When the Line of Fate is itself double, it is a sign of what is called "a double life," but if, after running side by side for some length these two lines join or become one, it foretells that "the double life" has been caused by some great aff... Read more of Double Lines Of Fate at Palm Readings.orgInformational Site Network Informational
Privacy
  Home - Music Terms - Music Lessons - How to Sing - Music History - Singing Choirs - Children Songs - The Voice - Advice for Singers
   Lyrics: by Arist - (HED) P.E. to BREAKING POINT - BRIAN MCFADDEN to FINGERTIGHT - FIONA APPLE to JUSTIN GUARINI - JUSTIN TIMBERLAKE to MURPHY LEE - MUSE to SARINA PARIS - SASH to THREE 6 MAFIA - THREE DAYS GRACE to ZWAN

Most Viewed

The Double-period
Distinction Between Bipartite And Tripartite Forms
Lesson 4
Causes
The Sonatine Form
The Exposition
The Recapitulation
T The Second Rondo Form
The Third Rondo Form
The Necessity Of Form In Music


Least Viewed

The Exposition
The Recapitulation
Causes
1 Augmentation Of The Regular Form
The Small And Large Phrases
Part I
Exact Repetitions
Evolution
Origin Of The Name
Relation To The Three-part Song-form


Random Music Lessons

Part Ii
The Third Rondo Form
Time
The Song-form Or The Part-form
Preliminary Tones
Lesson 18
2 Abbreviation Of The Regular Form
The Phrase
Causes
Lesson 8



The Double-period





A third method consists in expanding the period
into a double-period (precisely as the phrase was lengthened into a
double-phrase, or period), by avoiding a perfect cadence at the end of
the second phrase, and adding another pair of phrases to balance the
first pair. It thus embraces four coherent phrases, with a total
length of sixteen measures (when regular and unextended).

An important feature of the double-period is that the second period
usually resembles the first one very closely, at least in its first
members. That is, the second phrase contrasts with the first; the
third corroborates the first; and the fourth either resembles the
second, or contrasts with all three preceding phrases. This is not
always--though nearly always--the case.

The double-period in music finds its poetic analogy in almost any
stanza of four fairly long lines, that being a design in which we
expect unity of meaning throughout, the progressive evolution of one
continuous thought, uniformity of metric structure (mostly in
alternate lines), the corroboration of rhyme, and, at the same time,
some degree and kind of contrast,--as in the following stanza of
Tennyson's:

Phrase 1. The splendor falls on castle walls,
Phrase 2. And snowy summits old in story;
Phrase 3. The long light shakes across the lakes,
Phrase 4. And the wild cataract leaps in glory.

The analogy is not complete; one is not likely to find, anywhere,
absolute parallelism between music and poetry; but it is near enough to
elucidate the musical purpose and character of the double-period. And
it accounts for the very general choice of this form for the hymn-tune.

The following illustrates the double-period, in its most regular and
convincing form (Beethoven, pianoforte sonata, op. 49, No. 1):--

Each phrase is four measures long, as usual; the first one ends (as in
Ex. 50) with one of those early, transient perfect cadences that do not
break the continuity of the sentence; the second phrase ends with a
semicadence,--therefore the sentence remains unbroken; phrase three is
exactly like the first, and is therefore an Antecedent, as before;
phrase four bears close resemblance to the second one, but differs at
the end, on account of the perfect cadence. The evidences of Unity and
Variety are easily detected. The main points are, that the second pair
of phrases balances the first pair, and that the two periods are
connected (not separate periods). See also Ex. 53, first 16 measures.





Next: Lesson 8

Previous: The Phrase-group



Add to del.icio.us Add to Reddit Add to Digg Add to Del.icio.us Add to Google Add to Twitter Add to Stumble Upon
Add to Informational Site Network
Report
Privacy
SHAREADD TO EBOOK


Viewed 7108