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Analysis of tonal music from Late Baroque to Late Romanticism allows us to conclude that there were only four models of complicted cadence:
1) the so-called cadence of the Viennese classics (or “Mozartian cadence,” if the chord II6 is used for the subdominant);
2) the so-called Slavic model or Rachmaninov model;
3) the so-called “Umschreibung” model:
4) the so-called Romantic model or Chopin model.
Оригинальное название
The typical bass models in the classical style cadences
Analysis of tonal music from Late Baroque to Late Romanticism allows us to conclude that there were only four models of complicted cadence:
1) the so-called cadence of the Viennese classics (or “Mozartian cadence,” if the chord II6 is used for the subdominant);
2) the so-called Slavic model or Rachmaninov model;
3) the so-called “Umschreibung” model:
4) the so-called Romantic model or Chopin model.
Analysis of tonal music from Late Baroque to Late Romanticism allows us to conclude that there were only four models of complicted cadence:
1) the so-called cadence of the Viennese classics (or “Mozartian cadence,” if the chord II6 is used for the subdominant);
2) the so-called Slavic model or Rachmaninov model;
3) the so-called “Umschreibung” model:
4) the so-called Romantic model or Chopin model.