authentic cadence造句

• In authentic cadence, where it functions as a subdominant ( IV ).
• The piece concludes with a simple authentic cadence.
• The first stanza is accompanied completely in F minor and ends with a perfect authentic cadence.
• It also does not easily fit into common Western chord progressions such as the authentic cadence.
• Other features that characterized Malignus Youth's musical style were the use of authentic cadences.
• The tonic key immediately returns with an authentic cadence soon afterwards ( m . 48 ).
• In three voices the third voice often adds a falling fifth creating a cadence similar to the authentic cadence in tonal music.
• The main objective of the S action space, however, is to confirm the new key with a perfect authentic cadence.
• This A section is repeated twice, once ending on a half cadence and the other with a perfect authentic cadence on the home key of A-flat major.
• When used at a cadence point, it creates an imperfect authentic cadence since there is no root motion from scale-degree 5 to scale-degree 1 in the bass.
• Perfect authentic cadence ( V-I with roots in the bass and tonic in the highest voice of the final chord ) : ii-V-I progression in C.
• In measure 8 ( part of the " A " section ), a parallel period with a semi-cadence is introduced, and in measure 16 a perfect authentic cadence follows.
• The authentic cadence ( V-I ) is the most important one in both classical and jazz harmony, though in jazz it more often follows a ii / II chord serving as predominant.
• Thus the EEC is conventionally defined as " the first satisfactory perfect authentic cadence that proceeds onward to differing material . " The EEC confirms the new key proposed by S; it is the generic goal of the exposition as a whole.
• A typical pattern for a simple song might be as follows : a phrase ends with a cadence on the tonic, a second phrase ends with a half cadence, then a final, longer, phrase ends with an authentic cadence on the tonic.
• The music is chromatic and tonally ambiguous; although the movement is essentially in D minor, this is often negated by G, which is as far as one can get from D . There are relatively few authentic cadences or key signatures to help resolve the tonal ambiguity.
• The Andalusian is an authentic cadence, because a dominant chord ( " V " ) comes just before the tonic " i " . ( Using modal harmonies, the third, and not the fourth chord  " II "  acts as the dominant, substituted to tritone.
• The inner Walter Everett comments on the aptness of the conciliatory lyric " Maybe you'd understand ", which closes the second of these sections, as the melody concludes on a perfect authentic cadence, representing in musical terms " a natural emblem for any coming together " . }}
• Perfect authentic cadence ( IV V I chord progression, in which we see the chords F Major, G Major, and then C Major, in four-part harmony ) in C major . " Tonal music is built around these tonic and dominant arrival points [ cadences ], and they form one of the fundamental building blocks of musical structure ".
• The second line begins the same as the first, but moves to a major m & VII ( in D minor the neapolitan chord ), and then modulates to the relative minor through use of a iii chord ( A minor, the V in the key of D minor ), the A minor moving to a D minor via an authentic cadence.