What are Antecedent & Consequent Phrases in Music?Where is the antecedent and consequent phrase in this melody?Able to recall music in its correct key, but don't have perfect pitch — what is it called?What are the benefits of determining form before composing?What are the terms for beats and a set of beats in a dance?What is a coldplay?What are “sweeping phrases”?What does “in position” mean when referring to scored music?Terminology for determining form and harmonic structure when there are no apparent chords?What are some other basic forms besides ABA and ABACA?What is the difference between 'chorus' and 'refrain'?What does “function” actually mean in music?
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What are Antecedent & Consequent Phrases in Music?
Where is the antecedent and consequent phrase in this melody?Able to recall music in its correct key, but don't have perfect pitch — what is it called?What are the benefits of determining form before composing?What are the terms for beats and a set of beats in a dance?What is a coldplay?What are “sweeping phrases”?What does “in position” mean when referring to scored music?Terminology for determining form and harmonic structure when there are no apparent chords?What are some other basic forms besides ABA and ABACA?What is the difference between 'chorus' and 'refrain'?What does “function” actually mean in music?
I've never heard the terms before:
Antecedent and consequent phrases
they seem to be elements of a period. It seems to be evident that I am not the only one ...
terminology musical-forms
edited May 22 at 17:43
Richard
47.8k7115204
asked May 22 at 15:56
Albrecht HügliAlbrecht Hügli
6,2771524
add a comment |
I've never heard the terms before:
Antecedent and consequent phrases
they seem to be elements of a period. It seems to be evident that I am not the only one ...
terminology musical-forms
edited May 22 at 17:43
Richard
47.8k7115204
asked May 22 at 15:56
Albrecht HügliAlbrecht Hügli
6,2771524
1
We're a bit like scientists and mathematicians. Why use ordinary words when you can baffle brains with unusual esoteric ones instead..?
– Tim
May 22 at 15:59
I think it's the wrong attempt to make music more "scientificial". in German it's called Vordersatz and Nachsatz.
– Albrecht Hügli
May 22 at 16:03
Might be so, but German often uses long words!
– Tim
May 22 at 16:07
add a comment |
I've never heard the terms before:
Antecedent and consequent phrases
they seem to be elements of a period. It seems to be evident that I am not the only one ...
terminology musical-forms
edited May 22 at 17:43
Richard
47.8k7115204
asked May 22 at 15:56
Albrecht HügliAlbrecht Hügli
6,2771524
I've never heard the terms before:
Antecedent and consequent phrases
they seem to be elements of a period. It seems to be evident that I am not the only one ...
terminology musical-forms
terminology musical-forms
edited May 22 at 17:43
Richard
47.8k7115204
asked May 22 at 15:56
Albrecht HügliAlbrecht Hügli
6,2771524
edited May 22 at 17:43
Richard
47.8k7115204
asked May 22 at 15:56
Albrecht HügliAlbrecht Hügli
6,2771524
edited May 22 at 17:43
Richard
47.8k7115204
edited May 22 at 17:43
Richard
47.8k7115204
edited May 22 at 17:43
Richard
47.8k7115204
47.8k7115204
asked May 22 at 15:56
Albrecht HügliAlbrecht Hügli
6,2771524
asked May 22 at 15:56
Albrecht HügliAlbrecht Hügli
6,2771524
asked May 22 at 15:56
Albrecht HügliAlbrecht Hügli
6,2771524
6,2771524
1
We're a bit like scientists and mathematicians. Why use ordinary words when you can baffle brains with unusual esoteric ones instead..?
– Tim
May 22 at 15:59
I think it's the wrong attempt to make music more "scientificial". in German it's called Vordersatz and Nachsatz.
– Albrecht Hügli
May 22 at 16:03
Might be so, but German often uses long words!
– Tim
May 22 at 16:07
add a comment |
1
We're a bit like scientists and mathematicians. Why use ordinary words when you can baffle brains with unusual esoteric ones instead..?
