A Phrase and Cadence in Music Can Be Likened to a

II. Diatonic Polyphony and Functional Harmony

22. Phrases, Cadences, and Harmonic Function

Music, similar all art, is communicative. Nigh composers, performers, and listeners concur that music conveys something—an thought, a story, an emotion—to the listener. A comparing with spoken or written language, then, volition be instructive, particularly since a number of music theory terms are borrowed from linguistics. In this chapter, we will consider some of the similarities between listening to tonal Western art music and listening to speech. We will begin to discuss how a composition is structured over time and how certain musical features assist the listener in parsing their experience into manageable, meaningful parts.

As we will soon see, these features are closely related to relationships heard between successive members of a harmonic progression. We accept already discussed how a single chord may convey different musical significant in dissimilar contexts. An A-small-scale chord, for example, will exist heard every bit a vi chord in C major and equally a four chord in E small-scale. (Run across Affiliate viii and Chapter nine.) But even within a single key, i chord may play different roles depending on the more immediate context. Furthermore, these roles—or harmonic functions equally we will telephone call them—may exist played by different chords with unlike musical effects. This chapter will innovate the two most prominent harmonic functions: the tonic function and the dominant function.

Consider the following instance:

Example 22–1. Elizabeth Pym Cumberland, 10 Canzonets, No. 2, mm. 1–16.

The music in this excerpt does not flow unceasingly from commencement to cease. The melody and harmonic progression are punctuated in three places, respective with punctuation marks in the text: chiliad. 4, m. 8, and m. sixteen. Nosotros observe rests at the cease of each of these measures, but if the rests were omitted we would likely nonetheless hear these moments as conveying some sense of melodic and harmonic closure. We refer to these momentary gestures of closure as cadences. They carve up this excerpt into three smaller passages. Borrowing a term from linguistics, we refer to each of these smaller passages as a phrase. In tonal Western fine art music, so, a phrase is a span of music that ends with a cadence.

In linguistics, a phrase functions as a complete unit. It conveys an idea. Sometimes this thought is complete and sometimes it links to other ideas coming before or after. It divides a communication into logical, manageable segments and in doing then allows us to brand logical sense of the communication. A musical phrase does much the same matter—though, admittedly, musical ideas are normally much more abstract than spoken or written ideas! Most tonal Western art music proceeds in a way similar to what we encounter in Example 22–1. The flow of music is punctuated by cadences that demarcate the boundaries of unlike sections in a piece.

Note: Generally, phrases in tonal Western fine art music tend to be four confined long. In some cases this may be halved or doubled, depending on the tempo of the piece or passage. It not a requirement, however, that a phrase be 2, four, or 8 bars. You will frequently run across phrases of all different lengths.

For the nearly part, the length of a musical phrase is similar to the length of a linguistic phrase. If a phrase is also brusk, a listener might not register it as a complete thought. If it is besides long, it risks becoming unmanageable—or fifty-fifty incomprehensible—to the listener who is trying to brand sense of it.

Notation, also, that not all passages ending with cadences are phrases. For instance, a lengthy transitional passage connecting 2 phrases may finish with a cadency, simply it should not be considered a phrase itself. Nosotros volition talk over these distinctions in greater length in Affiliate 35.

Activity 22-1

In this exercise, you lot will identify the the number and locations of all the cadences in an excerpt.

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Practice 22–1a:

Question

How many cadences are in the following excerpt? Where are they?

Sophia Dussek, Harp Sonata No. 2 in One thousand major (Op. 2), II. Allegro, mm. 1–16.

Hint

Listen for resting points or moments of melodic and harmonic closure.

Respond

In that location are four cadences in this extract: one thousand. 4, m. viii, m. 12, and k. 16

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Exercise 22–1b:

Question

How many cadences are in the post-obit extract? Where are they?

Wolfgang Amadeus Mozart [arr. Wilhelm Meves], Symphony No. 40 in G pocket-sized (One thousand.550), III. Menuetto, mm. i–14.

Hint

Listen for resting points or moments of melodic and harmonic closure.

