35. Sentences and Periods
Sentence Diagram
Draw a diagram of a sentence in the space below. Use proportionately sized boxes to represent the different parts of the diagram and be sure to label: 1) the presentation, 2) the idea, 3) the repetition, 4) the continuation, and 5) the location of the cadence.
Sentence Completion
Each of the exercises below shows the basic idea of an imagined sentence. Complete each sentence by composing the repetition and the continuation. At least two of your sentences should incorporate fragmentation.
Sentence Composition
Compose a sentence in each of the following exercises. Each sentence should consist of a two-bar basic idea, a two-bar repetition, and a four-bar continuation. The first sentence should be written for solo oboe (the instrument range is provided for your reference) and the second sentence should written be for piano. The key, meter, and cadence to include at the end are all provided.
key: F major
cadence: HC
key: F# minor
cadence: IAC
Analysis (sentences)
Analyze each of the sentences below by labeling the constituent parts. Draw brackets above the music to show the location of where each part begins and ends, as in the example below. Identify the cadence found at the end of each sentence by labeling the cadence’s type and key as well as the Roman numerals for the last two chords in the phrase. Then, consider whether or not each sentence exhibits fragmentation in the continuation.
This sentence does exhibit fragmentation. The opening part of the idea (an eighth note pickup followed by a descending arpeggio in sixteenth notes) appears twice in rapid succession at the beginning of the continuation. The fragment is then abbreviated even further to consist of just sixteenth notes in m. 7 with the melodic leaps condensed to steps.
Not really. The up/down contour of the eighth notes in the idea is present in the continuation, but this isn’t a substantial enough connection to call this fragmentation.
Possibly. The descending thirds in the left hand of mm. 5-6 are reminiscent of the opening chords in m. 1 and the left hand in m. 7 echoes the left hand in m. 3.
Possibly. The music in m. 5 is strongly reminiscent of the music hear d in m. 1 and m. 3 and the dotted-quarter-eighth-eighth-eighth rhythm is prominent in m. 7 as well.
Yes. The ascending scale in m. 5 continues the sequential pattern heard in m. 1 and m. 3. Some listeners will hear the descending figures in mm. 7-8 as inverted abbreviations of the initial idea.
No.
Yes. The sixteenth-note octave pairs in mm. 6-7 are strongly reminiscent of the similar figures in the idea and repetition, but played in rapid succession.
Yes. The sixteenth-sixteenth-eighth figures in the left hand of mm. 5-7 recall the figures found in the right hand in m. 1 and m. 3.
No.
Yes. Octave doublings are heard throughout the phrase and the eighth-sixteenth-sixteenth figure heard in m. 2 and m. 4 appears three times in mm. 6-8.
Possibly. Some listeners may hear the ascending octaves in the left hand of mm. 7-9 as reminiscent of the descending figures in mm. 1-2 and 5-6.
Period Completion
Each of the exercises below shows the antecedent of an imagined period. Complete each period by composing the consequent. Label your cadences to show the relationships between the phrase endings.
Period Composition
Compose a period in each of the following exercises. Each sentence should consist of two four-bar phrases. The first period should be written for solo viola (the instrument range is provided for your reference) and the second period should written be for piano. The key, meter, and cadences to include are all provided.
period type: parallel, non-modulating, asymmetrical (4 bars → 6 bars)
key: E minor
cadences: HC → PAC
period type: contrasting, modulating, symmetrical
key: D major
cadences: IAC → PAC
Analysis (periods)
Analyze each of the periods below by labeling the constituent parts. Draw brackets above the music to show the location of where each part begins and ends, as in the example below. Identify the cadence found at the end of each phrase by labeling the cadence’s type and key as well as the Roman numerals for the last two chords in the phrase. Then, answer the questions about each period’s characteristics.
contrasting
non-modulating
symmetrical
parallel
modulating
symmetrical
parallel
non-modulating
symmetrical
parallel
modulating
asymmetrical
parallel
modulating
symmetrical
contrasting
modulating
symmetrical
contrasting
non-modulating
asymmetrical
contrasting
non-modulating
symmetrical
contrasting
modulating
asymmetrical
Double Period Diagram
Draw a diagram of a double period. Use proportionately sized boxes to represent the four phrases and be sure to lable the cadences at the end of each phrase. (Note: There is more than one correct answer.)
Note: Other cadence patterns are possible, too, including (but not limited to):
- HC (weak) – HC (strong) – HC (weak) – IAC
- IAC (weak) – IAC (strong) – IAC (weak) – PAC
- IAC – HC – IAC – PAC
- etc.
Double Period Composition
Compose a double period in each of the following exercises. Each double period should consist of two eight-bar, symmetrical, non-modulating, contrasting periods. The first double period should be written for solo flute (the instrument range is provided for your reference) and the second double period should written be for piano. The key, meter, and cadences are all provided.
key: Bb major
cadences: HC (weak) → HC (strong) → HC (weak) → PAC
key: C minor
cadences: HC → IAC → HC → PAC
Analysis (double periods)
Analyze each of the double periods below by labeling the cadences found at the end of each of the four phrases. Label each cadence’s type and key as well as the Roman numerals for the last two chords in the phrase.
