Chapter 5 Flashcards
The Great Aeolian Cadence Mystery
What is the Interrupted or Deceptive cadence?
the Interrupted cadence, defined variously as ‘dominant-to-relative minor’ or ‘dominant-to-submediant’, both formal descriptions of precisely this type of ‘V7-vi’ move. Sometimes it appears as a Deceptive cadence, with a variety of ‘catch-all’ definitions like ‘dominant-to-a-chord-other-than-the-tonic’ or, more simply, where the ‘relative minor appears in place of the tonic’.
How is “Not a Second Time” an example of the Deceptive cadence?
no=iii
no= V7
time= vi
time=I—-vi
time=I—-vi
The effect is due to the sudden appearance of vi, a chord we’ve heard before in the verse and bridge – but not in this context at the climax of the song. For here we are expecting the V7 chord, the dominant to return us to the major tonic just as it does at the end of every seven-bar verse.
In replacing it with the vi, which supports that authoritative, isolated E note, John Lennon has dealt us a card from the bottom of the deck. That G major has gone AWOL, only reporting for duty to reestablish stability two bars later.
How is “The Honeymoon Song” an example of the Deceptive Cadence?
free=V
we=IV
bound=iii
each=ii
love=vi Deceptive Cadence
each other=V
by love= I Perfect Cadence
Notice the scalar walk-down that falls V-IV-iii-ii (B-A-G#m-F#m), and which seems destined for the tonic chord of E. However, our expectations are denied by the appearance of the vi chord (C#m), before the chorus obligingly cadences perfectly, ‘V-I’, as we originally ‘wanted’.
How is “Do You Want to Know a Secret” an example of Deceptive Cadence?
V7= Im in love with
you=vi Deceptive Cadence
ooh ooh= ii—-V
the first few times that the dominant V7 appears in the song it ‘behaves’ as the listener expects, resolving directly to the tonic, V-I. But, after alternating with the IV chord, the Perfect cadence we expect at is abandoned and replaced by V7-vi, providing the perfect sense of mellow deflation for the line ‘I’m in love with you’.
How is “Octopus’s Garden” an example of a Deceptive Cadence?
garden=V
you=vi Deceptive Cadence
garden=V
you=iv Deceptive Cadence
garden=V
you=I Perfect Cadence
The listener has been primed for the V-I Perfect cadence. But, rather than a return to I , the V is followed by the vi – for the Interruption. In fact, we hear it twice in what is a ‘three-times-around-the-block’ exit, before the curtain finally falls with George’s pretty guitar lick and a resolution to the I tonic.
How can ‘Not a second time” be analyzed as an example of Aeolian cadence?
‘The only way that we can make sense of Mann’s use of the word “Aeolian” in “Not A Second Time” is to view that D7-Em as an “Aeolian seven-to-one”, with the 6VII acting as an “effective V” taking us powerfully to Em as a temporary tonic. In this sense Mann would argue that it is not the same thing as a “V-vi” Interrupted or Deceptive cadence because – at that precise point in the song – the role of the E minor as a “vi” is being questioned and is veering towards tonic status. How you term it depends on whether you feel the G tonic still ultimately in force in the background. And this depends on your own sense of tonality.’
What are two cadences that could be used to analyze “Not a Second Time” ?
The same D7 to Em may be analyzed as either…
Deceptive Cadence
no=V
time=vi
Aeolian Cadence
no= 6VII7
time= i
How is “A Taste of Honey” and example of Aeolian Cadence?
sweeter= 6VII7 (E)
wine= i (F#m) Aeolian Cadence
the defining cadence that establishes the key represented by the E chord that resolves up a whole step to the tonic, F#m. Here we are experiencing a fundamentally ‘minor’ mood, while also appreciating how the same device can be worked into a major song to create a minor ‘local’ tonic, precisely as in ‘Not A Second Time’.
Is the coda of “ Do you want to know a Secret” a Deceptive Cadence or Aeolian Cadence?
ooh ooh= V7 (B7)—-vi (C#m)
We termed the moment at 0.38 an Interrupted cadence. But is that still the correct term when the B7-C#m move reappears in the song’s coda? Again we are fed that relative minor that denies us the resolution to E major we are craving. It is repeated, reinforcing our sense of disorientation each hearing.
