Your Set Works
A
Sonata (No. 11 in A major)
Domenico Cimarosa · List A No. 2
🔑 Key Facts
Key: A major
Form: Binary (AB)
Period: Classical
Time sig: 6/8 (compound duple)
Tempo: Allegro ♩.≈112
🎭 Title Meaning
Sonata = from Italian suonare, "to play/sound" (a piece played on an instrument, not sung like a cantata). Cimarosa's 80+ keyboard sonatas each consist of a single movement, similar to Domenico Scarlatti's sonatas. No autograph copies survive, so numbering varies between editions.
👤 Composer Bio
Domenico Cimarosa (1749–1801), Italian. Born in Aversa, grew up Naples. Studied at Conservatorio di Santa Maria di Loreto. Pre-eminent Italian comic opera composer before Rossini. Held posts in Naples (royal chapel), Venice (Ospedaletto), St Petersburg (court of Catherine II), Vienna (Kapellmeister for Leopold II). Briefly imprisoned after Parthenopean Republic. Died Venice, age 51.
Key works: L'italiana in Londra (1779), Il matrimonio segreto (1792), 60+ operas, oratorios, masses, harpsichord concerto, 80+ keyboard sonatas.
Key works: L'italiana in Londra (1779), Il matrimonio segreto (1792), 60+ operas, oratorios, masses, harpsichord concerto, 80+ keyboard sonatas.
📐 Structure
| Section | Bars | Description |
|---|---|---|
| A | 1–4 | Introductory fanfare, A major |
| 5–14 | First theme, A major — continuous quaver pulse, gigue-like | |
| 15–26 | Transition — modulates to E major from b.19 | |
| 27–39 | Second theme, E major (dominant key) | |
| 39–44 | Closing theme, E major, antiphonal style | |
| B | 45–74 | Material from transition in F♯ minor (relative minor), returns via E major to A major |
| 75–92 | Second theme and closing theme transposed to A major |
📖 Musical Terms
- Allegro fast, lively and cheerful
- Giga / gigue lively dance in compound time
- Non legato not connected (somewhat detached)
- Mezzo staccato moderately short and detached (– or ÷)
- Fermata (U) hold longer; above final rest = end of piece
- Slide written-out grace note ornament (b.33 etc.)
🎨 Style Notes
Classical style characteristics: clear/light textures (1–2 voices), diatonic harmonies, modulation to closely related keys (5ths), clearly articulated sound, light ornamentation, constant rhythmic pulse.
Baroque echoes (Scarlatti influence): binary form, 2-part texture, sequences, repetition/echo effects, wide leaps, hand crossing.
Baroque echoes (Scarlatti influence): binary form, 2-part texture, sequences, repetition/echo effects, wide leaps, hand crossing.
B
Allegro from Sonata in B minor
C. P. E. Bach · List B No. 1
🔑 Key Facts
Key: B minor
Form: Binary (AB)
Period: Classical (Empfindsamkeit)
Catalogue: Wq. 62:22
Tempo: Allegro ♩≈84
Movements: Allegro, Adagio, Allegretto
🎭 Title Meaning
Allegro = fast and lively (the tempo indication doubles as the movement title). This is the 1st movement of Sonata in B minor, Wq. 62:22. "Wq" refers to the Wotquenne catalogue (Alfred Wotquenne, Belgian musicologist); also identified by "H" (Helm catalogue). First published in Collection récréative, a set of 6 sonatas by various composers, in 1760.
👤 Composer Bio
C. P. E. Bach (1714–1788), German. Born Weimar; 2nd son of J. S. Bach. Trained by his father. Studied law in Leipzig but pursued music. Harpsichordist to Prince Frederick (later Frederick the Great) in Berlin, 1738. In 1767 succeeded Telemann (his godfather) as cantor/music director in Hamburg. Died Hamburg, age 74.
Key works: 20 symphonies, ~50 keyboard concertos, 5 flute concertos, 150+ sonatas, fantasias, variations; treatise Essay on the True Art of Keyboard Playing.
