3.3 Harmonic Rhythm and Phrasing

Harmonic rhythm and phrasing are key to understanding how music flows. They shape how chords change and how musical ideas are organized. These elements work together to create structure and meaning in a piece.

Knowing about antecedent-consequent phrases, periodic and sentence structures, and phrase expansions helps you grasp music's architecture. These concepts show how composers build tension, create expectations, and craft satisfying musical journeys.

Harmonic Rhythm and Phrase Structure

Harmonic Rhythm and Phrase Structure Basics

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• Harmonic rhythm refers to the rate at which chords change in a musical passage
• Phrase structure organizes musical ideas into meaningful units, typically 2, 4, or 8 measures long
• Antecedent-consequent phrases involve a pair of phrases where the antecedent phrase ends with a weak cadence (often half cadence) and the consequent phrase ends with a strong cadence (often perfect authentic cadence)
  • Creates a sense of question and answer or call and response (antecedent phrase in C major ending on G major, consequent phrase ending on C major)

Common Phrase Structures

• Periodic structure consists of an antecedent phrase followed by a consequent phrase
  • Antecedent phrase is more harmonically open, ending with a weak cadence (often imperfect authentic cadence in Mozart's Piano Sonata No. 16, K. 545)
  • Consequent phrase is more harmonically closed, ending with a strong cadence (perfect authentic cadence in Beethoven's Piano Sonata Op. 49, No. 2)
• Sentence structure begins with a basic idea that is repeated (either exactly or with slight variation) followed by a continuation and cadence
  • Presents a short melodic/rhythmic motive twice, then develops it further before closing with a cadence (Beethoven's Piano Sonata No. 1, Op. 2, theme of the Allegro)

Phrase Expansions and Alterations

Extending and Linking Phrases

• Cadential extension adds extra measures to the end of a phrase, prolonging the cadence
  • Heightens anticipation of phrase ending and emphasizes cadential arrival (extended perfect authentic cadence in Chopin's Prelude Op. 28, No. 7)
• Phrase elision occurs when the end of one phrase overlaps with the beginning of the next phrase
  • Blurs the boundary between phrases and creates a sense of forward momentum (elided phrases in the opening of Mozart's Eine kleine Nachtmusik)

Larger-Scale Phrase Organization

• Hypermetric organization involves phrases grouped into larger units, often in a consistent pattern
  • Contributes to the overall form and structure of a piece (4+4+8 hypermetric organization in a 16-bar parallel period)
  • Can be regular (phrases of equal length) or irregular (phrases of unequal length)

Harmonic Devices

Pedal Points

• Pedal point (also called pedal tone or organ point) is a sustained or repeated note, typically in the bass, held through changing harmonies
  • Creates harmonic tension and release as chords change over the static bass (dominant pedal point in Bach's Prelude in C Major, WTC Book 1)
  • Can occur on the tonic, dominant, or subdominant scale degrees (tonic pedal point in Brahms' Symphony No. 1, finale)

Harmonic Pacing

• Harmonic acceleration is the increasing rate of chord changes in a passage
  • Builds intensity and drives towards a climax or cadence (accelerated harmonic rhythm in the development section of Beethoven's Symphony No. 5, first movement)
• Harmonic deceleration is the decreasing rate of chord changes in a passage
  • Releases tension and creates a sense of arrival or resolution (decelerated harmonic rhythm in the coda of Chopin's Nocturne Op. 27, No. 2)