Answer

There are 4 cadences in this excerpt: m. 3, grand. 6, and m. 14.

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Exercise 22–1c:

Question

How many cadences are in the post-obit excerpt? Where are they?

Johannes Brahms, Variations on a Theme by Haydn, (Op. 56b), mm. 1–ten.

Hint

Heed for resting points or moments of melodic and harmonic closure.

Reply

At that place are two cadences in this excerpt: thou. five and m. 10.

Listen to Case 22–1 once again, and pay close attention to the way each of the iii phrases (mm. ane–4, 5–8, and nine–16) begins and ends. The first phrase starts with a I chord. When it ends with some other I chord in thousand. iv, the listener has a sense of closure. The terminate of the second phrase, on the other mitt, feels less conclusive. It begins with the aforementioned tonic harmony, but ends with an unresolved 5 chord. Ending on 5 leads the listener to expect more music. The third phrase fulfills this expectation. Information technology begins once more with a I chord. This phrase is longer—equal in length to both of the phrases that came before it—and it ends with the virtually conclusive gesture of all iii cadences bringing a sense of closure to the whole excerpt.

The following example reproduces only the beginning phrase from the excerpt above:

Example 22–two. Elizabeth Pym Cumberland, 10 Canzonets, No. 2, mm. 9–16.

Harmonically, this phrase is very simple. It consists of just tonic and ascendant chords. There is a tonic chord in every measure, simply despite this apparent redundancy we hear these chords in dissimilar means. The I chord in m. 1, for case, introduces the phrase. Like the others that follow, it is consonant and stable, but this initial tonic performs the important task of orienting the listener in E b major. Compare this to the I chords in mm. ii–3. These harmonies repeat the initial tonic and reaffirm the key. The I chord in m. 4 follows suit. At this point, the listener is firmly grounded in the central and so the final return to I feels like an ending, a return home.

Now consider the ascendant harmonies. Dominant sevenths announced in both m. i and m. 4, simply again these chords play slightly unlike roles. The Five seven in thou. 4 feels more than substantial. When it moves to I we hear information technology as an integral part of the cadency that ends the phrase. The 5 7 in m. 1 feels somewhat inconsequential past comparison. It supports the opening tonic and even though information technology too gain to a I chord, we do non get the sense that it is participating in a cadence.

The role a chord plays within a phrase is its harmonic role. When we characterization a chord with a Roman numeral, nosotros are cataloging the content and structure of an private sonority. When we clarify a piece or passage and consider how a sonority relates to its context and the outcome information technology has on usa equally listeners, nosotros are identifying its function. The two most important harmonic functions in tonal Western fine art music are named after their most mutual representatives: tonic office and dominant office. (We will add a third harmonic office to this list in Affiliate 24.)

The tonic function is normally performed past a tonic triad. The pitches in a tonic triad ( [latex]\hat1[/latex], [latex]\hat3[/latex], and [latex]\hat5[/latex]) are stable and consonant. Correspondingly, the tonic function conveys a sense of stability. At the outset of a phrase it establishes a tonal eye, in the middle of a phrase it reaffirms the tonality, and in a cadence it provides a sense of closure or finality.

It is possible to conceive of a composition that consists entirely of tonic harmony. For many listeners, though, this would not be very exciting. In tonal Western art music, composers invariably strive for some sense of harmonic dissimilarity. The dominant role—usually performed by a V or V 7 chord—achieves exactly this. Information technology is a foil to the tonic. As we saw in Chapter xiv, certain scale degrees accept a tendency to move to areas of greater melodic or harmonic stability. Two of the 3 pitches in a V chord are tendency tones: [latex]\hat7[/latex] and [latex]\hat2[/latex]. When we hear them, we await them to resolve, making the dominant function less stable than the tonic. Furthermore, a dominant chord like 5 vii —which adds one more tendency tone: [latex]\hat4[/latex]—is inherently dissonant and contributes to a sense of urgency in the harmonic progression. The dominant function, then, provides contrast to the sense of groundedness conveyed past the tonic.

