Long and Short Phrases

Phrase and Period Structure

Phrase – a musical sentence or complete thought that ends with a cadence.Period – a logical grouping of phrases that give an impression of closure (Expository function).

Antecedent (weak or open) (the question)

Consequent (stronger or closed) (the answer to the question)

Asymmetrical – a period in which the phrases differ in length. Symmetrical - a period in which the phrases are the same length.

Parallel – a period in which the two phrases at least begin with the same or similar material.

Contrasting – a period in which the phrases have differing musical material. Modulating – a period in which the Consequent phrase modulates.

Cadential extension – the addition of musical material beyond the point at which a cadence is expected.

Elision – the cadence point of one phrase becomes the beginning of the next phrase (overlap or dovetail).

Double Period – phrase 1 and 3 are often identical or very similar. Phrase 1 -------I.A.C. Phrase 2 -------- H.C. Phrase 3 ------I.A.C. Phrase 4 -------P.A.C.

Phrase group – NOT a period structure. Groups of phrases that end with weak cadences H.C. or I.A.C (Transitional and Developmental functions),

Cadential Phrase Group (or Closing section) - groups of phrases that end primarily with P.A.C. (Cadential function).

Antecedent and Consequent

The term describes two parts of a melody which complement each other, with the first (the antecedent) requiring the second (the consequence) to complete a specific musical passage. The two parts have long been informally called “question” and “answer.”

Antecedent phrases are complete phrases that end on a pitch of relative instability or tension, resulting in the listener expecting continuation, even after the performer takes a brief pause or breath.

Consequent phrases are also complete phrases, but they end on a pitch of relative stability or relaxation, resulting in the listener recognizing the conclusion of the musical thought.

Themes, sections, movements and works end on consequent phrases. Very often, consequent phrases end on the tonic, and antecedent phrases end on the dominant.

Listen to the example below here

Another example of Antecedent AND Consequent Phrase

• Beethoven: Turkish March

The period

A period is one type of theme, like the sentence, common to the Classical style.

The period is generally eight measures long and contains two four-measure phrases, called antecedent and consequent.

The period is characterized by balance and symmetry. Its antecedent phrase is initiated by a basic idea that recurs at the beginning of the consequent phrase. Unlike the sentence, which exhibits a single cadence, the period contains two cadences, a weak one to end the antecedent and a strong one to end the consequent.

Antecedent phrase (mm. 1–4)

Unlike the sentence, which contains a basic idea followed by a repetition, the two measure basic idea that begins the a period’s antecedent is always followed by a two-measure contrasting idea (CI). That contrasting idea supports a cadential progression that ends the antecedent with a weak cadence, either a HC or an IAC.

ANTECEDENT: HAYDN, PIANO TRIO IN C MAJOR, HOB. XV:27, III, MM. 1-4

Note the contrast created between the basic idea and contrasting idea. While the BI ascends, outlining the tonic triad with leaps to each of its members, the CI descends stepwise leading to a weak I:HC. The emphasis on tonic in the melody of the BI is accompanied by a tonic prolongation in the harmony (a variant of the Romanescaschema):

I V6 VI III

or

T(1 D7p x6 3)

Supporting the CI is an expanded cadential progression:

III IV V^6/5/V V

or

T3 S(4 [+]) D5

Consequent phrase (mm. 5–8)

Consequent phrases always begin with a restatement of the BI, occasionally varied, and end with a CI. A consequent phrase’s CI often resembles the antecedent’s, but slightly altered to accommodate a stronger cadence. It is also common for a consequent phrase’s CI to be entirely new. While a sentence can close with a number of cadence types, the period’s consequent phrase always ends with a PAC:

ANTECEDENT + CONSEQUENT: HAYDN, PIANO TRIO IN C MAJOR, HOB. XV:27, III, MM. 1-8

In this example, the BI is restated exactly at the beginning of the consequent. The concluding CI is a slight variation of the end of the antecedent, altered here to create a PAC.

