Unit 5: Cadences, Phrases and Periods.

Question 1

Cadence

Answer 1

a harmonic goal; specifically, the chords used at the goal; ultimate harmonic goal is tonic triad

Question 2

authentic cadence

Answer 2

tonic triad preceded by some form of V or viio

Question 3

Perfect authentic cadence (PAC)

Answer 3

consists of a V-I (or V7-I) progression, with both the V and I in root position and the one (tonic) in the melody over the I chord; most final sounding of all cadences; most tonal compositions end with this, but may be found elsewhere in piece

Question 4

Imperfect authentic cadence (IAC)

Answer 4

any authentic cadence that is NOT a PAC; three different types

Question 5

Root position IAC

Answer 5

like a PAC, but 3 or 5 is in the melody (Soprano) over the I chord

Question 6

Inverted IAC

Answer 6

V(7)-I with either or both chords inverted

Question 7

Leading tone IAC

Answer 7

some form of viio-I, the viio substituting the V chord; contains leading tone

Question 8

Deceptive cadence

Answer 8

usually V-vi; ear expects resolution to I, but hears something else instead… usually vi, but others are possible; produces an unstable feeling and never ends a work… used to extend a phrase for a few measures; after the vi, the vi can go anywhere

Question 9

Half cadence

Answer 9

common type of unstable or progressive cadence; ends with a V chord, which can be preceded by any other chord; almost just comes to a halt… no resolve

Question 10

Phrygian half cadence

Answer 10

special name given to iv6-V in minor; refers to cadence found in the period of modal polyphony (before 1600) but does not imply music actually in Phrygian mode

Question 11

Plagal Cadence (PC)

Answer 11

IV-I progression; usually final sounding, but not as important in tonal music as authentic cadence; usually added on after a PAC; “Amen” cadence sung at end of hymns…. think Bagel cadence….

Question 12

motive

Answer 12

the smallest identifiable music idea; can consist of pitch pattern, rhythmic pattern or both; best to use motive only to refer to those ideas that are developed throughout the piece; rhythm stronger and more easily identifiable if when/reappears later in comp

Question 13

Phrase

Answer 13

relatively independent musical idea TERMINATED BY CADENCE!; harmonic event; usually labeled by lower case letters (a, b, etc.)

Question 14

subphrase

Answer 14

a distinct portion of the phrase but is not itself a phrase either b/c not terminated by cadence or b/c it seems too short to be relatively independent; melodic event

Question 15

elision

Answer 15

when last not of one phrase also serves as first note of next one

Question 16

period

Answer 16

typically consists of two phrases in an antecedent-consequent (question and answer) relationship, that relationship being established by means of a stronger cadence at end of 2nd phrase; endings must be different

Question 17

repeated phrase

Answer 17

if both phrases (back to back) are identical; NOT a period; repetition is important in tonal music, but doesn’t contribute to growth of musical form

Question 18

parallel period

Answer 18

if both phrases begin with similar or identical material even if material is embellished and have different endings

Question 19

contrasting period

Answer 19

a period in which the phrase beginnings are not similar

Question 20

form

Answer 20

the ways in which a composition is shaped to create a meaningful musical experience for the listener

Question 21

three-phrase period

Answer 21

has three different phrases - 2 antecedents and 1 consequent, or 1 antecedent and 2 consequents <–as determined by cadences

Question 22

double period

Answer 22

typically has 4 phrases in two pairs: cadence at end of 2nd pair is stronger than cadence at end of first pair; similar to period, but each half consists of 2 phrases; NOT a repeated period because this requires contrasting cadences; called parallel or contrasting based on whether melodic material that begins 2 halves is similar or different

Question 23

phrase group

Answer 23

when several phrases will seem to belong together structurally while clearly not constituting a period or double period; typically when final cadence isn’t the strongest one; often found in transitional passages

Question 24

sentence

Answer 24

characterized by the immediate repetition or variation of a musical idea followed by a motion toward a cadence; typically (not always) a single phrase in length; 2nd part of phrase (variant, repeat) is very similar; no clear cadence at end of phrases, but cadence at end of whole thing

Question 25

a’ (a prime)

Answer 25

used to indicate two phrases that are only slightly different

Question 26

Is it exactly the same?
Is it similar or variant of original?
Is it totally different?

Answer 26

How to differentiate between phrases, periods, and sentences

Question 27

placement of cadences
Phrase: cadence at end
Sentence: contains phrase like sections, but no cadence until end of sentence

Answer 27

What is the major difference between phrases and sentences???