1. Phrase Structure and Motivic Analysis
Chapter 18

2. Phrase and Harmony
Phrase—smallest musical idea that ends with a cadence
Often 4,8, or 16 measures long
Phrases which are completely different are labeled with different letters
Phrases which are the similar but not identical are labeled with a prime mark (a vs a’) or with superscripts (a1, a2, etc.)

3. Subphrases and Motives
Subphrase—musical idea smaller than a phrase; does not end in a cadence
Motive—smallest recognizable musical idea; can be characterized by their pitches, shape, and/or rhythm; MUST be repeated either exactly or with slight variation to qualify as a motive
Motives may be labeled with lowercase letters from end of alphabet or a musically meaningful label, i.e. the neighbor tone motive

4. Transformation of Motives
Motives can be repeated exactly but are more often transformed in shape, rhythm, transposition, or intervals
Inversion in terms of motive is when a motive is flipped upside down like its reflection in a mirror
To invert a motive, keep the order of interval sizes the same but reverse each interval’s direction i.e. an asc. 3rd becomes desc. 3rd

5. Transformation of Motives
To invert a contour, reverse the direction of each step, skip, or leap just like a motive, but the interval size may change
Though true mirror inversions keep all the exact intervals of the original, inversions are typically altered in traditional harmonies by changing the quality of some intervals in order to keep their pitches with the key or harmony of the passage

6. Transformation of Motives
Augmentation—transforming a motive by lengthening each note’s duration proportionately to the original
Diminution—transforming a motive by shortening each note’s duration proportionately to the original
Motives can also be transformed by extending, truncating, or fragmenting them

7. Transformation of Motives
To extend a motive, repeat elements of it to make it longer
To truncate a motive, cut off the end to make it shorter
To fragment a motive use only a small, but recognizable, piece of the original motive
In analysis, first identify motives by the characteristic shape and repetition then look for possible transformations in rhythm, contour, or intervals.

8. Sentence Structure
Sentence—Eight measures in a design or four measures in a design (ex. 18.7)
First unit—motive is stated (usually over tonic harmony)
2nd unit—motive restated, usually varied or transposed; often over dominant harmony or some progression which extends the tonic area
3rd unit—motive broken up and developed with an accelerated harmonic rhythm as the phrase moves towards the cadence (usually a HC or PAC)

9. The Period
Period—a 2 phrase structure formed by an antecedent and consequent phrase pair
The antecedent phrase ends with a harmonically weak cadence (HC or IAC)
The consequent phrase answers with a stronger harmonic cadence
Cadence types are usually HC-PAC (most common), HC-IAC, and IAC-PAC

10. The Period
When the 2 phrases are the same length the period is called symmetrical; when they’re different lengths it’s known as asymmetrical
Sometimes there is a change of key in the consequent phrase (this phrase is known as a modulating consequent); this then forms a modulating period

11. The Period
Three phrases that belong together with cadences in a harmonically weak-weak-strong pattern are called a 3 phrase period; may be a a b, a b b’, a b a’, and a b c
Double period-group of 4 phrases where the only PAC