.

- i,
.-'t Cadences
and Nonharmonic
Tones
.-?
-'/a
./? Topics
Phrase
Harmonic Cadence
NonharmonicTones
Unaccented
Accented Neighboring
Tone
./7 PerfectAuthentic
Cadence
NonharmonicTones
UnaccentedPassing Tone
S uspensi on
Retardation
-i lmperfect Authentic
Cadence
Unaccented
Neighboring Tone
Appoggiatura
Successiye Passi
ng Tones
-a Half Cadence
Phrygian Half Cadence
EscapeTone
Anticipation
ChangingTones
Double Neighboring Tones
-7 Plagal Cadence
DeceptiveCadence
AccentedNonharmonic
Tones
Neighbor Group
Pedal Tone
Rhythmic Cadence Accented PassingTone lnverted Pedal Tone
/-)J
//J
-) lmportant A phraseis a substantial musicalthought,which endswith a musicalpunctuationcalleda
Concepts cadence.Phrasesare createdin music through an interactionof melody. harmony. ancl
-, rhythm. The first part of this chapterconcentrateson the harmonicand rhythmic zrspects
Phrase of phrases;in chapter6 we will takeup the melodicaspects.
-t
-,^
J A hormonir:cudenceis a musicalpunctuationthatclosesa phraseor sectionof music.Ca-
-' Harmon ic dencesdiffer considerablyin musicalstrength.Somesignify the end of a completemusi-
J Cadence cal thoughtand may be comparedto the period(.). Othersbrin-qan incompleteidea to a
-J closebut suggestsomethingelseto come.Thesemay be comparecl to the comma(.) or a
semicolon(;). Most cadences concludewith eitherthe v or I chorcl.
-J

PerfectAuthentic
1 Cadence
The perfect authentic'c:adenceis a progressionfrom V to I in major keys and V to i in
minor keys.Both chordsmustbe in root position.In this cadencethe tonic notemustalso
1 be the highestsoundingpitch in the tonic triad.From the stanclpoint
of finality.the perf-ect
authenticcadenceis the strongestcadenceof all.
--7
-a t 'n Derfect Authentic The impe(ect authenticcadenceis slightly weakerthan the perf-ectauthenticcadence.A
-? J , ; denc e pert-ectauthenticcadencebecomesirnperf'ectwhen:

-? l. The highestsoundingtonein the tonic triad is a toneotherthanthe tonic nore.

2. The viio triad is substituted
fbrthe V. makingthe cadenceviio6to I or vii'6 to i.
--? 3. One or both of the chords(V or I) is inverted.Examplesare:V6 to I or V to i6.

Figure5.1 illustratesboth perfectand imperfectauthenticcadences.

-q,
^

89
1
-,-t
a
-
F i g u r e5 . 1
J
*-l
Perfect Authentic Imperfect Authentic (Rare) t-|
c . d
E--l
d-T-- f p J
r ) ) l l ) _a - i
tQ
e
J
J
pbv' V V6 I J 6 viio6 |
:-I
:_l
Half Cadence This permitsa large numberof
If the secondchord of a cadenceis V, it is a half cadenc'e. :J
possibilities,
but composers actuallyemployonly a f-ew.I to V. IV to V, or ii to V account
for the vast majority of half cadences.A half cadencefrom iv to V in a minor key is
:_l
sometimescalleda Phrygian half cadence(seefigure 5.2d).
: I
F i g ur e 5 . 2
J
Half Cadence Phrvsian Half Cadence J
J
j
Ebv: cm: lv6

Plagal Cadence The plagal cadenceis nearly always one progression:IV to I in major, or its equivalent,
iv to i in minor, keys.Infrequently,the progressionii6 to I occursas a plagal cadence.

F i g u r e5 . 3
Plasal Cadence

:J
Y - |

Ebu' IV I I V I I V I

Deceptive Cadence If the first chord is V and the secondis not [, the cadence rs deceptive. Although there are
a large numberof possibilities,composersmost often select vi (VI in minor). Figure 5.4
illustratesdeceptivecadences.

90 T h e S t r u c t u r a lE l e m e n t so f M u s i c
 4
-zt1 F i g u r e5 . 4
-/J Deceptive Cadence
a. (Rare)
/J
tj

1
/j

Ebv, v v IVt' cm: Vt vl

J
(Assignment5.1, page 103; WorkbooUAnthology
J 5A)

t Phraseendingsoften contain characteristicrhythmic

Rhythm ic denc:e.Notice in figure 5.5 that the phraseending
patternsthat createa rhythmic ca_
J Cadence can be sensedby tappingihe rhythm
alone.
i
I F i g u r e5 . 5

p, Bach: BrandenburgConcertono. 3 in G Major, BWV

1048,I, m. l-2 (modified).

E
l '
Rhythmiccadence: r

v Rhythmic cadencesoften end with a longer note than

followed by a rest, which, in effect, lengthens
the prevailingnote valuesor are
the final note. A rhythmic cadencepattern

l: may recurseveraltimesthroughouta givencomposition.

(Seefiguie 5.6.)

vl;, F i g u r e5 . 6

P olis hF o l k So n g . Rhythmic
cadence:

l--,
l ; gm:i V

T:
T J
Rhythmic
cadence:
L _ - l
Harmonic cadence (half)

I ' /o;
J

l-, gm:V i

U r i n r n n i . '. , r 0 . n . " f * t h . n t i . . 1

l)
11 C a d e n c e sa n d N o n h a r m o n i cT o n e s
91
I t
 Rhythmic Rhythmic
cadence: cadence: {
\-l
SI
gm: v

Harmonic cadence (half) J

Hr.toni. .ud.*. t*thentic)
J
---l
Phrasescan exist at the rhythmic level alone, independentof harmony and melody.
Drum cadences,tor example,are clear examplesof rhythmic phrases.
-J
:_J
Nonharmonic
Tones
Harmonictonesshouldbe familiar to you by now. They are the chord tones:root, third, or
fifth. Nonharmonic tones are pitches that sound along with a chord but are not chord
pitches.Most nonharmonictonesare dissonantand createintervalsof a second,fourth or
seventh.Diminished or augmentedintervals are also considereddissonant.The disso-
nancecreatedby nonharmonictones is calculatedagainstthe lowest-soundingtone of a
il: l
chord no matterhow many other voices are present.An exceptionoccurswhen the non-
harmonic tone occurs in the lowest-soundingvoice itself (usually bass).Nonharmonic J
tonesgenerallyoccur in a patternof threepitches:
-l
-_l
Precedingtone Nonharmonic tone Following tone _l
(chordtone) (not a chord tone) (chord tone)
J
(A tew nonharmonictonesinvolve patternsof more than threepitchesand will be dis-
cussedlaterin the chapter.)
The variousnonharmonictonesare namedby the intervalsbetweenthe precedingtone,
the nonharmonictone, and the following tone. Figure 5.7 showsthe common three-tone
patterns.The nonharmonictone is circled in eachcase.

F i gu r e 5 . 7
PassingTone PassingTone Neighboring Tone Neighboring Tone

')
(step)PT (step) (step) PT (step) (step)NT (step) (step;NT (steP)

EscapeTone Appoggiatura Suspension Retardation

:l
sus(step) (step)
:J
( s t ep)E T ts k i p ) (skip)APP (step)
(.oilT"on) (."ilf."") RE ,)

Anticipation Anticipation 2
(step; ANT (step)
ANr (."ilf."") j
I

92 T h e S t r u c t u r aEl l e m e n t so f M u s i c
 Rhythmic Placement The most importantdistinctionamong the variousnonharmonictonesis whetherthe dis-
sonanceoccurson the beat (accented)or off the beat(unaccented).
Dissonancesplacedon
the beat are much strongerand often createa powerful emotional impact, while those
placedoff the beat generallypassalmost unnoticed,servingto smoothout melodic lines.
Some nonharmonictonesoccur in both accentedand unaccentedcontexts;othersappear
only as accentedor as unaccenteddissonances.

The common unaccentednonharmonic tones are the unaccentedpassing tone, LLnuc-

Unaccented centedneighboring tone, escapetone, andanticipation.
Nonharmonic
Tones

UnaccentedPassing Figure 5.8 showsvarious unaccentedpassing tonesin a four-voice texture.Figures5.8a

Tone and 5.8b show single unaccentedpassingtones in descendingand ascendingpatterns,
while 5.8c-e show doubleunaccentedpassingtonesin a varietyof patterns.

