Western classical tradition

Question 1

Melody

Answer 1

• Mostly conjunct (stepwise) movement, occasional leaps.
• Ornamentation common: trills, mordents, turns, appoggiaturas (esp. Baroque).
• Balanced phrasing, often 2, 4, or 8-bar.
• Motifs developed (especially Classical period) – look for sequences, inversions, augmentation/diminution.
• Melodies often diatonic, but may include chromaticism in Romantic period.

Question 2

Harmony and tonality

Answer 2

• Mainly diatonic harmony (especially Baroque and Classical).
• Cadences signal structure:
  -Perfect (V–I) = finality
  -Imperfect (ends on V) = incomplete
  -Plagal (IV–I) = softer resolution
  -Interrupted (V–vi) = surprise twist
• Functional harmony (chords serve a clear purpose).
• Modulations usually to closely related keys (dominant, relative minor/major).
• Romantic era = more chromatic, adventurous key changes.

Question 3

Texture

Answer 3

Baroque: mostly polyphonic, use of counterpoint, imitation.
Classical: typically homophonic (melody + accompaniment).
Romantic: richer textures, still largely homophonic, but denser orchestration.
Watch for textural changes – adds variety and contrast.
Pedal notes, drones, and doubling of parts used to thicken texture.

Question 4

Structure/form

Answer 4

• Baroque: Binary (AB), Ternary (ABA), Ritornello, Fugue.
• Classical: Sonata Form (Exposition–Development–Recapitulation), Rondo (ABACA), Theme and Variations, Minuet & Trio.
• Romantic: More freedom, but still often uses classical forms. Look for through-composed, or expanded sonata structures.
• Track how themes/motifs are introduced and transformed.
• Listen for clear sections marked by cadences or changes in key/texture.

Question 5

instrumentation (timbre)

Answer 5

Baroque orchestra: smaller, harpsichord continuo, strings dominate, some woodwind/brass.
Classical orchestra: more balanced – strings, woodwinds, horns, timpani, no continuo.
Romantic orchestra: expanded, new instruments (e.g., tuba, piccolo), more percussion, expressive use of dynamics and timbre.
Note instrumental roles: melody vs. accompaniment, contrast between sections.
Solo vs. tutti in concertos; changing textures from orchestration.

Question 6

Dynamics

Answer 6

• Terraced dynamics in Baroque (sudden shifts due to harpsichord, limited expressive control).
• Gradual changes (crescendo/diminuendo) introduced more in Classical and extensively in Romantic.
• Contrasts used for drama and structure (e.g. loud tutti vs. soft solo).
• Romantic music explores a wide dynamic range (pp to ff), often expressive and emotional.

Question 7

Rhythm

Answer 7

• Baroque: consistent rhythmic patterns, strong sense of pulse, motor rhythms.
• Classical: clear, balanced rhythms; syncopation and dotted rhythms used for interest.
• Romantic: more rubato (expressive tempo changes), complex rhythms (cross-rhythms, triplets).
• Look for repetition and variation of rhythmic motifs.
• Dance rhythms often present (e.g. minuet, waltz).

Question 8

Meter

Answer 8

Regular time signatures dominate (e.g. 2/4, 3/4, 4/4, 6/8).
Baroque and Classical often use simple metres with clear beats.
Dance metres common:
3/4 (minuet, waltz)
6/8 (gigue, pastoral pieces)
Romantic music introduces more flexibility: mixed metres, changing time signatures, expressive use of rubato.