Final formation

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Circuiting (closing cadenza , Final cadence) is the end of a piece of music used chord sequence, to end the piece.

The following criteria are important for the effect:

  • The chord before the final chord must not be related to the sound, so it should consist of different tones if possible; thus z. B. Dominant chords before the closing tonic very effective.
  • The chord before the final tonic should contain the leading tone .
  • The closing tonic should fall on a metric hard time.

Full closure

A full closure (also: authentic closure, full closure) is an authentic final cadence that ends with the tonic, with the corresponding dominant sound (or a representative ) in front of the tonic : TSDT. There are two types:

  1. Perfect full ending: the upper part goes into the octave of the final keynote . The ideal is achieved when the dominant is in the third position beforehand .
  2. Imperfect full ending: the upper part goes into the third or fifth of the final keynote. This creates a weaker final effect.

Ganzschluss.jpg The leading tone is highlighted in red.

About the musical text (example in  A major , i.e. the dominant is E):

  1. Complete complete ending DT: Dominant in third register with subsequent tonic in octave register.
  2. imperfect full ending DT: tonic in third position.
  3. imperfect full ending DT: tonic in fifth position.
  4. Complete closing D7-T: tonic in octave range. Is even more perfect than 1, since the inserted seventh further increases the urge to tonic.
  5. Dp-T. The dominant parallel can hardly be used as a dominant feature, although the leading tone is included.

The strongest form of the full closure is a two-part closure, i.e. H. if also a second before the dominant, the key corroborative function is: SDT; Sp-DT; DD-DT; S-D7-T; ...

Fallacy

The fallacy (also: cadence flight, false cadence, half-cadence, false progression) is a false conclusion in which the dominant is not continued into the tonic, but into the tonic parallel or another chord. This creates a delaying and relieving effect. In addition, the dominant tension is lengthened. The listener perceives this ending as a surprise.

criteria

  1. The leading tone contained in the dominant pushes towards the tonic. Therefore, the tone should be included in the fallacy chord. In the case of fallacies ending in the parallel tonic, the leading tone is led into the 3, whereas in the case of plagal fallacies (DS or D-Sp) often in the 5.
  2. After the dominant there is no complete release of the tension through a fifth case , but an increase through a whole tone or semitone step up in the bass . This is counteracted by the leading tone resolution, but part of the dominant tension remains.

The continuation after a fallacy consisted of an authentic cadenza in the appropriate key until the beginning of the Romantic period . From the beginning of Romanticism, the key reached by the fallacy is seen as modulation . That is why the cadence of the "new" key was often continued from this point on.

Classic fallacy

The classic fallacy ends on the tonic parallel (D-Tp). This often results in problems with voice guidance , as there are no common tones in the dominant and tonic. When the bass note is rising, the voice guidance rules say that the other voices should fall. However, this is impossible because the direction of the guiding tone must be followed. In this case, at least the other two votes should fall.

Male end - Female end

In music theory of the 19th and 20th centuries, the opinion was largely held that a closing tonic on a stressed beat was a male and a closing tonic on an unstressed beat was a female ending . This classification is now considered obsolete and is no longer taught.

See also