The resolutions of tendency tones are shown with arrows in the following instance:

Instance 22–3.

The tonic and ascendant functions together are essential in completing a listener'due south sense of key. Betwixt a I chord and a V 7 , we hear all but 1 of the scale degrees—only [latex]\hat6[/latex] is missing. And when we hear the primal-defining tritone of the dominant 7th ( [latex]\hat7[/latex] and [latex]\hat4[/latex]) resolve to a tonic triad, we have a very clear sense of the tonality, told through a harmonic narrative of stability leading to contrast leading to resolution.

Chords performing tonic and ascendant functions may appear at dissimilar locations within a phrase, only their office is clearest when they course part of a cadence. The remaining sections of this chapter will discuss several of the virtually common types of cadences.

As we have seen, not all cadences are equal in terms of the sense of resolution they convey to a listener. Some cadences feel very strong and conclusive while others experience weak and open-ended. In Case 22–one, most listeners volition hear the third cadency as the strongest and the second cadence as the weakest. The get-go cadence, then, lies somewhere in between with regards to its strength or conclusiveness. The relative strength of a cadence depends on a number of factors. Rhythm, metrical placement, dynamics and other musical dimensions all play a part in determining how conclusive a cadence sounds, simply the well-nigh important factors are melodic and harmonic.

A cadence that consists of a dominant-function chord (ordinarily V or V 7 ) resolving directly to a phrase-catastrophe tonic-function chord (usually I) is known as an authentic cadency. Accurate cadences are considered the well-nigh conclusive sounding cadences in tonal Western art music. Both the first and third phrases in the Example 22–1 end with authentic cadences:

Example 22–4. Elizabeth Pym Cumberland, 10 Canzonets, No. two, mm. 9–16.

a. offset phrase cadency (m. 4)

a. second phrase cadency (mm. 15–xvi)

Both of these cadences consist of a two-part gesture: the dissonance and tendency tones of a 5 7 resolve to a I at the finish of the phrase. They are equivalent in terms of their harmonic content and both convey a sense of closure. The second one, however, feels more than conclusive than the commencement. Once more, there are numerous factors contributing to our hearing of these two endings, but the most prominent has to do with the melodic content of the outer voices.

In Case 22–4b, the highest melodic line (the vocalisation part) and the lowest melodic line (the left paw of the piano office) both finish on scale degree [latex]\hat1[/latex], the most stable and resolved pitch form in the key. The two nearly prominent voices, in other words, have both arrived at a strong bespeak of resolution. Compare that to Example 22–4a. Here nosotros run across the aforementioned bass motion ( [latex]\hat5[/latex] to [latex]\hat1[/latex]), just the vocalisation office here ends with [latex]\hat4[/latex] stepping down to [latex]\hat3[/latex]. Calibration degree [latex]\hat3[/latex], being part of the central-defining tonic triad, is a stable tone, but does not audio quite every bit resolved as the root of that same harmony. We feel a sense of closure, only non quite and then much as an arrival on [latex]\hat1[/latex].

Activeness 22-2

Exercise 22–two:

Question

The extract below has three authentic cadences. Where are they?

Wolfgang Amadeus Mozart, Piano Sonata No.xi in A major (K.331/300i), I. Andante grazioso, mm. 1–18.

Hint

Listen for resting points or moments of melodic and harmonic closure that experience relatively conclusive.

Answer

In that location are authentic cadences in m. 8, m. 16, and m. xviii. (The cadences in m. 4 and chiliad. 12 are not authentic cadences.)

Wolfgang Amadeus Mozart, Piano Sonata No.11 in A major (Thousand.331/300i), I. Andante grazioso, mm. 1–eighteen.

We categorize authentic cadences past the type of motion found in the outer voices. If an authentic cadence has [latex]\hat5[/latex]– [latex]\hat1[/latex] in the bass and either [latex]\hat7[/latex]– [latex]\hat1[/latex] or [latex]\hat2[/latex]– [latex]\hat1[/latex] in the soprano, it is said to be a perfect accurate cadence (PAC). Put another way, a perfect authentic cadence consists of a root-position 5 (7) chord moving to a root-position I chord with stepwise motion to [latex]\hat1[/latex] in the highest vocalism.

