d
how symmetrical and convincing is the impression when the eight
measures are considered an unbroken sweep of musical thought.[54]
There are, in fact, a few complete compositions in musical literature
which contain but a single sentence of eight measures. As an example
may be cited the song from Schumann's _Lieder Album fuer Jugend_, op.
79, No. 1. (See Supplement No. 19.) For purposes of practical
appreciation[55] it is enough to state that a cadence is an accepted
combination of chords (generally the tonic, dominant and subdominant)
which indicates that some objective, either temporary or final, has
been reached. When the dominant chord or any dominant harmony is
immediately followed by the tonic the cadence is called perfect or
final, and may be compared to a period in punctuation, _e.g._

[Music] [Music: CESAR FRANCK]

[Footnote 54: In listening to a clock it is impossible to think of the
ticks singly, or otherwise than in groups of two: an accented beat and
an unaccented; although the beats are of equal strength and duration.
This principle of dual balance is derived from the rhythmic pulsation
of the human heart and, as we shall see, runs through all music.]

[Footnote 55: Whenever this book is used in class, the teacher can
easily explain, on the pianoforte and by charts, the different
cadential effects. For those who have sufficient harmonic insight
Chapter XIV in Foote and Spalding's _Modern Harmony_ is worth
consulting.]

A reversal of this order produces what is called the half-cadence,
akin to the semicolon, _e.g._

[Music]

The union of the subdominant and tonic chords is known as the Plagal
Cadence, _e.g._,

[Music]

and always gives a feeling of religious dignity and impressiveness.
Magnificent examples may be found in the closing measures of Wagner's
Overture to the _Mastersingers_ and of Brahms' _First Symphony in C
minor_. In the final cadence of Debussy's humorous piece for
pianoforte, _Minstrels_, the effect is burlesqued, _e.g._

[Music]

When dominant harmony is followed by some unexpected chord we have the
so-called Deceptive Cadence, which is not unlike the mark of
interrogation (?) or even exclamation (!) _e.g._

[Music: WAGNER: _Overture to the Mastersingers_]

[Music: TCHAIKOWSKY: _5th Symphony_]

This last cadence gives an effect of dramatic surprise--certainly an
exclamation of great force. One of the glories of modern music is the
daring novelty of cadential effect which