Key works: 20 symphonies, ~50 keyboard concertos, 5 flute concertos, 150+ sonatas, fantasias, variations; treatise Essay on the True Art of Keyboard Playing.
📐 Structure
| Section | Bars | Description |
|---|---|---|
| A | 1–6 | First theme, B minor — fanfare opening, ends on dominant |
| 7–12 | Transition — via E minor (b.7–8) to D major | |
| 13–24 | Second theme, D major (relative major) — brief D minor diversion b.19–20 | |
| B | 25–30 | First theme, D major (up a 3rd) |
| 31–36 | Transition — E minor → F♯ minor (b.33–34) → B minor | |
| 37–48 | Second theme, B minor (down a 3rd/10th from Section A) |
📖 Musical Terms
- Allegro fast and lively
- Appoggiatura played on the beat, reducing next note by ~half
- Tenuto (–) hold for close to full value
- Più f louder (più = more)
- Non legato somewhat detached
- Turn (∿) / Trill (tr) ornament signs
- Suspension dissonant note held over, creating expressive tension
🎨 Style Notes
Classical: balance/symmetry, detached notes, ornamentation at cadences, homophony, diatonic harmonies, modulations to closely related keys, steady pulse.
Empfindsamkeit ("sensitivity"): brooding minor tonality, chromaticism and dissonance for expressive effect, sudden changes of volume/register/mood. Only f and p dynamics — suited to piano or two-manual harpsichord.
Empfindsamkeit ("sensitivity"): brooding minor tonality, chromaticism and dissonance for expressive effect, sudden changes of volume/register/mood. Only f and p dynamics — suited to piano or two-manual harpsichord.
C
Scotch Poem
Edward Alexander MacDowell · List C No. 3
🔑 Key Facts
Key: F minor
Form: Ternary (ABA) + Coda
Period: Romantic
Opus: Op. 31 (6 pieces after Heine)
Time sig: 6/8 (compound duple)
Tempo: ♩.≈84 "With impetuous vigour"
🎭 Title Meaning
Based on the final stanza of Sturm (Storm), from the cycle Die Nordsee (The North Sea) in Heinrich Heine's Buch der Lieder (Book of Songs). Two contrasting images: (1) rugged Scottish coastline battered by the North Sea; (2) a grief-worn woman singing sadly and playing the harp. Op. = Opus — a work or group of works; the opus number identifies it. Written 1887, revised 1901.
👤 Composer Bio
Edward MacDowell (1860–1908), American. Born New York. Studied in France and Germany (teacher: Joachim Raff, Hoch Conservatory, Frankfurt). Performed Piano Concerto No. 1 for Franz Liszt at age 21; Liszt championed his work. Moved to Boston 1888. First professor of music at Columbia University, 1896. Resigned 1904 after conflict with officials; suffered debilitating mental illness. Died age 47.
Key works: 2 piano concertos, 4 sonatas (Tragica, Eroica, Norse, Keltic), Woodland Sketches, Sea Pieces, orchestral poems (Hamlet and Ophelia, Lancelot and Elaine).
Key works: 2 piano concertos, 4 sonatas (Tragica, Eroica, Norse, Keltic), Woodland Sketches, Sea Pieces, orchestral poems (Hamlet and Ophelia, Lancelot and Elaine).
📐 Structure
| Section | Bars | Description |
|---|---|---|
| A | 1–28 | First theme, F minor — turbulent; swirling semiquavers depict North Sea waves; volume grows pp to fff; no closing cadences |
| B | 29–41 | Second theme, F major — sad Scottish folksong character; "Scotch snap" rhythms; hexatonic melody; arpeggios suggest harp; restated in F minor from b.35 |
| A | 42–71 | First theme returns, F minor — with ppp interlude (b.42–43), some variation/reordering |
| Coda | 72–78 | Very soft reminiscence of second theme in F minor; augmented 6th chord; ends with 3rd (A♭) in upper voice |
📖 Musical Terms
- Una corda use soft pedal; tre corde = release it
- Forzando / sfz strong accent (stronger than ^)
- Fortississimo (fff) extremely loud; ppp = extremely soft
- Tenuto (–) held for full value, slightly emphasised
- Ritardando gradually becoming slower
- Quadruplet 4 notes in the time of 3
- Duplet 2 notes/rests in the time of 3
- Septuplet 7 notes in the time of 6
- Upper mordent grace notes in b.34 etc.
