Pauses identify the beginnings and endings of phrases just as phrases in a sentence.\u00a0 One pauses\u00a0 between the different sections in a sentence (\u201cwherever you go, there you are.) as\u00a0 melodies pause\u00a0 at the end of each musical phrase. In vocal music, the musical phrases tend to follow the phrases and sentences of the text.\u00a0Listen<\/span><\/strong><\/a>\u00a0(Click on this link and open in a new tab. Alsop click register later.) You will hear the\u00a0 very simple\u00a0 phrases\u00a0 below. Note: Wait after a few seconds for\u00a0 this to come up.\u00a0<\/strong>Notice that \u00a0the notes of the phrases above are \u00a0grouped into clear melodic \u201cideas.\u201d<\/p>\r\n\r\n This melody has four phrases, one for each sentence of the text.<\/p>\r\n\r\n<\/div><\/figure>\r\n \r\n Symmetrical phrases are the easiest phrases to distinguish.\u00a0 They are balanced\u00a0 and\u00a0 enable the\u00a0 listener to feel (often intuitively) the phrases as they occur. Little musical background is necessary\u00a0 to accomplish this.\r\n\r\nAntecedent and consequent phrases:<\/strong> \u00a0Examples of some \u00a0symmetrical phrases are those that\u00a0come in\u00a0 pairs, with the first phrase<\/strong> feeling very unfinished until it is completed by the second phrase<\/strong>, as if the second phrase were answering a question asked by the first phrase.\u00a0\u00a0 When phrases come in pairs like this, the first phrase is called the antecedent phrase<\/strong>, and the second is called the consequent phrase<\/strong>.<\/p>\r\nIn the figure below, the rhythm of the first two phrases of \u201cAuld Lang Syne\u201d is the same, but both the melody and the harmony lead the first phrase to feel unfinished until it is answered by the second phrase.-\u00a0hense we have a grouping of two phrtqases: antecedent an d consequent<\/span>\r\n\r\nAntecedent and Consequent Phrases<\/span><\/strong>\r\n \u00a0<\/strong><\/p>\r\n\r\n<\/div><\/figure>\r\n The\u00a0\u00a0<\/strong>selection above is a \"flash mob\" video of this work.\u00a0 The melody is repeated many times as it is in the Ninth Symphony by Beethoven. Listen for the phrases \u00a0above. The tune of this theme will be very familiar Lines 1,2, and 4 \u00a0have the same notes notes and therefore could be \u00a0labeled \u00a0\"a\". <\/strong>Line three\u00a0<\/strong>is different - therefore it would be labeled \"b\".<\/strong>The musical scores for movies and television contain\u00a0themes, which can be developed as in a symphony or may be used very much like operatic leitmotifs. For example the music<\/p>\r\nJohn Williams composed for the Star Wars\u00a0movies contains melodic themes that are associated with the main characters. These themes are often complete melodies with many phrases, but a single phrase can be taken from the melody and used as a motif. A single phrase of Ben Kenobi\u2019s Theme, for example, can remind you of all the good things he stands for, even if he is not on the movie screen at the time.\r\n\r\n<\/section>\r\n\r\n \u00a0A melodic phrase<\/strong> is a group of notes that make sense together and express a definite melodic \u201cidea\u201d, but it usually\u00a0 takes more than one phrase to make a complete melody. \u00a0A musical phrase<\/strong>\u00a0can be compared to a grammatical phrase. (a group of words<\/span> that expresses. The grammatical\u00a0 phrase is a part of a sentence but not a complete sentence by itself. A melodic phrase is also part of a larger musical idea.<\/p>\n Pauses identify the beginnings and endings of phrases just as phrases in a sentence.\u00a0 One pauses\u00a0 between the different sections in a sentence (\u201cwherever you go, there you are.) as\u00a0 melodies pause\u00a0 at the end of each musical phrase. In vocal music, the musical phrases tend to follow the phrases and sentences of the text.