Cadence A Study Of Closure In Tonal Music – William E Caplin

3 . H a l f C a d e n c e 269 13–​15, is one such case. If we consider that the progression embraces the I⁶ in the whole of measure 13, then we can recognize the three-​bar minimum ECP as previously defined. Alternatively, we could hear the cadential idea only beginning with the fourth quarter-​note upbeat to measure 14 (thus regarding most of m. 13 as precadential).

In that case, it would be preferable to analyze a compact HC. In either event, when we compare the length of the cadence closing the main theme (mm. 7–​8) with that closing the transition (mm. 13–​15 or 14–​15, depending on one’s analysis), we see that the latter is more expansive, which accords with the norms of tight-​knit versus loose organization for a sonata-​form exposition, even a miniature one. We often find that a three-​measure half cadential ECP sees the first two bars filled with pre-​dominant harmony, with the final dominant in the third bar (Ex.

5.55). In this nonconventional I normally consider an authentic ECP to last at least four bars, sufficient in scope to support a full phrase of music. This min- imum makes sense, since it allows all four stages to occupy a full bar, a situation that regularly obtains (see again Ex. 5.48, 5.49, and 5.50). This criterion, however, is not entirely adequate for a half cadential ECP, which contains only three harmonic stages.

If each harmony were accorded a single bar, then such a three-​measure unit may prove somewhat short to support what we normally take to be a complete phrase. Yet, it seems reasonable that if each har- mony of the progression lasts one measure, then, like the case of an authentic ECP, we should probably accept three bars as a prac- tical minimum for a half cadential expansion.

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ISBN 978–​0–​19–​005644–​5 (hbk.) DOI: 10.1093/​oso/​9780190056445.001.0001 Paperback printed by Sheridan Books, Inc., United States of America Hardback printed by Bridgeport National Bindery, Inc., United States of America For my sister, Wendy Ann Caplin Preface xiii Acknowledgments xvii Guide to the Analytical Annotations xix 1. Ideas of Closure 1 1.1. Closure in Literature 2 1.2. Closure in Music 4 1.2.1. Leonard Meyer 4 1.2.2. Kofi Agawu 6 1.2.3.

Robert Hatten 6 1.2.4. Patrick McCreless 7 1.2.5. Mark Anson-​Cartwright 8 PART I. THE CLASSICAL CADENCE 11 2. General Concepts of the Classical Cadence 13 2.1. Traditional Notions of Cadence 14 2.2. Cadence as Formal Closure 15 2.2.1. Formal Units Closed by Cadence; Cadence and Phrase 16 2.2.2. Cadence and Higher-​Level Formal Units 17 2.3. Cadence as Harmony; Harmony as Cadence 20 2.3.1.

Progression Types 21 2.3.1.1. Prolongational Progressions 22 2.3.1.2. Sequential Progressions 22 2.3.1.3. Cadential Progressions 22 Contents viii Contents 3.2. Imperfect Authentic Cadence 82 3.2.1. Morphology 83 3.2.1.1. Basic Tenor Stream (8̂/​6̂/​5̂/​3̂); Varied (5̂/​6̂/​5̂/​3̂) 83 3.2.1.2. Prinner Cadence 85 3.2.1.3. Other Patterns; Melodic Diversion 86 3.2.1.4. Combined Patterns 88 3.2.1.5. Ending on 5̂?

90 3.2.2. Function 93 3.2.2.1. Independent IAC 93 3.2.2.2. Way-​Station IAC 94 3.2.2.3. Additional Functions of the IAC 96 3.3. Half Cadence 101 3.3.1. General Conditions for Half Cadence 102 3.3.2. Morphology—​Harmonic Content 103 3.3.2.1. Stage 1—​Initial Tonic 104 3.3.2.2. Stage 2—​Pre-​dominant 104 3.3.2.3.

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