Cadences in ThreeVoice Texture

1
Cadences in Three-Voice Texture

• And Other White Note Dissonance

2
Cadences

• The 7-6 suspension provides the basis for the
  cadence.
• The leading tone cadence features a diminished
  sonority before the cadence notes.
• The 7-6 Phrygian maintains a minor triad before
  the cadence notes.
• The Authentic 4-3 cadence becomes increasingly
  common during the period.
• Refer to examples 9-1 and 9-2, pgs 88 - 89.

3
Cadences

• Cadences are commonly elaborated -- refer to
  example 9-3, pg. 89.
• The Plagal Cadence often follows the structural
  4-3 at the end of a composition -- example 9-4,
  pg. 90.
• There are other types of cadences that occur in
  interior phrases -- examples 9-5 and 9-6, pgs 90
  - 91.
• The bass may move up a step -- deceptive.
• Two voices resolve to a octave or unison while
  the third rests.
• The suspended voice must be resolved.

4
Cadences

• Dovetailing often occurs with the interior
  cadences in order to maintain the flow.
• The next point of imitation begins before the
  cadence is completed.
• The interrupted cadence is often involved.
• The overlap is usually no longer than 4 minims.
• Example 9-7, pg. 91.

5
Other Dissonance

• Since both pitches in the 6-5 sonority are
  consonant with the bottom voice it is not
  technically a dissonance.
• However the 2nd between the upper voices is
  treated like a suspension.
• The 6-5 occurs on a strong beat.
• The 5th is prepared in the previous beat.
• The 5th resolves down by step (like a 2-3).
• The lowest voice usually moves up a step (like
  change of bass).
• Example 9-9, pg. 93.

6
Other Dissonance

• The Consonant Fourth is a preparation for the 4-3
  suspension.
• It involves a 6th and a 4th above the bass.
• It occurs on a weak beat.
• The bottom voices pitch must be sounding prior
  to the introduction of the 4th.
• The 4th is approached by step.
• The 6th resolves to a 5th on the strong beat --
  this sets up the typical cadential suspension of
  a 4-3 with a 5th moving to the cadence.
• Refer to example 9-10, pg. 94.