Form and Analysis (V2 S6)

Question 1

Period

Answer 1

Two phrases in succession, must have antecedent/consequent relationship. Repeated phrase does not make a period.

Question 2

Phrase

Answer 2

Independent musical idea concluded with a cadence. Regular phrases are 4 measures in length, irregular are 2-8. When analyzing phrases, use lowercase letters.

Question 3

Sub-phrase

Answer 3

A melodic event that does not conclude with a cadence (“Mary had a little lamb” is a sub-phrase, the end of the phrase comes after “little lamb, little lamb”

Question 4

Antecedent phrase and consequent phrase

Answer 4

Two phrases that call and respond, consequent will have a stronger sounding cadence than the antecedent.

Question 5

Repeated Phrase

Answer 5

two identical phrases performed back to back. Does not produce a period.

Question 6

Parallel Period

Answer 6

Both phrases begin with similar or identical material

Question 7

Contrasting Period

Answer 7

Occurs when phrase beginnings are different

Question 8

Parallel Double Periods

Answer 8

a a’ a a’’

a a’ a b

a b a b’

a b a c

Question 9

Contrasting Double Periods

Answer 9

a a’ b b’

a a’ b c

a b c c’

a b c d

Question 10

March meters

Answer 10

2/4, 6/8, and cut time are most common. 4/4 is acceptable but less common. Meter is generally a duple. The exception is a circus march

Question 11

March key signatures

Answer 11

Most common are F, Bb, Eb, and Ab. Many American marches have a key change, usually in the trio.

Question 12

Traditional American March form

Answer 12

I - AA - BB - C(C) - Br - C (Grandioso)

(Trio can repeat before breakup strain)

Question 13

Regimental March

Answer 13

I - AA - BB - CC - DD (semper fidelis)

Question 14

Circus March (Screamer)

Answer 14

Used by circus bands to add excitement while acts are performed. Same format as American marches. Usually 140-220 BPM. Fast scale runs, intricate rhythms, double tongued fanfares, and obbligato parts. Henry Fillmore “Circus Bee” is an example.

Question 15

European Marches

Answer 15

Same form as American. Differences lie in performance practices and cultural differences.

Question 16

British March

Answer 16

Stately feel, 88-112 BPM. Includes dynamic changes and counter melodies on repeated strains. Last strain is usually broad and majestic. Stingers are at full value if it contains one. Kenneth J. Alford is a notable composer.

Question 17

German March

Answer 17

110 BPM. Oom-pah style. Bass drum and low brass perform on downbeats and upper voices on the off beat. Sometimes have a grand low brass feature. Final strain may use a lyrical melody and conclude with full orchestration and pompous feel. Josef Wagner “Under the Double Eagle” is an example.

Question 18

French March

Answer 18

Written in common time (4/4). And place emphasis on the first beat of each measure. 116-132 BPM. Emphasis on percussion and brass. Bugle calls used as interludes between strains. Robert Plaquette and Paul Cezano “Le Regiment de Sambres eat Meuse”

Question 19

Italian March

Answer 19

Light and proud feel. 96-128 BPM. Fanfares in brass and obbligatos in the woodwinds area common. Lyrical melodies. Influenced by operatic aria. Final strain may feature this in an upper voice. Boccalari’s “The Italian Rifleman.”