Deceptive cadence

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(Mus.)

a cadence on the subdominant, or in some foreign key, postponing the final close.

Webster's Revised Unabridged Dictionary, published 1913 by G. & C. Merriam Co.

References in periodicals archive ?

As he performs the minuet and completes its final few phrases, he bulldozes his way through a delightfully surprising and significant deceptive cadence! His lack of expression there--no distinctive use of shaping or timing--reveals to me (painfully) that Tom doesn't hear the event and is ignorant of its existence.

He can be guidance-taught about the deceptive cadence through activities that allow him to hear and understand it so he can consequently respond to it in his own way.

Absence makes the ear grow stronger

Sub-elements and common terms and instructional terminology may include: key signature, key center, harmonic cadence, perfect cadence, half cadence, Plagal cadence, deceptive cadence, vertical construction vs.

Active listening within the performing ensemble

Andre 3000 then uses a deceptive cadence after a 2/4measure of the dominant Dmajor chord, leading into two 4/4 measures of an E minor chord."

second glanc

The final two offerings, by William Rothstein and Carl Schachter discuss musical events that are taken very much for granted (cadential formulae and the deceptive cadence).

The final essay of the volume, by Carl Schachter, involves the analysis of deceptive cadences and the role of scale-degree six.

Essays from the Third International Schenker Symposium

However, doing so does not require a bassoon major to be able to play a deceptive cadence and two-handed melodic minor scale in F-sharp minor!

Musicianship rules

He also revised the ending of the piece with a written-out ritardando that expands the deceptive cadence in measure 45 (in GCW) to three measures, with a measure rest between the A-minor and E-minor chords (marked "dolce"), before the final cadence.

GRIEGIANA

By you: by those deceptive cadences Wherewith the common measure is refined; By conscious art practiced with natural ease;

Eliot draws attention to "deceptive cadences," and truly de la Mare's prosody deserves the most careful and reverent study.