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Some varieties of deceptive cadence that go beyond the usual V–VI pattern lead to some startling effects. For example, a particularly dramatic and abrupt deceptive cadence occurs in the second Presto movement of Beethoven’s Piano Sonata No. 30, Op. 109, bars 97–112, "a striking passage that used to pre-occupy theorists". [43]
As the Ponte serves to prolong a dominant sonority, the Indugio is a prolongation of a predominant sonority before a half cadence. In an Indugio, the melody will often highlight scale degrees 2, 4, and 6, while the bass will emphasize scale degree 4, preparing to go to scale degree 5 for the half cadence. [21]
The concluding cadence of the same movement features the chord in root position: Mozart Piano Sonata in C, K545, end of first movement Mozart Piano Sonata in C, K545, end of first movement 02. A striking use of inversions of the dominant seventh can be found in this passage from the first movement of Beethoven’s String Quartet Op. 127.
Backdoor compared with the dominant (front door) in the chromatic circle: they share two tones and are transpositionally equivalent. In jazz and jazz harmony, the chord progression from iv 7 to ♭ VII 7 to I (the tonic or "home" chord) has been nicknamed the backdoor progression [1] [2] or the backdoor ii-V, as described by jazz theorist and author Jerry Coker.
This is an example of a suspended chord. In reference to chords and progressions for example, a phrase ending with the following cadence IV–V, a half cadence, does not have a high degree of resolution. However, if this cadence were changed to (IV–)V–I, an authentic cadence, it would resolve much more strongly by ending on the tonic I chord.
It says in the article that a deceptive cadence is in the parallel minor. Either I'm misunderstanding what's being said, or this is wrong. A deceptive cadence may perhaps end on anything, but usually it is on the relative minor or subdominant, not the parallel minor (as far as I know). Plus, the following explanation in the article is of a A ...
I was the one that added "A Summer Song" as a popular music example of a deceptive cadence. In less than a day, someone (and rightly so) attached a "citation needed" footnote to it. Not being a professional musician, I cannot state with 100% certainty that this is truly a deceptive cadence nor can I cite a source that will verify this.
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