Editing Cadence (section)

===Deceptive cadences===
In [[Bach]]'s harmonization of the [[chorale]] ‘[[Wachet auf]]’, a phrase ending in a deceptive cadence repeats with the cadence changed to an authentic one: [[File:From Bach chorale, Wachet auf 01.wav|thumb|From Bach chorale, Wachet auf.]][[File:From Bach chorale, Wachet auf.png|thumb|center|500px|From Bach chorale, Wachet auf.]]The exposition of the first movement of Beethoven’s [[Piano Sonata No. 21 (Beethoven)|Piano Sonata No. 21]] (The Waldstein Sonata), Op. 53 features a minor key passage where an authentic (perfect) cadence precedes a deceptive (interrupted) one:
[[File:Beethoven Piano Sonata 21, 1st movement, bars 78-84.wav|thumb|Beethoven Piano Sonata 21, 1st movement, bars 78-84.]]
[[File:Beethoven Piano Sonata 21, 1st movement, bars 78-84.png|thumb|center|500px|Beethoven Piano Sonata 21, 1st movement, bars 78–84.]][[Dvořák]]’s [[Slavonic Dances|Slavonic Dance]], Op. 72, No. 2 features deceptive (interrupted), half (imperfect) and authentic (perfect) cadences within its first sixteen bars:[[File:Dvorak Slavonic Dance Op 72, No. 2.wav|thumb|Dvořák Slavonic Dance Op 72, No. 2.]][[File:Dvorak Slavonic Dance Op 72, No. 3.png|thumb|center|600px|Dvořák Slavonic Dance Op 72, No. 2.]]
Debussy's Prelude “La fille aux cheveux de lin” (see also above) concludes with a passage featuring a deceptive (interrupted) cadence that progresses, not from V–VI, but from V–IV:
[[File:Debussy, La Fille aux cheveux de lin, bars 26-29.wav|thumb|Debussy, La Fille aux cheveux de lin, bars 26–29.]]
[[File:Debussy, La Fille aux cheveux de lin, bars 26-30.png|thumb|center|500px|Debussy, La Fille aux cheveux de lin, bars 26–29.]]
Some varieties of deceptive cadence that go beyond the usual V–VI pattern lead to some startling effects. For example, a particularly dramatic and abrupt deceptive cadence occurs in the second Presto movement of Beethoven’s [[Piano Sonata No. 30 (Beethoven)|Piano Sonata No. 30]], Op. 109, bars 97–112, "a striking passage that used to pre-occupy theorists".<ref>[[Charles Rosen|Rosen, Charles]]. (2002, p. 232) ''Beethoven's Piano Sonatas: a Short Companion''. Yale University Press.</ref> The music at this point is in B minor, and carries the expectation is that the chord of F sharp (Chord V) will be followed by the tonic chord of B. However, "Dynamics become softer and softer; dominant and tonic chords of B minor appear isolated on the first beat of a bar, separated by silences: until in sudden fortissimo&nbsp;... the recapitulation bursts on us in the tonic E minor, the B minor dominants left unresolved."<ref>[[Wilfrid Mellers|Mellers, W.]] (1983, p. 210), ''Beethoven and the Voice of God''. London, Faber.</ref>
[[File:Beethoven Piano Sonata Op 109, 2nd movement, bars 97-112.wav|thumb|Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112.]]
[[File:Beethoven Piano Sonata Op 109, 2nd movement, bars 97-112.png|thumb|center|500px|Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112.]]
An equally startling example occurs in J.S. Bach's [[Toccata and Fugue in F major, BWV 540]]:
[[File:Bach Toccata in F deceptive cadence.wav|thumb|Bach Toccata in F, BWV 540 bars 197–207.]]
[[File:Bach Toccata in F, BWV 540 bars 197-207.png|thumb|center|500px|Bach Toccata in F, BWV 540 bars 197–207.]]
According to [[Richard Taruskin]], in this Toccata, "the already much-delayed resolution is thwarted (m204) by what was the most spectacular 'deceptive cadence' anyone had composed as of the second decade of the eighteenth century&nbsp;... producing an especially pungent effect."<ref>[[Richard Taruskin|Taruskin, R.]] (2005, p. 213), ''The Oxford History of Western Music'', vol. 2, "Music of the Seventeenth and Eighteenth Centuries". Oxford University Press.</ref> [[Hermann Keller]] describes the effect of this cadence as follows: "the splendour of the end with the famous [[third inversion]] of the seventh chord, who would not be enthralled by that?"<ref>{{ill|Franz Hauk|de|lt=Hauk, Franz}} and Iris Winkler (translated by Regina Piskorsch-Feick), 2001, from liner notes p. 4 for recording by Franz Hauk, ''Johann Sebastian Bach Organ Masterworks'', Guild Music GMCD 7217</ref>

[[Chopin]]'s [[Fantaisie in F minor (Chopin)|Fantaisie, Op. 49]], composed over a century later in 1841, features a similar harmonic jolt:
[[File:Chopin Fantaisie in F minor.wav|thumb|Chopin Fantaisie in F minor, Op. 49.]]
[[File:Chopin Fantaisie in F minor, Op.50.png|thumb|center|500px|Chopin Fantaisie in F minor, Op. 49.]]
A deceptive cadence is a useful means for extending a musical narrative. In the closing passage of Bach’s [[Prelude and Fugue in F minor, BWV 881|Prelude in F minor]] from Book II of the ''[[Well-Tempered Clavier]]'', the opening theme returns and seems headed towards a possible final resolution on an authentic (perfect) cadence. What the listener may expect is:
[[File:Bach, Prelude in F minor, bars 57-60 with expected conclusion.wav|thumb|Bach, Prelude in F minor, bars 57–60 with expected conclusion.]]
[[File:Bach, Prelude in F minor, bars 57-60 with expected conclusion.png|thumb|center|500px|Bach, Prelude in F minor, bars 57–60 with expected conclusion.]]
Instead, at bar 60, Bach inserts a deceptive cadence (V–VI in F minor), leading to a lengthy digression of some dozen bars before reaching resolution on the final (V–I) cadence.
[[File:Bach, Prelude in F minor bars 57-70.wav|thumb|Bach, Prelude in F minor bars 57–70.]]
[[File:Bach, Prelude in F minor bars 57-70.png|thumb|center|500px|Bach, Prelude in F minor bars 57–70.]]
A similar passage occurs at the conclusion of [[Mozart]]'s [[Fantasia No. 3 (Mozart)|Fantasia in D minor]], K397:
[[File:Mozart Fantasia on D minor K397 closing bars 01.wav|thumb|Mozart Fantasia on D minor K397 closing bars.]]
[[File:Mozart Fantasia on D minor K397 closing bars 02.png|thumb|center|500px|Mozart Fantasia on D minor K397 closing bars.]]