16th century cadences, part 8: Vecchi, duet n22

Continuing the census of cadences in the duets of Orazio Vecchi, I look at the twenty-second (btw, there are 38 duets in all). Here are 12 cadences, including a closing cadence with a rising line to ^8 (G5 in the Mixolydian mode). I admit, however, to having relaxed my rules (see part 7, yesterday's post) and counted an evaded cadence (n6) and both cadences in a cadence pair (ns 7 & 8). Without those, there are 10 cadences, six of which are 6-8 and four are 3-1.

I suspect the slight bias toward 6-8 in the two duets by Vecchi would be erased in bicinia where the two voices are in the same range. I may take up that question at another time, once I find a suitable repertory. (Lassus's duets aren't good for this work because he emphasizes very long phrases, so that even the lengthy un-texted duets have no more than 2 or 3 cadences.)

16th century cadences, part 7: Vecchi, duet n21

In the same year as Gastoldi, Orazio Vecchi published his own book of instructional duets. I have chosen two of them for the sake of a census of cadence types: n21 in today's post, n22 in tomorrow's. Granted, these pieces are somewhat arbitrary constructions, but I suspect that the numbers in "proper" compositions will be similar.

I tried to focus on clearly articulating phrase-ending cadences. I did not include evaded cadences or brief cadence-like figures that are obviously within longer phrases. On those terms, the duet has 11 cadences, six of which are 6-8, and five are 3-1. Cadence types are distributed more or less evenly throughout. Of particular interest is that every one of the 6-8 cadences is different, something obviously useful for pedagogical illustration.