And what should we call the ‘V-vi’ now? A ‘Permanently Interrupted’ cadence? In fact it’s hardly a cadence at all now as the perception of rest has been altered irretrievably. How about an ‘Aeolian fade out’? It’s your call.
The two basic moves: of V-I or IV-I are used to do what?
The chorus of ‘Two Of Us’ (‘we’re on our way home’ over a V-IV-I); and (without straying very far from the analogy) the famous ‘lead me to your door’ of ‘The Long And Winding Road’ (a straightforward ii-V-I). The point is that all these sequences succeed in priming – strongly and unquestionably – a major tonic and, equally importantly, do so by means of one of our two basic moves: V-I or IV-I.
How is the final line of ‘When I Get Home’ an example textbook ‘Perfect’ closure.
whole= II7 (D7)
her= V7 (G7)
home= I (C)
This simple II-V-I ‘pay-off’ resolution, with a C melody note over a C chord, surely confirms the identity of the key center we’ve enjoyed for much of the song: C major. After all, what could be simpler than bluesy, ‘Three-Chord Trick’ verses set against a thinly disguised Four-Chord cliché bridge?
How does the song “When I get Home” use subtle tonal ambiguity in the choruses and at the end of the bridge?
C major I’ll= IV (F)
more=V7 (G7)
walk= IV (F)
C major door=V7 (G7)—– again vi (Am)
A minor door= 6VII (G7)—- again i (Am)
Clearly, in the scheme of this glorified I-vi-IV-V we would seem bound for a V-I move with G moving to C major. But as with ‘Not A Second Time’, that pay-off cadence delivers ‘vi’ rather than I – or arguably ‘i minor’ as, again, it’s more ‘Aeolian’ than Deceptive.
What is the first cadence of “When I get Home” ?
whole= II7 (D7)
her= V7 (G7)
home= vi (Am)
For that minor cadence, whenever it appears in the song, suggests at least some trepidation about getting home. Indeed, the song’s very first cadence finds that all-too-ominous Am enjoying supremacy before we’ve even heard C major for the first time.
How does the A7 work in the song “When I Get Home” ?
whoa-ah= I (A7)
whole= IV7 (D7)
her= 6VII7 (G7) Aeolian Cadence
home= I (A7)…..to major
whole= IV7 (D7)—-II7 C major—
her= V7 (G7)
home= I Perfect Cadence
The A7 seems to be a tonal platform in its own right, however briefly. Even when we hear it in the last refrain it is unlike those turnaround VI7s secondary dominants (of the ‘oh yeah’ variety from Chapter 4). Just as with the song’s Am, this effect is from the way in which the cadence is achieved from a whole step below the root, i.e., from the G7 chord – a technique that works irrespective of the quality of the A triad built on that root.
How would you define a pivot chord?
A pivot chord is simply one that can be seen to have a clear role in two different keys. Clearly, in ‘Not A Second Time’, this was the D7 chord itself, which acts as the V7 of G major but is reconceived at the ‘pivotal’ moment as the VII of Em. In ‘When I Get Home’ the corresponding chord is the G7: now the V7 of C major and again functioning as VII in relation to A. Indeed, both A minor and A major. ‘When I Get Home’ demonstrates that, just as the word ‘pivot’ suggests, you can use it to ‘go both ways’ from key to key. We duly both enter and exit the territory of C major using G7 pivot (whose dual role can be abbreviated ‘V=VII’).
As with ‘Not A Second Time’ it’s standard stuff until that moment when the tonic major chord is again ‘thwarted’ by vi. Notice the scalar walk- down that falls V- IV -iii-ii (B-A-G #m -F #m), and which seems destined for the tonic chord of E. But we are denied by the appearance of the vi chord (C#m), before the chorus cadences perfectly, ‘V -I’ , as we originally ‘wanted’. A pure musical manifestation of delayed gratification because - unlike ‘Not A Second Time’
- the Deception is immediately ‘covered up’ by an immediate ‘rehearing’ which now does succeed in ‘properly’ closing the sequence with the expected V-I. This is an important distinction to which we will return later
one of the best Beatles examples of a Deceptive cadence appears in ‘Do You Want To Know A Secret’ -
way back on that debut album - where The Beatles diligently go about setting up our hopes only to dash them by using another ‘V7-vi’ .
