Deceptive Cadences

Deceptive progression is V-vi

what is a Deceptive Resolution?

What is the Deceptive Doubling?

Why is a Deceptive Cadence used?

I think that i am not the person who should make any statements here due to my poor knowledge

I don't know the english terminology, so i will hold on from any descriptions, but generally, the sixth (grade? whatisitcalled :P) has some wonderful characteristics. Using the unaltered one leads us to a scale that is IDENTICAL to the Ist. And so, if you have something that works with Ist, you can blindly copy that as VI and only the bassline changes. Orginally the VIth was entered through Vth, so the grace of the change was preserved. This cadence, along with reapeating the same material, but with different ending (VI instead of I) made a huge difference (in classicism (mostly)) so the name follows.

How to utilise this advantage? Firstly, let alone it makes your piece longer ;P if you just won't end something after the dominant chord.

Secondly, you can alter some meat from the dominant and/or make VIth a fully reknown Ist (as a modulation :hope it's the good word)

If i will get some more ideas, i'll post some more ;P

Yeonil

Thanks for the information

'interruption'. So an interrupted cadence is a dominant chord followed by any chord except the tonic.

except that instead of resolving from V to I (i) they resolve to another chord. The effect of this progression is dependent on the chord to which they resolve.

Deceptive Cadence:

When V resolves to vi

IVb and I7 are good examples. The IV is usually used in its first inversion and sounds similar to vi. I7 sounds like I but it has a different function - as a dominant seventh it cannot function as an effective tonic (in common practice tonal harmony) and seeks resolution to a triad a fifth below. Due to their similarity to genuine tonics both these chords have been introduced deceptively. Any other chords which bear similarity to the genuine tonics of I, i and vi, can be introduced deceptively.

Interrupted Cadence:

When the V chord resolves to a chord which bears no relation to a true tonic, the cadence can be described as interrupted. It sounds like a normal cadence, but it suddenly changes tack and instead of resolving it moves to a completely different place. The cadence has been interrupted.

Whats the difference between Interrupted and Deceptive Cadence?

I think the Author was trying to say the difference is the chords the Deceptive

V chord resolves to is the trick

V-vi = a Deceptive Cadence

V-III= interrupted cadence

V-iii+= interrupted cadence

An Interrupted cadence is a V chord that is expceted to resolve to I. So the V must be in root position, mabye even a V7 and one set up by a ii or IV. But the cadence never happens because it resolved to another chord. This doesn't have to be a iii chord.

The progression from V to vi is a progression is a strong progression because all the notes of the chord change. Therefore, going from V to vi has a dramatic effect. It sounds like a 'finished' cadence because it is used often. But the effect of the vi is dramaticly different than that of the expected I.

You want to use your V-I full cadences effectively because they are important harmonic points in the music. They emphasise the tonality/key. They can also sound finished(in the tonic key) or psuedo-finished(in another key).

By postphoning or proloning the V-I full cadence you can make it stronger and more dramatic. Timing your full cadence is important. The deceptive cadence is one of the ways to prolong the ending of a phrase or piece while making it more dramatic.

The Deceptive Progression: Like the deceptive progression V-vi, the root of the secondary dominant can move up stepwise in its own deceptive progression, e.g., where the root of V7/vi moves up stepwise to IV.