Unit 5: Cadences, Phrases and Periods. Flashcards
Cadence
a harmonic goal; specifically, the chords used at the goal; ultimate harmonic goal is tonic triad
authentic cadence
tonic triad preceded by some form of V or viio
Perfect authentic cadence (PAC)
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
Imperfect authentic cadence (IAC)
any authentic cadence that is NOT a PAC; three different types
Root position IAC
like a PAC, but 3 or 5 is in the melody (Soprano) over the I chord
Inverted IAC
V(7)-I with either or both chords inverted
Leading tone IAC
some form of viio-I, the viio substituting the V chord; contains leading tone
Deceptive cadence
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
Half cadence
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
Phrygian half cadence
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
Plagal Cadence (PC)
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….
motive
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
Phrase
relatively independent musical idea TERMINATED BY CADENCE!; harmonic event; usually labeled by lower case letters (a, b, etc.)
subphrase
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
elision
when last not of one phrase also serves as first note of next one
period
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
repeated phrase
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
parallel period
if both phrases begin with similar or identical material even if material is embellished and have different endings
contrasting period
a period in which the phrase beginnings are not similar
form
the ways in which a composition is shaped to create a meaningful musical experience for the listener
three-phrase period
has three different phrases - 2 antecedents and 1 consequent, or 1 antecedent and 2 consequents <–as determined by cadences
double period
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
phrase group
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
sentence
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
