What are Antecedent & Consequent Phrases in Music?

2011 Symposium2

Good music, and great music too, has a certain quality that Leonard Bernstein described as inevitability. He was describing that quality of music that leaves the listener with the sense that what he or she just heard was the only possible group of notes that the composer could have written; that any other melodic turn would have sounded wrong, or at least not as good. Music that really engages us leads us on; it never really comes to a satisfying end until the end. It doesn’t leave us with fits and starts or one final sounding moment after another. Music does this when it is composed or improvised with effective use of antecedent phrases paired with consequent ones.

What do I mean by antecedent and consequent phrases? Antecedent phrases are inconclusive. At the end of an antecedent phrase, the music sounds interrupted and never finished; it leaves us unsatisfied demanding more. It leaves us hanging. A good example of this is the beginning of Symphony No 40 in G minor by Mozart. Here’s that first phrase.


Notice how we cannot help but expect the music to continue. It simply cannot end there, leaving us with that unresolved harmony and relatively unstable subdominant tone. The phrase moves from the tonic G minor to the dominant D harmony. This is the antecedent phrase. Unresolved, inconclusive, inviting us to stay for more. The next phrase gives us what we were promised, a complementary phrase that ends conclusively.


This phrase begins on the dominant harmony, D, and ends on the tonic harmony, G minor. Because it ends on the tonic, there is resolution and conclusiveness. This phrase finishes the thought begun in the previous phrase. A phrase that does this is called the consequent phrase. Its name reflects its function–it is a natural consequence of what just preceded it. In Bernstein’s terminology, the consequent phrase is the inevitable conclusion of the antecedent phrase. The two phrases, antecedent and consequent, are drawn together in our perception of them because of their identical rhythms. We can’t help but place them together in our imaginations as we hear them because of this similarity. And it is also because of how they are so similar that we notice how they are different. It is those differences that make one an antecedent phrase, and the other a consequent phrase.

We don’t have to look long to find dozens even hundreds of examples. Music is fun of these phrase pairs. They occur in popular music, jazz, rock, pop–virtually every musical genre in which melody plays a prominent role. Certainly classical music is one such genre, and the one I will stick to here. Another popular example from classical music is the well-known theme found in the final movement of Symphony No. 1 by Brahms. Once again, the antecedent phrase begins on the tonic, which is C major, and ends on the dominant.


This time, the consequent phrase not only has the same rhythm as its antecedent cousin, it also has the same pitches. Only the last pitch is different, and this is the only difference between the two phrases. It manages to end on the tonic, bringing closure to the antecedent-consequent pair.


When the antecedent and consequent phrases begin the same, as they do here, the consequent phrase is called parallel consequent. The term parallel is used in music analysis for a phrase that is recognized as being similar and derived from another phrase. Parallel consequent phrases are easy for students to compose, because they only have to change the cadential pattern at the end of the consequent phrase. It is important, though for the antecedent to move from tonic to dominant, and the consequent to move from dominant to tonic.

Listen to the first movement of Mozart’s fortieth symphony, and the last movement of Brahms’ first symphony. As you do, identify the antecedent and consequent phrases. You may also notice that these pairs themselves become antecedent groups for another pair. Music often is built outwards in this way, so that two phrases become one larger phrase, becomes a theme, becomes a theme group, becomes a section, becomes a movement, etc.


The theme discussed from Brahms’ first symphony can be heard at 4:25 in the video. The theme from Mozart’s fortieth symphony occurs at the beginning of that video. I hope you enjoy this wonderful music.

My two latest compositions, Woodwind Quintet No. 1 in Bb Major, and Clarinet Choir No. 1 in Eb major are now available. If you are interested in purchasing either or both for your ensemble or your students, please use my contact page to request your copy.

Thinking In Music is the Key to Music Literacy

2011Symposium_1_2One of the reasons teaching music reading and writing is so challenging for students and music teachers is that music is not used nearly as often as a basis for thought and actions. Every action begins with a thought, and thoughts are generally pictures or words; images or descriptions. Music for most people is something we hear and even understand in a musical sense, but not the form in which our thoughts are made. This condition is reinforced often, even in a music classroom. For example, to respond to music, students are often asked to write about music that is played for them in class. Regardless of the specifics of the assignment, the students are responding to music with words, not in kind with music. If students are going to excel at reading and writing music, they must get to the point where they are thinking in music—what Gordon calls audiation.

One example of how this can be done is finishing musical thoughts. The teacher plays the beginning of a musical phrase (called antecedent) and then asks a student to complete the phrase (called consequent) by improvising it on a barred instrument. If the student’s response is restricted to notes of the major pentatonic scale, to the same rhythm as the antecedent, and to starting on sol and ending on do, students who have been taught to sing a pentatonic scale with solfege can think of consequent sub-phrases at the same time the one student is actually playing one.  They can be cold-called to sing or play their idea before or the performing child to assure they are all actually thinking of ideas, and to prevent the other students from copying the performing child’s consequent sub-phrase.

