Leading tone question ( music theory ).

[SemiAnonymous]

  Just here to ask one question... I hope that doesn't come across as too overtly usurious!
I'm trying to remember a music theory term for a particular "incorrect" resolution of the leading tone.
If, instead of resolving to the tonic, the leading tone is put in another voice ( say it was in the soprano and it switched to the tenor ) and then resolved or not resolved at all, for example:

B  going to G
G              Eb
D              C

  I remembering all this from years ago, so I'm rather hazy, but if anyone has any idea about what I'm talking about, it will be much appreciated.

PS: I'm not talking about an inner-voice descending leading tone one finds as a dominant seventh resolution.

[hornteacher]

I'm racking my brain right now.  As a music teacher I should know this (but to be fair I teach middle school kids so we don't get too deep into this).

I think it might be called an "Imperfect Authentic Cadence" (which is essentially a V-I resolution that does not resolve with proper voicings, i.e. bass and soprano on tonic and leading tones resolving).

A "Perfect Authentic Cadence" would look like this:

B  -  C
G  -  G
D  -  E
G  -  C

Any other voicing would be considered "Imperfect"

Someone help me if I'm wrong on this.

[jochanaan]

The word I remember is "deceptive."  The music sets up a certain resolution and then takes an unexpected turn.

[Larry Rinkel]

The word I remember is "deceptive."  The music sets up a certain resolution and then takes an unexpected turn.

A deceptive cadence would be something like V-VI, where the dominant resolves elsewhere than to the tonic - not what Semi is talking about here. Hornteacher is closer to the mark, as a perfect authentic cadence is V-I in root position with the soprano on the tonic note; all other variations are imperfect.

[aquablob]

  Just here to ask one question... I hope that doesn't come across as too overtly usurious!
I'm trying to remember a music theory term for a particular "incorrect" resolution of the leading tone.
If, instead of resolving to the tonic, the leading tone is put in another voice ( say it was in the soprano and it switched to the tenor ) and then resolved or not resolved at all, for example:

B  going to G
G              Eb
D              C

  I remembering all this from years ago, so I'm rather hazy, but if anyone has any idea about what I'm talking about, it will be much appreciated.

PS: I'm not talking about an inner-voice descending leading tone one finds as a dominant seventh resolution.

I don't know what term you are looking for (or if there even is one), but if I remember correctly, the leading tone "should" resolve upwards to the tonic in a V-I progression unless the following two conditions are met:

1. The leading tone in the V chord is in an inner voice;
AND
2. An adjacent voice (99% of the time, the upper adjacent voice) "fills the void," so to speak, by playing the expected tonic in the I chord.

In your example, the B meets neither of the above conditions. If we add a D above the B in the first chord, and have the D resolve downwards to the C in the second chord, the leading tone's downward motion (B to G) becomes "acceptable" (nevermind the parallel octaves we now have in the outer voices).

[Holden]

A deceptive cadence would be something like V-VI, where the dominant resolves elsewhere than to the tonic - not what Semi is talking about here. Hornteacher is closer to the mark, as a perfect authentic cadence is V-I in root position with the soprano on the tonic note; all other variations are imperfect.

..or possibly ending a piece in a minor key on a major chord as perfected by Bach?

[Szykneij]

..or possibly ending a piece in a minor key on a major chord as perfected by Bach?

Tierce di Picardie