Authentic ending
An authentic circuit or authentic cadence (of . Greek authentikos : genuine, credible) is in harmony and in the musical theory of form a sound connection dominant - tonic that articulates the conclusion of a piece or one of its sections ( final form ). Often the dominant is preceded by a form of the subdominant .
If, on the other hand, the subdominant precedes the closing tonic, this is called the plagal conclusion . Plagal closing and authentic ending belong to the full closings .
A distinction is made according to the position and position of the dominant and tonic
- the completely authentic full ending (dominant and tonic in basic position, tonic in octave position );
- the imperfect authentic full ending (all other cases, i.e. dominant and / or tonic in inversion and / or tonic in third or fifth position ).
In some current textbooks, the restriction that both the dominant and the tonic must be in the basic position applies to the designation of authentic inference; Such a cadence is only imperfect if the tonic sounds in a third or fifth position.
example
Joseph Haydn , Sonata in A flat major Hob. XVI: 43, Rondo , T. 1–8:
![\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '' {\ clef treble \ key as \ major \ time 2/4 \ tempo 4 = 120 \ set Timing.beamExceptions = # ' () \ set Timing.baseMoment = # (ly: make-moment 1/2) \ set Timing.beatStructure = # '(1) \ partial 8 c16 des es8 es es es as es4. des16 c bes4 c \ grace {es8} des4 ^ \ markup {\ center-column {imperfect complete ending}} c8 c16 des es8 es es as es4. des16 c bes8 des g, bes ^ \ markup {\ center-column {perfect integer}} as4 r8 \ bar "||" } lower = \ relative c '{\ clef bass \ key as \ major \ partial 8 r8 r2 r8 c bes as g es as es bes' es, _ "D" as_ "T" \ noBeam r r2 r8 c bes as des bes es_ "D" es, as_ "T" [es] as,} \ score {\ new PianoStaff << \ new Staff = "upper" \ upper \ new Staff = "lower" \ lower >> \ layout {\ context {\ Score \ remove "Metronome_mark_engraver"}} \ midi {}}](https://upload.wikimedia.org/score/9/b/9bssk5lwuex7fsnwu0xnj819m80v7bj/9bssk5lw.png)
See also
literature
- William Caplin: Analyzing Classical Form. An Approach for the Classroom . Oxford University Press, New York 2013, ISBN 978-0-19-998730-6 .
- James Hepokoski, Warren Darcy: Elements of Sonata Theory: Norms, Types and Deformations in the Late Eighteenth Century Sonata . Oxford University Press, New York 2006, ISBN 978-0-19-977391-6 .
- Ernst Friedrich Richter : Textbook of Harmony . Breitkopf and Härtel, Leipzig 1853, pp. 184–186 ( digitized in the Google book search).