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[ I - IV - V - I ]: Basic Analysis of Chorale Harmonization (Part Two) |
| Cadential structure is a series of variations on a simple theme - the harmonic progression [I-IV-V-I]. In example 212.1 below, this progression is stated in the first five quarters of the harmonization (212.1(a)) and repeated in mm.2-3 (212.1(b)). This double statement of the basic progression is a prolongation of the tonic function. The various statements of subdominant, dominant and other chords do not perform basic structural functions; they prolong or elaborate structural functions, in this case the tonic (I). In this first phrase, the first three measures (with the upbeat) are a prolongation of the tonic, and the last chord is the structural dominant. There is no structural subdominant; in cadential structure, the structural subdominant is optional. This phrase is a half-cadence - [I - V] (212.1(c)). |
| [ I - IV - V - I ] |
| [ I - IV - V - I ] |
| [[ I - - - I ] - V] |
| [[ I - - - I ] - IV - V - I ] |
| Half cadence: |
| Full cadence: |
| Example 212.1 |
| Example 212.2 |
| (a) |
| (b) |
| (c) |
| Next: Cadential Structure Analysis, Part Three Back: Part One |
| [ I - V - I - V - I ] |
| (a) |
| (b) |
| The second phrase consists of a simpler prolongation of the tonic function (212.2(a)), followed by a conclusion of the full structural cadence, [I-IV-V-I] (212.2(b)). In this instance, the prolongation of the tonic is accomplished by a simple alternation of tonic and dominant chords; the first-inversion diminished chord on the leading tone often functions, in non-structural situations, as a dominant. I regard the e-natural in the alto as a passing tone, but even if the chord is heard as a submediant six-five, the five-beat phrase in example 212.2(a) still functions smoothly as a prolongation of the tonic function. The first inversion of the supertonic often functions as a structural subdominant, as it does in this example (212.2(b)). The structural dominant is in root position, as is the concluding structural tonic. Two absolutes of cadential structure are: (1) the structural dominant is always in root position; and (2) the concluding structural tonic is always in root position. In tonal music, exceptions to these rules are almost nonexistent. The structural subdominant may be in first inversion, or it may be replaced by the supertonic or another substitute - but not just any substitute will do - or the structural subdominant may be omitted entirely. The initial structural tonic is also optional, and no substitute is possible; either the tonic is there or it is not. Beethoven's piano sonata, opus 31, no. 3, opens with a phrase which is a simply stated [IV-V-I]; this sonata in e-flat major begins on the first inversion of an f-minor seventh chord, a-flat in the bass. Our Bach example is more conventional. |
| These two phrases constitute the first part of the chorale; they are repeated. Together they constitute a form of binary statement - half cadence, full cadence - found in short pieces by Bach and sonata themes by Mozart, as well as in the overall structure of short compositions by composers as disparate as Bach and Liszt and in the overall structure of entire symphonic movements. The essence of cadential structure analysis is that it shows how the entire tonal repertoire is based on the simple tonal cadence [I-IV-V-I]. |
| RIFFS Cadential Structure [ I - IV - V - I ] Basic Analysis of Chorale Harmonization (Part Two) Lester Allyson Knibbs, Ph.D. |
Introduction The Chaconne Cadential Structure --- Unitary & Binary Structures Linear & Periodic Structures Riff Modalities Structural Counterpoint Modular Composition Appendices |
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