– Tim
May 22 at 15:59
I think it's the wrong attempt to make music more "scientificial". in German it's called Vordersatz and Nachsatz.
– Albrecht Hügli
May 22 at 16:03
Might be so, but German often uses long words!
– Tim
May 22 at 16:07
1
1
We're a bit like scientists and mathematicians. Why use ordinary words when you can baffle brains with unusual esoteric ones instead..?
– Tim
May 22 at 15:59
We're a bit like scientists and mathematicians. Why use ordinary words when you can baffle brains with unusual esoteric ones instead..?
– Tim
May 22 at 15:59
I think it's the wrong attempt to make music more "scientificial". in German it's called Vordersatz and Nachsatz.
– Albrecht Hügli
May 22 at 16:03
I think it's the wrong attempt to make music more "scientificial". in German it's called Vordersatz and Nachsatz.
– Albrecht Hügli
May 22 at 16:03
Might be so, but German often uses long words!
– Tim
May 22 at 16:07
Might be so, but German often uses long words!
– Tim
May 22 at 16:07
add a comment |
2 Answers
2
active
oldest
votes
This answer repeats a lot of what I wrote in... Where is the antecedent and consequent phrase in this melody?
My understanding is antecedent and consequent are the two parts of a period.
The two parts are defined by cadences.
The antecedent can end with a variety of cadences but not a perfect cadence in the main key/tonic. The typical thing is some kind of cadence on the dominant chord of the main key.
The consequent ends on a perfect cadence in the main key.
My understanding of the theory is a period sets up tension in the antecedent by cadencing somewhere that isn't the tonic then later resolves that tension in the consequent by a cadence confirming the tonic. The idea is to create structural dissonance.
In the case of a simple period the structural dissonance is resolved quickly because the second phrase - the consequent - goes to a cadence in the tonic. You can compare that to a sonata structure which also starts with a kind of antecedent, a cadence on the dominant, but then the structural dissonance is hugely elaborated with other phrases cadencing in other keys before finally recapitulating with a final cadence on the tonic.
Periods are found through out classical music. Here is one (Mozart K.331)...
...mm. 1-4 are the antecedent and end on a half cadence I6/4 V while mm. 5-8 are the consequent and end on a perfect cadence I6/4 V7 I.
This particular melody exhibits parallel properties meaning that the antecedent and consequent use the same basic melody with slight variation. While many periods are parallel in shape the parallel shape should not be confused with period structure. The two-part antecedent/consequent structure of a period is defined by the cadences ending the phrases!
answered May 22 at 17:19
Michael CurtisMichael Curtis
14.5k1051
add a comment |
A period is one type of theme, like the sentence, common to the Classical style.
The period is generally eight measures long and contains two four-measure phrases, called antecedent and consequent.
http://openmusictheory.com/period.html
2 fine examples are posted in this link:
https://mramusicplace.net/2016/02/26/what-are-antecedent-consequent-phrases-in-music/
answered May 22 at 15:58
Albrecht HügliAlbrecht Hügli
6,2771524
1
(But the Mozart example on that website is not a period structure, but a sentence; yikes!)
– Richard
May 22 at 16:03
or as Goethe says in Faust: "What you have in black and white, you can safely carry home"
– Albrecht Hügli
May 22 at 16:05
@Richard, that Mozart Sym. 40 example is not a period, because there isn't the two cadence structure? Even though the opening melody has a 4+4 parallel shape.
– Michael Curtis
May 22 at 16:49
@MichaelCurtis Those two Mozart examples are the two basic ideas of a larger sentence structure.
– Richard
May 22 at 18:15
add a comment |
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2 Answers
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active
oldest
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2 Answers
2
active
oldest
votes
active
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votes
active
oldest
votes
This answer repeats a lot of what I wrote in... Where is the antecedent and consequent phrase in this melody?
My understanding is antecedent and consequent are the two parts of a period.
The two parts are defined by cadences.
