@ABitRusty -

Well, after loosing power & internet again, today (1st was last night) - figure I better type quickly. (lol) 

FEMININE CADENCE - very cool!  Wondered for a moment, if it would solve our dilemma, but 'Virginia Reel' doesn't end on the Tonic.

Had to go back & listen to 'the Virginia Reel'.  Still thinking 'Deceptive Cadence', but hearing the same motif repeated earlier, but with a shorter version of the last note - got me thinking more.  Now, I'm not so sure it isn't a 'Half Cadence', except I'm pretty sure the last note is NOT a dominant chord.  But, I'm basing that only on feeling (feminine intuition). 🤣

So, I could use some help with this, because if the last note IS a dominant chord - think 'Virginia Reel' would have to be considered a 'Half Cadence'.  

Btw, loved "The Uninvited" and "Streetcar Named Desire" - good way to capture MY attention!  The rest of the video was full of really interesting info, too! 

Thank you! 

- Emily

While digging around in song forms today I ran across the 'Elided Cadence' (cool article)! 

It occurs in music when a new phrase begins before or at the same time as the cadential chord that is just about to close the previous musical idea. 

🤣... I have definitely played some of my tunes this way - not that it was supposed to be, but there's been times I just felt a phrase or part shouldn't stop! 

Creative Composition 2: Elided and Overlapping Phrases (bfuhrman) - starts talking about it in music at 1:40.

I looked at a couple other videos from Dr. Ben Fuhrman.   MUS2702 Creative Composition 2 Tutorial & Assignment Playlist - great stuff made for his University Students, but EASY to understand!  Wonderful tidbits of info to pick up.  His YT Channel has other playlists like, MUS 1002-2022 Exploring Technology in Music!

No one thought the 'Elided Cadence' was cool? 

It's not new, I've noticed it in quite a few performances I've listened to over the years - pretty sure I've even heard it used sometimes in some Celtic Sets, when switching to a new tune (to help keep the momentum going)!

I just didn't have a good way to describe it!  ...and no one ever talks about it. 😒 

@ABitRusty -

Haven't looked at this thread in a VERY LONG time! 

I'm pretty confident I can answer this (NOW), from post #13!

ABitRusty said
I asked a question once to one of the online irish guitar instructors and as part of the answer he suggested this album is required listening.   Matt Malloy again also came up in another recent conversation as required listening forr irish, all of which has nothing to do with cadence other than the ending of Virginia reel on this track... Deceptive cadence?  thoughts?  I, up until now would have described this type of ending as ending on the question instead of the answer.. now have a better name if I got it correct..

  

I believe they are playing "The Virginia" in Cdor (starting at 1:24) - and the strong G→C (V→I) is an Authentic (Perfect) Cadence at the end of the phrases. 😉 

Take a listen again & see what you think ! 

It's notated as Dmaj on The Session, but even THAT makes much more sense as Edor, ending on E (same notes as Dmaj).

...revisited this thread because of interest in an 'Interrupted' Cadence (same as a 'Deceptive' Cadence) I recently heard in another tune.  BUT, like usual 🤨, I'm finding conflicting info: some only say it's V→VI, then I've also seen sources saying it can be ANY chord following a V (other than a 'I' chord). 

I've decided to accept the latter description. 

A deceptive cadence is a progression in which the dominant chord (V) resolves to a chord other than the tonic (I). In most cases, the dominant (V) will lead to the submediant chord (vi in major keys, VI in minor keys).

I AM talking about how The Virginia recording ended (notes G,C,C), but I made a mistake. 

The chords don't end G→C in the recording, but actually Gm→Cm chords (v→i). 

Not sure if that still counts as an authentic cadence (?) 

@ABitRusty -

I understand what you are saying - I definitely feel the change in mood, kinda major to minor.  Could possibly be a Gmaj to Cm (V→i).  Can't tell if extended chords are used.

I think this topic is worth diving into - what chords we might choose depends a lot on how we identify a key, because chord functions will be different.  BUT, we can also 'borrow' chords (especially from relative & neighboring keys/modes) - our choices can definitely change the feeling/mood of a tune. 

I see 2 ways of looking at The Virginia notation - Dmaj (but I don't feel any strong ties to D), or the 'relative' key/mode of Edor (E represented strongly throughout & ends with double E's). 

The chord functions for the cadence in Dmaj are different for that B→E (nothing I see that resembles any nameable cadence) vs Edor, the B→E could be Bmaj to Em (V→i). 

In retrospect, if... the Malloy recording is seen as in Bbmaj, instead of Cdor - leaves me bewildered as to what Bbmaj chords would make sense for this G→C cadence (without borrowing chords).  🤔... seasoned corded-instrument musicians probably just have some favorite extended chords they use without thinking about the cadence.

I think extended chords really help color a mood - chord functions are 'supposed' to help us choose which to use. 

Why Cadences are Crucial for How Music Feels - not just important for composing, but also when arranging multiple voices & backing for melodies we play!

@Gordon Shumway & @ABitRusty -

Thank you both for your thoughts on this! 

Hadn't originally intended to learn The Virginia, but with all this focus on it I don't think it would take me long to get it down... not sure if I want to do anything with it, though. 

I definitely want to start paying closer attention to cadence I hear played in music & start experimenting more with extended chords.