The post-obit example shows another PAC, this time in D major:

Example 22–5. Julie Candeille, Keyboard Sonata No. one in D major (Op. 8), mm. 1–12.

As in Instance 22–4b, the highest voice steps downward to the tonic from scale caste [latex]\hat2[/latex]. Here, though, instead of leaping from [latex]\hat5[/latex] downwards to [latex]\hat1[/latex], the bass leaps upward from [latex]\hat5[/latex] to [latex]\hat1[/latex]. This has no bearing on the status of the cadence as a PAC.

Of grade, PACs can occur in pocket-sized keys besides. The following excerpt concludes with the same cadence as the one heard in Case 22–5, only this time in D minor:

Example 22–6. Elisabetta de Gambarini, Harpsichord Sonata in D minor (Op. 1, No. 6), III. Allegro grazioso, mm. fifty–56.

Find that this passage is comprised of just ii melodic lines. Despite the absence of inner voices, however, the harmonic progression at the end is quite clear. Scale degrees [latex]\hat5[/latex] and [latex]\hat2[/latex] (the root and fifth of the cadential Five chord) each motility to [latex]\hat1[/latex] (the root of the terminal i chord) and the cadence has the same conclusive result equally the PACs shown to a higher place. Tracking the implied harmonic progression in a 2-voice texture can be difficult. Listening for authentic cadences can be very helpful in this job since they are highly recognizable and offer moments of harmonic clarity in ambiguous settings.

The post-obit example also has just two melodic lines:

Instance 22–7. Elisabetta de Gambarini, Giga in D major (Op. 2, No. xiv), mm. 64–67.

In this case, the harmonic progression is somewhat easier to clarify. In the second one-half of m. 66, the right paw outlines an A-major triad (V) which leads to a pair of Ds on the downbeat of m. 67 (I). Even without such an arpeggiation, the combination of stepwise movement to [latex]\hat1[/latex] in an upper phonation with a leap from [latex]\hat5[/latex] to [latex]\hat1[/latex] in a lower vocalism with nothing else is enough to sound like a PAC. In this PAC, the upper voice steps upward to the tonic from [latex]\hat7[/latex], although at this rapid tempo we may be more attuned to the metrically absolute notes in which instance the vox-leading resolves as in the examples above ( [latex]\hat2[/latex]– [latex]\hat1[/latex]).

As we have seen, the upper voice in a PAC may resolve [latex]\hat2[/latex]– [latex]\hat1[/latex] or [latex]\hat7[/latex]– [latex]\hat1[/latex]. You volition as well very frequently run into a combination of the ii, similar to what we heard in Example 22–7. The PAC in the example beneath does exactly this:

Example 22–8. Frances L. Hummell, Favorite Waltzes, Drove iv, 2. Russian Waltz, mm. 1–8.

PACs are frequently decorated with nonharmonic tones. (Meet Chapter 15 to review the different types of nonharmonic tones.) In the following instance, the concluding move to [latex]\hat1[/latex] in each of the two melodic lines does not happen simultaneously:

Example 22–9. Charlotte Amalie Sachsen-Gotha-Altenburg, Canzonette fürs Klavier mit Veränderungen, Variation 3, mm. 11–16.

Beneath the surface, this PAC is no dissimilar from those shown above: the upper voice steps downward from [latex]\hat2[/latex] to [latex]\hat1[/latex] while the bass leaps up from [latex]\hat5[/latex] to [latex]\hat1[/latex]. In this example, even so, the resolution to [latex]\hat1[/latex] in the upper voice is delayed. The K—which, equally the diagonal line indicates, belongs to the Five chord—is suspended into m. xvi, temporarily creating a dissonant major ninth before resolving to an octave on beat out two.

