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Also known as an interrupted or false cadence, the deceptive cadence is a cadence from V to any chord other than the tonic (I), usually the submediant (VI). [22] This is the most important irregular resolution, [23] most commonly V 7 –vi (or V 7 – ♭ VI) in major or V 7 –VI in minor.
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.
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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]
[1] [3] Irregular resolutions also include V 7 becoming an augmented sixth [specifically a German sixth] through enharmonic equivalence [1] or in other words (and the adjacent image) resolving to the I chord in the key the augmented sixth chord (FACD ♯) would be in (A) rather than the key the dominant seventh (FACE ♭) would be in (B ♭).
While the phrases are identical in length, the counterpoint's turbidity increases, climaxing where all four voices sing together. This climax turns to an imperfect, deceptive cadence. The theme of syntactic imitation is exemplified by each strophe in the poem, comparable and balanced in length with the others. Local details in texture and ...
According to Andranik Tangian, [7] analytical phrasing can be quite subjective, the only point is that it should follow a certain logic. For example, Webern’s Klangfarbenmelodie-styled orchestral arrangement of Ricercar from Bach’s Musical offering demonstrates Webern’s analytical phrasing of the theme, which is quite subjective on the one hand but, on the other hand, logically consistent:
Resolution has a strong basis in tonal music, since atonal music generally contains a more constant level of dissonance and lacks a tonal center to which to resolve.. The concept of "resolution", and the degree to which resolution is "expected", is contextual as to culture and historical period.