F i g u r e5 . 8
PT PT PT PT

'
T
t t

E I
l
i ' g i -
f-;]--- |-PT
' l
i
- I - A J J P T J
ta

v- em: i i6

l -
t Unaccented
Neighboring Tones
Figure 5.9 shows various unaccentedneighboringtones in a four-voice texture.Figures
5.9aand b show singleunaccented neighboringtones;while 5.9c and d show doubleun-
accentedneighboringtones.

F i gu r e 5 . 9

NT NT NT

);,

Y.
v.
em: l

EscapeTones Escape tones occur only as unaccentednonharmonictones. F i g u r e 5 . 1 0 s h o w st h e

most common pattern,in which a step upward is followed by a skip downward by a

L- third.

l)
C a d e n c e sa r r d N o n h a r m o n i cT o n e s
)1 93

I
 F i g u r e5 . 1 0 \-"1
ET
b l
b t
j
:_l
em: i iv
LI
Anticipation Anticipatiol?soccur only as unaccentednonharmonictones. Fisure5.1I showstwo com-
mon patterns.

F i g u r e5 . 1 1
=
ANT
J
:_r
:_r
U
The common accented nonharmonic tones are the accented passing tone, accented neigh-
Accented boring tone, suspension, retardation, and appoggiatura.
Nonharmonic
Tones

AccentedPassing Figure5.12 showssomeaccentedpassingtonesin a four-voicetexture.Comparethe mu-

Tone sical effect of theseaccentedpassingtones with the unaccentedpassingtones shown in
figure5.8.

F i g ur e 5 . 1 2
"-l

em: I
4
rt
t>
ID

I
94 T h e S t r u c t u r aEl l e m e n tos f M u s i c
C
t
 1' t Accented Figure 5'13 shows some accentedneighboring tones in
a four-voice texture. Compare
Neighhr:ring Tr:ne them with the unaccentedneighboringtonesshownin fieure
5.9.

,v
F l g u r e5 . ' 1 3
-

a. NT NT NT NT
d.

- o t t TI
I I Y L.J
/, ) ) ) I J J )
I

t,
Sus,oenslon The suspensionoccursonly as an accentednonharmonictone.
There are threephasesof a
suspension:
the preparation,the suspension,
and the resolution(figure5.14).

I
F i g u r e5 . 1 4
I
Preparation Suspension Resolution
.,

t r
m6
rI
7
I

, m7 m6
Consonant Dissonant Consonant
)

The suspendedtone (the middle tone of the figure) is always

dissonant.Suspensions
, are designatedby the interval forming the suspenJedtone and
resolutionwith the lowest
soundingvoice.Threecommon suspensiontypesare shownin
fieure 5.15.
,

t F i g u r e5 . 1 5
t Prep. Sus. Res. prep. Sus. Res. prep. Sus. Res.

t
t
I

t
In determining the interval of suspension,the octave is usually
l-, usedinsteadof I l-10. The exceptionis the 9-g suspension.
removed. Thus 4-3

I
t : 95
I
E*.,,,.,.,,,,
 Anothercommonsuspension
in one of the uppervoicesin the threesuspensions
Whereasthe suspension
is the 2-3 suspension.
shownin figure 5.15.in the
figureis
2-3 sus-
a
\-l
pensionthe suspended toneis in the lower voice. {

F i g u r e5 . 1 6
S-J
Figurein Lower Voice.
ShowingSuspension
2-3 Suspension j
:J
M3 M2 m3 :J
Preparation Suspension Resolution :J
figure)may movc in alrnostany way as
The othervoice (not containingthe suspension
lon-eas it providesthe necessary and resolutionphaseslbr the
preparation.sLlspension.
suspension figure.
=
F i g ur e 5 . 1 7 : J
S L r s p e n d i nVeo i c e

A
J
t
@
_J
---------
.
. -: :l
:l
a J t
OtherVoicc
M3 M7 M6
Con. D i ss. C on.
J
Remember that suspensionsoccur only between tr.l'ol oics\-gven in four-voice writ-
ing. The other voices do not take part and firr thc present moment niay be ignored. The
f o l l o w i n g a r e s u s p e n s i o n sf o u n d i n a f o u r - v o i c e s e t t i n g .

