Music Fundamentals A Balanced Approach

TRACK 102

Listening: “Good King Wenceslas,” traditional hymn

Exercise 6—Class Exercise

The ending of the hymn “Good King Wenceslas” is given below. Listen to Track 102 or your instructor play the
excerpt, paying attention to the plagal cadence at the end of the phrase.

“Good King Wenceslas,” traditional hymn

Theory Trainer

Exercise 16aCadence drawing.

Deceptive Cadence

In a deceptive cadence,the dominant chord resolves to an unexpected chord, rather than the tonic. In the second
example (a deceptive cadence), the dominant (V) resolves to the submediant (vi or VI), the most common resolution.
Listen to your instructor play the following authentic and deceptive cadences.

Notice that:

• In the above examples, the last triads in both cadences share two notes; only the bass clef note (the root of
  the triad) is different. This is because the tonic and submediant triads have two notes in common.


• In amajor key, the deceptive cadence is V–vi (the submediant is minor).


• In a minor key, the deceptive cadence is V–VI (the submediant is major).

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FORM IN MUSIC

AM: I IV ii6 vi V I IV I6 V vi IV I

Plagal cadence

4

Dm: i iv V7 i Dm: i iv V7 VI

Authentic cadence Deceptive cadence