A sentence consists of two subphrases: the presentation and the continuation. A sentence at the beginning of Louise Farrenc, Cello Sonata, II (0:00–0:28).Įxample 6 shows one common way to construct a phrase, called a sentence. Archetype 1: The Sentence (A Special Kind of Phrase) The Basics EXAMPLE 6. A spectrum of phrase-level formal categories. Moreover, these categories might best be viewed as two ends of a spectrum ( Example 5) in which a phrase-level form can be understood as “closer” to one category or the other without clearly belonging to either one.Įxample 5. Phrase-level forms belonging to both categories appear frequently in common-practice music. Note that this doesn’t mean that archetypes are more common than unique forms. They might not relate to an archetype at all, in which case we’ll say they’re unique forms, meaning they are not organized as sentences or periods.These are special ways of organizing phrases, and you’ll read about two kinds: sentences and periods. They might play with what we’ll call an archetype.Unique Formsīelow, we’ll explore two main ways that phrase-level forms might be organized: A passage with multiple locations someone might mistakenly label as cadences in Haydn’s Piano Trio in F Major, Hob. Example 1 shows a segmentation analysis for a phrase of 4 measures (a common length), while Example 2 shows a segmentation analysis for a phrase of 13 measures (an unusual length).Įxample 4. Ī phrase can be any length, but phrases of 4, 8, or 16 measures are particularly common. In tonal classical music, the goal of a phrase is almost always one of the kinds of cadences described in the Introduction to Harmony, Cadences, and Phrase Endings chapter: perfect authentic cadences (PACs), imperfect authentic cadences (IACs), and half cadences (HCs). A segmentation analysis of a phrase of unique length in Fanny Hensel, “Abendbild” (0:00–0:40).Ī phrase is a relatively complete thought that exhibits trajectory toward a goal, arriving at a sense of closure. A segmentation analysis of a phrase of common length in Schubert, “Du bist die Ruh” (0:21–0:32). Although the forms discussed in this chapter are all quite common, it’s equally common for a composer to write a unique phrase-level form that isn’t in dialogue with the ones discussed here.Ĭhapter Playlist The Phrase Example 1. Sometimes two sentences are arranged in an antecedent-consequent relationship to create a compound period.The repeated phrase: two phrases where the second is a written-out repeat of the first.The period: a phrase-level form consisting of an antecedent and a consequent.Sometimes phrases are combined to form larger forms.A sentence is a special kind of phrase that contains a presentation and a continuation.In tonal classical music, that goal is almost always one of the traditional cadence types, but in other kinds of music, that goal may be something else. A phrase is a relatively complete thought that exhibits trajectory toward a goal.This chapter introduces the phrase, the sentence, the period, the repeated phrase, compound forms, and unique phrase-level forms.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |