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lmportantConceptsPhrase
Ha rmon icCadence
PerfectAuthenticCadence
t nDerfect AuthenticJ, ;dence
A phrase s a substantial usical hought,whichendswith a musical unctuationalledacadence.Phrases re created n music throughan interactionof melody.harmony.anclrhythm.The first part of this chapter oncentratesn the harmonicand rhythmiczrspectsof phrases;n chapter we will takeup the melodicaspects.
A hormonir: udences a musical unctuationha tcloses phrase r section f music.Ca -dences iffer considerablyn musical trength. om esignify he end of a completemusi-cal thoughtan dmay be comparedo the period .) . Othersbrin-q n ncompletede a o aclosebu t suggest omething lse o come.Thesemay be compareclo th ecomma .) or asemicolon ;) .Most cadencesoncludewith either he v or I chorcl.
The perfectauthentic' :adences a progressionrom V to I in major keys and V to i inminorkeys.Bothchordsmustbe n rootposit ion. n thiscadencehe onicnotemustalsobe hehighest ounding itch n the onic riad.From he stanclpointf f inality. heperf-ectauthentic adences th estrongestadence f all.
The impe(ect authenticcadences slightly weaker han he perf-ect uthentic adence.pert-ect uthentic adence ecomesrnperf'ect hen:l. Thehighest oundingon e n the onic riad s a toneother ha n he onic nore.2. Theviio riad s substitutedbrthe V. making hecadence iio6o I or vii '6 o i.3. Oneor bothof thechords V or I) is inverted. xamples re :V6 o I or V to i6.Figure5.1 l lustrates ot hperfect nd mperfect uthentic adences.
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Cadencesnd NonharmoniconesPhraseHarmonicCadencePerfectAuthenticCadencelmperfectAuthenticCadenceHalf CadencePhrygianHalf CadencePlagalCadenceDeceptiveCadenceRhythmicCadence
NonharmonicTonesUnaccentedNonharmonicTonesUnaccentedPassig ToneUnaccentedNeighboring ToneEscape on eAnticipationAccentedNonharmonicTonesAccentedPassing on e
AccentedNeighboringToneSuspensionRetardationAppoggiaturaSuccessiye assig TonesChangingTonesDoubleNeig boring TonesNeighbor GroupPedalTonelnvertedPedalTone
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d - T - -r ) ) l l ) _a - f p i tQ e
Figure .1Perfect Authentic
pbv'
Half Cadence
Plagal Cadence
Deceptive Cadence
V
Imperfect Authenticc . d
(Rare)
V 6 I J 6 v i i o 6 |
If the second hord of a cadences V, it is a half cadenc'e.his permitsa large numberofpossibil it ies,ut composers ctually mployonly a f-ew. to V. IV to V, or i i to V accountfor the vast majority of half cadences. half cadence rom iv to V in a minor key issometimes alleda Phrygianhalf cadence see igure5.2d).
Figue 5.2Half Cadence
If the first chord s V and he seconds nota large numberof possibilities, omposersillustrates eceptive adences.
T he St ruc t u ra lE l emen t s f Mus i c
Ebv: cm : l v 6
Theplagal cadences nearlyalwaysoneprogression:V to I in major, or its equivalent,iv to i in minor,keys. nfrequently, heprogressioni6 o I occursas a plagalcadence.
Figure .3Plasal Cadence
Ebu' IV I I V I I V I
Phrvsian Half Cadence
[, the cadence rs deceptive. Although there aremost often select vi (V I in minor). Figure 5.4
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4-zt1-/J/Jtj1j
Figure .4DeceptiveCadence
a.
Ebv, v(Assignment .1,page 103;
v IVt' cm: Vt vlWorkbooUAnthology5A)
JJtJiI
Rhythm cCadence
Figure .5Bach:Brandenburg oncertono. 3
Phraseendingsoften containcharacteristicdenc:e. otice in figure 5.5 that the phrasealone.rhythmic patterns hat createa rhythmiccaendingcan be sensed y tapping he rhythm
'
'J
in G Major,BWV 1048, , m. l- 2 (modified).
/o;
(Rare)
Rhythmic adence: r
Rhythmiccadences ften endwith a longernote han he prevailingnotevaluesor arefollowed by a rest,which, n effect, engthenshe final note.A rhythmic cadence atternmay ecurseveralimes hroughout givencomposition.Se e iguie5.6.)
Figure .6Pol ish olk Song.
Rhythmiccadence:
g m :V iUrinrnni . ' , r0 .n ." f th.nti . .1
Rhythmiccadence:
g m : i VL - lHarmonic cadence (half)
t
Cadences nd Nonha rmon i cT ones 91
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Rhythmiccadence:
gm: vHarmonic cadence (half)
Rhythmiccadence:
Hr. toni . .ud.*. t *thent ic)
Phrases an exist at the rhythmic level alone, ndependent f harmonyand melody.Drum cadences,or example,areclearexamples f rhythmicphrases.
Harmonic onesshouldbe familiar to you by now.They are hechord ones: oot, hird, orfifth. Nonharmonic tonesare pitches hat soundalong with a chord but are not chordpitches.Most nonharmoniconesare dissonant nd create ntervalsof a second,ourthorseventh.Diminishedor augmentedntervalsare also considered issonant.The disso-nancecreatedby nonharmonic ones s calculated gainst he lowest-soundingone of achordno matterhow many othervoicesarepresent.An exceptionoccurswhen the non-harmonic one occurs n the lowest-sounding oice itself (usuallybass).Nonharmonictonesgenerallyoccur n a patternof threepitches:
NonharmonicTones
Fig e 5.7PassingTone
Precedingone(chord one)Nonharmonic one(not a chord tone)
Following one(chordtone)
(A tew nonharmonicones nvolvepatterns f more han hreepitchesandwill be dis-cussedater n thechapter.)
The variousnonharmoniconesarenamedby the ntervals etween he preceding one,the nonharmonicone, and he following tone.Figure5.7 shows he common hree-tonepatterns. he nonharmonicone s circled n eachcase.
PassingTone Neighboring Tone NeighboringTone
(step)PT (step)
EscapeTone
(step)PT (step)
Appoggiatura
(step)NT (step)
Suspension
(step;NT (steP)
Retardation
(step) T skip)
Anticipation
(skip)APP step)
Anticipation(.oilT"on)us step) (."ilf."") RE step)
(step)Nr (."ilf."")
92
(step;ANT
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-
RhythmicPlacement
UnaccentedNonharmonicTones
UnaccentedPassingTone
Figure .8PT
The most mportantdistinctionamong he variousnonharmonicones s whether he dis-sonance ccurson the beat accented) r off the beat unaccented). issonanceslacedonthe beat are much strongerand often createa powerful emotional mpact, while thoseplacedoff the beatgenerallypassalmostunnoticed, erving o smoothout melodic ines.Somenonharmoniconesoccur n both accented nd unaccented ontexts; thersappearonly as accented r asunaccented issonances.
The common unaccented onharmonic ones are the unaccented assing tone, LLnuccentedneighboring one,escapeone, andanticipation.
Figure5.8 showsvariousunaccented assing ones n a four-voice exture.Figures5.8aand 5.8b show singleunaccented assing ones n descending nd ascending atternswhile 5.8c-eshowdoubleunaccented assing ones n a varietyof patterns.
PT
Figure 5.9 showsvariousunaccented eighboring ones n a four-voice exture.Figures5.9aan db show singleunaccentedeighboringones;while 5.9cand d showdoubleun -accented eighboringones.
Fig e 5.9NT NT
em: l
PTT
em: i i 6
UnaccentedNeighboring Tones
Escape tones occur onlymost common pattern, nthird.as unaccented onharmonic ones.which a step upward is followed by
F igure5 .10 shows hea skip downwardby a
T t tlI-
i ' g i -
I -f-;]---A J | ' l-PT iJ P T Jta
NT
Escape ones
Cadences r rdNonha rmon i cT ones 93
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Anticipation
Figure .10ET
em : i
Anticipatiol?soccur only as unaccented onharmonic ones.mon patterns.
Fisure5.1I shows wo com-
F igure .11ANT
The common accented nonharmonic tones are the accentedpassing tone, accented neigh-boring tone, suspension, retardation, and appoggiatura.
Figure5.12showssomeaccented assing ones n a four-voice exture.Compare hemu-sical effect of theseaccented assing oneswith the unaccented assing onesshown nfigure5.8.
4
iv
AccentedNonharmonicTonesAccentedPassingTone
F igue 5 .12
94
em: I
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1 ' t
,v-
-/,
AccentedNeighhr:ring Tr:ne
Sus,oenslon
Figure 5'13 shows some accentedneighboring tones in a four-voice texture. Compathemwith theunaccented eighboringonesshown n fieure5.9.
Flgure . '13
Thesuspension ccursonly as an accented onharmonicone.Thereare hreephases fsuspension:he preparation,he suspension,nd he resolution figure5.14).
F igure .14Preparation Suspension Resolution
NTTTa. NT
It,
II
. ,t,
rm6
ConsonantrIm7
Dissonant
7Im6
Consonant)
,,ttt,ttI
tt
The suspendedone (the middle tone of the figure) s alwaysdissonant.Suspensioaredesignated y the nterval orming the suspenJedoneandresolutionwith the owessounding oice.Threecommonsuspensionypesareshown n fieure5.15.
F igu re .1 5Prep. Sus. Res. prep. Sus.Res. prep. Sus.Res.
In determining he interval of suspension,he octave s usuallyremoved.Thus 4-3used nstead f I l-10. The exceptions the9-g suspension.
:
d.o t I
) )t)
TII
I YJ J L.J)
95
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M3Preparation
F igure .18Bach: Freu dich .sehr,o meine Seele(RejoiceGreatly, O My Soul). BW V 2-5.m. 12-13.
The othervoice no tcontaininglon-e s t provides he necessarysuspensionigure.
F igue 5 .17SLrspendineoice
At _J .@ --------- . -:a J tOtherVoiccM3 M7 M6Con. Diss. Con.
Remember that suspensions ccur only between tr.l 'o oics\-gven in four-voice writ-ing. The other voices do not take part an d firr thc present moment niay be ignored. Thefo l low ing are suspensionsound in a four-voiceset t ing .
Anothercommonsuspensions th e 2-3 suspension. hereas he suspensionigure sin one of the uppervoices n th e hreesuspensionshown n figure5.15. n the 2-3 sus-pensionhe suspendedon e s in the owervoice.
F igure .162-3 SuspensionhowingSuspensionigure n Lower Voice.
[(' Iol8- -
M2Suspension
m3Resolution
thesuspensionigure)may movc n alrnost nyway aspreparation. Llspension.nd resolution hasesbr the
CPi n .V
DissP4 Con.M3
Bach: Wus Gott tut, clus .stwohlgeran (What Go dDoes Is Well Done). BW V 69a, m. 3-4 (Modified).
I V VCon. Diss Con.P5 P4 M3Consonance-DissonanceInterval:
96 TheSt ruc tu ra l lementsf Mus ic
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I
JJ)tttttttt
Suspensions ay occursimultaneouslyn pairs, ave lecoratedesolutions,r occur nchains.
A returdcttirnrrs a nonharmonicupward insteadof downward.
tone s ir -n i laro a suspension. xcept hat he resolut ion s
Figure .20
FigureIn pairs :
5 . 1 9t a -
SUSo
In chains:
Retardat ian
9 - 8 . 1 I 9 Ei i v i
1 - 8
The upprtggitttururs a nonharmonicone hat s approached y skip and resolvedby stepin theopposite irection.t generally ccurs san accented onharmonicone.
Vi - 8
i r
:Decorated esolutions
susrr*
' t : . i ! e t . i t 1 7
C a d e n c e s n d N o n h a r m o n i c o n e s 97
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AP P APP
\7V
of four or morepitches.The mostcommon are:and hepedal tone.
I t "
Compare he two phrasesrom Bachchorales hown n figure5.22.Figure5.22acontainsonly unaccented onharmonic ones, whereas5.22b has three accentednonharmonictones.The nonharmonicones n5.22a add rhythmic nterestandmake he voice eadingsmoother, ut the dissonancesn 5.22b are much moredramatic n eff'ect nd addconsid-erable ension o th emusical ett ins.
Figu e 5.22a. Bach:Valet ,*ill ch dir geben Farewell Gladly Bid Thee),BWV 415,m. l-2.
