What about the aeolian cadence makes it not a cadence? I know there are a small handful of conventional cadences. In a broader sense I think of them as harmonic punctuation at the end or midway through a musical sentence. I think of the aeolian cadence and the Andalusian cadence falling into this looser definition. I see both of those as valid musical punctuations and I think of them as “non-classical” cadences.
Thanks for this primer. I appreciated Mark Richards' perspective on tonal ambiguity, because I had just been thinking about T.I.'s "Whatever You Like" (Dm, Bb, F, C), which my instinct is to interpret in F as a vi-IV-I-V "Axis" progression like Boston's "Peace of Mind," but which the internet (e.g. Wikipedia) generally thinks is a i-VI-III-VII progression in D minor.
What about the aeolian cadence makes it not a cadence? I know there are a small handful of conventional cadences. In a broader sense I think of them as harmonic punctuation at the end or midway through a musical sentence. I think of the aeolian cadence and the Andalusian cadence falling into this looser definition. I see both of those as valid musical punctuations and I think of them as “non-classical” cadences.
Thanks for this primer. I appreciated Mark Richards' perspective on tonal ambiguity, because I had just been thinking about T.I.'s "Whatever You Like" (Dm, Bb, F, C), which my instinct is to interpret in F as a vi-IV-I-V "Axis" progression like Boston's "Peace of Mind," but which the internet (e.g. Wikipedia) generally thinks is a i-VI-III-VII progression in D minor.