Chapter 12

1. Chapter 12 Phrase Structure and Grouping

2. Phrase Length • Consider phrases in grammatical terms: • Open Phrase / Half cadence : question – requires a response • Closed Phrase / Authentic cadence : declarative statement • Usually occur in multiples of two measures • Classical era – 4 measures was the norm • Can be determined by tempo and strength of cadence

3. Larger Phrase Groupings: The Period Family • Antecedent phrase – Consequent phrase • Interdependent • Antecedent (open) : Consequent (closed)

4. Period Classification • Period classified according to • Harmonic schemes, tonal structure • Thematic relationship, melodic design • Ending on a half cadence (melodic ^2) infers that the consequent phrase will follow and close with an authentic cadence. • Question/Answer employs two tonal schemes • I to V – I or I to V, V to I

5. Period Classification – Tonal Structure • If both phrases end with an authentic cadence, the first phrase is less dependent on the second for its tonal completion. • The ^1 in the second phrase conveys a sense of finality that the less conclusive ^3 of the first imperfect authentic cadence does not.

6. Period Classification – Thematic Design • Similarities or differences of melodic content • Parallel Period – two phrases beginning with the same or similar idea; the phrase conclusions do not need to correspond

7. Period Classification – Thematic Design • Nonparallel Period – Phrases that begin with different melodic ideas • Capital letters are used to denote similarities and differences between successive phrases within periods • (A A or A B) • a prime sign ( ‘ ) is used to show a modified repetition; i.e. ( A A’)

8. Period Classification – Thematic Design Note the phrase groups of the melody below.

9. Period Classification – Thematic Design • Double Period – if a period ends on V rather than I, the need for tonic resolution requires an additional period

10. A hierarchy

11. Miniature Formal Designs • Strophic Form (Vocal Music) • Folk songs, hymns (usually); different stanzas or strophe set to the same music • Refrain; concluding portion of each stanza in which both words and music are the same • Small Song Form – Quatrain Form • A A’ B A’ ; B is usually open (V) and A’ is closed • See text Ex 12.9 “Amsterdam”

12. Miniature Formal Designs • Binary Form • Two contrasting sections: A B or A A’ B B’ • Not terribly common; original theme does not return at the end. Leave it feeling unfinished. • However, both A & B close on tonic (usually) • See Ex. 12.10 Brahms “Wiegenlied” Op. 49, No.4 • Ternary Form • Three-part form: A B A

13. Phrase Periodicity • The regular recurrence of phrases or periods • “Ode to Joy” – 4 phrase periodicty • Hypermetric and rhythmic augmentation

14. Phrase Extension, Contraction, & Elision • Cadential Extension; used to lengthen a phrase usually by delaying the dominant arrival • Internal Extension; used to lengthen a phrase usually by adding or repeating thematic material or by rhythmic augmentation

15. Phrase Extension, Contraction, & Elision • Contraction or truncation; shortening a phrase by compressing earlier thematic material or by cleverly deleting it; rhythmic diminution • Phrase Elision; when the cadence of one phrase overlaps the beginning of the next; provides a seamless rhythmic flow. Often found at the first orchestral ‘tutti’ of Classical era symphonies

16. Motives and Their Development • Motive; melodic fragment no longer than one measure that has a distinctive pitch profile and rhythmic characteristics • Used in the development section of songs to fill out the remainder of the phrase by the following • Repetition • Sequence • Melodic Inversion • Rhythmic modification; augmentation or diminution • Alteration of the harmonic setting

17. Pitch and Rhythmic Motives • Pitch motive consists of a short series of distinctive melodic intervals that are transposed and restated in a variety of rhythmic settings • Rhythmic motive consists of a changing melodic line with strict rhythm retention