The Interaction of Melody and Harmony Chapter 17 The Interaction of Melody and Harmony More on Cadence, Phrase, and Melody

In Chapter 17 - You will learn… …new cadences. Deceptive Cadences Plagal Cadences Phrygian Cadences …phrase and harmony. …phrases in pairs: the period. …motives. …writing melodies.

Deceptive Cadences Deceptive Cadences have V(7)-vi (V(7)-VI) motion. Most effective are voiced like a PAC but using a vi (VI) instead of a I (i)

Other Deceptive Cadence Examples

Plagal Cadence (“Amen” Cadence) Plagal cadences have a IV-I (iv-i) motion.

Other Plagal Cadence Examples

Phrygian Cadence A cadence in minor only Uses iv6-V motion, always Bass steps down a half step (said to evoke the Phrygian mode - half step in the first to notes of the mode)

Summary - page 308 New cadence types we have learned: The deceptive cadence (V-vi or VI) avoids the expected tonic resolution. The plagal cadence (IV-I or iv-i) prolongs the tonic area (“Amen” cadence) The Phrygian cadence (iv6-V) is a special type of half cadence (in minor only!).

Key Concept - page 310 A phrase expresses a musical idea and moves toward a goal: the cadence. It is the smallest musical gesture that ends with a cadence. This means, for example, that a four-measure unit makes a phrase only when it concludes with a cadence. In other words - a phrase in analysis is not always how we perform a phrase with our instruments.

Phrase Analysis We label them with lowercase alphabet letters, generally from the beginning of the alphabet. Phrases sounding different, get different letters such as a, b, c, etc. Phrases that are identical get labeled with the same letter - like a and a Phrases that are similar (based on the same musical idea or contains a slight variation) get a prime marking - like a and a’ Another way to label similar phrases is: a1, a2, a3, etc.

Example Phrase Analysis 16 MEASURES a 8 mm. 1-8 Eb: HC a’ 8 mm. 9-16 Eb: PAC Ultimately, this could be used as a tool to help you understand pieces, songs, or tunes you perform. For example, is the HC or the PAC more important? What can you do to stress that?

Vocabulary Subphrases - melodic units smaller than phrases and does not end with a cadence Motive - smaller than a subphrase

Key Concept - page 311 A motive is the smallest recognizable idea. Motives may be characterized by their pitches, contour, and/or rhythm, but they rarely contain a cadence. For a musical segment to qualify as a motive, it must be repeated either exactly or in varied form. Motives are labeled using letters from the end of the alphabet - w, x, y, or z. Symbols can also be used.

Phrases in Pairs: The Period Key Concept - page 315 When the first phrase of a pair of phrases ends with a weak harmonic conclusion and the second with a strong harmonic conclusion, we call the antecedent (question) and consequent (answer) phrases. The two together form an antecedent-consequent pair, or period. Most commonly, the first phrase ends with a half cadence and the second with a perfect authentic cadence.

Types of Periods Parallel Periods Contrasting Periods Double Periods Two phrases beginning identically Second phrase is a variant of the first Labeled a a’ Contrasting Periods Two phrases that are different from one another Labeled a b Double Periods Group of 4 phrases PAC appears at the end of the fourth phrase First 2 phrases = antecedent Second 2 phrases = consequent Repeated periods are labeled a b a b or a b a’ b’

Parallel Period Example

Contrasting Period Example

Key Concept - page 317 Asymmetrical periods, or three-phrase periods, are three phrases featuring musical elements that group them together as a unit. The last phrase of the three must end with a PAC. Each of the first two phrases ends with an IAC or HC. Like phrase groups, they may repeat a phrase or motive to create a b a, a a’ b, or a b b’ patterns.

Types of Motives Melodic Motive Rhythmic Motive - same/similar rhythmic idea repeated Contour Motive - similar shape of a line; exact intervals can change

Sequence A melodic sequence in a transposed motive

Sequence Examples

Sequence Examples

Key Concept - page 321 To write an antecedent-consequent pair of phrases: Begin by mapping out eight blank measures on two lines of staff paper. Place four on the top line, and align four more beneath them on the second line. Sketch in an approach to each cadence: one that ends on 3-2 at the end of the first line to suggest an HC, and one that ends on 2-1 or 7-1 on the second line for a PAC. Begin in measure 1 on a member of the tonice triad (1, 3 or 5). If you want to include an anacrusis, try writing one that suggests a dominant harmony. Start composing a melody in the first four measure whose outline implies an incomplete phrase model (T-PD-D). Plan your progression with a harmonic rhythm of one to two chords per measure. Melodies often begin with a slower harmonic rhythm that speeds up near the cadence. Now write a melodic that expresses you progression by including arpeggiation or passing and neighboring embellishments around chord tones. Create at least two memorable motives: melodic, rhythmic, or contour. If rhythmic, you may want to the the rhythm more than once. You may want to try a sentence structure (1+1+2). Copy one to one and half measures of your first phrase into the beginning of the second phrase. Write a continuation of the phrase that cadences on tonic. Where possible, continue developing one of you motives as you complete the phrase. Most melodies have one high point or climax. Try to build your melody so that its highest note is stated only once - probably in the second phrase.