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Figure 6.26 4. Scale pitches T2-i often conclude those phrases that end with the tonic pitch. The chorale melody in figure 6.25 is a simple example of scale clegrees ll-i completing a phrase. Figure 6.25 Christ lag in Todesbanden (Christ Lay in the Bonds of Death), m. l-2. A Figure 6.26 does not end with scale degrees 1-2-l because the phrase concludes with a half cadence-the final pitch F is a part of the V chord but not a part of the I chord that would be necessary for a perf-ect authentic cadence. Beethoven: Symphony no. 3 (Eroictr), op. 55 in E-flat Major, IV (Finale), m. 76-83. Figure 6"27 Rcnaissance I)criod ( l;15{)- I 6(X} ) 120 In figure 6.21 the 3-)-i progression is distributed over two phrases. a fairly comfflon event. The first phrase ends befbre it reaches the tonic. then the secondphrase repeats both the 3 and 2-before concludins on the tonic. Phrase l Phrase 2 t 2 (Assignment 6.6, pages 129-130; WorkbooAAnthologt' 6K) H istory The idea of the tour-bar phrase, so cofflmon in the mid to late seventeenth century. developed gradually during the late Renaissance period. Figure 6.28 is representative. The phrase endings occur in measures 2, 6, and S-far from the balanced and regular phrase structure of later periods. The Structural Elements of Music I J J:_l :-l :-l "J 'J :J ,J I I I I I ,- l '_l 'J )
I l/r V-t L" l-- L" EVt l , - 7 e ).- I l ? , - - l : e nI E11 l-.t 3, 14 l-a L) )) 12 Vr t Fig u re 6"28 Morlcy: .'Nuncie." T I iilr rot; ut. I'r, l"ict l i lft{X}* I ?5t}i Figure 6"?9 PLrrcell: "Chaconne" fronr Kin,q Arthttr. i lirrsir";ll Inrl'ilcI i ?Ei|-.llll5 i :{', ir1:!lti ir. tr}i.l'igrtl ; .;.;. lr!i!l! t - I - i'liull.rntic iiltcl ! r !,:\!{rllirtiq' I}l'l"ilrfl !.!---"t! ' , ,i.ii i'i il*l'ilr+l -t'!l! i The dc'r,elopntcnt of phrasc ancl periocl construction aclr,anccd 1600 to 1675. and by,the latter hall'ol'the baroqr.re lteriocl. phrase rapiclly clurins the years structllre rvas clnite rcgltlur'. Fi cure 6. l9 i I I Lr:trates eontlllsI i rr u pr.r'iocl con\l l'uet i( )n. The classical pcriocl. represented by the wolks of Haydn. Mozart. and Beethoven. is per- haps the cultninatictn of fitrmal phrase constructicln. Many of the exantples in this chapter' were clrawn front contposers of this period. Although thc highly ltrrnral style of the classical periocl begrn to faclc in the vears ll'onr 1800 ttt abttut I tt30. the rotnantic period nraintainecl the basic clenrents of phruse and period constrLrction. As l'Lrncticlnal harntonl,'and strict key-orientecl tonalitv graclLralll,clintinishecl in intporti.ltlce. so did the carlier ideas concernirrg phrasc relationships. Nevertheless. phrasc artd periocl constrllction cun still be cletectccl in the. rvorks of conrposers of this period. In the wicle range of new rnusicalstyles in this century. the rnLrsicul phrase. althoLrgh styl- istically much chan-ued ll'orn thatof its ltrouenitors of thc- baroclue period. is still a clonrinurt influencc in rnuric. f,l e l r-.,J i I O rq a rr i zat i o n 121
Page 1 and 2: t_: r t .'-- . t 7 Y-t l - s ?' 14
Page 3 and 4: l . r) V : Figure 6.3 1 7 . J) Mend
Page 5 and 6: Phrase Figure 6.8 Haycln: Syrnphony
Page 7 and 8: I r t a Z I a ' 7 Li 1 { t - t l :
Page 9 and 10: ?, =, It it l f L-. -, 4 ", ?' 4 'g
Page 11: Smetana: "The Moldau," fiom Ml' Cou
Page 15 and 16: ?' lt 7t it lt 7) 7t 7t 7r ,-1 2t l
Page 17 and 18: 7 J. l-', l: l ; l € t I a-/ t wr
Page 19 and 20: ' ln--. l--t, l,--t, l---t, L:, )-:
Page 21 and 22: 7 Fl---, E)-'. v, v, )-/t )---, u,

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