1. AP Music Theory Mr. Silvagni
Periodicity
AP Music Theory
Mr. Silvagni

2. How are melodies constructed?
Melody is a succession of pitches and rhythms that form a recognizable unit
It is the most important part of music
Anacrusis – aka pick-up measure – incomplete measure to start
Mostly conjunct (stepwise) motion with some disjunct (skipwise) moition
Has a shape or contour
Usually does not exceed a one octave range
Longer melodies employ repetitions, have a distict form, and are built from simple motifs and short melodic phrases

3. Melodic Structure Motif – a musical idea
Phrase – a single coherent musical thought that ends with a cadence
Period – a group of phrases, usually 2, 3, or 4 phrases
Phrases are either antecedents (before) or consequents (after)
Typically, antecedents end with half cadences (weak) and consequents end with perfect authentic cadences (strong)

4. Periods
Parallel Period (a a’) – two phrases (antecedent and consequent) where both phrases begin identically but end differently
NOT to be confused with double parallel period, which has four phrases
Repeated Parallel Period (a a’ a a’) – two phrases that form a parallel period repeated
*examples in other files

5. Periods
Contrasting Period (a b) – two phrases (antecedent and consequent) where both phrases are completely different
Remember, antecedent phrases use weak cadences (half or IAC)
If two phrases end with PAC, then it’s not a contrasting period
*examples in other files

6. Periods
Double Period – four phrases (first two form antecedent and last two form consequent)
Remember, antecedent ends with weak cadence and consequent with strong!!!!
Double Parallel Period (a b a’ b’) – both antecedent and consequent start the same or similarly, but end differently…same as parallel period but over more phrases
Double Contrasting Period (a a’ b b’ or a b c d) – both antecedent and consequent are completely different, but phrases within may be similar or different
*examples in other files

7. Periods
Modulating Period – before the cadence of either the antecedent or consequent, there is a modulation
Can be part of any type of period
*examples in other files

8. Phrase Expansions
Introduction – material before phrase structure starts
Cadential Extension – expansions a the end of a phrase…usually restates the cadence
Internal Expansion – lengthens phrase somewhere in the middle
Elision – one phrase ends at the same time the next phrase begins

9. Melodic Repetition and Variation
Literal repetition – aka imitation – same voice or in other voices
Melodic sequence – repeating original motif starting on a different pitch
Inversion – imitation of the melody with the intervals reversed diatonically (up a third becomes down a third)
Mirror inversion – intervals reversed exactly (up a major third becomes down a major third)
Retrograde – melody is played backwards
Retrograde inversion – melody is reversed and then the intervals are reversed

10. Melodic Repetition and Variation
Rhythmic displacement – repeats original melody but in a different place in the measure
Augmentation – the melody is repeated using longer rhythmic notes
Diminution – the melody is repeated using shorter rhythmic notes
Expansion – adds new material typically to the end of the original phrase
Mode mixture (modal borrowing) – combining chords from the parallel major or minor key…this is not modulation
Ornamentation or embellishment – adding or decorating the melody with non-chord tones