A
a 7NT-r PT t PT PT -\,t Pr -f'1
pDM : IV v i io6 IV6
b. Bach:Liebster esu,wi r sindhier (Blessed esu,At Thv Word).BW V 373.m. l-2.A
Figu e 5.2",
i v
Accented ersusUnaccentedNonha mon cTones
Nonha mon cTones nvolv ingMore han ThreePitches
98
APP
GM: 2- 3SUS PTV 6 V
A few nonharmoniconesare n patternssuccessiveassing ones, hanging ones,
I - \ v
o l+- sKrp step) ,l 'o'o! stept e
PT PTa J V V r iP r l In l . l t P r ; J l ,i) a 1 a
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SuccessivePassingTanes
ChangingTones
Figu e 5.24Changing Tones
em:Pedal Tone
Two passing onesoccasionallyil l an ntervalof atonesmay be unaccentedfigure5.23a)or they mayaccented assingones figure5.23b).Figure .23
PT-
fourth. n suchcases oth the passingbe a combination f accented ndun-
em: l GM:PTV
CT CT
Changing onesconsistof two successive onharmonicones.The first eadsby step roma chord tone, skips o anothernonharmonic one. and then eadsby step o a chord tone(often he samechord one).Other ermsoften used nsteadof changing ones aredoubleneighboring ones or neighborgroup. In many ways the two changing ones esembleneighboring oneswith a missing or perhapsmplied) middle one.
Showsmissingpitch:CT CT
A pedal on e alsocalleda pedalpoint) s a held or repeated ote,usually n the owes tvoice, hat alternates etween onsonance nd dissonance ith the chord structures boveit . Thus, he dissonancesrecreated y the moving chordsabove ather han he pedaltone itself. When a pedal one occurs aboveothervoices, t is calledan invertedpedaltone.Figure .25Bach:Prelude o. 6 in D Minor, BWV 851, rom the Well-Tett4tereclluvier,Book I,m. l -2 .PedalTone
con. con. con.
II IlII I
AJ
e_a-
a cT cT ersslnga
Cadences nd Nonha rmon i cT ones
diss. diss. diss. con.
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Summary
Prior to l iarot l r rcf 'eriod (1300- 6(Xf
Figue 5.26Firenze c. 1375)
Th e bllowinechart s u sr-rr.nrr.ra.yf nonharrn.niconesPT-Passing Tone NT__Ncighborin-ucxreAPP-Appoegiatura SUS-_suspensionANT--Anticipation pD-_peclalTone
Type Approach Departure Voice
studiedn thischapter.ET-Escape ToneRE RetardatictrrCT-Chan-sin-u ones
Accented or UnaccentedPT StepNT StepET StepAPP SkipSUS Same itchRE Same itchANT PreferstepPD NACT NA
StepStepSkipStepStepdownStepupSame on e
Any Ma y be eitherAny May be eitherSoprancl Unaccente
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Figu re
l a d d 6 e b N a :v1 3 f add ,9 FM: V+7 I a d d 6In figure5.29a he dominant (V7) is decoratedwith a Vrr and the tonic containsanadded nterval of a sixth above he bassnote.In figure 5.2gb the tonic chord contains heintervalsof a sixth and a ninth above he bassnote. n figure5.29c he tonic chordcon-tainsa thirteenth sixthplus an octave)above he root.
102 The 5 t ruc t u ra lE l em en t s f lV l us i c
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Assignment .1 The second nd hird chordsof eachexerciseorm a cadence'1. Analyzeeachchord n theblanksprovided'2. Write the nameof thecadenceype n theblankabove he exercise.
Alternate Directions: Macro Analysis1. Write the etter name or eachchordon the blanksprovided'2. Includeslurswhereverappropriate n the etternames.3. Write thenameof thecadenceype n theblankabove he exercise'
5 ..2.
GM:- - - em:- - - cM: - -gbNl ' - FM:---
-6. - '1. -- 8 - e' lo'- i-f f i , , r 1 -sfu'- DM:- - - AM:-
bm:- - - lbu''
-Assignment 5.2 Belowarenonharmonicones xcetptedrom music iterature'- A ) > l g l l r l l t l
1 Circle the nonharmonic one or tones2. Write the nameof the type of nonharmonic tone in the blank provided beneath he staves'
2 t r j , 0 = - t , r J - I
, - - , , ^ -L^- -^^ : - r^h^ . . ro3
'.'
l ' [ rl l I: ,! ,_r r tl r r ! ! !l l l
r ! ! r j rJ * ^ l , i l td l l l. i . l J ) J !
a)
t a aI ,La
r l l--) Ota
vI
t iXJ b - -
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Assignment .3
-r.4.
