| A | B |
|---|
| Affections | never changed once started |
| Everything musically revolved around these | moods |
| The only exception to this it vocal music | text based |
| Rhythm-continuous and | uninterrupted |
| Melody-Repetitious and | sequence and elaborate and ornamented |
| Sequence | successive repetition of a musical idea at higher or lower pitches |
| Dynamics | Continuous, terraced dynamics, and crescendos and dimuendos not common |
| Terraced Dynamics | sudden shift between loud and soft pp-ff |
| Baroque Texture | polyphonic, soprano and bass most important, and imitation |
| Chords were originally byproduct of melodic lines | now focus point |
| Basso Continuo | Accompaniment technique |
| Figured Bassuo | Bass part with numbers (figures) |
| 10-40 instruments | in baroque orchestrabmit |
| Basso continuo and upper strings | were nucleusuo? |
| Movements usually contrast in | style and theme |
| “Conservatory” | means orphans’ home in Italian |
| TuttiýV | = Strings and basso continuoan |
| Ritornello (refrain) | reoccurring theme played by tutti |
| Countersubject | melodic accompaniment to subject |
| Episode | transitions or interlude music in between subjectship |
| Tonic | original subject |
| Dominant | 2nd subject 5 pitches higher than tonic |
| Stretto | subject is imitated before it is completed-Builds intensity |
| Pedal Point | single tone (usually bass) is held |
| Inversion | turn subject upside down |
| Retrogradet | subject played backwards |
| Augmentation | original time values are lengthened (usually doubled) |
| Diminutionon | original time values are shortened (usually in half)p |
| Organ Fugue in G Minor | (Little Fugue) by Bach |
