🎹Tonal Composition Unit 7 – Phrase Structure and Melodic Design

Key Concepts and Terminology

• Phrase a musical unit that typically contains a complete musical thought or idea, often ending with a cadence
• Antecedent phrase the first phrase in a period structure that ends with a weak cadence, usually on the dominant
• Consequent phrase the second phrase in a period structure that ends with a strong cadence, usually on the tonic
• Motive a short musical idea or fragment that serves as a building block for melodies and themes
  • Motives can be developed through repetition, variation, and transformation
• Sequence a compositional technique involving the repetition of a musical pattern at different pitch levels
• Contour the overall shape or direction of a melody, described in terms of rising, falling, or static motion
• Conjunct motion melodic movement in which notes move by step, creating a smooth and connected sound
• Disjunct motion melodic movement characterized by leaps and skips, resulting in a more angular and disconnected sound

Phrase Types and Structures

• Period a two-phrase structure consisting of an antecedent phrase followed by a consequent phrase
  • The antecedent phrase ends with a weak cadence (usually on the dominant), creating a sense of incompleteness
  • The consequent phrase ends with a strong cadence (usually on the tonic), providing a sense of resolution
• Parallel period a period structure in which the consequent phrase begins with the same melodic material as the antecedent phrase
• Contrasting period a period structure in which the consequent phrase begins with different melodic material than the antecedent phrase
• Sentence a phrase structure that consists of a presentation, continuation, and cadential function
  • The presentation introduces a basic idea, which is often repeated or sequenced
  • The continuation develops the basic idea through fragmentation, liquidation, or harmonic acceleration
  • The cadential function concludes the phrase with a cadence, providing a sense of closure
• Hybrid phrase a combination of period and sentence structures, often featuring elements of both in a single phrase
• Double period an extended phrase structure consisting of four phrases, often arranged as antecedent-consequent-antecedent-consequent

Melodic Contour and Shape

• Ascending melodic motion upward movement in a melody, creating a sense of rising tension or energy
• Descending melodic motion downward movement in a melody, creating a sense of falling relaxation or resolution
• Arch-shaped contour a melodic shape that rises to a peak and then descends, resembling an inverted "U"
• Wave-shaped contour a melodic shape characterized by alternating ascending and descending motion, creating a sense of undulation
• Terraced contour a melodic shape featuring distinct levels or plateaus, with abrupt changes in pitch
• Climax the highest point of tension or intensity in a melody, often achieved through a combination of pitch, rhythm, and dynamics
• Melodic inversion a compositional technique in which the direction of a melodic interval is reversed (ascending becomes descending, and vice versa)
• Melodic retrograde a compositional technique in which a melody is played backwards, from end to beginning

Harmonic Foundations

• Harmonic rhythm the rate at which chord changes occur in a phrase or composition
  • Slow harmonic rhythm implies fewer chord changes and a sense of stability
  • Fast harmonic rhythm implies more frequent chord changes and a sense of movement or instability
• Cadence a melodic or harmonic formula that concludes a phrase, section, or composition, providing a sense of resolution or closure
  • Authentic cadence (V-I) the most conclusive cadence, featuring a dominant to tonic progression
  • Half cadence (I-V or IV-V) a cadence that ends on the dominant, creating a sense of incompleteness or anticipation
  • Deceptive cadence (V-vi) a cadence in which the dominant resolves to the submediant, creating a sense of surprise or avoidance of resolution
  • Plagal cadence (IV-I) a cadence that moves from the subdominant to the tonic, often associated with a sense of finality or "amen" in sacred music
• Tonic prolongation the extension or elaboration of the tonic harmony through various compositional techniques, such as neighboring tones, passing tones, or pedal points
• Modulation the process of changing from one key to another within a composition
  • Common chord modulation a modulation technique that uses a chord common to both the original key and the new key as a pivot point
  • Chromatic modulation a modulation technique that uses chromatic alterations to smoothly transition between keys

