MODULE 16
390
Listen to the Mozart excerpt, noticing that:
- Beginning with an anacrusis (“pick up”) note and ending in measure 4, the first phrase is an antecedent
phrase.Although the phrase ends on a longer note value (a half note), it has an unfinished or incomplete
quality to it because it does not end on a note of the tonic triad. - Beginning on the third beat of measure 4 until measure 8, the second phrase is a consequent phrase.It is
almost identical to the first phrase; however, it ends on an F tonic note in both the bass and the melody.
This gives the phrase a feeling of completion. - The two phrases together form a period.When two phrases begin identically as in this song, they form a
parallel period.
Exercise 1—Class Exercise
Sing the following melodies.
- The combination of lyrics and music contributes to the phrase structure of a melody; begin by looking for
repetition and contrast in the lyrics and the melody. Say the words aloud and then sing the words with the
melody. - Each of the melodies divides into two phrases. Identify the phrases and then label them “antecedent” or
“consequent.” - The two phrases form a period. Name the type of period: parallel or contrasting.
Musical note: Phrase structure
PHRASE
A“musical sentence” usually 4–8 measures long that is concluded by a cadence (to be discussed beginning on page 391).ANTECEDENT PHRASE
The “question,” with an ending that sounds momentary. The antecedent phrase usually does not end on the tonic note.CONSEQUENT PHRASE
The “answer,” with an ending that sounds final. The consequent phrase usually ends on the tonic note.PERIOD
Two phrases, the antecedent followed immediately by the consequent. The phrases may be parallel(phrases begin alike) or
contrasting(phrases begin differently).