The antecedent can end with a variety of cadences but not a perfect cadence in the main key/tonic. The typical thing is some kind of cadence on the dominant chord of the main key.
The consequent ends on a perfect cadence in the main key.
My understanding of the theory is a period sets up tension in the antecedent by cadencing somewhere that isn't the tonic then later resolves that tension in the consequent by a cadence confirming the tonic. The idea is to create structural dissonance.
In the case of a simple period the structural dissonance is resolved quickly because the second phrase - the consequent - goes to a cadence in the tonic. You can compare that to a sonata structure which also starts with a kind of antecedent, a cadence on the dominant, but then the structural dissonance is hugely elaborated with other phrases cadencing in other keys before finally recapitulating with a final cadence on the tonic.
Periods are found through out classical music. Here is one (Mozart K.331)...
...mm. 1-4 are the antecedent and end on a half cadence I6/4 V while mm. 5-8 are the consequent and end on a perfect cadence I6/4 V7 I.
This particular melody exhibits parallel properties meaning that the antecedent and consequent use the same basic melody with slight variation. While many periods are parallel in shape the parallel shape should not be confused with period structure. The two-part antecedent/consequent structure of a period is defined by the cadences ending the phrases!
answered May 22 at 17:19
Michael CurtisMichael Curtis
14.5k1051
add a comment |
This answer repeats a lot of what I wrote in... Where is the antecedent and consequent phrase in this melody?
My understanding is antecedent and consequent are the two parts of a period.
The two parts are defined by cadences.
The antecedent can end with a variety of cadences but not a perfect cadence in the main key/tonic. The typical thing is some kind of cadence on the dominant chord of the main key.
The consequent ends on a perfect cadence in the main key.
My understanding of the theory is a period sets up tension in the antecedent by cadencing somewhere that isn't the tonic then later resolves that tension in the consequent by a cadence confirming the tonic. The idea is to create structural dissonance.
In the case of a simple period the structural dissonance is resolved quickly because the second phrase - the consequent - goes to a cadence in the tonic. You can compare that to a sonata structure which also starts with a kind of antecedent, a cadence on the dominant, but then the structural dissonance is hugely elaborated with other phrases cadencing in other keys before finally recapitulating with a final cadence on the tonic.
Periods are found through out classical music. Here is one (Mozart K.331)...
...mm. 1-4 are the antecedent and end on a half cadence I6/4 V while mm. 5-8 are the consequent and end on a perfect cadence I6/4 V7 I.
This particular melody exhibits parallel properties meaning that the antecedent and consequent use the same basic melody with slight variation. While many periods are parallel in shape the parallel shape should not be confused with period structure. The two-part antecedent/consequent structure of a period is defined by the cadences ending the phrases!
answered May 22 at 17:19
Michael CurtisMichael Curtis
14.5k1051
add a comment |
This answer repeats a lot of what I wrote in... Where is the antecedent and consequent phrase in this melody?
My understanding is antecedent and consequent are the two parts of a period.
The two parts are defined by cadences.
The antecedent can end with a variety of cadences but not a perfect cadence in the main key/tonic. The typical thing is some kind of cadence on the dominant chord of the main key.
The consequent ends on a perfect cadence in the main key.
My understanding of the theory is a period sets up tension in the antecedent by cadencing somewhere that isn't the tonic then later resolves that tension in the consequent by a cadence confirming the tonic. The idea is to create structural dissonance.
In the case of a simple period the structural dissonance is resolved quickly because the second phrase - the consequent - goes to a cadence in the tonic. You can compare that to a sonata structure which also starts with a kind of antecedent, a cadence on the dominant, but then the structural dissonance is hugely elaborated with other phrases cadencing in other keys before finally recapitulating with a final cadence on the tonic.
Periods are found through out classical music. Here is one (Mozart K.331)...
...mm. 1-4 are the antecedent and end on a half cadence I6/4 V while mm. 5-8 are the consequent and end on a perfect cadence I6/4 V7 I.