Other opportunities for questioning and answering can further engage students in thinking music.  When the class is singing a song, an individual can be called on to sing the next phrase. A child can be asked to sing the first phrase of a song they remember singing last class. After hearing a familiar phrase with an intentional error, a student can be asked to locate the error and perform the phrase correctly. Improvising variations, and even playing “name that tune” are all activities that engage students of thinking in music instead of words. Unrestricted improvisation is another tool. The teacher sings a short musical phrase on a neutral syllable, and the student sings back a different phrase of the same length. At first, students will repeat what the teacher has sung, which isn’t all bad, because doing so requires audiation as well. But even if the child only changes one note, that one note is an original musical idea, being connected to another idea that the teacher generated. Playing or singing anything from memory is also a good use for thinking in music.

So far, I have only discussed melodic thinking in music, but thinking in music can also take place rhythmically. The Feed Your Brain Musicteacher can play an antecedent sub-phrase on a drum, and the student answers with a consequent sub-phrase, also on a drum. Devising complementary rhythms is another worthwhile activity. Students often find it challenging to play a rhythm on a drum with any “windows” in it. Their tendency is to play through without breath or pause. Learning to leave musical space and imagining what might fill that space from another player is powerful thinking in music, and another student, in filling that window and then creating space elsewhere is equally beneficial. These strategies are addressed excellently in Will Schmid’s World Music Drumming.

I have saved the most obvious activity for thinking in music until last, because it is the most obvious: composing. Students think in music when they write down original musical ideas. Not all composing done by students in music classes is thinking in music. Anytime note or rhythm selection is arbitrary, the student is doing nothing more than making a piece of visual art on a music staff. But when the student writes down a note and knows what it sounds like, and what groups of notes he or she has written down sound like without having it played or sung for them, or without playing or singing it themselves, then that music that is written down on that paper is the product of thinking in music.  Students should only compose what they can audiate. For this reason, they should not be allowed to compose before they can sight sing, because without sight singing skills, it is impossible for them to know what they are writing down.

Music teacher should take every opportunity to get their students thinking in music. Handling music like language (though not necessarily considering it to be a language) through questioning and answering in music, teaching sight singing, and guiding students through audiated composition projects should be done at every opportunity.

Teaching Antecedent and Consequent Phrase Structure in Music

2011Symposium_1_2One of the musical structures we must teach our students is that of phrasing, or what Lerdahl & Jackendoff refer to as grouping. Basic to musical phrases is the concept of antecedent and consequent phrases. Antecedent phrases are complete phrases that end on a pitch of relative instability or tension, resulting in the listener expecting continuation, even after the performer takes a brief pause or breath. Consequent phrases are also complete phrases, but they end on a pitch of relative stability or relaxation, resulting in the listener recognizing the conclusion of the musical thought. Themes, sections, movements and works end on consequent phrases. Very often, consequent phrases end on the tonic, and antecedent phrases end on the dominant. Because antecedent or consequent phrases are defined primarily by the harmonic function of the last note, they are most effectively taught by holding rhythm constant while giving students creative license with pitch. The only stipulation is that the consequent phrase must end on the tonic. It is also possible that students can use elaborative notes in the consequent phrase. Take the melody “Mary Had A Little Lamb” as an example.


Structurally, the first line is a reduction of the second. The quarter notes on beats 3 and 4 of the second measure of the second line reduce to one half note in the first line, and the quarter note on beat 3 of the third measure in the second line is an upper neighbor tone that is omitted in the reduction, in which a half note on D occurs. The last measure of the first line could be reduced further to a whole note on G, the dominant. In its reduced form, the second line is identical to the first except for the last note; the antecedent ends on the dominant and the consequent ends on the tonic. Students can be given the first line, with the further reduced last measure, and then asked to write a consequent phrase ending on the tonic pitch. They would be at liberty to write any diatonic pitches, but to maintain the rhythm of the first line exactly. One possible solution is given below.


Prior learning will include voice leading, analysis of stylistic elements, and skill at audiating so that students do not write down random notes, or notes that are stylistically incompatible with the antecedent phrase provided. Doing this activity with antecedent phrases of different styles and genres provides the opportunity for students to learn about and compare each style or genre represented. Assessment would include ending on the tonic, maintaining the same rhythm  preserving the same style, using diatonic pitches, and observing good voice leading. If student work is handwritten, assessment could also include accurate forming of note heads, stems, measures, clef, and time signature, and the correct number of beats in each measure. Students who do the work on music notation software should nevertheless be asked to demonstrate understanding of notation conventions such as correct length and direction of note stems, and of the metrical arrangement of notes within measures. Technology should never allow students to bypass the learning of concepts.

A great deal of learning can result form this one activity. Phrase structure, style, genre, and notation are all closely related issues in music. This activity fosters an efficient use of time because all of these can be addressed at once in a practical, relevant way; students need to know about and apply their knowledge of style, genre and music notation in order to gain a deep understanding of the target concept, that of antecedent and consequent phrases.