F i g u r e5 . 1 8

Bach: Freu dich .sehr,o meine Seele (Rejoice Bach: Wus Gott tut, clus i.stwohlgeran (What God
Greatly, O My Soul). BWV 2-5.m. 12-13. Does Is Well Done). BWV 69a, m. 3-4 (Modified).

:J
:l
J
[(' I V I V V :)
Consonance-Dissonance: Coln . D i s s Con. C on. D i ss C on.
Interval: Pi8 P4 M3 P5 P4 M3

- -

1
i
96 T h e S t r u c t u r aEl l e m e n tos f M u s i c
t

t
 I
Suspensions
may occursimultaneously
in pairs,haveclecorated
)''t resolutions,
or occurin

L:
chains.
J
J
k1 F i g u r e5 . 1 9
In pairs: Decoratedresolutions:
) t a -

t
SU S susrr*
t o

t
t

n t
t
t
In chains:

n t

9 - 8 . 1 I 9 E

n
ii vi

Ret ar da ti a n A returdcttirnr rs a nonharmonic t o n e s i r - n i l a tro a s u s p e n s i o ne. x c e p t t h a t t h e r e s o l u t i o n i s

I upward instead of downward.

F i g u r e5 . 2 0

1 - 8 i - 8

V ir

L) 't:.i !et.it f 17 The upprtggittturur

is a nonharmonictone that is approachedby skip and resolvedby step
in the oppositedirection.lt generallyoccursas an accentednonharmonictone.

l)
11 Cadencea
s n d N o n h a r m o n i cT o n e s 97

h
F i g ur e 5 . 2 " ,
I
{
APP APP APP
{

o l+-
SI
sKrp step 'o'o step
+I
,l !
) t e
J
J

Accentedversus
iv

Comparethe two phrasesfrom Bach choralesshown in figure 5.22. Figure 5.22acontains

only unaccentednonharmonictones, whereas5.22b has three accentednonharmonic
It "

U
J
ilJ
Unaccented tones.The nonharmonictones rn5.22a add rhythmic interestand make the voice leading
N o nh ar m o ni c smoother,but the dissonancesin 5.22b are much more dramaticin eff'ectand add consid-
Tones erabletensionto the musicalsettins.

F i g ur e 5 . 2 2

a. Bach: Valet ,,*illich dir geben(FarewellI Gladly Bid Thee),BWV 415,m. l-2.
J
l a

A \
L
\
a 7
NT PT t PT -\,
-r /'1
PT t Pr -f

DM: IV viio6 IV6 I - \ v

b. Bach:LiebsterJesu,wir sind hier (BlessedJesu,At Thv Word). BWV 373.m. l-2.

PT PT A

a J V V r i
Prl I t Pr;J l, t
nl .l ) a 1 a
i
I

2-3 SUS PT \7 \
GM: V 6 V V

A few nonharmonictonesare in patternsof four or more pitches.The most common are:

N o nh ar m o ni c passingtones,changingtones,and thepedal tone.
successive
T o n e sI n v o l v i n g
Morethan Three
Pitches

98 T h e S t r u c t u r aEl l e m e n tos f M u s i c
SuccessivePassing Two passingtonesoccasionallyfill an interval of a fourth. In suchcasesboth the passing
Tanes tonesmay be unaccented(figure5.23a)or they may be a combinationof accentedand un-
accentedpassingtones(figure5.23b).

F i g u r e5 . 2 3
PT
-

PT
em: l GM: V

Changing Tones Changingtonesconsistof two successive nonharmonictones.The first leadsby stepfrom

a chord tone, skips to anothernonharmonictone. and then leadsby stepto a chord tone
(often the samechord tone). Other terms often usedinsteadof changingtones aredouble
neighboring tones or neighbor group. In many ways the two changingtones resemble
neighboringtoneswith a missing(or perhapsimplied) middle tone.

F i g ur e 5 . 2 4
Changing Tones Shows missing pitch:
CT CT CT CT

AJ
-
e
cT cT€ mrsslng e
_a a a

em: III ilI III

Pedal Tone A pedal tone (alsocalleda pedalpoint) is a held or repeatednote,usuallyin the lowest
voice,that alternatesbetweenconsonanceand dissonancewith the chord structuresabove
it. Thus, the dissonancesare createdby the moving chordsaboveratherthan the pedal
tone itself. When a pedal tone occurs above other voices,it is called an invertedpedal
tone.

