V. The Period or Sentance Form

The Period

The next logical expansion of our structure is the Period. Just as we have drawn a parallel between words in language and motives in music and phrases in language and phrases in music, we can similarly say that sentances in language have a parallel relationship to periods in music. In fact sometimes we can interchangeable refer to the period as a sentance. (for our purposes we will stick with the term "period")

Word = "Motive "

Phrase = "Phrase "

Sentance = "Period"

1. The period consists of two phrases. If our "regular" phrase = 4 bars than our "regular" period consists of 8 bars.

1. Antecedent a. interrogative b. non-final (semi cadence)

2. Consequent a. responsive-affirmative b. Final (authentic) Cadence

Brahams Symphony 1 4th mvt.  Video @ 41:58

Beatles: Here comes the Sun by George Harrison  1st verse "Little Darling"

2. Exceptions to the usual cadence relationships in antecedent and consequent phrases exist:

1. The antecedent ends in an authentic cadence and the consequent modulates to a new key
2. When the consequent phrase is not the final phrase of a period (see period expansion)

 

A Note about terminology: We designate phrases using capital letters. Each letter represents a phrase unit. Thus if we have four successive contrasting phrases that are seemingly unrelated we would use the designation A B C D. If two identical phrases follow one another we would use the designation A A B B. When a phrase is similar but not exxactly identical, we use a series of hyphens affixed to the phrases corresponding letter designation. If four phrases are obviously similar but not identical we would use the designation A A' A'' A'''

3. Periods are identified in two categories:

1. The Parallel Period: A-A or A-A'

a. The melodic line in the second phrase is similar to the melodic line in the first phrase
b. The first measure of the consequent is usually similar to the first measure of the antecedent
c. The whole consequent may resemble the antecedent except the cadence.
d. If the whole phrase is literally repeated it is a "Phrase Repetition" and not a Period

Parallel Period Stated at 3:50, 6:19 & 14:59 in Video

ASSIGNMENT 1: 1. Write 4 x four bar antecedent phrases. You may write new phrases calling on new motives or use any rendition of the phrase material you wrote in the assignments from class notes 1&2. Be sure that the cadential concept of the phrase makes it function as an antecedent phrase. 2. For each of the above antecedent phrases, write a corresponding consequent phrase such that you compose 4 separate Parallel Periods. Label each phrase in the periods with their appropraite capital letters. Be sure to include all dynamic, tempi, and articulation markings

 

 

2. The Contrasting Period A-B

a. The melodic line of the consequent phrase is different from that of the antecedent
b. The rhythm in both phrases may be similar or the same or different

ASSIGNMENT 2: 1. For each of the antecedent phrases you wrote for assignement 1 above, write a corresponding consequent phrase such that you compose 4 separate Contrasting Periods. Label each phrase in the periods with their appropraite capital letters. Be sure to include all dynamic, tempi, and articulation markings

3. Exceptional period types

a. Modified Parallelism

1. an ambiguous relationship results when the beginning of the second phrase resembles the end of the first
2. The motives of the consequent are identical or nearly identical to the antecedent yet appear in a different order.

ASSIGNMENT 3: 3. For each of the antecedent phrases you wrote for assignement 1 above, write a corresponding consequent phrase such that you compose 4 separate Modified Parallel Periods. Label each phrase in the periods with their appropraite capital letters. Be sure to include all dynamic, tempi, and articulation markings

b. Parallelism of non-melodic units

1. In music that is predominantly percussive lacking significant melodic character, it is possible to identify a phrase unit based on rhythmic relationships.

 

c. Other Exceptional Periods

1. Structural parallelisms are only limited by your imagination. Consider how you could implement structural parallelism in the following scenarios

a. Orchestrational Parallelism: Melodic and rhythmic content is structurally subordinate to the orchestration (Orchestrational Parallelism)
b. Dynamic Parallelism: Melodic, rhythmic and/or orchestrational content is structurally subordinate to dynamics
d. Harmonic Parallelism: other content is structurally subordinate to harmony