Construction of Simple Themes

Introduction to Antecedent of the Period. Only a small number of all classical themes can be classified as periods. Romantic composers use even fewer of them. But, learning about writing periods is a great way to become familiar with many technical problems.

The construction of the beginning determines the construction of the continuation. The period differs from the sentence in postponement of the repetion. The first phrase is not repeated immediately, but is united with more remote (contrasting) motive-forms, to constitute the first half of the period, the antecedent. After this contrast repetition cannot be postponed any longer without having a poor effect on comprehensibility. So, the second half, the consequent, is constructed as a repetition of the antecedent.

In composing periods, it is useful to use eight measures divided into antecedent and consequent of four measures each by a caesura in the fourth measure. This caesura, a type of musical punctuation comparable to a comma or semicolon, is carried out in both melody and harmony.

In most cases the antecedent ends on V, usually approached through a half or full cadence, but sometimes through an interchange of I and V. Antecedents that end on I are also possible.

The consequent usually ends on I, V or III (major or minor) with a full cadence. Although the consequent should be in part a repetition of the antecedent, the cadence, at least, will have to be different, even if it leads to the same degree. Generally, one or two measure of the beginning will be retained, sometimes with more or less variation.

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