Chapter+17

the first phrase of a period, ending with a cadence, usually weaker than the cadence that concludes the consequent phrase of the period.
 * Antecedent phrase:**

the second phrase of a period, ending with a cadence, usually stronger than the cadence that concludes the antecedent phrase that preceded it.
 * Consequent phrase:**

A motive that maintains it's contour, or musical shape, but changes it's intervals; it's rhythm may or may not be altered.
 * Contour motive:**

V-vi in major or V-VI in minor.
 * Deceptive cadence:**

A midphrase resolution to the submediant from V.
 * Deceptive resolution:**

A motive repeated several times in successive transpositions (often up or down by step).
 * Melodic sequence:**

Smallest recognizable musical idea. Must be repeated exactly or varied to be a motive.
 * Motive:**

A musical unit consisting of two phrases.
 * Period:**

A period in which the two phrases do not share the same initial melodic material.
 * Contrasting period:**

A period in which the two phrases share the same beginning melodic material.
 * Parallel period:**

A basic unit of musical thought, usually four bars long.
 * Phrase:**

Three or more phrases with tonal and/or thematic design elements that group them together as a unit.
 * Phrase group:**

Half cadence, iv6-V, in minor keys only, known as phrygian because of the half step descent in the bass.
 * Phrygian cadence:**

IV-I sometimes called the Amen cadence. Often follows an authentic cadence.
 * Plagal cadence:**

A motive that maintains it's rhythm but changes it's contour and interval structure.
 * Rhythmic motive:**

A phrase design with a 1+1+2 (or 2+2+4) motivic structure.
 * Sentence:**

A melodic and harmonic unit smaller than a phrase.
 * Subphrase:**

They are usually found where you were expecting a final cadence, they create deception, you expected a final cadence.
 * 1. Where are deceptive candences typically found? What type of effect do they create?**

They are typically found after an authentic cadence, they are use to expand the tonic.
 * 2. Where are plagal cadences typically found? What type of effect do they create?**

3. Find an example of a deceptive and plagal cadence in music.

Their descending half step in the bass-line.
 * 4. How do Phrygian cadences differ from other types of half cadences? What gives them their distinctive sound (and their name)?**

5. In how many different ways might phrases be paired to form periods? Can more than two phrases be grouped together?

6. Find an example of (a) an antecendent-consequent pair, (b) rhythmic motive, (c) a contrasting period, (d) a melodic sequence.

Antecedent = the call, Consequent = the response,
 * 7. In performance, how might you differentiate between an antecedent phrase and its consequent?**