This particular melody exhibits parallel properties meaning that the antecedent and consequent use the same basic melody with slight variation. While many periods are parallel in shape the parallel shape should not be confused with period structure. The two-part antecedent/consequent structure of a period is defined by the cadences ending the phrases!
answered May 22 at 17:19
Michael CurtisMichael Curtis
14.5k1051
This answer repeats a lot of what I wrote in... Where is the antecedent and consequent phrase in this melody?
My understanding is antecedent and consequent are the two parts of a period.
The two parts are defined by cadences.
The antecedent can end with a variety of cadences but not a perfect cadence in the main key/tonic. The typical thing is some kind of cadence on the dominant chord of the main key.
The consequent ends on a perfect cadence in the main key.
My understanding of the theory is a period sets up tension in the antecedent by cadencing somewhere that isn't the tonic then later resolves that tension in the consequent by a cadence confirming the tonic. The idea is to create structural dissonance.
In the case of a simple period the structural dissonance is resolved quickly because the second phrase - the consequent - goes to a cadence in the tonic. You can compare that to a sonata structure which also starts with a kind of antecedent, a cadence on the dominant, but then the structural dissonance is hugely elaborated with other phrases cadencing in other keys before finally recapitulating with a final cadence on the tonic.
Periods are found through out classical music. Here is one (Mozart K.331)...
...mm. 1-4 are the antecedent and end on a half cadence I6/4 V while mm. 5-8 are the consequent and end on a perfect cadence I6/4 V7 I.
This particular melody exhibits parallel properties meaning that the antecedent and consequent use the same basic melody with slight variation. While many periods are parallel in shape the parallel shape should not be confused with period structure. The two-part antecedent/consequent structure of a period is defined by the cadences ending the phrases!
answered May 22 at 17:19
Michael CurtisMichael Curtis
14.5k1051
edited May 22 at 17:34
answered May 22 at 17:19
Michael CurtisMichael Curtis
14.5k1051
answered May 22 at 17:19
Michael CurtisMichael Curtis
14.5k1051
answered May 22 at 17:19
Michael CurtisMichael Curtis
14.5k1051
14.5k1051
add a comment |
add a comment |
A period is one type of theme, like the sentence, common to the Classical style.
The period is generally eight measures long and contains two four-measure phrases, called antecedent and consequent.
http://openmusictheory.com/period.html
2 fine examples are posted in this link:
https://mramusicplace.net/2016/02/26/what-are-antecedent-consequent-phrases-in-music/
answered May 22 at 15:58
Albrecht HügliAlbrecht Hügli
6,2771524
1
(But the Mozart example on that website is not a period structure, but a sentence; yikes!)
– Richard
May 22 at 16:03
or as Goethe says in Faust: "What you have in black and white, you can safely carry home"
– Albrecht Hügli
May 22 at 16:05
@Richard, that Mozart Sym. 40 example is not a period, because there isn't the two cadence structure? Even though the opening melody has a 4+4 parallel shape.
– Michael Curtis
May 22 at 16:49
@MichaelCurtis Those two Mozart examples are the two basic ideas of a larger sentence structure.
– Richard
May 22 at 18:15
add a comment |
A period is one type of theme, like the sentence, common to the Classical style.
The period is generally eight measures long and contains two four-measure phrases, called antecedent and consequent.
http://openmusictheory.com/period.html
2 fine examples are posted in this link:
https://mramusicplace.net/2016/02/26/what-are-antecedent-consequent-phrases-in-music/
answered May 22 at 15:58
Albrecht HügliAlbrecht Hügli
6,2771524
1
(But the Mozart example on that website is not a period structure, but a sentence; yikes!)
– Richard
May 22 at 16:03
or as Goethe says in Faust: "What you have in black and white, you can safely carry home"
– Albrecht Hügli
May 22 at 16:05
@Richard, that Mozart Sym. 40 example is not a period, because there isn't the two cadence structure? Even though the opening melody has a 4+4 parallel shape.
