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

2. 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.

3. 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)

4. Other Deceptive Cadence Examples

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

6. Other Plagal Cadence Examples

7. 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)

8. 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!).

9. 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.

10. 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.

11. 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?

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

13. 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.

14. 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.

15. 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’

16. Parallel Period Example

17. Contrasting Period Example

18. 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.

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

20. Sequence
A melodic sequence in a transposed motive

21. Sequence Examples

22. Sequence Examples

23. 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.