Phrase Module Theory
Harmony as Rhythm
Tonic events (‘0’, grey) and non-tonic events (‘1’, blue) combine into phrase modules at every hypermetrical level—here a Turnaround Module answered by a Cadential Module, which together form the ‘Birthday Shuttle’.
The Idea
Musical form is inherently rhythmic. Harmonic motion operates within a metrical framework, creating archetypal patterns in tonal space. Phrase Module Theory names these patterns—phrase modules of two, four, or eight bars—so that what musicians recognize intuitively can be retrieved, discussed, and taught.
The Core Concept
Harmony Is Rhythmic
Harmonic meaning depends not only on what the harmonic events are, but on when they occur—that is, on their position within the hypermetrical framework.
Two Event Types
- tonic = ‘0’ event
- non-tonic = ‘1’ event
Two Orientations of Motion
- tonic-divergingaway from the tonic → centrifugal
- tonic-directedtowards the tonic → centripetal
From these three ideas, the elementary phrase modules follow: each is a combination of ‘0’ and ‘1’ in hypermetrical time.
The Four Elementary Phrase Modules
Departs from the tonic and builds tension towards the next module.
Prototype: I—VI—II—VResolves to the tonic in its rhythmically weaker second half.
Prototype: II—V—ITonic space: the first half of a TaM, tonic-diverging motion, standing alone.
Non-tonic space: the first half of a CaM, tonic-directed motion, standing alone.
The CaM is the only elementary phrase module that provides harmonic closure; all others are ‘open’.
The Schema Books
Current Work
Who’s Afraid of TaMs and CaMs?
Paper presented at the congress of the Vereniging voor Muziektheorie, introducing the two binary phrase modules at the heart of the theory.
Book I: TaMs & CaMs
- IWho’s Afraid of TaMs & CaMs? An Introduction to Phrase Module TheoryForthcoming
- IIThe Symmetrical Organization of Tonal SpaceForthcoming
- IIIThe Contrapuntal FrameworkForthcoming
- IVTaMs & CaMs: Shapes and SizesForthcoming
For Whom
Teachers & Students
A new song becomes a combination of familiar patterns rather than a collection of isolated chords—mirroring how we learn music by ear.
Theorists
An analytical protocol in dialogue with schema theory and formal-function theory, compatible with Roman-numeral analysis.
Musicians
Intuition first, analysis second: a toolkit for hearing, remembering, and playing the repertoire with greater freedom.