In the following instance, the upper vocalization resolution is rhythmically altered in the opposite direction:

Example 22–10. Elisabetta de Gambarini, Harpsichord Sonata in D minor (Op. one, No. 6), I. Allegro grazioso, mm. 26–30..

Here, instead of delaying the resolution to the tonic with a intermission, the move to [latex]\hat1[/latex] in the upper voice is sped upwardly with an anticipation. The D in the upper voice appears just before the arrival on [latex]\hat1[/latex] in the bass, temporarily forming a nonharmonic fourth with the bass before resolving to the octave at the end of the passage.

The following instance has two PACs with a unlike kind of nonharmonic tone:

Example 22–11. Josephine Aurnhammer, 8 Variations on the Contradanza from La figlia mal custodita,' mm. 1–eight.

In both of the PACs shown above, the resolution from [latex]\hat2[/latex] to [latex]\hat1[/latex] in the upper vocalism is decorated with a type of incomplete upper neighbor tone—an échappée or escape tone. This is still considered a PAC, even though the upper phonation does not resolve directly to [latex]\hat1[/latex] with stepwise movement.

Despite the vocalism-leading restrictions that define a PAC, there is quite a bit of multifariousness in how conclusive these cadences sound. The finality of a cadency is largely determined by the melodic move in the outer voices, but every bit we have already suggested, there are many other factors equally well. Consider the 2 PACs in the post-obit example:

Example 22–12. Josephine Frances Fifty. Hummell, Favorite Waltzes, Collection 4, 7. Spanish Waltz, mm. 1–16.

The PAC in g. 16 might exist said to sound slightly more conclusive than the one in m. 8. Many listeners feel that descending melodic resolutions feel more restful than their ascending counterparts. To such listeners, the second PAC in Example 22–12 feels more conclusive than the 2nd because both voices move to [latex]\hat1[/latex] in a downwards management. Keep in mind that variations between cadences of the same type are oftentimes very subtle and that their effect may exist influenced by subjective listening experiences. Different listeners, in other words, hear dissimilar cadences in different ways.

Any dominant-to-tonic cadence that is not a PAC is said to be an imperfect accurate cadency (IAC). The cadency seen earlier in Example 22–4a is an IAC because, fifty-fifty though the Five and the post-obit I are both in root position, the tune does not resolve by step to [latex]\hat1[/latex]. Instead nosotros hear the comparatively less conclusive movement from [latex]\hat4[/latex] to [latex]\hat3[/latex].

The post-obit example shows another IAC, this time in D major:

Case 22–xiii. Elisabetta de Gambarini, Harpsichord Sonata in D major (Op. i, No. 2), mm. ane–4.

As the 5 7 moves to I in mm. 3–iv, nosotros hear [latex]\hat4[/latex] (the seventh of the dominant chord) stepping down to [latex]\hat3[/latex] (the 3rd of the tonic). Again, the effect is less conclusive than if the outer voices had both come to remainder on octave [latex]\hat1[/latex]s.

In the post-obit case, the accurate cadency is considered imperfect considering of melodic events in both voices:

Example 22–14. Elizabeth Pym Cumberland, 10 Canzonets, No. 8, mm. 9–12.

Again, we see the upper phonation resolving to the 3rd of the tonic from calibration degree [latex]\hat4[/latex] (this time as a passing 7th from the root of the dominant). Supporting this in the bass we find a dominant seventh in second inversion resolving to a root-position tonic. With a step from [latex]\hat2[/latex] to [latex]\hat1[/latex] in the bass instead of a bound from [latex]\hat5[/latex] to [latex]\hat1[/latex], the cadence sounds much less conclusive than a PAC.

The first 3 phrases in the following example all end with IACs:

Instance 22–15. Franz Schubert, 4 Impromptus (D.935), No. 2 in A-flat Major, mm. 1–16.

Each of the starting time 3 cadences in this excerpt is imperfect because the ascendant chord (5 half dozen / v ) appears in inversion. Each of these cadences is also imperfect because of the melody in the highest voice: [latex]\hat2[/latex]– [latex]\hat3[/latex] in the first and third cadency and [latex]\hat4[/latex]– [latex]\hat3[/latex] in the 2nd. Finally, in mm. 15-xvi, we hear root-position harmonies and stepwise motion to [latex]\hat1[/latex] in the highest voice: a PAC that brings a sense of closure to the passage.

And then far we have seen only cadences with 5 or 5 vii as the functional dominant. Now consider the IAC at the finish of the following phrase:

Example 22–16. Johannes Brahms, 49 Deutsche Volkslieder (WoO 33), 7. "Gunhilde," mm. i–4.

The penultimate chord in this phrase is a macerated leading-tone triad: vii ^o 6 . All three chord members—F #, A, and C ( [latex]\hat7[/latex], [latex]\hat2[/latex], and [latex]\hat4[/latex], respectively)—are tendency tones that resolve in the same manner as when they announced in a V 7 chord. Notice the similarities between the following iii chords:

Example 22–17.

Every 5 chord includes calibration degrees [latex]\hat7[/latex] and [latex]\hat2[/latex], strong tendency tones that commonly resolve to [latex]\hat1[/latex]. A V 7 chord adds [latex]\hat4[/latex], another tendency tone that pulls toward a stable chord member in a tonic harmony ( [latex]\hat3[/latex]). A seven ^o chord has all of the same tendency tones but without the root of a typical ascendant-function chord. In Example 22–xvi we run into 7 ^o half-dozen performing a dominant function, resolving to I in a phrase-catastrophe cadence. Nosotros may think of 7 ^o 6 , and then, as a weak dominant substitute.

The following case shows a like progression:

Example 22–xviii. Robert Schumann, Anthology für dice Jugend (Op. 68), eleven. "Sicilianisch," mm. 1–4.

This IAC is even weaker than the one in Example 22–xvi. The melody resolves conclusively from [latex]\hat2[/latex] to [latex]\hat1[/latex], just the dominant substitute vii ^o 6 , resolves to a tonic in first inversion. With [latex]\hat3[/latex] in the bass at its determination, the phrase feels very unsettled.

Activity 22-3

Exercise 22–three:

Question

The following extract has four cadences, three of which are authentic cadences. Which of the three authentic cadences are perfect and which are imperfect? Which is not an authentic cadence?

Sophia Dussek, Harp Sonata No. 2 in Grand major (Op. 2), Three. Rondo–Allegro moderato, mm. ane–sixteen.

Hint

A PAC will take [latex]\hat5[/latex]– [latex]\hat1[/latex] in the bass and either [latex]\hat2[/latex]– [latex]\hat1[/latex] or [latex]\hat7[/latex]– [latex]\hat1[/latex] in the highest vocalism.

Answer

The accurate cadences in grand. four and m. 12 are IACs. The authentic cadence in m. sixteen is a PAC. The cadence in m. 8 is not an accurate cadence.

Sophia Dussek, Harp Sonata No. 2 in Thousand major (Op. 2), Three. Rondo–Allegro moderato, mm. 1–16.

As we have seen, an authentic cadency consists of a two-part harmonic gesture at the end of a phrase: an unstable dominant-function chord resolves to the tonic and conveys a sense of conclusiveness. In the cadences at the end of the following examples, nosotros hear but the showtime half of this gesture:

Instance 22–nineteen. Sophia Dussek, Harp Sonata No. 1 in B b major (Op. 2), II. Rondo–Allegro, mm. 1–4.

Case 22–20. Ludwig van Beethoven, Pianoforte Sonata No. i in F minor, (Op. ii, No. ane), I. Allegro, mm. 1–ix.

Both of the phrases to a higher place end with a ascendant harmony. We practise not hear the expected resolutions to the tonic. Such a phrase ending is known as a half cadence, since it consists of only the commencement one-half of an authentic cadency. (The half cadence is labeled "HC" in the example above.) The effect of a one-half cadency is remarkably dissimilar from what nosotros have heard then far. It sounds very unresolved. Rather than moving to the expected points of stability, the tendency tones in the ascendant are left hanging.

