Cadential formulas, those characteristic gestures that define cadences, come in melodic and rhythmic patterns as well as harmonic ones. Indeed, the origins of the cadence lie in the monophonic music of the early Middle Ages. The basic melodic cadence is from the supertonic down to the tonic: D to C, for example. With the addition of upper voices, these kinds of cadences were used:
this post, is a metric alteration where two measures of 3/4 become one measure of 3/2, thereby slowing down the beat. Here is an example from a flute sonata by Handel:
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In a future post I am going to look at some ways 20th century composers dealt with the problem of cadences when tonality was being dismantled.
Here is the Handel Flute Sonata that I quoted from above: