Fallacy (music)

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As fallacy be in the music theory forms of cadence escape (from ital. Sfuggir la cadenza ) denotes where the closing sound of a perfect authentic full-circuiting that could decide a piece or a portion of, is modified or replaced by a different sound. The final conclusion is postponed in this way. The most important fallacies, which "cheat" the ear about the expected final effect of the tonic, are those that, as representatives of the tonic, sounded against the tonic parall in major and the tonic in minor . Also Mediantklänge serve as a fallacy. The term (from Italian cadenza d'inganno ) can be traced back to the late 18th century.

In today's parlance, the term often aims in a narrower sense at cases where the dominant (in its basic position) is in the triad of the VI. Level (also in the basic position) instead of the tonic .

Counterpoint explanation

From contrapuntal perspective while the penultimate tone below (the Pänultima ) of Bass clause below a cadence framework of tenor and Diskantklausel up instead of jumping a fifth down (or up a fourth):

\ new PianoStaff << \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 4 = 160 \ override Staff.TimeSignature.transparent = ## t << \ new Voice = "first" \ relative c '' { \ voiceOne \ partial 2 d2 ^ \ markup {\ left-align "full closing"} ~ d cis d1 \ bar "||" \ partial 2 d2 ^ \ markup {\ left-align "fallacy"} ~ d cis d1 \ bar "||" \ partial 2 d2 ^ \ markup {\ left-column {"Fallacy with" "fourth voice (old clause)"}} ~ d cis d1 \ bar "||" } \ new Voice = "second" \ relative c '{\ voiceTwo \ partial 2 s2 e1 d \ partial 2 s2 e1 d \ partial 2 s2 <e \ tweak color #red a> 1 <d \ tweak color #red f> } >> >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c '{\ partial 2 s2 a1 d, \ partial 2 s2 a'1 bes? \ partial 2 s2 a1 bes} >> >>

Since the tenor and soprano clauses remain unchanged (only the bass voice is "responsible" for the flight from the cadence), the result (viewed from the bass) is a doubling of the third in the target sound (an upward tenor clause would result in a fifth parallel to the bass).

Description of stages

The stage theory describes such a progression as a sequence of stages V-VI.

Function-theoretical interpretation

Fallacy in C major with function names

From the perspective of functional theory , the dominant is led into a tonic representative instead of the tonic : In major in the tonic parallel ( Tp), in minor in the tonic counter-sound (tG), e.g. B .:

  • in C major: C major (tonic) - G major (dominant) - A minor (tonic parallel)
  • in C minor: C minor (tonic) - G major (dominant) - A flat major (tonic opposite sound).

In functional theory, a variant fallacy is a fallacy in major whose target sound is taken from the minor key of the same name , e.g. B. in C major: C major (T) - G major (D) - A flat major (tG)

Other variants

\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '{\ key d \ major \ time 2/2 \ tempo 2 = 54 << {\ voiceOne fis2 e4. fis8 g2} \ new Voice {\ voiceTwo d2 cis4. cis8 d2} >>} lower = \ relative c '{\ clef bass \ key d \ major \ time 2/2 << {\ voiceOne a2. a4 g2} \ new Voice {\ voiceTwo a2 a, b} >>} \ score {\ new PianoStaff << \ new Staff = "upper" \ upper \ new Staff = "lower" \ lower \ new FiguredBass {\ figuremode { <6 4> 2 <5 3> <6>}} >> \ layout {\ context {\ Score \ remove "Metronome_mark_engraver"}} \ midi {}}
\ new PianoStaff << \ new Staff {\ key g \ major \ time 2/4 \ override Staff.TimeSignature.transparent = ## t \ new Voice = "right" {\ relative c '' {\ clef treble <bg d > 4 <a fis d> <dg, d> 2 \ bar "||" <bg d> 4 <a fis d> <b fis b,> 2 \ bar "||" <bg d> 4 <a fis d> <gis e d> 2 \ bar "||" <bg d> 4 <a fis d> <g cis,> 2 \ bar "||" <bg d> 4 <a fis d> <e 'g, a,> 2 \ bar "||" <bg d> 4 <a fis d> <e 'g, bes,> 2 \ bar "||" <bg d> 4 <a fis d> <df, b,> 2 \ bar "||" <bg d> 4 <a fis d> <bg d> 2 \ bar "||" }}} \ new Staff {\ key g \ major \ time 2/4 \ override Staff.TimeSignature.transparent = ## t \ new Voice = "left" {\ relative c '{\ clef "bass" d4 d, b '2 d4 d, dis2 d'4 d, e2 d'4 d, es2 d'4 d, cis2 d'4 d, cis2 d'4 d, gis2 d'4 d, f2}}} \ new FiguredBass {\ figuremode {<6 4> 4 <5 3> <6> 2 <6 4> 4 <5 3> <6> 2 <6 4> 4 <5 3> <7 +> 2 <6 4> 4 <5 3 > <6+> 2 <6 4> 4 <5 3> <6 5> 2 <6 4> 4 <5 3> <7- 5> 2 <6 4> 4 <5 3> <7!> 2 < 6 4> 4 <5 3> <4 2> 2}} >>

Individual evidence

  1. ↑ This formulation was coined by Nicola Vicentino (1555, p. 54f.) And Gioseffo Zarlino (1558, chap. 54). Evidence from the following centuries is u. a. Bononcini 1673, p. 81 and Walther 1732, p. 125. Germanized variants are u. a. verifiable in Scheibe 1745, p. 478, 687 ("Fleeing the Cadenz") or Marpurg 1753, p. 112 ("Flehender Tonschluss"). In today's German-language music theory, the term “cadence flight” is also common with regard to music of the 18th century; see e.g. B. Daniel 2000, pp. 198ff.
  2. ↑ Wieland Ziegenrücker: General music theory with questions and tasks for self-control. German Publishing House for Music, Leipzig 1977; Paperback edition: Wilhelm Goldmann Verlag, and Musikverlag B. Schott's Söhne, Mainz 1979, ISBN 3-442-33003-3 , p. 125.
  3. ↑ Türk 1789, p. 352.
  4. ↑ Hempel 2001, p. 189.
  5. ↑ Türk 1789, p. 352. The music example there consists only of a figured bass. The upper voice realization was added.

Sources and literature (chronological)

Web links

See also