A half cadency brings a sense of closure to a phrase, merely the listener is left wanting more. This expectation for harmonic resolution is ofttimes fulfilled by the following phrase, every bit in the following two examples:

Example 22–21. Luise Adolpha Le Beau, 3 Klavierstücke (Op. one), 2. Lied–Einfach (1000 minor), mm. 1–8.

Case 22–22. Elizabeth Pym Cumberland, 10 Canzonets, No. 4, mm. 1–8.

In each of the cases higher up, the offset phrase ends with an inconclusive half cadence. A second, similar phrase follows and ends with an authentic cadence providing the expected resolution of the dominant. Annotation that in each of the examples to a higher place, the first chord after the half cadence is a tonic harmony. This should not be dislocated with an authentic cadency. In an authentic cadence, the tonic is heard at the end of a phrase. Here, the tonic in m. 5 of each example appears at the offset of a new and separate phrase and so is not considered a part of the cadence.

Because a half cadence so strongly implies a need for farther music, it can be sometimes exist difficult to distinguish them from their context. In the post-obit example, a half cadence may be heard at the end of m. 4, followed by a PAC 4 confined subsequently:

Example 22–23. Louise Farrenc, 25 Etudes faciles (Op. 50), No. 4 in Due east minor, mm. ane–viii.

In Case 22–23, a stream of sixteenth notes flows steadily until the second trounce of m. 8. It is possible, and so, to hear this as a single, eight-bar phrase. There are, however, several factors that break the passage into two iv-bar phrases: the profile of the sixteenth-note effigy is altered and switches to the left hand in thousand. 5, the bass repeats a note (B) for the offset time, and the dotted-quarter-note tune in mm. 5–7 (B–C–B–A–B) recalls the melody heard in mm. 1–iii. Mind once more to Example 22–21 and Example 22–22 and compare them to Instance 22–23.

Note: Phrases often work together. In each of the iii examples above, we heard a pair of similar phrases, the first ending inconclusively with a half cadence and the second ending conclusively with an authentic cadence. Such a pair of phrases is known as a menstruation and volition be discussed in greater item in Chapter 35.

Activity 22-4

Practice 22–iv:

Question

Identify each of the cadences in the following excerpt:

Friedrich Kuhlau, Pianoforte Sonatina in G major (Op. 20, No. 2), mm. i–16.

Hint

Consider how conclusive each cadence sounds, and keep in mind the various parameters used to categorize different cadences.

Answer

The cadence in g. 4 is an IAC, the cadence in m. eight is a HC, the cadency in m. 12 is an IAC, and the cadence in k. 16 is a PAC..

Friedrich Kuhlau, Piano Sonatina in G major (Op. 20, No. ii), mm. 1–xvi.

In the following case, the first phrase ends with an unexpected harmony:

Example 22–24. Johann Sebastian Bach, Wachet auf, ruft uns die Stimme (BWV 140), 7. "Gloria sei dir gesungen," mm. 34–forty.

The Five seven at the stop of m. 35 resolves to a half-dozen chord. This is known as a deceptive cadence. The cadential dominant sets up an expectation for a resolution to the tonic, but moves instead to the submediant. The only divergence betwixt a deceptive cadence and the corresponding accurate cadence is that the bass moves to [latex]\hat6[/latex] instead of [latex]\hat1[/latex]. Compare this deceptive cadency to the PAC at the end of the 2nd phrase, where the bass leaps up as expected to E b .

Note: Deceptive cadences are much less common than accurate and half cadences. Information technology is rare to run into a piece of tonal Western art music that does not include authentic and one-half cadences. Deceptive cadences, on the other hand, appear just occasionally and a majority of compositions do not include them at all.

The event of a deceptive cadence is somewhat surprising, though the vi chord does not seem entirely out of place. Consider the similarities betwixt a I chord and a vi chord:

Example 22–25.

