Everyone,
Gauldin gives white-note cadence formulas on p. 32. He never gives a comparable table for two-voice cadences with black-notes. Here are some of his examples that are actually cadence formulas:
5-3B (43)
5-5A and 5-5C (p.44)
5-7A (45)
5-8 (45)
And here is my promised list of cadences in the first six of the Lassus "Cantiones duarum voceum" (anthology). You can use these as models for the cadences in your assignment for Monday.
Ex. 2-1 (p. 10), mm. 9-10 (uses double portamenti and a neighbor-note eighth-note pair) 17-18 (two successive 2-3 bass suspensions with one portamento in the alto and an elided final note to overlap phrases) and the end (double portamenti, ornamental 8th neighbors for the suspension dissonance, and a 2-3 bass suspension)
Ex. 2-2: mm.11-12 (simple white-note cadence!), 23-24 (portamento, ornamental 8th neighbors and a 2-3 bass suspension) and the end (accented passing tone)
Ex. 2-3: mm. 9 (unusual cadence with a "fake" 5-6 suspension), 14-15 (Phrygian cadence with two ornamental 8th pairs) ,19-20 (8th pair ornaments the suspension dissonance, one voice drops out for the final note to overlap phrases) and the end (an elaborate cadence with 3 8th pairs and a change of note in the cantus against a portamento in the alto)
Ex. 2-4: 10-11 (accented passing tone in alto; and note the dotted half-quarter with change of syllable in the alto), 22-23 (2 7-6 suspensions, one portamento, and a deleted last note to overlap phrases) , 25-26, 28-29, and the end (these are all almost pure white-note cadences except for the 8th neighbors on the PREPARATION, not the suspension)
Ex. 2-5: 14-15 (suspension and resolution are simple, but an interesting treatment of the portamento; note the 5, not 6, on the preparation), 22-23 (white-note Phrygian cadence in the once-transposed mode), and the end (Phrygian cadence on A again, with a long! string of suspensions and portamenti -- they start 4 bars before the end. This is obviously to express the sense of the bad people ("malus") going down, down, down)
Ex. 2-6: 8-9 (another unusual white-note cadence with a fake suspension), 13-14 (simple Phrygian cadence on A again, with dotted half-quarter with change of syllable in the alto), 23-24 (accented passing tone and 8th pair ornamenting the suspension) and the end (simple Phrygian cadence on A again, with portamento and ornamental 8th pair on the suspension).
DN
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