In previous modules, we studied the basic components of music: melody (pitch), rhythm (meter), and harmony.
These aspects of music give one the tools to study and create music, just as understanding grammatical rules
gives one the tools to write sentences. In this module we will discuss how to use this knowledge to understand
amusical composition or to create one of your own.

Phrase Structure: Antecedent, Consequent

Musical lines or melodies are often compared to sentences. Just as a sentence may divide into clauses, a musical
line may divide into antecedentand consequent phrases. Aphrasemay be defined as a “musical sentence.”
Just as a comma or a semicolon is used in a sentence to separate clauses, or a period is used at the end of a sen-
tence, cadencesare used in music to mark or delineate phrases. (Cadences will be discussed later in the module.)
For example, in the Trio of Mozart’s “Menuette,” we hear the melody divide into two four-measure phrases.

Trio from Menuette (W.A. Mozart)

BASICS OF PITCH

389

389 Phrase Structure: Antecedent, Consequent

391 Cadences: Authentic, Half, Plagal, Deceptive

391 Authentic Cadence

394 Half Cadence

396 Plagal Cadence

397 Deceptive Cadence

398 Forms

399 Binary Form: Two-part Form

400 Ternary Form: Three-part Form

401 32-Bar Form (AABA)

403 12-Bar Blues

404 Repeat Signs

406 First Ending, Second Ending

407 Da Capo al Fine

408 Dal Segno al Fine

409 Coda

411 Workbook

MODULE 16

FORM IN MUSIC

Antecedent phrase (mm. 1 –4) Consequent phrase (mm. 4 – 8)

FM: I V6 IV