In the key of E again, the first few times that the dominant B7 appears in the song it ‘behaves’ as expected , resolving
directly to the tonic, V-I. But , after alternating with the IV chord, the Perfect cadence we expect is replaced by B7- C#m, providing the perfect sense of mellow deflation for the line ‘I’m in love with you’. Just as in ‘Not A Second Time’ the moment is ear -catching; we sit up and listen as if jolted from our slumbers.
let’s give Ringo the credit (albeit with a little help from George) for the simple but devious little twist at the climax of ‘Octopus’s Garden’, clearly another Deceptive cadence - though again one that (like ‘The Honeymoon Song’)
is immediately succeeded by a conventional close.
The only way that we can make sense of Mann’s use of the word ~ Aeolian ~ in “Not A Second Time is to view that D7-Em as an
“Aeolian seven- to - one” , with the bVII acting as an ~ effective V” taking us powerfully to Em as a temporary tonic. In this sense
Mann would argue that it is not the same thing as a V-vi interrupted or Deceptive cadence because - at that precise point in the song - the role of the E minor as a ~ vi ~ is being questioned and is veering towards tonic status.
How you term it depends on
whether you feel the G tonic still ultimately in force in the background. And this depends on your own sense of tonality.
The Beatles’ rewriting of the rules of pop music exposed the limitations of using conventional terms to describe many of their ideas. There simply aren’t enough to cover all the bases. Look
back briefly at ‘Do You Want To Know A Secret’. We termed the moment at an interrupted cadence. But is that still the correct term when the B7 - C#m move reappears in the song’s coda?
Again we are fed that unsatisfactory relative minor that denies us the resolution to E major we are supposed to crave. But now it is repeated, reinforcing our sense of disorientation on each hearing. At what point does the listener no longer ‘require’ the resolution
to E major and become resigned to regarding C#m as his new home? After one cycle? Two? Three or more? And what should we call
the ‘V - vi’ now? A ‘Permanently Interrupted’ cadence? In fact it’s hardly a cadence at all now as the perception of rest has been
altered irretrievably. How about an ‘Aeolian fade out’? I t’s your call.
This simple II-V-I ‘pay- off resolution, with a C melody note over a C chord, surely confirms the identity of the key centre we’ve enjoyed for much of the song: C major. After all, what could be simpler than bluesy, ‘Three-Chord Trick’ verses set against a thinly disguised Four - Chord cliche bridge? But while these simple structures make for a catchy enough tune, the song acquires a new dimension from the subtle tonal ambiguity at work in the choruses and at the end of the bridge.
Notice how The Beatles manage to deliver not two but three different
feelings of ‘home’ as that G chord resolves not just to C major (at the end and at the start of each verse) and the relative minor, A minor - but (even more confusingly) an A major chord, A7.
Let’s look first at the end of the bridge as this provides us with an instant parallel with ‘Not A Second Time’.
Clearly, in the scheme of this glorified I-vi-IV-V we would seem bound for a V-I move with G moving to C major. But as with ‘Not
A Second T ime’ , that pay- off cadence delivers ‘vi’ rather than I - or arguably ‘i minor’ as, again, it’s more ‘Aeolian’ than Deceptive. For while the A minor gets ‘corrected’ by the following verse in C, we surely first question its status. Just as we question Lennon’s loyalty as ‘when I get home’ becomes ‘till I walk out the door’.
For that minor cadence, whenever it appears in the song, suggests at least some trepidation about getting home. Indeed, the song’s very first cadence at 0.12, finds that all- too - ominous Am enjoying supremacy before we’ve even heard C major for the first time.
The A7 seems to constitute a discrete tonal platform in its own right, however briefly. Even when we hear it in the final refrain it is unlike those turnaround VI7s secondary dominants (of the ‘ob yeah’ variety from Chapter 4). Just as with the song’s Am, this effect derives from the way in which the cadence is achieved from a whole step below the root, i.e., from the G7 chord - a technique that works irrespective of the quality of the A triad built on that root.
What is the Parallel major/minor relationship?
