: Where the composer gives prominence or illustrates words in musical terms.
MELISMA: A motif that has more than 1 note per syllable is said to be melismatic. Often used as word painting.
SYLLABIC is where 1 note per syllable is used.
CANON: A polyphonic composition in which a part is imitated by 1 or more parts so that successive statements of the melody overlap.
POLYPHONY: Any rhythmically independent movement between parts.
COUNTERPOINT: A combination of 2 or more independent melodies.
TERNARY FORM: A structure consisting of 3 sections-ABA.
DA CAPO: (D.C.) Back to the beginning as in the Da Capo Aria.
DAL SEGNO: (D.S.) Back to the sign.
SEQUENCE: A motif which is repeated at a different pitch in the same part