20221106183500 Embellishing authentic cadential progressions

Embellishing authentic cadential progressions

Caplin Ahead!

The information on this page may be skewed – click here for details.

The info on this page is either entirely based on or mostly based on the content published in caplin-2013 or caplin-1998. Caplin is considered to be responsible for reviving interest in the analysis of form in North American music theory.

While Caplin’s impact cannot be understated, it is worth understanding that his 1998 work (and his 2013 followup) are focused on Classical music: particularly the works of Haydn, Beethoven, and Mozart. It is important to not assume other styles of music (both preceding and following the classical era, or music in other parts of the world) follow these same conventions. Music theory is descriptive, not prescriptive, and so the theory you see describing what was common in the Classical era may not apply to anything else.

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In an authentic cadential progression, each harmony preceding the final tonic can be embellished.^[1]

Embellishing the dominant:

• Add a 7th
• Use a Cadential 6-4

Embellishing the pre-dominant:

• Use an augmented 6th chord
• Use V7/V or VIIº/V
• Can even use $IVº$ —> $VIIº/V$ —> $V$

Embellishing the initial tonic:

• Go from $I$ to $V_2^4$
• Go to a secondary dominant of $IV$ or $II$

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References:
[1]: caplin-2013 p.16-17