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Period built of two five-bar phrases in Haydn's Feldpartita in B ♭, Hob. II:12. [1] Diagram of a period consisting of two phrases [2] [3] [4]. In music theory, a phrase (Greek: φράση) is a unit of musical meter that has a complete musical sense of its own, [5] built from figures, motifs, and cells, and combining to form melodies, periods and larger sections.
Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period).
A musical form in which a certain section returns repeatedly, interspersed with other sections: ABACA is a typical structure or ABACABA roulade (Fr.) A rolling (i.e. a florid vocal phrase) rubato Stolen, robbed (i.e. flexible in tempo), applied to notes within a musical phrase for expressive effect ruhig (Ger.) Calm, peaceful run
In music, voice crossing is the intersection of melodic lines in a composition, leaving a lower voice on a higher pitch than a higher voice (and vice versa). Because this can cause registral confusion and reduce the independence of the voices, [ 1 ] it is sometimes avoided in composition and pedagogical exercises.
The second aspect is to compare the processing of musical and linguistic syntax to find out, if they have an effect upon each other or if there even is a significant overlap. The verification of an overlap would support the thesis, that syntactic operations (musical as well as linguistic) are modular.
In set theory, an overlap of elements shared between sets is called an intersection, as in a Venn diagram. In music theory, overlap is a synonym for reinterpretation of a chord at the boundary of two musical phrases; Overlap (railway signalling), the length of track beyond a stop signal that is proved to be clear of obstructions as a safety margin
In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. [1]
The Romanesca originated from the 16th and 17th centuries as a common musical backdrop in a minor key for singing poetry as well as the basis for variations over a repeating harmonic progression. [4] The later Romanesca is a similar progression and features three variants: the leaping variant, the stepwise variant, and the galant variant, a ...