Cadence Evasion and Extension in Classical Forms

Overview

Lecture on “classical cadence games” in small forms: how composers create and thwart cadence expectations through evasion and extension.

Predictability and Cadence Expectations

• Classical style values predictability, convention, and good taste over shock or novelty.
• Cadences are highly predictable; listeners can often anticipate closure points.
• Sentence form (2 + 2 + 4) and period designs cue likely cadence locations.
• Expected cadence types include PAC and HC; anticipation does not fix exact type.

Key Concepts: Cadence Evasion and Cadential Extension

• Cadence evasion: the expected cadential tonic does not arrive or fails to give closure.
• Cadential extension: music after evasion that resumes motion and leads to later cadence.
• Evasion plus extension creates tension by delaying closure and playing with expectations.
• Extensions can be brief “rewinds” or long meandering passages before a PAC.

Structured Summary of Techniques and Examples

Forms and Cadential Rhetoric Cues

• Sentence: 2-bar basic idea + 2-bar repetition + 4-bar continuation to cadence.
• Period: antecedent (ends open) + consequent (aims for closure); lengths may be imbalanced.
• Cadential 6/4: I6/4 over V functions as cadential marker announcing an approaching cadence.
• Strong cadential motion: ii → cadential 6/4 → V → I (root position for PAC).

Types of Cadence Evasion

• Missing tonic: deceptive resolution; V7 resolves to vi instead of I.
• Inverted tonic: V resolves to I6; closure weakened despite tonic present.
• Weakened tonic by context:
  • Rhythmic weakness: IAC on weak beat or too brief to register as closure.
  • Run-on continuation: immediate forward drive prevents tension-release.
  • Voice dropout: critical voice vanishes at tonic, undercutting arrival.

Expressive Effects of Thwarted Expectations

• Generates tension by prolonging cadential process; invites suspense or humor.
• Can feel comic, tragic, capricious, or disoriented depending on context.
• Long extensions can suggest “lost its way” or “off track” harmonic wandering.

Notable Observations from Examples

• Beethoven “Spring” finale: bar-8 evasion; two-bar extension to PAC.
• Beethoven Op. 101: repeated evasions; only third attempt reaches root-position I.
• Mozart “Jupiter” finale: 8 + 11 period; run-on IAC then 3-bar extension to PAC.
• Mozart A-minor sonata (C-major section):
  • Two dropout cadences before proper C-major PAC with triumphant character.
  • Dominant at lowest G; resolution leaps up; bass later cascades down two octaves to low C.
• Haydn last piano trio: evasion leads to bizarre six-bar extension; delayed dominant PAC.
• Mozart A-minor sonata (last movement): parallel minor/major presentation, wrong-note tonics, HC in E minor.

Key Terms & Definitions

• Cadence: point of musical closure; often predictable in classical style.
• PAC (Perfect Authentic Cadence): V to I in root position with scale-degree 1 in soprano.
• IAC (Imperfect Authentic Cadence): V to I with inversion or non-tonic soprano; weaker closure.
• Half Cadence (HC): cadence ending on V; open ending.
• Deceptive Resolution: V (or V7) resolves to vi instead of I.
• Cadential 6/4: I6/4 over V functioning as dominant preparation before V.
• Cadence Evasion: expected tonic arrival fails or lacks closure.
• Cadential Extension: continuation after evasion that drives toward later cadence.

Action Items / Next Steps

• Listen for cadential rhetoric: ii → cadential 6/4 → V; predict likely cadence points.
• Identify evasion types: deceptive to vi, I6 arrivals, run-on IACs, voice dropouts.
• Map extensions: locate rewind points and measure how many bars to final PAC.
• Compare sentence and period proportions; note imbalances caused by extensions.