F i g u r e5 . 2 5
Cluvier,Book I,
Bach:Preludeno. 6 in D Minor, BWV 851, from the Well-Tett4terecl
m. l-2.

PedalTone

con. con. con. di ss. di ss. di ss. con.

C a d e n c e sa n d N o n h a r m o n i cT o n e s 99
,7
The fbllowine chartis u sr-rr.nrr.ra.y
of nonharrn.nictonesstudi edi n thi schapter .
Summary
PT-Passing Tone NT__Ncighborin-u Tcxre ET-Escape Tone
A PP -Ap poegi atura S U S -_suspensi on RE - Retardatictrr
ANT--Anticipation pD-_peclalTone
CT-Chan-sin-uTones

rl
Type Approach Departure Voice Accented or Unaccented
|l
PT Step Step Any May be either
NT Step S tep Any May be either
ET Step S ki p Soprancl Unaccente<l -
A PP Sk i p Step Usuallysoprano Accentecl
SUS Samepitch Stepdown Any Accented
RE Samepitch Stepup U sual l ysoprano A ccented
ANT Preferstep Sametone U sual l ysoprano U naccented
PD NA Usuallybass Both
CT NA Any Usuall.vneithernoteaccented

(Assignments5.2, 5.3, and 5.4, pages 103-107: workbool</Anthology

5B_5F)

History
P r ior t o liaro tl rrc The history of harlltltlic caclencesis interesting becauscso
lriinv early caclcncetypes no$ >
f'eriod ( 1300-| 6(Xfr sottnclcluaint and unfirlfilling. Prior to the barocpreperiocl
ancl the establishmentof fu'c-
t i o n a l h i i r n t o n y . c a c l e n c e sw e r e c o n s i d c r e d s i n t p l t , a n r a n i p u l a t i o n
of rleloclic Ii'es that =
converged or diverged to a point of rest. usually the linal (the
flrst clcgreeof a rroclc.l.The
lilllclwin-gare typical of ear.lycildences.
\

\
F i g ur e 5 . 2 6 J>

\-
Firenze(c. 1375) Nlachaut (1300-77) Binchois(1400-67) E
Palestrina(1525-94) a
D o L r h l cl c a d i n g -
tonc clrclence: Landinicaclence: t>
Plagalcadencc: \

!Fr- Y

f-

Es-i , r
1

llarorluePeriod The advent of tonality anclfunctiortal harnrony bnrr,r-uht

abor-rtthc firrniliar caclencetypes. a>
(16(x)-1750) a

100 T h e S t r u c t u r aEl l e m e n tos f l V u s i c

{l

I
 F i g trre 5 . 2 7
Pachelbel(1653-1706) Purcell (1659-95) Handel(1685-f759) Bach (1685-1750)
I m per ' l ' eacut th c n ti c : Hall': Perl'cctauthentic: Deceptive:
2

sP_-_#=l
a
E T'd)
v e'

#e a
)r-1- t_ F. ---; . -& o-

€ a j(t

dm: vi io(' gm: iv i! v 7 gm: i5 CM: i i V v i

V' C'lassical Perind

( r 750-I tt25)
The standardcadences(authentic,half, plagal, ancldeceptive) continue,
fiorl the baroque period.
with little change.

V'
r" F i g u r e5 . 2 8
Beethoven(1770-1827) Mozart il756-91\
I m per l' e a
c tu th e n ti c : Perfectauthentic:
Haydn (1732-1809)
Deceptive:
Salieri (1750-1824)
Half:

U
c m : i V i y z i
v 6 i

I RornanticPeriod Caclencetypes remainedvirtually unchan-eed cluringthis period.but composerssome-

l,- (1825-t900) timesdecoratedtheir cadences
in a moreflorid manner.