\u00a0Listen<\/span><\/strong><\/a>\u00a0(Click on this link and open in a new tab. Alsop click register later.) You will hear the\u00a0 very simple\u00a0 phrases\u00a0 below. Note: Wait after a few seconds for\u00a0 this to come up.\u00a0<\/strong>Notice that \u00a0the notes of the phrases above are \u00a0grouped into clear melodic \u201cideas.\u201d<\/p>\n This melody has four phrases, one for each sentence of the text.<\/p>\n<\/div>\n<\/figure>\n <\/p>\n Symmetrical phrases are the easiest phrases to distinguish.\u00a0 They are balanced\u00a0 and\u00a0 enable the\u00a0 listener to feel (often intuitively) the phrases as they occur. Little musical background is necessary\u00a0 to accomplish this. In the figure below, the rhythm of the first two phrases of \u201cAuld Lang Syne\u201d is the same, but both the melody and the harmony lead the first phrase to feel unfinished until it is answered by the second phrase.-\u00a0hense we have a grouping of two phrtqases: antecedent an d consequent<\/span><\/p>\n Antecedent and Consequent Phrases<\/span><\/strong><\/p>\n Example of phrases in a composition:<\/strong>\u00a0 In this video of the Brahms Lullaby hear the consequent and antecedent phrases at the time references indicated below as you\u00a0listen following \u00a0the time line on the video screen. hear the first phrase \u00a0– phrase A – (antecedent)<\/span> \u00a0from 0’00”-0’18”, \u00a0phrase B (consequent)<\/span> \u00a0from 0’19” – 0’36”.![\"\"](\"http:\/\/cnx.org\/resources\/eb8a7169ce7a058087d8595d4a1cd511\/phrases1.png\")
<\/span>\r\n![\"\"](\"http:\/\/cnx.org\/resources\/e33b2800eb14f3456c9e490e76678fc8\/antecons.png\")
<\/span>\r\n\r\n<\/div><\/figure>\r\nExample of phrases in a composition:<\/strong>\u00a0 In this video of the Brahms Lullaby hear the consequent and antecedent phrases at the time references indicated below as you\u00a0listen following \u00a0the time line on the video screen. hear the first phrase \u00a0- phrase A - (antecedent)<\/span> \u00a0from 0'00\"-0'18\", \u00a0phrase B (consequent)<\/span> \u00a0from 0'19\" - 0'36\".\r\nThen phrase A repeats from 0'27\"- 0'54 while B repeats at 0'55\"-1'12\". \u00a0The two phrases repeat again \u00a0beginning at 1'13\" see if you can hear when B occurs.\r\n\r\nhttps:\/\/youtu.be\/HX3tlpWkB5E\r\n\r\nOf course, melodies don\u2019t always divide into clear, separated phrases.<\/span> Often the phrases in a melody will run into each other, cut each other short, or overlap. This is one of the things that keeps a melody interesting.\r\n\r\nCamptown races<\/strong>: Listen to the first 40 seconds of this selections. Phrases are in an aab<\/strong> pattern\u00a0https:\/\/youtu.be\/HDZA4Z7bSoE<\/a>\r\nIntroduction 00:00 - 00:15\r\na<\/strong>\u00a0 - Phrase one - \u00a000:15 - \u00a000:23 \u00a0-\r\na<\/strong>\u00a0 - Phrase two - repetition of phrase one 00:24- 00:31 \u00a0\r\nb<\/strong>\u00a0-\u00a0 Phrase 3 melody changes 00:32-00:40\r\n![\"\"](\"http:\/\/cnx.org\/resources\/2434a2e6726f26ab7b566892b6515060\/OdeTheme.png\")
<\/figure>\r\nhttps:\/\/youtu.be\/kbJcQYVtZMo\r\n\u00a0Melodic Phrases<\/h2>\n
<\/span><\/p>\n
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\nAntecedent and consequent phrases:<\/strong> \u00a0Examples of some \u00a0symmetrical phrases are those that\u00a0come in\u00a0 pairs, with the first phrase<\/strong> feeling very unfinished until it is completed by the second phrase<\/strong>, as if the second phrase were answering a question asked by the first phrase.\u00a0\u00a0 When phrases come in pairs like this, the first phrase is called the antecedent phrase<\/strong>, and the second is called the consequent phrase<\/strong>.<\/p>\n<\/span><\/p>\n<\/div>\n<\/figure>\n
\nThen phrase A repeats from 0’27”- 0’54 while B repeats at 0’55”-1’12”. \u00a0The two phrases repeat again \u00a0beginning at 1’13” see if you can hear when B occurs.<\/p>\n