Main Article Content
This article examines the transformation of the period in the early Romanticism. While in Classical periods the end of the antecedent phrase is harmonically closed off from the beginning of the consequent phrase, Romantic periods often join the end of the antecedent to the beginning of the consequent, creating an undivided progression. Voice-leading analyses illustrate three different means of joining the antecedent to the consequent: 1) by overlapping the two phrases, 2) by prolonging and resolving the antecedent’s closing dominant, and 3) by ending the antecedent on a predominant. All three procedures involve converting a dividing dominant into a progressive dominant.
Copyright © 2019 by the Society for Music Theory. All rights reserved.
 Copyrights for individual items published in Music Theory Online (MTO) are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
 Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
This item appeared in Music Theory Online in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR]. It was authored by [FULL NAME, EMAIL ADDRESS], with whose written permission it is reprinted here.
 Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.
This document and all portions thereof are protected by U.S. and international copyright laws. Material contained herein may be copied and/or distributed for research purposes only.