Construction of Simple Themes - Pt. II
Consquent of the Period. The consequent is a modified repetition of the antecedent. If the period is a complete piece (e.g. children's songs) it must end on I (usually with a perfect cadenc). If it is part of a larger form, it may end on I, V or III (major or minor).
An unchanged and complete repetition is very rare. Even in the simplest cases, at least the last measure is modified. Usually, the introduction of a full cadence requires earlier changes.
Variation of the harmony can start as early as the first measure of the consequent. The consequent may even begin on a different degree.
Melodic Considerations. To exercise the function of a cadence, the meoldy has certain characteristics, producing a special cadence contour, which usually contrasts with what prcedes it. The melody parallels the changes in the harmony, bu using longer notes like a ritardando or smaller notes like an accelerando. An increase of small note values is more frequent in cadences than a decrease.
The melody in the cadence commonly reduces characteristic features, such as typical intervals, to uncharacteristic ones, or the intervals might be abanodoned or combined in a different order. If there is a climax the melody is likely to recede from it, returning to the middle register.
Rhythmic Considerations. Since the consequent is a varied repetition of the antecedent, and since variation does not change all the features but preserves some of them, distantly related motive-forms might sound incoherent. Therefore, the preservation of the rhythm allows extensive changes in the melodic contour. Rhythmic unification permits far-reaching changes of the melodic contour.
In some cases of Romantic compositions, the pedal point is used not only for expression but for construction. It might be found at the end of a transition, emphasizing the end of a previous modulation and preparing for the reintroduction of the tonic. In this case the pedal retards: it holds back the forward progress of the harmony. Or, the retardation of the harmonic movement functions to balance remote motival variation. On the other hand, a moving, melodic bass line might offer greater rhythmic cohesion.
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