- Scotch snap semiquaver + longer tied note rhythm
🎨 Style Notes
Romantic style: poetic inspiration, virtuosity, contrasting moods (impetuosity to pathos), extremely wide dynamic range (ppp–fff), wide keyboard range with dense textures, bold harmonies with chromaticism and expressive dissonance, simple ABA form.
Special features: "Scotch snap" rhythms; hexatonic melody (6-pitch scale) in folksong section; harp-like arpeggios; no closing cadences in section A (turbulent character); augmented 6th chord in coda.
Special features: "Scotch snap" rhythms; hexatonic melody (6-pitch scale) in folksong section; harp-like arpeggios; no closing cadences in section A (turbulent character); augmented 6th chord in coda.
D
Sentimental Melody (slow dance)
Aaron Copland · List D No. 1
🔑 Key Facts
Key: F major (no key sig)
Form: Ternary (ABA) + Coda
Period: 20th Century / Jazz Age
Original title: Blues No. 1
Published: 1929 (composed 1926)
Tempo: Non allegro ♩≈80
🎭 Title Meaning
Originally titled Blues No. 1 — reflects jazz/blues influence; part of 5 sentimental melodies Copland wrote in 1926 (never published as a complete suite). Slow dance subtitle indicates the languid, unhurried character. Copland believed jazz was the first genuinely American musical style; incorporating it was a deliberate break from European influence.
👤 Composer Bio
Aaron Copland (1900–1990), American. Born Brooklyn; largely self-taught at first. Studied harmony with Rubin Goldmark; moved to Paris 1921 — first American composition student of Nadia Boulanger. Returned NY 1924; two Guggenheim Fellowships. Pulitzer Prize for Appalachian Spring (1945); Academy Award for The Heiress (1949). Composed very little after 1972. Died age 90.
Key works: Fanfare for the Common Man, ballets Billy the Kid, Rodeo, Appalachian Spring, piano concerto, piano sonata, Four Blues, Fanfare for the Common Man.
Key works: Fanfare for the Common Man, ballets Billy the Kid, Rodeo, Appalachian Spring, piano concerto, piano sonata, Four Blues, Fanfare for the Common Man.
📐 Structure
| Section | Bars | Description |
|---|---|---|
| A | 1–13 | Main theme, F major — 12-bar theme (not 12-bar blues progression); ostinato LH accompaniment; three 4-bar phrases; "blue notes" (major + minor 3rds/6ths/7ths); swing feel with triplets; syncopation |
| B | 13–18 | Episode — brief interlude; hands slightly out of phase rhythmically (RH repeats every 7 beats, LH every 8 beats); prevailing harmony II7 |
| A | 18–29 | Main theme returns with canonic imitation in first phrase; second phrase substantially altered; third phrase unchanged |
| Coda | 29–30 | Series of parallel 7th chords; resonant consecutive 5ths in bass; ends on tonic 7th with both major and minor 7ths |
📖 Musical Terms
- Non allegro not fast
- Legato smooth and well connected
- Pedale simile continue pedalling in similar manner
- Acciaccatura (♪) crushed note
- Sforzando (sf) strong accent
- Caesura / Luftpause (‚) slight break between phrases
- Ritenuto immediately slower (hold back speed)
- Subito suddenly
- Poco meno mosso a little less movement (slower)
🎨 Style Notes
Blues characteristics: unhurried tempo, swing rhythms (triplet "easy three" feel), syncopation (off-beat accents, ties across strong beats), "blue notes" (both major AND minor 3rds/7ths simultaneously or as grace notes), 7th chords and chords with added 6ths, parallel chords with consecutive 5ths in bass, ostinato accompaniment.
Context: 1920s–30s "Jazz Age" — compare with Gershwin's Rhapsody in Blue (1924).
Context: 1920s–30s "Jazz Age" — compare with Gershwin's Rhapsody in Blue (1924).