Source: http://openmusictheory.com/period.html

• Phrase
• Some phrases consist of one steady flow without a clearly discernible break, real or implied; others are more clearly perceived in subdivisions. In any case, a complete phrase has the following:
• Exhibits some degree of completeness
• Comes to a point of relative repose
• Some harmonic activity
• Sense of built and released tension
• Usually has a motive or motives, some form of manipulation of this motive, framed by cadence.
• REGULAR PHRASE: A four- or eight-measure unit; otherwise called an IRREGULAR PHRASE.
• Components of a Phrase
• PHRASE MEMBER: A short melodic unit that comprises a portion of a phrase, usually contains several motives.
• MOTIVE: Short melodic figure used as a constructional element, i.e., the smallest structure from which additional material may be generated. Usually a melodic or rhythmic idea of 2-8 notes. Must appear at least twice, though recurrances need not be exactly as in the original form.
• INTERPOLATION: Occurs during a restatement of a phrase: Some material is interpolated between phrase members, i.e., when a motive from the first phrase member is repeated before the second phrase member is stated.
• PHRASE EXTENSION: Occurs after a phrase's cadence, or as a result of an avoided cadence: When a some material is appended after a phrase's final phrase member, i.e., when a motive from the final phrase member is repeated before the phrase reaches its conclusive cadence., or when a phrase's cadence is repeated, prolonging the sense of closure of the phrase
• Motivic Development
• REPETITION: A motive repeated literally, i.e., exactly as it originally appeared.
• IMITATION: A motive repeated in a different voice.
• TRANSPOSITION: A motive repeated starting on a different pitch than the original and follow its original contour.
  • REAL TRANSPOSITION: When the intervallic structure of the motive is maintained exactly.
  • TONAL TRANSPOSITION: When the basic intervallic structure of the motive is maintained, but the quality of the intervals may vary, i.e., a major third within the original motive becomes a minor third in the transposition of the motive.
• SEQUENCE: two or more appearances of the motive, each at a different pitch level (transposed); must be at least two appearances of the motive, and these appearances must be adjacent.
• DELETION: "Simplification" of a motive through deletion of notes from the original, i.e., two eigth notes reduced to one quarter note.
• ORNAMENTATION/EMBELLISHMENT: Addition of notes to the original, i.e., quarter note becomes two eigths.
• INTERVALLIC CHANGE: A basic interval within a motive is either Expanded or Contracted.Components of a Phrase: Motivic Development, contd.
• INVERSION: When a motive is subject to a "horizontal mirror image" process, i.e., it is turned "upside down"; rising intervals become falling intervals, etc.
• RETROGRADE: When a motive is subject to an "vertical mirror image" process, i.e., it is turned 'backwards"; the final interval becomes the first interval, etc.
• AUGMENTATION: The durational value of each note in the motive is multiplied by the same amount, i.e., each note is twice as long as in the original.
• DIMINUTION: The durational value of each note in the motive is divided by the same amount, i.e., each note is half as long as in the original.
• FRAGMENTATION: When a motive is broken into smaller parts, each part playing a part separate from the other(s).
• Phrases in Combination
• Just as motives combine to form phrase members, and phrase members combine to form a phrase, two or more phrases often combine to form larger units: the PERIOD, PHRASE GROUP, PHRASE CHAIN.
• PERIOD: Two phrases in which the first (antecedent) promises a continuation and the second (consequent) provides a conclusive cadence. (Sometimes referred to as a two-phrase period.)
  • SYMMETRICAL PERIOD: A period whose antecedent and consequent phrases are of the same or similar length.
  • ASYMMETRICAL PERIOD: A period whose antecedent and consequent phrases are of different lengths.
  • PARALLEL PERIOD: A symmetrical period whose antecedent and consequent phrases are similar in content.
  • CONTRASTING PERIOD: A period whose antecedent and consequent phrases are dissimilar.
  • DOUBLE PERIOD: Similar to the grouping of an antecedent and a consequent phrase to form a period, but here two periods that take on the role of antecedent and consequent.
• PHRASE GROUP: Three or more phrases, at least two of which are similar, only the last of which ends with a conclusive cadence. (Sometimes still referred to as a period, though not a two-phrase period.)
• PHRASE CHAIN: Three or more dissimilar phrases, only the last of which ends with a conclusive cadence. (Sometimes still referred to as a period, though not a two-phrase period.)
• PHRASE LINK: A melodic/rhythmic device used to promote continuity between grouped phrases, further enhancing the perception that a period, phrase group or phrase chain has not yet reached its conclusion.
• PHRASE ELISION: when the cadence of one phrase occurs simultaneously with the beginning of the next phrase.
• Cadence (Green, Douglass M. Form in Tonal Music. New York: Holt, Rinehart and Winston, 1979.)
• The immediate goal of the phrase is its cadence, the chords that bring it to a close. An important characteristic of any cadence is its degree of finality, expressed in terms of relative strength. The greater the conviction of conclusiveness exhibited by a cadence, the stronger that cadence is considered to be. There are a number of factors involved with determinig the relative strength of a cadence:
• If roots are a fifth apart, the cadence is stronger when both roots are in the bass (root position).
• If phrase concludes with a tonic chord, it will be stronger if the root appears in the uppermost voice.
• A cadence that ends on a tonic chord is stronger than one that does not, this is true even when this final tonic is a secondary tonic, but the most conclusive chord for a cadence is the primary tonic of the piece.
• If the phrase concludes on a tonic chord, the cadence that contains a leading tone in the penultimate chord is stronger than one which lacks it.
• When the final chord of a cadence is rhythmically stronger than the penultimate chord, the cadence is more conclusive than it is when the reverse situation occurs. (Strong-beat cadence).
• A cadence that takes up a greater amount of time will seem stroger than one taking less time, other characteristics being equal.
• When a cadence is heard simultaneously with a slowing up of the pace, the effect is more conclusive than when the pace continues at the same speed; a slowing of the tempo can have the same effect.
• Types of Cadences
• AUTHENTIC CADENCE: Root motion from V-I. (Picardy Third uses I as final chord in minor key)
• PLAGAL CADENCE: Root motion from IV-I.
• PERFECT CADENCE: In authentice cadences, both chords are in root position and the tonic of the final chord is heard in the highest voice. In plagal cadences, the tonic of both chords is heard in the highest voice. If these condition are not met, the cadence is said to be imperfect.
• FULL CADENCE: When the authentic cadence is enlarged by a dominant preparation chord, i.e., ii-V-I, IV-V-I, etc.
• CADENTIAL ELABORATION: The delaying of one or more of the chords of the cadence through the introduction of nonharmonic tones which construct an intervening chord, i.e., I (64)-V-I.
• HALF CADENCE (Semicadence): Requires continuation, i.e., the half cadence is not conclusive. Most commonly uses V as final chord.
• PHRYGIAN CADENCE: a half cadence in a minor key, iv6-V.
• DECEPTIVE CADENCE (Evasive Cadence): V or other dominant function chord (V7, viio, viio7, viio7) moving to any chord other than I or i.