be repeated, or a cadential expansion may extend phrase 2.

Periods often modulate to closely related keys

(modulating period).

A double period consists of two consecutive periods having an antecedent–consequent relationship.

The third phrase will often repeat the first phrase; the fourth phrase may repeat the second phrase but will be
significantly altered to establish the necessary PAC.

C. A phrase-group (phrase chain) is a series of two or more related phrases that do not form a clear periodic
structure.

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14 Typical Phrase Variants

Composers generally avoid excessive regularity or squareness of phrase. Some typical variants follow.

I. Regular phrase structure can be varied through a process of inner expansion by the following means:

A. Repetition of a figure.
Capriccio Haydn

B. Sequential expansion of a figure.

1.
String Quartet, op. 17, no. 5 Haydn

2.
Piano Concerto, op. 58, no. 4 Beethoven

C. Interpolation of an “extra” measure or two.

The Magic Flute, act 2, no. 18 Mozart

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II. Formal elision, whereby the last beat of a phrase becomes the first beat of the following phrase, is a common
device.

Piano Sonata, op. 31, no. 2 Beethoven

III. A phrase or period may be expanded at the end by several means.

A. Cadential extension, often by repeating the cadential figure following a D.C. or l.A.C.

O Cessate di Piagarmi A. Scarlatti

B. Expansion (lengthening) of the cadential figure.

Piano Sonata, op. 2, no. 1 Beethoven

TYPICAL PHRASE VARIANTS 255

15 The Motive

I. A motive (M) may be defined as a relatively short musical idea that functions as a cell or basic unit from which
phrases and larger structural units are constructed. The motive is characterized by its rhythmic shape, its
intervals, and its harmonic implication. A motive may display only one of these characteristics (for example,
rhythm alone), or it may display a combination of characteristics. The motive becomes an important unifying
device either by its consistent use throughout a phrase, its use in subsequent phrases, or its use throughout
an extended composition. During the course of a piece the motive may undergo considerable alteration or
transformation, most frequently during transitional or developmental sections.

II. Common treatments of a motive.

A. Repetition or recurrence.
1. The motive may be repeated within a phrase.

Piano Sonata, op. 14, no. 2 Beethoven

2. The motive may appear at the beginnings of parallel phrases, transposed or untransposed.

Viola, op. 123 Schubert

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 3. The motive may appear in accompanying voices.

“An die Musik,” op. 88, no. 4 Schubert

B. Change of interval.
1. Interval changes will occur when the motive is restated at different pitch levels with the same
underlying harmony.

Piano Sonata in G Minor, no. 4 Haydn

Piano Sonata, K. 547a Mozart

THE MOTIVE 257