Nikolai Rimsky-Korsakov · seção 31 de 96

Duplo Emprego da Tríade do Sexto Grau

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Tradução automática da leitura em inglês. Rascunho; ainda sem revisão por um falante nativo.

§ 30. — I. Na cadência de engano.

1) A tríade da dominante, evitando a tríade da tônica que normalmente a segue, passa por encadeamento melódico à tríade do sexto grau, com a terça dobrada.

2) Essa parada no final de uma frase é chamada de Cadência de Engano; a frase seguinte começa com a tríade do quarto grau ou com o acorde de sexta do segundo grau.

3) A mesma combinação é por vezes empregada em giros de frase que têm caráter de cadência de engano:

Deceptive cadences in C major: V–VI with the third (C) doubled in VI; the leading note B rises to C and the other upper voices fall — Fig. 108 · Ver no leitor

II. Nas cadências perfeitas, e igualmente em frases semelhantes.

1) A tríade do sexto grau é colocada após a tríade da tônica, e em seguida vêm as tríades do quinto, quarto e segundo graus, ou o acorde de sexta do segundo grau.

2) O encadeamento com a tríade do quinto grau é melódico; com as tríades do quarto e segundo graus, é necessariamente harmônico:

Four progressions in C major: I–VI–V–I; I–VI–IV–V–I; I–VI–II6–V–I (twice, with different spacing of VI) — Fig. 109 · Ver no leitor

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