combination of chords (generally the tonic, dominant and sub-
dominant) which indicates that some objective, either tempo-
rary or final, has been reached. When the dominant chord or
any dominant harmony is immediately followed by the tonic the
cadence is called perfect or final, and may be compared to a
period in punctuation,e.g.
[Music] [Music: CÉSAR FRANCK]
[Footnote 54: In listening to a clock it is impossible to think of
the ticks singly, or otherwise than in groups of two: an accented
beat and an unaccented; although the beats are of equal strength
and duration. This principle of dual balance is derived from the
rhythmic pulsation of the human heart and, as we shall see, runs
through all music.]
[Footnote 55: Whenever this book is used in class, the teacher
can easily explain, on the pianoforte and by charts, the different
cadential effects. For those who have sufficient harmonic insight
Chapter XIV in Foote and Spalding’sModern Harmonyis worth
consulting.]
A reversal of this order produces what is called the half-cadence,
akin to the semicolon,e.g.
[Music]
The union of the subdominant and tonic chords is known as the
Plagal
Cadence,e.g.,
[Music]
and always gives a feeling of religious dignity and impressiveness.
Magnificent examples may be found in the closing measures of
Wagner’s Overture to theMastersingersand of Brahms’First
Symphony in C minor. In the final cadence of Debussy’s hu-
morous piece for pianoforte,Minstrels, the effect is burlesqued,
e.g.
[Music]
When dominant harmony is followed by some unexpected chord
we have the so-called Deceptive Cadence, which is not unlike
the mark of interrogation (?) or even exclamation (!)e.g.
[Music: WAGNER:Overture to the Mastersingers]