[Listening extract, audio available. See printed QP for questions.] An orchestral piece in D major features violins playing chord notes one after another, a...

(a) Arpeggio / Broken chord [1]

An arpeggio (also called a broken chord) is the technique of playing the notes of a chord one after another in succession rather than simultaneously. The term comes from the Italian arpeggiare, meaning "to play the harp" (since harpists naturally play chords by sweeping across strings in sequence). When violins play chord notes one after another, they are performing an arpeggio. This technique is common in string writing because bowed instruments cannot easily sustain three or four notes simultaneously due to the curvature of the bridge.

(b) Modulation [1]

Modulation is the term for changing key within a piece. Here the piece moves from D major to A major. A major is the dominant key of D major (built on the fifth degree), making this the most natural and common type of modulation in tonal music. The shift of tonal centre is confirmed when the music cadences in the new key, establishing A major as the temporary home pitch.

(c) Forte then immediately piano (fp) [1]

The dynamic marking fp stands for forte-piano, meaning the note or chord is struck loudly (forte) and then immediately drops to a soft level (piano). This creates a dramatic accent followed by a sudden drop in volume. Unlike sforzando (sfz), which is a sharp accent within the prevailing dynamic, fp specifically prescribes both the loud attack and the quiet continuation. It is an effective way to create a sudden contrast - a brief burst of energy that quickly subsides.

(d) Coda [1]

A coda is a short concluding section added to the end of a piece or movement. The word comes from the Italian for "tail." The coda brings the music to a satisfying close, often summarising key thematic material, reinforcing the home key, or building to a final climax. In notation, the coda is often marked with a coda symbol (a circle with a cross). It is distinct from the main structural sections of the piece and serves as a musical "sign-off."

(e) Perfect cadence [1]

A perfect cadence is formed by the chord progression V to I (dominant to tonic). It is the strongest and most conclusive cadence in tonal music, producing a clear sense of resolution and finality. In the key of D major, chord V is A major and chord I is D major, so the progression A major to D major at the end of the closing passage creates a definitive ending. The perfect cadence functions like a full stop in language - it signals that the musical thought is complete.