Editing Recitative (section)

== The tropes of recitative ==
There are certain conventions, or ''tropes,'' which standardize recitative; so that, in practice, recitative is a rigid musical form. The following are standard tropes of recitative:

* Recitative is a dialogue between a (usually) solo voice and an instrument or instruments. Usually the voice and instrument(s) alternate, or share a chord while one continues. In this way the speech-like rhythm of the singer does not need to be coordinated and synchronized with the instrument(s).
* Recitative cadences: The dialog ends with the instruments. Invariably the instrument(s) complete the final dominant-tonic cadence. Also, typically the voice stops on or before the dominant chord and then the instrument(s) execute a return to the tonic. Occasionally the subdominant-tonic ([[Plagal Cadence|plagal]]) cadence is used instead.
* Recitative chord progressions: The chord progressions in recitative avoid resolutions and rely heavily on dominant sevenths and diminished chords to postpone the resolution. In the extreme, the instrument(s) start the dialog with a diminished chord, moving from non-resolution to non-resolution, building up to a temporary or final cadence, as described above.
* Trope violations: the transition between recitative and aria, and subtle violations on the above 'tropes' are what make some recitatives more creative than others. For example, Bach's use of a plagal cadence; sometimes more than one voice is used [<nowiki/>[[The Creation (Haydn)|Haydn's Creation, 31]]]; and sometimes a deceptive cadence replaces the dominant-tonic cadence, as a way of appending a new section.