Rhythm and Meter in Phrases

• Rhythmic motive a short, recognizable rhythmic pattern that serves as a building block for phrases and melodies
• Syncopation the placement of accents or emphasis on weak beats or offbeats, creating a sense of rhythmic displacement or tension
• Hemiola a rhythmic pattern in which two bars of triple meter are reinterpreted as three bars of duple meter, or vice versa
• Augmentation a compositional technique in which the duration values of a melodic or rhythmic pattern are proportionally increased
• Diminution a compositional technique in which the duration values of a melodic or rhythmic pattern are proportionally decreased
• Metric modulation a change in the perceived meter or tempo of a composition, often achieved by reinterpreting the relationship between note values
• Rubato a flexible approach to tempo, involving slight accelerations and decelerations to enhance musical expression
• Rhythmic displacement the shifting of a melodic or rhythmic pattern to a different beat or metric position, creating a sense of syncopation or metrical ambiguity

Compositional Techniques

• Imitation the repetition of a melodic or rhythmic idea in different voices or parts, often at a fixed time interval
  • Canon a strict form of imitation in which the same melody is played by multiple voices, entering at regular intervals
  • Fugue a complex contrapuntal composition featuring imitation and the development of a main theme (subject) and its accompaniment (countersubject)
• Stretto the overlapping of imitative entries, creating a sense of intensification and heightened complexity
• Augmentation and diminution the proportional lengthening or shortening of a melodic or rhythmic pattern, often used in contrapuntal compositions
• Inversion the reversal of the direction of intervals in a melodic pattern, turning ascending intervals into descending ones and vice versa
• Retrograde the reversal of the order of pitches in a melodic pattern, effectively playing the melody backwards
• Pedal point a sustained or repeated note, typically in the bass, against which other parts move independently
  • Tonic pedal a pedal point on the tonic note of the key, creating a sense of stability and resolution
  • Dominant pedal a pedal point on the dominant note of the key, creating a sense of tension and anticipation
• Ostinato a persistently repeated musical pattern or phrase, often used as an accompaniment or structural element

Analysis of Example Compositions

• Bach, J.S. - Fugue in C Minor, WTC Book I an exemplary fugue featuring a chromatic subject, multiple countersubjects, and various contrapuntal techniques such as stretto and inversion
• Mozart, W.A. - Symphony No. 40 in G Minor, K. 550, I. Molto allegro a sonata-form movement showcasing clear period structures, melodic development, and effective use of dynamics and orchestration
• Beethoven, L. van - Piano Sonata No. 21 in C Major, Op. 53 "Waldstein", I. Allegro con brio a virtuosic sonata movement featuring contrasting themes, extensive development, and a dramatic coda
• Schubert, F. - Lied "Erlkönig", D. 328 a dramatic song setting of Goethe's poem, showcasing text painting, contrasting characters, and a relentless accompaniment figure
• Chopin, F. - Nocturne in E-flat Major, Op. 9 No. 2 a lyrical and expressive piano work featuring ornamented melodies, rubato, and a clear ternary form structure
• Brahms, J. - Symphony No. 4 in E Minor, Op. 98, IV. Allegro energico e passionato a passacaglia-based finale featuring a series of variations on a repeated bass line, building to a triumphant conclusion

Practical Applications and Exercises

• Compose a parallel period (8 measures) in a major key, using a combination of conjunct and disjunct motion in the melody
• Write a 16-measure sentence structure in a minor key, incorporating a sequence and a clear cadential function
• Create a melodic motive (2-4 measures) and develop it through repetition, variation, and transposition
• Harmonize a given melody using appropriate chord progressions and cadences, paying attention to harmonic rhythm and voice leading
• Analyze the phrase structure and melodic contour of a given composition, identifying key elements such as period structures, sequences, and climax points
• Compose a short contrapuntal passage (8-12 measures) featuring imitation, augmentation, or inversion of a given melodic subject
• Identify and label the cadences in a given musical excerpt, explaining their function and effect on the overall structure
• Create a variation on a given melodic theme, employing compositional techniques such as rhythmic displacement, metric modulation, or melodic ornamentation