The vi chord shares ii out of the three scale degrees that make up a tonic triad: [latex]\hat1[/latex] (the root of the I chord) and [latex]\hat3[/latex] (the quality determining 3rd of the I chord). Only the 5th of the I chord ( [latex]\hat5[/latex]), the least essential member, is missing. Like how the vii ^o chords in Example 22–17 and Example 22–18 have the potential to perform a dominant function due to their similarity with V, a half dozen chord may exist seen as a weak tonic substitute.

The post-obit examples both include deceptive cadences:

Case 22–26. Louise Reichardt, "Poesia di Metatasio", mm. 31–38.

Example 22–27. Louise Reichardt, "Aus Novalis Hymnen an dice Nacht," mm. 46–51.

In each of the examples above, the deceptive cadency is soon followed by a conclusive PAC. The deceptive cadence sets up an expectation, the fulfillment of which is delayed until the PAC provides the implied tonic harmony. The effect is a provocative stretching out of the gesture which for many listeners makes the eventual determination all the more satisfying.

Activity 22-5

In this practise, you will resolve dominant chords deceptively.

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Practise 22–5a:

Question

Resolve the following dominant chord with a deceptive cadence:

Hint

Aside from the bass, all of the other voices may move every bit though the dominant were resolving to a tonic triad. (Beware of parallel octaves with the bass!)

Answer

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Exercise 22–5b:

Question

Resolve the following dominant chord with a deceptive cadence:

Hint

Bated from the bass, all of the other voices may motility as though the dominant were resolving to a tonic triad.

Answer

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Practice 22–5c:

Question

Resolve the following dominant chord with a deceptive cadence:

Hint

Aside from the bass, all of the other voices may movement as though the dominant were resolving to a tonic triad. (Beware of parallel octaves with the bass.)

Answer

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Exercise 22–5d:

Question

Resolve the following dominant chord with a deceptive cadency:

Hint

Bated from the bass, all of the other voices may motility equally though the dominant were resolving to a tonic triad.

Answer

Chords can have unlike musical meanings depending on their context in a piece or passage. We refer to this pregnant as a chord's harmonic office. The two most important functions in tonal Western art music are the tonic function and the ascendant function. The tonic function—ordinarily performed by a tonic triad—conveys a sense of restfulness to a listener. Information technology is characteristically consonant and stable. At the get-go of a musical expression, it establishes the key and gives the listener a sense of tonal groundedness. At the end of a musical expression, it conveys a sense of serenity and, after contrasting harmonic fabric, a sense of closure. The ascendant function—ordinarily performed by a V or V 7 chord—acts equally a foil to the tonic. It contains tendency tones which convey a sense of urgency to resolve to points of greater stability.

A phrase is a passage of music, typically four confined long, that conveys a musical idea. The harmonic gesture that signals the stop of a phrase is known as a cadence. The relationship betwixt tonic and dominant is most apparent at cadences, which are ranked and labeled according to how conclusive they sound to a listener.

An accurate cadence is one in which a dominant-function chord resolves to a tonic chord. A perfect authentic cadence (PAC) is the most stable and resolved type of cadence. It consists of a root position dominant chord (V or V 7 ) moving to a root position tonic (I or i) with stepwise motion to [latex]\hat1[/latex] in the highest voice. Any authentic cadency that does not fulfill these stipulations is referred to as an imperfect authentic cadence. A cadence may exist imperfect for one or more of several reasons: either the ascendant or tonic is in an inverted position, the highest voice ends on some scale degree other than [latex]\hat1[/latex], or the V chord has been replaced with a substitute dominant-function chord such equally vii ^o .

A half cadency ends a phrase with simply the first half of an authentic cadence: the ascendant. Compared to an authentic cadence, a half cadence feels very unresolved and is characteristically followed past a second phrase catastrophe more conclusively. A deceptive cadence swaps out the tonic triad with a weak tonic substitute: the submediant—which, like the vii ^o chord, has several scale degrees in common with the chord it replaces. Authentic and half cadences are extremely mutual, deceptive cadences much less and so.

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Source: https://milnepublishing.geneseo.edu/fundamentals-function-form/chapter/22-phrases-cadences-and-harmonic-function/

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