Glossary
Antecedent phrase
The first phrase in a period, which sets up a musical idea or question and typically ends with a less conclusive cadence.
Example:
In a call-and-response song, the 'call' part often functions as the antecedent phrase.
Asymmetrical Period
A period that consists of an unequal number of phrases, typically three or five, rather than the standard two.
Example:
A piece with a three-phrase structure (A-B-C) where the first two phrases act as antecedents and the third as a consequent could be an Asymmetrical Period.
Authentic Cadence (AC)
A conclusive cadence that moves from the dominant chord (V) to the tonic chord (I).
Example:
A V-I progression at the end of a phrase is an Authentic Cadence.
Cadence
A harmonic or melodic configuration that creates a sense of conclusion or pause at the end of a musical phrase.
Example:
The final two chords of a song typically form a cadence, signaling its end.
Consequent phrase
The second phrase in a period, which provides a resolution or answer to the antecedent phrase and typically ends with a more conclusive cadence.
Example:
Following the 'call' in a song, the 'response' part would be the consequent phrase.
Contrasting Period
A type of period where the antecedent and consequent phrases begin with different melodic material.
Example:
A period where the opening melody of the second phrase is entirely new compared to the first phrase is a Contrasting Period.
Deceptive Cadence (DC)
A cadence where the dominant chord (V) resolves unexpectedly to a chord other than the tonic, most commonly vi, creating a sense of surprise or continuation.
Example:
In C major, a V-vi progression (G major to A minor) at the end of a phrase forms a Deceptive Cadence.
Double Period
A larger musical structure composed of four phrases, grouped into two antecedent-consequent pairs, with the strongest cadence at the very end of the fourth phrase.
Example:
A four-phrase section where the first two phrases form a less conclusive unit and the last two form a more conclusive unit, ending with a PAC, is a Double Period.
Figure
A short, distinct melodic or rhythmic pattern that is often repeated or varied throughout a piece.
Example:
A rapid arpeggiated pattern played by a piano in the background might be considered a musical figure.
Half Cadence (HC)
An inconclusive cadence that ends on the dominant chord (V), creating a sense of pause or expectation.
Example:
A phrase ending on a G major chord in the key of C major would be a Half Cadence.
Imperfect Authentic Cadence (IAC)
A weaker authentic cadence where either the V or I chord is inverted, or the soprano voice does not end on the tonic note.
Example:
A phrase in C major ending with a V6-I progression, or a V-I progression where the melody ends on E or G, is an Imperfect Authentic Cadence.
Modulating Period
A period where the consequent phrase modulates to a different key, usually the dominant, before returning to the tonic.
Example:
A period in C major where the second phrase briefly moves to G major before the final cadence is a Modulating Period.
Motive
A short, recurring musical idea, often the smallest identifiable melodic or rhythmic unit.
Example:
Beethoven's Symphony No. 5 famously begins with a four-note motive (short-short-short-long).
Parallel Period
A type of period where the antecedent and consequent phrases begin with similar melodic material.
Example:
If the first four notes of both phrases in a period are identical, it's likely a Parallel Period.
Perfect Authentic Cadence (PAC)
The strongest and most conclusive type of authentic cadence, where both the V and I chords are in root position and the soprano voice ends on the tonic note.
Example:
A phrase in C major ending with a root position G major chord resolving to a root position C major chord, with the melody ending on C, is a Perfect Authentic Cadence.
Period
A musical structure consisting of two balanced phrases, an antecedent and a consequent, that complete each other.
Example:
Many folk songs are structured as a period, with a question-like first phrase and an answer-like second phrase.
Phrase
A complete musical thought, like a musical sentence, with a clear beginning and ending.
Example:
The opening four measures of 'Twinkle, Twinkle Little Star' form a clear musical phrase.
Phrase chain
A series of contrasting phrases that are linked together, often leading to a half cadence.
Example:
A sequence of distinct musical ideas, each forming a phrase, that build towards a temporary pause, could be described as a phrase chain.
Tonic-predominant-dominant-tonic progression
A fundamental harmonic progression that creates a sense of stability (tonic), moves away (predominant), builds tension (dominant), and resolves back to stability (tonic).
Example:
In C major, a C-F-G-C chord sequence demonstrates a tonic-predominant-dominant-tonic progression.
a a Relationship
A phrase relationship where two consecutive phrases are nearly identical, representing a simple repetition of a musical idea.
Example:
If a composer repeats the exact same melody and harmony for a second phrase, it demonstrates an a a Relationship.
a a' Relationship
A phrase relationship where two consecutive phrases are similar but the second phrase contains some variation, such as added decorations or transposition.
Example:
A melody played once, then repeated with a few extra passing tones or in a higher octave, illustrates an a a' Relationship.
a b Relationship
A phrase relationship where two consecutive phrases are contrasting, featuring distinct melodic and/or harmonic ideas.
Example:
A bright, flowing first phrase followed by a dark, staccato second phrase would show an a b Relationship.