Abstract
This article analyzes a melodical-harmonical gesture that it can be found in the music of mayor-minor tonality and in the music of the XXth century, working as a preparatory closure to the exposition of themes or conclusion of movements or works. Turning to modern theories of musical metaphor, theories of musical gestures and some ideas of authors that have been based in the Peircian semiotic, it presents a hypothesis that explains why this gesture is effective as an event articulator of the forms, specifically as a closure. It analyzes, in the first place, two examples of the music of Beethoven, next, it studies concepts as sketch-image, metaphoric projection and some aspects of theories about semiotic music, for, finally, exemplify with cases of Nielsen, Stravinski, Ginastera and Lutoslawski
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