Episode 44 recaps motives, segments, sequences, phrases and periods.
Episode 44 recaps motives, segments, sequences (1:02), phrases (1:54) and periods (2:14). Break it down in an example by Erik Satie (3:27) and then test yourself by labeling in the way you’d be expected to for the exam (6:12)
Question of the day: What types of phrases are in the folk song “Cockles and Mussels?” (8:52)
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Hi and welcome to the APsolute Recap: Music Theory Edition. Today’s episode will recap Phrase Relationships
Lets Zoom out:
We’re in Unit 8 Modes and Form
Topic 8.2
Our Big idea is form
The organization of musical form can be broken down into many parts. Most important in recognizing these parts is to notice patterns and the contrasting musical ideas. We will break it down by starting with rhythmic or melodic motif, which then creates segments, then sequences, then phrases, leading to larger groups called periods. Its like the Russian Nesting dolls of music.
Lets Zoom in:
Phrase relationships all start with a series of pitches or rhythms. These can be grouped into motives (motifs). A melodic motif may only be a few notes and will be repeated in a transposed way, not necessarily needing the identical rhythm. A rhythmic motif should be repeated with the same rhythm but can be different pitches. Motives can be segments of music that make up a sequence, which is really just like a larger motif. Generally, there tends to be at least two, but not more than five motives or segments in a row to make up a sequence. This sequence can be repeated transposed, or in what is called “real sequence” when it appears later with the exact same pitches. There are also sometimes “false sequences” where only part of the sequence is shown, or “modified sequences” where it is embellished but still recognizable.
Now that we have established sequences, you might be wondering how they are different from a phrase. The biggest indicator is that a phrase will have a cadence. It might be a deceptive or half cadence if it is in the middle of the piece, but it will be a cadence nonetheless. They tend to be four measures long, and are often when wind players or singers breath.
Multiple phrases make up a period, which typically ends with a strong cadence, such as a perfect authentic cadence. The two phrases tend to relate to each other, like question and answer. Sometimes the two phrases may be nearly parallel to each other, with just different cadences.
We are going to put all of this knowledge into an example by Erik Satie, the notation of which can be found on imslp.org. Keep in mind that as a Romantic era and early 20th century composer, Satie was pushing the boundaries of form, and used no bar lines or time signatures in this piece. As I mentioned earlier, there are rhythmic motifs. Many times a rhythmic motif is in an accompaniment part, such as those seen in the left hand of a piano piece. Listen to the rhythmic motif and phrase in the bass part of Erik Satie’s (no-see-en) Gnossiennes No. 1. (https://www.youtube.com/watch?v=y7kvGqiJC4g 0:00-0:10) You may have noticed the melodic and rhythmic motif in the right hand part. Continue listening to phrase two, which appears to be parallel with a different cadence (0:10-0:20). This ends the first period. The second period consists of the same two phrases (0:20-0:42) The third period has different phrases than the beginning but similar motifs, segments, and sequences. The bass rhythmic motif is consistent throughout, which is part of what makes this piece so captivating. Try to discern where each of the two sequences in this phrase are. (0:42-1:00). These phrases contained real sequences, because their cadences were identical, and the pitches were identical. Now immediately following is a contrasting phrase that also consists of real sequences (1:00-1:26).
I am going to play the full example from the beginning until the third period. Use a lowercase letter to label the phrase, starting with lower case “a” for the first phrase. Any repetition of a phrase with variation should be labeled with the lower case letter and an apostrophe. Any new contrasting phrase should be labeled with a new letter. (0:00-1:26) Your answer could be these lower case letters: a, a’, a, a’, b, c
Since there are no bar lines, your answer might also have been a variation of those letters in that order, Such as: a, a, b, c.
To recap……
A musical motif can be rhythmic, melodic, or both and consist of a few notes. A segment is similar to a motif, but might be two measures, and can have motifs within them. Sequences are made up of 2-5 segments. Types of sequences include: real, false, and modified. Phrases typically are four measures long and end with a cadence. Periods are made up of two phrases and end with a conclusive cadence.
Coming up next on the Apsolute RecAP Music Theory Edition: Error Detection
Today’s Question of the day is about phrases
Question: What types of phrases are in the folk song “Cockles and Mussels?”