Resolving borrowed chords

[oyster]

I'm interested to know, is there a specific method of creating a cadence by resolving borrowed chords? For example, if you are in the key of C major, and you play the fifth chord of a G major scale, could you go directly to the 5th of your original key, C major, and satisfactorily end your piece from there, or would it be necessary to go back to the first chord of your key? I'm aware it is generally important to resolve your borrowed chord, in this case a borrowed 5th, with the 5th of your original key, but is it possible to not resolve it with a 5th, but with the 1st chord of your key? Or is this improper form when writing a cadence?

[Guest e440hz]

The method is to resolve it within its key. Using your example: If you just tried to go from the V of Gmajor to the I of Cmajor then it technically be "V to IV" (a "deceptive cadence") in the key of G.

 

Maybe someone with more music theory knowledge could elaborate. I hope I helped.

[oyster]

Thanks, I'm still have questions but I'm going to try and create a melody with "deceptive cadence" and see if it sounds good to my ears, I need to feel strong resolution with my tracks or else I'm just not satisfied with the sound.

[Guest e440hz]

a deceptive cadence will NOT create a strong resolution. :)

 

from wikipedia:

http://en.wikipedia.org/wiki/Cadence_(music)

http://en.wikipedia.org/wiki/Tonality#Cons..._and_dissonance

 

 

Consonance and dissonance

 

Main article: Consonance and dissonance

 

In the context of tonal organization a chord or a note is said to be "consonant" when it implies stability, and "dissonant" when it implies instability. This is not the same as the ordinary use of the words consonant and dissonant. A dissonant chord is in tension against the tonic, and implies that the music is distant from that tonic chord. "Resolution" is the process by which the harmonic progression moves from dissonant chords to consonant chords and follows counterpoint or voice leading. Voice leading is a description of the "horizontal" movement of the music, as opposed to chords which are considered the "vertical".

 

Traditional tonal music is described in terms of a scale of notes. On the notes of that scale are built chords. Chords in order form a progression. Progressions establish or deny a particular chord as being the tonic chord. The cadence is held to be the sequence of chords which establishes one chord as being the tonic chord; more powerful cadences create a greater sense of closure and a stronger sense of key. Chords have a function when it can be explained how they lead the music towards or away from a particular tonic chord. When the sense of which tonic chord is changed, the music is said to have "changed key" or "modulated". Roman numerals and numbers are used to describe the relationship of a particular chord to the tonic chord.

 

The techniques of accomplishing this process, are the subject of tonal music theory and compositional practice.

 

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Classification of cadences in common practice tonality

 

In music of the common practice period, cadences are divided into four types according to their harmonic progression: authentic, plagal, half, and deceptive. Typically, phrases end on authentic or half cadences, and the terms plagal and deceptive refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the Roman numeral system of naming chords:

 

* Authentic (also closed or standard) cadence: V to I. The phrase perfect cadence is sometimes used as a synonym for authentic cadence, but can also have a more precise meaning depending on the chord voicing:

o Perfect authentic cadence (PAC): The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice. A PAC is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence.

o Imperfect authentic cadence (IAC), best divided into three separate categories:

+ 1. Root position IAC: similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).

+ 2. Inverted IAC: similar to a PAC, but one or both chords must be inverted.

+ 3. Leading tone IAC: the V chord is replaced with the viio chord (but the cadence still ends on I).

* Half (or open, or imperfect) cadence: any cadence ending on V, whether preceded by V of V, ii, IV, or I, or any other chord. Because it sounds incomplete or "suspended", half cadence is considered a weak cadenceâ€â€the weakest cadence, in fact.

o Phrygian half cadence: a half cadence from IVⶠto V in minor, so named because the motion in the outer voices resembles the structure of the Phrygian mode.

* Plagal cadence: IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. However, William Caplin disputes the existence of plagal cadences: "An examination of such a cadence rarely exists...Inasmuch as the progression IV-I cannot confirm a tonality (it lacks any leading tone resolution), it cannot articulate formal closure. Rather, this progression is normally part of a tonic prolongation serving a variety of formal functions - not, however a cadential one. Most examples of plagal cadences given in textbooks actually represent a postcadential codetta function: that is, the IV-I progression follows an authentic cadence but does not itself create genuine cadential closure."[5]

* Deceptive (or interrupted) cadence: V to any chord other than I (typically ii, vi or VI). This is considered a weak cadence because of the "hanging" (suspended) feel it invokes. One of the most famous examples is in the coda of the Passacaglia and Fugue in C minor, BWV 582 by Johann Sebastian Bach: Bach repeats a chord sequence ending with V over and over, leading the listener to expect resolution to Iâ€â€only to be thrown off completely with a thunderous fermata on a D flat major chord. Following a pregnant pause, the "real" ending commences.

[Guest Benedict Cumberbatch]

are you talking about a donk?

[kcinsu]

Your wording is kind of throwing me off... but basically, you're asking if you can go from D7 to G7 and end the piece there? Well, maybe if it's just a G major triad. It wouldn't work with a G7, because the the tritone that exists in dominant chords makes you feel like its not resolved. Your other option is to use a G major 7 chord, to give more emphasis to the idea that G is the resolving chord, but when you do that, you're actually implying a key change to G major.

 

However, I'm only talking in the theoretical sense. If you're just doing this for yourself, just listen and see what feels right.

[YEK]

*pushes random keys*

 

*looks up at thread*

 

*reads thread slowly*

 

*eyes glaze over*

 

*pushes more keys*

[pylonbitch]

tp borrow your dmaj from g, then resolve to a g major is a modulation, ending in the key of g maj.

[Guest hahathhat]

i just go like I VI IV V I in Q major and suspend the 5th, just be sure to preparation H

[impakt]

the h is o

[Bubba69]

electronic music artists aren't supposed to know any music theory I thought?

[pcock]

C to finish on G wouldnt sound finished, g to finish on C would. try finishing a c major peice somewhere miles around the key chain aswell, for example go from a chord 3-4 then to 5, and then just land it on a lush dbmajor or f#major. you might like the sound of it better, i do.