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| phrases of different lenght (uneven) |
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| the prolonging of the cadence (usually an extension of the I chord or an extension of V-I usually in the concluding phrase at the end of a period) ex: Betthoven Symphonies (V-I or III for an extended period of time to delay the end) |
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| where the melodies and musical content are totally different between phrases in a period (a+b) = A (a’+b’+c) = B |
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| where the anteceedent/cosequent relationship is defined by pairs of phrases. Q+Q+A+A Ex. (a+a+b+b) = A |
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| the overlaping of two phrases (the cadence of phrase a is the tonic or beginning chord of phrase b) |
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| legthening the phrase with non related material not seen or heard in the original phrase (a+b)=orginal (a’+b’) a’ may have an unrelated 16th note run inserted that may lengthen a chord or build suspense for a new upcoming chord in the phrases(to delay or change orginal phrase) |
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| material that appears between phrases that does not belong to neither phrase |
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| A period that modualtes in the Consequent phrase ( the answer a’ or b is in a different but usually related key to the Q or anteceedent phrase) |
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| a+a or a+a’ – where the musical content in the consequent phrase or phrase group is the same as the anteceedent or previous phrase ( almost a repeat with little variation) |
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| period of symmetry (where the phrases are of the same number of beats or measures or seconds in length |
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| A series of Anteceedent phrases that have no definate resolution of consequent phrase (can have extened phrase groups and then 1 consequent phrase like in the introductions in many symphonies |
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