Locating The Cadences

Next to the recognition and comparison of the

different melodic sections of a composition (in a word, the melodic

delineation of the whole), the most significant task in music analysis

is the locating and classifying of the cadences. They are the angles

of the design, so to speak; and have the same bearing upon the sense of

the music as punctuation marks have in rhetoric. Intelligent and

effective phrasing, adequate nterpretation of the composer's purpose,

is impossible without a distinct exposition of the cadences,--if not of

the inferior points of interruption between motives, also.



The best general rule for locating cadences is, probably, to look for

them in the right place, namely, in the fourth measure from the

beginning of each phrase. The fairly regular operation of this rule

has been verified in Lesson 4. But exceptions have also been seen (in

Ex. 17), and many more are certain to be encountered, simply because

the principle of Unity (exemplified by the prevalence of the

four-measure standard) must interact with the principle of Variety

(exemplified in all phrases of irregular extent).



Therefore, the more reliable method, as already stated, is to define

the beginning of the following phrase,--for each successive beginning

involves a foregone cadence, of course. No very definite directions

can be given; experience, observation, careful study and comparison of

the given illustrations, will in time surely enable the student to

recognize the signs of a beginning,--such as the recurrence of some

preceding principal member of the melody, or some such change in

melodic or rhythmic character as indicates that a new phrase is being

announced.





LESSON 5. Analyze, again, Schumann, Jugend Album (op. 68), No. 6,

locating every cadence and defining its quality,--as perfect cadence or

semicadence. Also Nos. 22, 24, 26, 28, 30, 33, 14, 15, 16, 3,--and

others. As a curious illustration of the difficulty which may

sometimes attend the analysis of phrases and cadences, the student may

glance at No. 31 (Kriegslied, D major); a more baffling example will

rarely be found, for the piece abounds in irregular phrase-dimensions,

and cadences that are disguised to the verge of unrecognizability; the

only fairly reliable clue the composer has given lies in the formation

of the melodic members (the clue intimated in the explanatory text

following Ex. 35).



Also Mendelssohn, Songs Without Words, No. 34 (first phrase six

measures long); No. 40; No. 18.



Also Beethoven's pianoforte sonata, op. 22, third movement

(Menuetto); op. 28, second movement (Andante).



Again the student is reminded that it is not only permissible, but wise

and commendable, to pass by all confusing cases; without being careless

or downright superficial, to observe a certain degree of prudent

indifference at confusing points, trusting to that superior

intelligence which he shall surely gain through wider experience.









CCHAPTE RIRREGULAR PHRASES.