P os t - Ron ra n tiacn d Somecadences of this periodwere simply highly decorated (and otten camouflaged)
I rnpressionisticPeriod tra-
ditionalcadences.
Othersresemblecl a returnto the linear cadencesof the pre-baroque.
rltl75-1920)

v ( . or r t em p o ra rvP e ri o d
t |920- P r e s e n t)
During the conternporary periocl,the ideaof cadenceformurae(distincttypessuchas au-
thentic.half, etc') becamenearlyextinct.Some atonal(no tclnalcenter)
composersem-

?
ployedinterpretation markings(crescendo. loucrclynamics. etc.)ef-fectivery
to bring their
compositions to a close.Others.in an effort to avoiclstereotypedcaclences,choseto allow
their compositions to cometo a halt withoutany hint of cadence.

l r r z za n d P o p u l a r Traditionalcadences, similar to thosestudiedin this rexr.were preserved.

= \ l r r . i cr l 9 ( X ) - P r e s e n t ) but often dis-
guisedwith substitr,rtions
and decorations.During the third quurt.r.of the twentiethcen-
Vt
tury. some creativelazz artistsadaptedliee-tonal and atonal techniques
I to suit their im-
provisationalstyles.Free-tonalstyle permitsfree use of all 12 tones
4 of the octavebut
maintainsa tonal center.Atonal music containsno tonal centerwhatsoever.
Figure 5.29
showssometraditionalcadences that havebeendecorated.

C a d e n c e sa n d N o n h a r m o n i cT o n e s
12 101

-,)
7

Figu re
-t
*-l
J
J
J
_l
ladd6 e b N a :v 1 3 f add6,9 FM: V+7 Iadd6
J
In figure 5.29a the dominant (V7) is decoratedwith a Vrr and the tonic contains
an
addedinterval of a sixth above the bassnote. In figure 5.2gb the tonic chord containsthe
J
intervalsof a sixth and a ninth above the bassnote. In figure 5.29c the tonic chord con-
tains a thirteenth(sixth plus an octave) abovethe root.

J
J
J

J
E
>-
f

a>
:

t-

a -
=

rl

tt>
|l

,
O

102 T h e 5 t r u c t u r a lE l e m e n t so f l V l u s i c
 --l

,/? I
,24
II
A s s i g n m e n5
t .1 The secondand third chordsof eachexerciseform a cadence'
i
/1 1. Analyze eachchord in the blanksprovided'
2. Write the nameof the cadencetype in the blank abovethe exercise.
-,t
't Alternate Directions: Macro Analysis
1. Write the letter name for each chord on the blanks provided'
/t 2. Includeslurswhereverappropriateon the letternames.
3. Write the nameof the cadencetype in the blank abovethe exercise'
/t
//, 4. 5.
2.

d ,! ',_rl rr tr ! ! ! ll ' l [ Ir
/t l l l :
-- cM: - -gbNl'- FM:---
<'1 GM:- - - em:-

V1
t -
'1. -- 8 - e' lo'-
?l 6. -

/' i-
?, f f .i i ,. l,Jr
d l l l r j 1
r -i
) J ! r ! ! J*^l , l t
IL)t
11 DM:- - - AM:- bm:- - - lbu''
sfu'-

l -
from musicliterature'
tonesexcetpted
Belowarenonharmonic
ft - Assignment
A )>lgllrlltl 5.2
|
Vt 1. Circle the nonharmonictone or tones
provided beneaththe staves'
| 2. Write the name of the type of nonharmonic tone in the blank
)4
I 2 t t,rJ
h ^'11 r j ,0=- -I
a)
a ,
L
a v
I
t i
b - -
t a
I r
--)
l
Ota
l XJ

l)
-) - ,| - ' C a d e n c e s a n d N o n h a r m, -o- , ^n, ^i - Lc^ -T- ^ o
^ : -n r ^eh ^s. .ro3

a'-1
f-*,'.'
 Jq
U
SI
j
:_l
:-I
A s s i g n m e n5
t .3 The following are examplesfrom Bach chorales.
l. Write the Romannumeralanalysisof eachchord and indicatethe position:6 if in first
:J

il
inversion,! if in secondinversion.and no numbersif in root position.
2. Circle all nonharmonictonesand write the abbreviations representingthe namenearby.
Unaccentedpassingtone : PT
4-3 suspension: 4-3 SUS
neighboringtone : NT
Unaccented
-r. The first chord of eachexampleis analyzedcorrectlyfor you. J
4 . Indicatethe type of cadenceusedat eachf'ermata.
J
1 . Al l e i n G o tt i n c l e rH i i h sei E hr (Onl y to God on H i gh B e Gl ory!).B W V 104.m. l- 2. :_l
CD Track 32
:t
J
, )

