| a short recurring figure that appears throughout a composition or section of music |
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| considered the organic unit that unifies a larger expanse of music? |
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| consists of distinctive melodic and/or rhythmic patterns from the underlying structure |
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| a repeated pitch pattern that usually recurs accompanied by the same or a similar rhythmic pattern |
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| a recurring rhythmic pattern in a piece of music |
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| in most cases, this kind of motive functions independently of melodic patterns |
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| the immediate restatement of a melodic motive or longer figure in the same instrumental or vocal part at a higher or lower pitch |
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| each separate unit of the sequence |
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| a sequence requires at least _ segments and no more than _ |
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| segments usually continue by the same ___ ___ |
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| contains continuing segemtns that are exact transpositions of the first segment |
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| accomodates the diatonic scale, so the transposition is not always exact |
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| some of the segments may be decorated or embellished in a way that does not destroy their original character |
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| repeats part of a figure and states the remainder in sequence |
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| a mixture of repetition and sequence |
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| a substantial musical thought usually ending with a harmonic, melodic, and rhythmic cadence |
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| presents a complete musical thought |
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| the presence of a ____ dstinguishes a phrase from a motive |
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| phrases are USUALLY _ measures |
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| phrases usually have slight melodic interruptions and thus divide into two ____ ____ |
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| sufficiently separated (usually by a long note value or rest) to distinguish them as individual units |
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| USUALLY the second phrase member is either a ____ or a ____. |
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| repetition; sequence of the first |
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| two adjacent phrases may combine to form a period if: |
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1. the second phrase ends with a strong cadence (preferably a PAC)
2. the first phrase ends with a weaker cadence than the second (half cadence is popular)
3. the two phrases bear some musical relationship to each other (antecedent-consequent) |
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| when two adjacent phrases both begin in the same manner |
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| when two phrases are not similar in melodic content |
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| period organized as AAB or ABB; as long as the third phrase ends with a stronger cadence than either of the first two |
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| period that allows for a variety of phrase relationships; the fourth phrase must bring the period to closure and should be at least as strong as any of the other phrases |
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| four-phase period/ double period |
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| not typically regarded as period structures because the second phrase iis not dependent on the first; thus, the antecedent-consequent concept does not apply |
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| change from minor to PARALLEL major or vice versa |
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| an extended phrase whose length has increased through the elongation of someo part of it |
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| three types of phrase extensions: |
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1. beginning
2. internal
3. cadential (end) |
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