The following areexamples rom Bachchorales.l. Write the Romannumeral nalysis f eachchordand ndicate he posit ion: if in f irst
inversion, if in secondnversion. ndno numbersf in rootposit ion.2. Circle all nonharmoniconesandwrite the abbreviationsepresentinghe namenearby.
Unaccented assingone : PT4-3 suspension 4-3 SUSUnaccentedeighboringone NTThe first chordof eachexample s analyzed orrectly or you.Indicate he ypeof cadence sedat each 'ermata.
1. Al leinGott n clerHi ih seiEhr (Only o God on High Be Glory! ) .BWV 104.m. l -2.CD Track 32
AM:
Cadence
2. Machsmit ntir, Gott,nachdeinerGtit (Do with Me as Th y Goodness rompts hee),BWV 3ll. m. 1-2.CD Track33
DM:
A
I
, )
o = '-'prilpr
t T r L l 'l - i
T ?4
II
I
104 TheStructura l lements f MusicCadence
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3. Christus, er ist mein Leben Christ s My Life), BWV 282,m. l-4 (Modified).CD Track 34
GM : I
Cadence
1. Ermuntredich, mein schwacherGeist RouseThyself,My Weak Spirit),BWV 43,m.20-22. CD Track 35
GM : 1 o
Cadence
5. Nun danketalle Gon (Now Let Us Al l ThankGod),BWV 386,m. l-2. CD Track 36
AM:
Cadence
A
A
_1
a t tb l
Ie '
l lt l 7 'I)
I
a) a.a_ ) ) J g, \ lI)
ft
10 5adences nd Nonha rmon i cT ones
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Assignment .4 Following are hreeexcerpts rom music iterature.1. Analyzeeachchord with Roman numeralsndicating lso ts posit ion.Somechords
areprovided o helpyou understandhe procedure.2. Circleand ndicate he ypeof eachnonharmoniconenext o the circle.3. For conveniencese he bllowins abbreviationsr init ials:
PT : Unaccentedassingone-PT : Accented assingon eNT : Unaccented eighboring one-NT : AccentedneighboringoneET : Escape oneSUS Suspensionnd ype 9-8, -6, 4-3,2*3)Indicate he ype of cadence sedat eachphrase nding.In nos. I and 2, the chordschangeeveryquarternote. n no. 3 (Corelli), he chordsarebracketed-one chordper bracket.
l. Bach:Al sJesusChristus n derNacht WhenJesus hrist n the Night),BWV 265,m. l-2. CD Track37
FM: vi t----_ ]l i i !iCadence
'FNotexplained n the ext yet. gnore or the moment.
2. Bach:Ach bleibbei nns,Herr JesuChrist Ah , StayWith Us ,Lord Jesus hrist),BWV 253,m.8-10. CD Track38
AM :
,4T .5 .
Aa
J e l - . . 1 1 _ l ll t l f I I t rrl
a r t l-.I nr-l ) r
106 TheSt ruc tu ra l lementsf Mus ic
Cadcnce
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The following hintswill helpyou complete he analysis f theexcerptby Corelli.l. The analysis or threeof the chords s provided.The chord at no. 1 is given to helpyou ge tstarted. heanalysis t no. 12 s alsogiven.2. The chordsat nos.6 and7 are ncomplete.Eachrequiresanothernote o complete hetriad. Thesearecalled mplied harmonies,meaning hat the missingnote s suggestedbu t no t stated.
Hint fbr chord6-the missing riadnote s suggestedn chord5. Which noteof chord5 would fill out the riad n chord6? Hint for chord 7-the missing riad one ssuggestedn chord8. Which noteof chord8 would fiIl out the riad n chord7?3. Th e answer o theanalysis f theC in chord7 is foundon page97 .
3. Corell i:Sonatabr Two Violins an dViolone/Archlute, p. 3. no. I in F Major. I (Allegro),m. 34-37.CD Track39
L1 . 2 . 3 .FM: vi
L_.i5 . 6 . 1 . 8 .. 9.y r
12 .I
10 . 1 1 .
Cadence
Cadences nd Nonha rmon i cT ones 107
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