ANALYTICAL MUSIC

THEORY
Week 4: Phrase Analysis

What is Phrase Analysis?

Traditional phrase analysis entails parsing the

narrative structure of a musical work into discrete
groups. This grouping can include every echelon of
its hierarchy, from the immediate level of the
subphrase to the large-scale form of the whole
piece. Form is articulated by the harmonic
structure of a work, combined with a simultaneous
and intentional conception of the melodic
structure. Although the melody is not present in
the analysis graph, the melody helps shape the
analysis by determining where phrases begin and
end.

Identity and Difference

At its most basic, Form is defined by the

identity of melodic events. Identifiable
melodic events are repeated or
transformed (by variation) during the
course of works. In identifying form, the
sensitive musician must be able to
distinguish between repetition of an idea
and the introduction of a new idea.

Basic Terminology

Western Art Music (WAM) the Tradition

of music founded in Europe and the
Americas, including (written) music for
orchestra, opera, choir, chamber
ensemble, solo instrument, etc.

Basic Terminology

Western Art Music (WAM) the Tradition

of music founded in Europe and the
Americas, including (written) music for
orchestra, opera, choir, chamber
ensemble, solo instrument, etc.
Common Practice Era (CPE) The period
of WAM between the Baroque Period and
Modern Period (roughly1600-1910),
defined by functional harmony.

Terminology: Theme

Theme A melodic idea contained within

a single tonic key and a single phrase.

Terminology: Theme

Theme A melodic idea contained, usually

within a single tonic key and a single phrase.
Theme Area (TA1, TA2, etc.) A passage of
music defined by a presiding tonic key, which
must contain at least one theme (although it
may include more than one, if they are both
defined by the same tonic key). Sometimes a
Theme Area will contain a phrase in another
key; however, in order for this to remain
defined as the same Theme Area, it may only
be a transposed variation of the theme.

Terminology: Theme

Theme A melodic idea contained, usually within a

single tonic key and a single phrase.
Theme Area (TA1, TA2, etc.) A passage of music
defined by a presiding tonic key, which must contain
at least one theme (although it may include more than
one, if they are both defined by the same tonic key).
Sometimes a Theme Area will contain a phrase in
another key; however, in order for this to remain defined
as the same Theme Area, it may only be a transposed
variation of the theme.
Principal Theme (PT1, PT2, etc.) The theme(s)
appearing in TA1 within a musical work, which
determine(s) the key of the entire work.

Terminology: Theme

Theme A melodic idea contained within a single tonic key

and a single phrase.
Theme Area (TA1, TA2, etc.) A passage of music defined by
a single tonic key, which must contain at least one theme
(although it may include more than one, if they are both
defined by the same tonic key). Sometimes a Theme Area
will contain a phrase in another key; however, in order for this
to remain defined as the same Theme Area, it may only be a
transposed variation of the theme.
Principal Theme (PT1, PT2, etc.) The theme(s) appearing in
TA1 within a musical work, which determine(s) the key of the
entire work.
Secondary Theme(s) (ST1, ST2, etc.) Themes that appear
subsequent to TA1.

Terminology: Tonal
Structures

Chromaticism The use of pitches not

included in the key signature of a given
Theme Area.

Terminology: Tonal
Structures

Chromaticism The use of pitches not

included in the key signature of a given
Theme Area.
Cadence The completion of a musical
idea or group in the harmonic domain. In
the CPE, cadences typically include four
types: Authentic (PAC and IAC), Half
(including the Phrygian Half Cadence),
Plagal, and Deceptive.

A bit more on Cadences

The tonal cadence types may be understood according to whether

they resolve the tonal tension (dominant-tonic relationship) or not. In
the most general sense, this may be represented graphically in the
following way:

Terminology: Key
Relationships

Tonicization A temporary (often called

secondary) harmonic function outside
the presiding key within a TA.

Terminology: Key
Relationships

Tonicization A temporary (often called

secondary) harmonic function outside the
presiding key within a TA.
Modulation A sustained harmonic
function in a key different from the TA.
Modulation differs from tonicization by the
duration of the new key area and the
presence of at least one cadence and one
phrase beginning in the new key
(explained in more detail below).

Tonicization vs. Modulation (Examples)

Modulation

Tonicization

Terminology: Grouping

Subphrase The smallest possible

grouping of musical form, the subphrase
is a discrete musical idea. However, a
subphrase is incomplete (by comparison
to larger groupings) because it does not
either 1) cadence or 2) resolve the
melodic tension.

Terminology: Grouping

Subphrase The smallest possible

grouping of musical form, the subphrase
is a discrete musical idea. However, a
subphrase is incomplete (by comparison
to larger groupings) because it does not
either 1) cadence or 2) resolve the
melodic tension.
Phrase A grouping of musical form that
resolves both the harmonic and melodic
tensions with a cadence.

Terminology: Grouping

Subphrase The smallest possible grouping of

musical form, the subphrase is a discrete musical
idea. However, a subphrase is incomplete (by
comparison to larger groupings) because it does
not either 1) cadence or 2) resolve the melodic
tension.
Phrase A grouping of musical form that resolves
both the harmonic and melodic tensions with a
cadence.
Passage A grouping of musical form, defined by
one theme area, including at least one complete
phrase.

Terminology: Grouping

Subphrase The smallest possible grouping of musical

form, the subphrase is a discrete musical idea.
However, a subphrase is incomplete (by comparison to
larger groupings) because it does not either 1)
cadence or 2) resolve the melodic tension.
Phrase A grouping of musical form that resolves both
the harmonic and melodic tensions with a cadence.
Passage A grouping of musical form, defined by one
theme area, including at least one complete phrase.
Large-scale form The shape of an entire musical
work or movement, comprised of all lower levels of its
hierarchy.

Terminology: Identity

Repetition The return of a grouping of

musical form, where the melody is
essentially identical to its previous
appearance (slight changes such as
embellishment may occur).

Terminology: Identity

Repetition The return of a grouping of

musical form, where the melody is
essentially identical to its previous
appearance (slight changes such as
embellishment may occur).
Variation The return of a grouping of
musical form, where the melody and/ or
harmony are significantly altered through
transposition, different melody in one subgrouping, or some other factor.

Terminology: Identity

Repetition The return of a grouping of musical form,

where the melody is essentially identical to its previous
appearance (slight changes such as embellishment may
occur).
Variation The return of a grouping of musical form,
where the melody and/ or harmony are significantly
altered through transposition, different melody in one subgrouping, or some other factor.
Transformation The process of change to a musical
grouping in the large-scale, by relation to other groupings.
For example, if the secondary theme returns in the tonic
key of the principal theme (as it does in Sonata form), we
may describe it as having been transformed.

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