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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.
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]
Download QR code; Print/export Download as PDF; Printable version; In other projects ... The most important irregular resolution is the deceptive cadence, [3] ...
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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.
[1] Among the simplest examples he gives are what he calls "duple sentences" -- themes (from Mozart's D major Piano Sonata and Beethoven's Third Piano Concerto) in which we find pairs of "balanced" phrases (four-bar "announcing phrase" ending in half-cadence, followed by four-bar "responsive phrase" ending with perfect cadence): to many modern ...
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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: