Pre-existing melody around which a contrapuntal texture is built.
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Canon
2 or more parts coping each other exactly (starting one after the other)
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Cemblao
Harpsichord; early keyboard instrument where strings are plucked
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Continuo
Baroque bass part, consisting of a keyboard instrument and bass line.
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Countersubject
Melodic phrase in a fugl passage, played by the first voice and the second voice is playing the fugal answer.
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Dominant 7th chord
Chord V with an added with an added (flattened) 7th note, e.g. GBDF in C major
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Figured Bass
Numbers under the bass line indicating the chords/harmonies. Each number relates to to the distance between the bass note and a harmony note, e.g. 5/3 is a root position chord.
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Fugal
Contrapuntal texture sharing some of the characteristics of a full fugue but not at all.
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Fugal Answer
2nd 'response' section in a fugal passage; it is the same material as the fugal subject but now presented in the dominant key or, in the case of a tonal answer, slightly modified to fit the original key but starting on a different note.
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Fugal subject
Theme that starts a fugue or fugal passage into a piece; it is the material that forms the basis for the melody throught the section.
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Functional Harmony
Harmony that establishes a clear sense of key, usually through use of cadences and chord progressions where the chords can be seen in terms of of a specific Key (e.g. tonic and dominant)
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Harmonically charged
A melodic line in which chords are implied, as the notes of the melody outline the most , if not all, of the chord.
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Heterophony
(adj: Heterophonic) A texture in which 2 or more versions of the same melody are played at the same time.
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Homophony
Texture in which the music moves in chord, with one part having the melodic interest
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Imitative
Texture in which one part copies another but not in an exact manner.
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Melisma
(adj: Melismatic) A group of notes sung to one syllable (opposite to syllabic)
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Melody Dominated Homophony (Mel Dom Hom)
A type of homophonic texture in which one part (usually the highest) has the melody and other parts work together to create an accompaniment.
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Moto Perpetuo
A term describing the 'perpetual motion' of a running quaver or semiquaver passage; it gives a sense of never ending movement.
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Passing note
Anote that is not part of the harmony but which is inserted stepwise between 2 harmony notes to add decoration to a melody
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Perfect Cadence
Cadence formed by chord V followed by chord I; the most definite cadence.
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Sackbut
Renaissance and Baroque type of trombone
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Secondary 7th
A 7th chord of a note other than the dominant.
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Suspension
a brief dissonance created when a note is held over ('suspended') from one chord to another, creating a momentary clash with the next chord. It is resolved by step downwards to the 'correct' note of the new chord.
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Syllabic
Setting of text with one syllable per note.
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Taille
A tenor oboe, used in the baroque period.
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Transitory modulation
a brief modulation; the new key is established but not maintained for long.
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Violone
Low pitched viol with a range similar to a double bass
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Violone
Low pitched viol with a range similar to a double bass
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Other cards in this set
Card 2
Front
Pre-existing melody around which a contrapuntal texture is built.
Back
Cantus Firmus
Card 3
Front
2 or more parts coping each other exactly (starting one after the other)
Back
Card 4
Front
Harpsichord; early keyboard instrument where strings are plucked
Back
Card 5
Front
Baroque bass part, consisting of a keyboard instrument and bass line.
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