– Michael Curtis
May 22 at 16:49
@MichaelCurtis Those two Mozart examples are the two basic ideas of a larger sentence structure.
– Richard
May 22 at 18:15
add a comment |
A period is one type of theme, like the sentence, common to the Classical style.
The period is generally eight measures long and contains two four-measure phrases, called antecedent and consequent.
http://openmusictheory.com/period.html
2 fine examples are posted in this link:
https://mramusicplace.net/2016/02/26/what-are-antecedent-consequent-phrases-in-music/
answered May 22 at 15:58
Albrecht HügliAlbrecht Hügli
6,2771524
A period is one type of theme, like the sentence, common to the Classical style.
The period is generally eight measures long and contains two four-measure phrases, called antecedent and consequent.
http://openmusictheory.com/period.html
2 fine examples are posted in this link:
https://mramusicplace.net/2016/02/26/what-are-antecedent-consequent-phrases-in-music/
answered May 22 at 15:58
Albrecht HügliAlbrecht Hügli
6,2771524
answered May 22 at 15:58
Albrecht HügliAlbrecht Hügli
6,2771524
answered May 22 at 15:58
Albrecht HügliAlbrecht Hügli
6,2771524
answered May 22 at 15:58
Albrecht HügliAlbrecht Hügli
6,2771524
6,2771524
1
(But the Mozart example on that website is not a period structure, but a sentence; yikes!)
– Richard
May 22 at 16:03
or as Goethe says in Faust: "What you have in black and white, you can safely carry home"
– Albrecht Hügli
May 22 at 16:05
@Richard, that Mozart Sym. 40 example is not a period, because there isn't the two cadence structure? Even though the opening melody has a 4+4 parallel shape.
– Michael Curtis
May 22 at 16:49
@MichaelCurtis Those two Mozart examples are the two basic ideas of a larger sentence structure.
– Richard
May 22 at 18:15
add a comment |
1
(But the Mozart example on that website is not a period structure, but a sentence; yikes!)
– Richard
May 22 at 16:03
or as Goethe says in Faust: "What you have in black and white, you can safely carry home"
– Albrecht Hügli
May 22 at 16:05
@Richard, that Mozart Sym. 40 example is not a period, because there isn't the two cadence structure? Even though the opening melody has a 4+4 parallel shape.
– Michael Curtis
May 22 at 16:49
@MichaelCurtis Those two Mozart examples are the two basic ideas of a larger sentence structure.
– Richard
May 22 at 18:15
1
1
(But the Mozart example on that website is not a period structure, but a sentence; yikes!)
– Richard
May 22 at 16:03
(But the Mozart example on that website is not a period structure, but a sentence; yikes!)
– Richard
May 22 at 16:03
or as Goethe says in Faust: "What you have in black and white, you can safely carry home"
– Albrecht Hügli
May 22 at 16:05
or as Goethe says in Faust: "What you have in black and white, you can safely carry home"
– Albrecht Hügli
May 22 at 16:05
@Richard, that Mozart Sym. 40 example is not a period, because there isn't the two cadence structure? Even though the opening melody has a 4+4 parallel shape.
– Michael Curtis
May 22 at 16:49
@Richard, that Mozart Sym. 40 example is not a period, because there isn't the two cadence structure? Even though the opening melody has a 4+4 parallel shape.
– Michael Curtis
May 22 at 16:49
@MichaelCurtis Those two Mozart examples are the two basic ideas of a larger sentence structure.
– Richard
May 22 at 18:15
@MichaelCurtis Those two Mozart examples are the two basic ideas of a larger sentence structure.
– Richard
May 22 at 18:15
add a comment |
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1
We're a bit like scientists and mathematicians. Why use ordinary words when you can baffle brains with unusual esoteric ones instead..?
– Tim
May 22 at 15:59
I think it's the wrong attempt to make music more "scientificial". in German it's called Vordersatz and Nachsatz.
– Albrecht Hügli
May 22 at 16:03
Might be so, but German often uses long words!
– Tim
May 22 at 16:07