Flashcards
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CIMAROSA
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CIMAROSA
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Multiple Choice Quiz
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Musical Periods
Your four set works are the most important focus for the exam. This reference page covers the periods in your repertoire — Classical (Cimarosa, CPE Bach), Romantic (MacDowell), and 20th Century (Copland). Know your own pieces deeply first!
Baroque c.1600 – c.1750
Note: No set work from this period, but Cimarosa's Sonata shows Baroque influence (Scarlatti style). Useful background knowledge.
Chief characteristics
- One main mood, one main theme, one main rhythmic pattern
- Constant rhythmic pulse
- Counterpoint and imitation — polyphonic texture
- Ornamentation common; trills begin on upper note
- "Terraced" dynamics (sudden level changes)
- Long phrases, few internal cadences
- Modulations to closely related keys (5ths); tierce de Picardie
- Sequences common; hemiola before cadences
Instruments & forms
- Instruments: harpsichord, clavichord
- Forms: binary, ternary, ritornello
- Compositions: dance suites, preludes, fugues, toccatas
Key composers
J. S. Bach German
Handel German
Purcell English
Scarlatti Italian
Couperin French
Rameau French
Telemann German
Classical c.1750 – c.1810 ★
Your pieces: Cimarosa Sonata (List A) and CPE Bach Allegro (List B) — know these in detail!
Chief characteristics
- Light, elegant and restrained
- Steady pulse; discreet rubato only in slow movements
- Homophonic texture — clear melody + subordinate accompaniment
- Alberti bass common
- Ornamentation at cadences; trills begin on upper note
- Short, balanced phrases; motif-based melodies
- Clearly articulated; short slurs, detached notes; discreet pedal
- Dynamics contrasts important but not extreme
- Mostly diatonic harmonies; modulations to closely related keys
Instruments & forms
- Instrument: fortepiano
- Forms: sonata, rondo, minuet and trio, theme and variations
- Compositions: sonatas, rondos, variations
Key composers
Haydn Austrian
Mozart Austrian
Beethoven German
Clementi Italian
Hummel Austrian
Schubert Austrian
Cimarosa Italian
CPE Bach German
Romantic c.1810 – c.1900 ★
Your piece: MacDowell Scotch Poem (List C) — know this in detail!
Chief characteristics
- Passionate and expressive
- Sense of spontaneity; rubato essential; many tempo changes
- Thicker texture — large chords, wide keyboard range; pedal essential
- Detailed expressive instructions; wide dynamic range
- Long lyrical phrases; warm cantabile tone
- Melodies remain intact (embellished/transformed rather than developed)
- Expressive dissonance creating yearning
- Rich, chromatic harmonies; 7th and 9th chords
- Modulations by 3rds (beyond closely related keys)
- Virtuosity important
Instruments & forms
- Instrument: pianoforte (still developing)
- Forms: ternary, through-composed (free form)
- Compositions: character pieces, études, impromptus, rhapsodies, nationalistic dances (mazurkas)
Key composers
Chopin Polish
Schumann German
Mendelssohn German
Liszt Hungarian
Brahms German
Tchaikovsky Russian
Grieg Norwegian
MacDowell American
Impressionist c.1890 – c.1918
Chief characteristics
- Delicate and misty
- Delicate, supple rhythms — no strong regular accent
- Light, ethereal texture; generally soft dynamics; sustaining pedal essential
- Deliberate harmonic vagueness; dominant-tonic cadences avoided
- Unrelated triads juxtaposed; modal, whole-tone, pentatonic scales
- Chords used for sonority not function; parallel chords (consecutive 5ths)
- 7th and 9th chords in parallel motion; added 2nds or 6ths
- Pedal points and ostinati common
Key composers
Debussy French
Ravel French
Delius English
Scott English
20th/21st Century ★
Your piece: Copland Sentimental Melody (List D) — know this in detail!
