Old Music Theory

A Phrase is a sequence of notes, melodic or harmonic, forming a satisfactory musical sense which can be isolated.

A Period is a developed sentence consisting of several Members whose meeting forms a complete sense.

A Form is the contexture of a piece of even a period or a phrase.

The genius of man has manifested in musical works in two principle and essentially distinct forms:

1. fugue or canon form – the irregularity of its phrase and member lengths, the development of its periods, and the variety of stylistic devices doesn’t allow for regular return of cadences, similar to prose (i.e. written language as opposed verses.)
2. metric or symmetrical form – the equal relation of its phrases and members, the calculated order of its periods, and the frequent and regular return of its cadences, is closer to verse and is easily memorable to everyone.

The metric form, more or less marked, is found in the music of all primitive civilizations. By successively inventing the devices of canonical imitation and fugue style, the eminent composers of the 16th and 17th centuries have elements of all modern music in their successors. From the 18th century, the great geniuses have brought art to perfection by combining the fugue and metric form in all their transcendental works. This combination born, after successive transformations, through the complete and thorough science of harmony which is summed up, with all the multiplicity of its resources, in the works of J.S. Bach.

It’s important in the elementary study of harmony that the student’s work consists mainly of exercises that constrain him to the simplest and most pronounced metric form. This is because the relational effect of different chords, and above all, the effect of exceptional processes depends greatly on their place in the phrase.

Squares are phrases and members whose amount of measures is divisible by 4. The square phrases are the easiest to grasp as they’re the most practiced, especially those of four, eight, and sixteen measures.

Odd-number phrases are very good, provided they correspond symmetrically to each other. Thus a phrase/member of three measures must correspond with another phrase/member of three. These measure don’t need to immediately follow each other, and sometimes happy rhythmic and quantitative effects are found in varying the distribution of sentences and even odd numbered members. The essential condition of the metric effect is in its cadences.

Summary

Two Forms of Music

1. Fugue/Canon Form – Only addresses intelligent exercises, since it doesn’t allow the regular return of cadences.
   1. Qualities
      1. Irregularity in its members length.
      2. Irregularity in the development of its periods.
      3. Variety of clever devices of its style.
2. Metric/Symmetrical Form – Close to verse and easily engraved in the memory of all.
   1. Qualities
      1. Equal relation of its members, measured by its periods.
      2. Frequent return of cadences.

Squares – are phrases and members whose number of measures is divisible by 4.