English cadence

This voice leading entails the seventh degree's dual functionality, or its capacity for opposing voice-leading tendencies.This variant is characterized by a penultimate, dominant chord with a split third, thereby creating a false relation between the germane parts.The two notes which create this false relation need not necessarily occur simultaneously, but must both be present in the dominant chord of the cadence.The beat of the drum is in 2/4 and is common among many songs, like Hanover Hornpipe or The Girl I Left Behind.[6] Described as "stale" by Morley in 1597,[7] the device fell out of use in the early part of the seventeenth century, though we still find many examples of it in Purcell's anthems ("My heart is inditing" or "Rejoice in the Lord alway" for instance).
English cadence on C with the bass on the supertonic, split seventh scale degree: B ♮ and B ♭
Thomas Talliscourtesy accidentalclassical musictheorycontrapuntalcadencescale degreedominant chordHigh RenaissanceRestorationdissonantaugmented octaveaugmented unisonfalse relationsopranovoice leadingfunctionalityleading toneharmonicchord progressionsplit thirdvoice exchangeminor keyPicardy thirdCorelli cadenceThe Girl I Left Behindchoral musicconsortsMachautSpem in aliumPurcellRejoice in the Lord alwayharmonyvan der Merwe, PeterHeinrich SchützHerissone, RebeccaApel, WilliBinkley, ThomasCadencesAndalusianBackdoor progressionCadenzaCorelliLandiniLydianTurnaroundii–V–I turnaroundV–IV–I turnaround♭VII–V7 cadenceChromaticismAltered chordAugmented sixth chordBorrowed chordChromatic fourthLament bassChromatic fantasiaChromatic mediantDiatonic and chromaticNeapolitan chordPolymodal chromaticismSecondary chordCounterpointpolyphonyContrapuntal motionImitationRicercarSubject