Counterpoint has been the focus of our attention the past few posts, and for a good reason. Counterpoint teaches the principles needed for good voice leading – essentially writing parts that are technically sound and sound good. (Good is a relative word, but we’ll get into that debate at another time.) I think it’s difficult for someone to use their full understanding of counterpoint and chords and create distasteful music.
Phrases
As we progressed with counterpoint, we tackled 5 species that focused on a particular aspect of harmony or rhythm – both important facets of chorale writing. Chorale writing is different from strict counterpoint because of the use of phrases which are blocks of music distinguished by the use of harmony and rhythm that give a sense of closure or resolution. There are many cadences throughout a chorale piece, while in strict counterpoint, there is only one point of climax and one point of conclusion. Phrases are what we typically refer to as loops in today’s music.
Modern music usually follows classical music in its form – groups of four or 8 bars. Baroque music was freer with its grouping and there were often varying lengths from phrase to phrase.
The Phrase Model
Phrases include at least three areas which form the harmonic structure of a basic phrase.
- Opening Tonic Area
- Dominant Area
- Closing Tonic Area
MOST tonal music conforms to this format – starting the music with a strong root position triad. however, all music will not follow this structure exactly.
This video explains phrases and the use of the tonic and dominant.
Cadences
The musical role of a phrase is defined by its cadence. Cadences are used at different parts of a song and they all help form a different conclusion. They serve as commas, semicolons, and periods within a composition.
- Perfect Authentic Cadence – Conclusive
- Imperfect Authentic Cadence – Somewhat conclusive
- Half Cadence – Inconclusive
The PAC ends with a 5 – 1 bass movement and 7 – 1 or 2 – 1 movement in the soprano part. While the IAC also ends with a 5 – 1 movement in the bass, the soprano part will not end on the tonic and may have a 4 – 3 movement in the soprano. The half cadence does not end on the tonic but it ends on the dominant chord, often with the 2 in the soprano voice. The half cadence is used frequently in folk music and popular music.
A true phrase ending requires more than just the chords. Cadences are interpreted by good musicians and they help to shape the musician’s performance. A musician may often slow down and become more expressive at the PAC, while they wouldn’t necessarily give the other cadences that same treatment.
This video explains the basics of cadences.
An understanding of cadences also helps with analysis of music. This video explains that concept further.
This video by Rick Beato distills all the important elements of four-part writing.
Harmonizing “Hush Little Baby”
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