General characteristics
- Great diversity of styles
- "Common practice" era principles sometimes abandoned
- Some music very dissonant, no clear sense of key
- Serial techniques (Schoenberg) — all 12 chromatic pitches treated equally
- Piano used percussively (Bartók, Prokofiev) — strong accents, driving rhythms
- Neoclassicists combined traditional and modern styles
- Others rejected modernism altogether
Copland's jazz/blues style
- Swing rhythms and triplets
- Syncopation; off-beat accents
- "Blue notes" — both major and minor 3rds/7ths
- Parallel 7th chords; consecutive 5ths
- Ostinato accompaniment
- Canonic imitation
Quick Reference
Exam Questions Checklist
- 1 Explain the title meaning and subtitle/opus number
- 2 Composer name, nationality, birth/death, teachers, key events, positions held, other works
- 3 Explain the time signature
- 4 Main key or tonality
- 5 Important key changes (modulations) — name the relationship, point to a cadence
- 6 Form — sections, main theme features, how themes develop/contrast
- 7 If from a larger work — how many movements, tempo plan
- 8 Style/period — timeframe, 3 other composers, common composition types
- 9 Characteristics typical of the period in this piece
- 10 Musical terms — explain all; expand all abbreviations
- 11 Musical signs — name and explain (^, –, U, tr, ∿ etc.)
Piece Summary at a Glance
| Cimarosa Sonata | Classical · A major · Binary · Gigue-style · 6/8 |
| CPE Bach Allegro | Classical/Empfindsamkeit · B minor · Binary · Wq.62:22 |
| MacDowell Scotch Poem | Romantic · F minor · Ternary + Coda · Op.31 · 6/8 |
| Copland Sent. Melody | 20th C. / Jazz · F major · Ternary + Coda · Blues/swing |
Forms
| Binary (AB) | Two sections, each usually repeated |
| Ternary (ABA) | Three sections; A returns at end |
| Sonata form | Exposition, Development, Recapitulation |
| Through-composed | No repeated sections (free form) |
Common Musical Terms Across All Pieces
| Allegro | Fast and lively (cheerful) |
| Non allegro | Not fast |
| Legato | Smooth, well connected |
| Non legato | Not connected (somewhat detached) |
| Mezzo staccato | Moderately short and detached (– or ÷) |
| Tenuto (–) | Hold for full value; slightly emphasised |
| Una corda | Use soft pedal |
| Tre corde | Release soft pedal |
| Pedale simile | Continue pedalling similarly |
| Subito | Suddenly |
| Più f | Louder (più = more) |
| Poco meno mosso | A little slower |
| Ritenuto | Immediately slower |
| Ritardando | Gradually becoming slower |
| Fermata (U) | Hold longer than written value |
| Appoggiatura | On the beat; reduces next note by ~half |
| Acciaccatura | Crushed note (grace note) |
| Trill (tr) | Rapid alternation between note and upper neighbour |
| Turn (∿) | 4-note ornament around main note |
| Sforzando (sfz/fz) | Strong accent |
| Forzando (fz) | Strong accent (interchangeable with sfz) |
| Fff (fortississimo) | Extremely loud |
| Ppp (pianississimo) | Extremely soft |
| Ritardando | Gradually slower |
| Caesura / Luftpause | Slight break between phrases |
| Opus (Op.) | A work or group of works; identifies the piece |
| Cantabile | In a singing style |
| Rubato | Expressive tempo flexibility |
Key Modulation Relationships
| Dominant | Up a 5th (e.g. A major → E major) |
| Subdominant | Down a 5th / up a 4th |
| Relative major | Minor key → its relative major (e.g. B minor → D major) |
| Relative minor | Major → its relative minor (e.g. A major → F♯ minor) |
| Tonic major/minor | Same tonic note (e.g. F minor → F major) |
| Mediant | Modulation by a 3rd (Romantic style) |
Signs to Know
| ^ (caret) | Marcato accent — strongly emphasised |
| – (dash) | Tenuto — held for full value |
| U (fermata) | Hold longer than written; over rest = end of piece |
| tr | Trill |
| ∿ | Turn (4-note ornament) |
| ♩ (staccato dot) | Play short/detached |
| ‚ (caesura) | Slight break / breath mark |
| sf / sfz / fz | Sforzando — sudden strong accent |