Composing Phrase by Phrase 7

Bigger Phrases, Bigger Consequents

Hello and welcome or welcome back to the Composing Phrase by Phrase Blog! I've been working on a composition and writing my thoughts on the compositional questions that come to mind for each phrase. Last week, I laid out three big points I wanted to hit in the composition. This week, it's time to start elaborating on those ideas and filling in the phrases. First stop: the beginning.

Refresher - here's the opening phrase.

String Quartet phrase 1

It's two four-bar units, each in a 2+2 format. The head of each unit uses the first bar of the composition that kicked this whole project off. The second half of each unit introduces a new element for contrast and to open up space that allows for a longer form composition. In addition, the two four-bar units aren't repeated exactly. Measures 5-8 are played at a different scale degree than the opening. The goal, again, is to open up more compositional space for a greater time scale.

The original composition had an eight-bar phrase which was comprised of two four-bar units. To achieve a longer section, I'm thinking of bigger phrase groups. If I've got a section that 32 bars long, and it's coming to a closed cadence every 8 bars, it's going to feel a little stunted, especially if those 32 bars are followed by another 32 that follow basically the same format. Repeating the opening material with harmonic alteration brings the whole phrase to an eight bar unit that ends with an open door to lead the ear onward.

All together, that sets the table for a 16-bar phrase in an 8+8 format. What are the next eight measures> I'm glad you asked! These are the next eight measures.

the next eight measures

Like the opening, these phrases begin with material from the original sketch (measure 9 from the sketch) before peeling off in a different direction.

String Quartet 9-12

Original 9-12

It's also written with two four-bar units. Unlike the opening, however, these don't follow a 2+2 call and response kind of plan. The melody remains in the first violin, harmonized by the second. The cello gives light support with plucked bass notes while the viola provides some harmonic glue in the form of repeated eighth-notes. It's a fairly standard classical arrangement, all told, although I'd get some strong side-eye from 18th century composers if they saw the harmonies I was using.

like this

Moving on. The second half of each four-bar unit uses a descending chromatic scale that leads the ear into the next four measures. Like measures 1-8, measures 9-16 repeat the melodic material at a different harmonic level to allow for another open cadence. We're only on the second phrase of the piece! We've got a ways to go before we can shut the door and move to a different room.

A couple points of note. The second melody of the measure happens to use a lead strongly reminiscent of the second theme.

mm.9-12, violin

second theme

This is entirely happenstance. Happy happenstance! But a happy accident nonetheless. I suspect that, if I had tried to plan this, it would have come across stilted and contrived. Maybe it still does, but much less so, I think. The descending chromatic scale also relates to the half-step motif heard in measure 2. This is less of a coincidence.

There's also this little melodic blip (that's official music theory language, for you) that pops in from the viola on the third measure of the phrase.

Viola interjection

This doesn't mean anything structural quite yet. At the moment, it merely provides a slight shift in attention within the arrangement: the second violin backs off a moment to provide light filler with the bass, while the viola takes the role of harmonic support for the melody. It's also worth noting the viola is generally moving in contrasting motion against the violin - there the violin is descending, the viola is ascending.

There's another textural shift in the fourth bar of the phrase. We move away from three distinct layers of music (melody+harmony, filler, and bass) to the whole ensemble playing the same material, albeit in harmony instead of in unison. This kind of technique might be called planing, especially as it shows up in early 20th century music, although it's really an evolution of a much older style of harmonization called fauxbourdon (in France) and its related but technically distinct practice, faburden (in England).

Anywho. While I am avoiding talking about music theory in detail for the sake of a broader readership, I will say that this whole sixteen-measure phrase unit follows a long harmonic scheme. Chords don't change one bar at a time, but rather in two or four-bar units. The following score highlights the harmonic changes.

Harmonic Plan, mms.1-16

One last thing before I sign off. The end of measure 16 sounds like it's aiming for an A-chord of some kind. A-major, if the key signature is any indication. If I followed that line, the next bar would look something like this:

16-17, expected resolution

Instead, I do this:

16-17, actual resolution

We'll have to get into what I do with that next time, though. For now, I hope you enjoyed learning a bit more about the compositional process! If you liked what you read, consider subscribing to the blog for weekly updates. If you really liked what you read, consider joining my Patreon. Members get audio realizations of scores in the blog, as well as compositions not featured here. Either way, thanks for reading!