AM: I

Cadence

2. Machsmit ntir, Gott, nach deiner Gtit (Do with Me as Thy GoodnessPromptsThee),
BWV 3ll. m. 1-2. CD Track 33
A
:-l
'l
o '-'pr
=
t T r L l ' T
4
? I

)
ilpr l - i
I
I
r - l
r l
r i
DM: -),
: l
,>/,

Cadence r l
r)
104 T h e S t r u c t u r aEl l e m e n t so f M u s i c
! )
{
3. Christus,der ist mein Leben(Christ Is My Life), BWV 282, m. l-4 (Modified).CD Track 34
)
')

A
J
')
a)
a I g flt

)
'l
.a_ ) ) J ) ,\l

)
GM: I
7
7
')

)
')
1. Ermuntredich, mein schwacherGeist(RouseThyself,My Weak Spirit), BWV 43,m.20-22. CD Track 35
Cadence

I
I
I
I
I

I A

7 t t
t
a
I
l l 7'
I
_1 e' b l t l )
,

)
GM: 1o
)
a
t Cadence

a
,
D
, 5. Nun danketalle Gon (Now Let Us All Thank God), BWV 386, m. l-2. CD Track 36
I
t l
I
t
I
t
t
)
,

t
a
t
)
t
AM: I
)
,
t Cadence

)
C a d e n c e sa n d N o n h a r m o n i cT o n e s 105 I
) I
a
/

/
A s s i g n m e n5
t .4 Following are threeexcerptsfrom music literature.

1. Analyze eachchord with Roman numeralsindicatingalso its position.Some chords

are providedto help you understandthe procedure.
2. Circle and indicatethe type of eachnonharmonictone next to the circle.
3. For convenience usethe fbllowins abbreviations
or initials:

PT : Unaccentedpassingtone
-
PT : Accentedpassingtone
NT : Unaccentedneighboringtone
-
NT : Accentedneighboringtone
ET : Escapetone
SU S : Su s p e n si on
andtype (9-8, l -6, 4-3,2* 3)

,4
T. Indicatethe type of cadenceusedat eachphraseending.
5 . In nos. I and 2, the chordschangeevery quarternote.In no. 3 (Corelli), the chordsare
bracketed-one chord per bracket.

l. Bach: AlsJesusChristusin der Nacht (WhenJesusChristin the Night),BWV 265,m. l-2. CD Track 37

a
l-..11_ll I t r
J e l t l f I rl
t----_ ]
FM: vi lii!
i

Cadence

'FNotexplainedin the text yet. Ignoretor the moment.

2. Bach:Ach bleib bei nns,Herr JesuChrist(Ah, StayWith Us, Lord JesusChrist),BWV 253,m.8-10. CD Track 38

a
r I
t l-. ) r
I

nr-l
AM:

Cadcnce

106 T h e S t r u c t u r aEl l e m e n tos f M u s i c

?
t The following hints will help you completethe analysisof the excerptby Corelli.
l. The analysisfor three of the chordsis provided.The chord at no. 1 is given to help
t you get started.The analysisat no. 12is alsogiven.

t 2. The chordsat nos. 6 and 7 areincomplete.Each requiresanothernote to completethe

triad. Theseare called implied harmonies,meaningthat the missing note is suggested

t but not stated.

Hint fbr chord6-the missingtriad noteis suggested in chord5. Which noteof chord
t 5 would fill out the triad in chord 6? Hint for chord 7-the missingtriad tone is
't suggestedin chord 8. Which note of chord 8 would fiIl out the triad in chord 7?

3. The answerto the analysisof the C in chord7 is found on page97.

7 3. Corelli:Sonatafbr Two Violins and Violone/Archlute,

op. 3. no. I in F Major. II (Allegro),m. 34-37. CD Track 39
t
7
t
,
't
t
-,
L L_.i
2
1. 2. 3. 4. 5. 6. 1. 8. 9. 10. 11. 12.
t
FM: vi yr I
,

t Cadence

?
D

t
a,

I
t
I
t
I
t
I

t
i
t
,
I
,
I
t

I
I
C a d e n c e sa n d N o n h a r m o n i cT o n e s 107
)
a

I
/