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Rimsky-Korsakov, Practical Manual of Harmony in English

Nikolai Rimsky-Korsakov · section 31 of 96

Twofold Use of the Triad of the Sixth Degree

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Theory of HarmonyArnold Schoenberg · the deceptive cadenceTreatise on HarmonyJean-Philippe Rameau · the deceptive cadenceGuide to the Practical Study of HarmonyPyotr Ilyich Tchaikovsky · the deceptive cadenceHarmonic AnalysisBenjamin Cutter · the deceptive cadence

§ 30. — I. In the deceptive cadence.

1) The dominant triad, avoiding the tonic triad that ordinarily follows it, passes by melodic connection to the triad of the sixth degree, with the third doubled.

2) Such a stop at the end of a phrase is called a Deceptive Cadence; the following phrase begins with the triad of the fourth degree or with the sixth chord of the second degree.

3) The same combination is sometimes used in turns of phrase that have the character of a deceptive cadence:

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 · See it in the reader

II. In perfect cadences, and likewise in similar phrases.

1) The triad of the sixth degree is placed after the tonic triad, and then come the triads of the fifth, fourth and second degrees, or the sixth chord of the second degree.

2) The connection with the triad of the fifth degree is melodic; with the triads of the fourth and second degrees it is necessarily harmonic:

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 · See it in the reader