COMMON CLASSICAL PHRASE STRUCTURES

These are often used for themes in Classical music, especially main themes (second themes are
often more “loose-knit” and don’t have such a clear, well-defined structure as first themes).

PERIOD: 2 phrases, an antecedent followed by a consequent, roughly equal in length (4+4 proportion)
antecedent phrase: open-ended phrase that goes from tonic to dominant, ending on a half cadence (HC)
often consists of a 2-bar basic idea that emphasizes tonic, followed by a 2-bar contrasting idea
consequent phrase: completes harmonic motion by resolving back to tonic in a perfect authentic cadence (PAC)
the 2-bar basic idea returns, followed by a contrasting idea (can be same c.i. as antecedent, or different)
these two phrases can be parallel (same motivic material) or contrasting (different motivic material)*
* Caplin interprets most contrasting periods as hybrids (antecedent + continuation), but other form textbooks use contrasting periods

diagram of a parallel period

a (antecedent) a’ (parallel consequent)
 
basic idea contrasting idea HC basic idea contrasting idea PAC
I or i V I or i V–I

diagram of a contrasting period

a (antecedent) b (contrasting consequent)
 
basic idea contrasting idea HC new basic idea new contrasting idea PAC
I or i V I or i V–I

SENTENCE: one phrase, consisting of a basic idea and its repetition, followed by a longer continuation,
often in a 2+2+4 or 4+4+8 proportion, ending in either a half cadence or an authentic cadence
presentation: basic idea + restatement
basic idea: usually on the tonic; often consists of two distinct motives, one scalar and one arpeggiated
restatement: usually on the dominant; often sequential (basic idea is transposed up or down a step)
continuation–cadential: longer phrase leading to a cadence (most commonly a half cadence), characterized by
 fragmentation: the basic idea is broken down into smaller units
 increased rhythmic density: greater surface rhythmic activity
 liquidation: the basic idea loses its identifying characteristics, becomes a conventional formula
 harmonic acceleration: the rate of chord change increases up to the goal chord of the cadence
diagram of a sentence
presentation continuation–cadential
 a (basic idea) a’ (restatement) 
 (fragmentation and liquidation) cadence
I or i, or I–V or i–V V, or V–I or V–i ½a
 ½a
 ¼ a 
 ¼a
V or I or i
HC or AC

how can you tell a period from a sentence?

1. Different number of phrases: a period has two cadences. The first phrase ends with an inconclusive cadence
(usually a half cadence), and the second ends in a complete cadence (usually an authentic cadence). The
sentence has one cadence, usually a half cadence (although it can also end with an authentic cadence).
2. Different proportions: usually the antecedent and consequent phrases of a period are of equal length, while
the proportions of the musical ideas in a sentence are short‒short‒long (2+2+4 or 4+4+8).
3. Different scheme of repetition: in a sentence, the brief motive that is the basic idea is restated immediately,
after 1 or 2 bars (depending on the length of the basic idea, which is usually 1 or 2 bars long). In a parallel
period, the basic idea is repeated at the beginning of the second phrase, following the half cadence. In a
contrasting period, the initial basic idea is usually not repeated at all.