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https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/cadential-64\/<\/a> ","protected":false},"excerpt":{"rendered":"","protected":false},"author":17897162,"featured_media":0,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_geoff_meta_description_en":"A cadential six-four may contain tonic notes, yet its dominant bass and resolving upper voices make it an intensification of the cadence, not a point of rest.","_geoff_meta_description_zh":"\u7ec8\u6b62\u56db\u516d\u548c\u5f26\u867d\u7531\u4e3b\u548c\u5f26\u97f3\u7ec4\u6210\uff0c\u5374\u4ee5\u5c5e\u97f3\u4f5c\u4f4e\u97f3\u5e76\u628a\u4e0a\u65b9\u58f0\u90e8\u5bfc\u5411\u5c5e\u548c\u5f26\uff1b\u5b83\u7684\u529f\u80fd\u6765\u81ea\u4f4e\u97f3\u3001\u58f0\u90e8\u53bb\u5411\u4e0e\u7ec8\u6b62\u4f4d\u7f6e\uff0c\u800c\u975e\u9759\u6001\u97f3\u540d\u3002","_wpcom_ai_launchpad_first_post":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[787297389],"tags":[787298462,787298463,787298226,787294825],"class_list":["post-18465","post","type-post","status-publish","format-standard","hentry","category-western-music","tag-cadential-six-four","tag-cadential-six-four-zh","tag-voice-leading","tag-787294825",""],"translatepress_titles":{"en_AU":"Why Does a Cadential Six-Four Not Sound Like a Resting Tonic?","zh_CN":"\u7ec8\u6b62\u56db\u516d\u548c\u5f26\u4e3a\u4ec0\u4e48\u542c\u8d77\u6765\u4e0d\u50cf\u771f\u6b63\u7684\u4e3b\u548c\u5f26\uff1f"},"jetpack_publicize_connections":[],"jetpack_likes_enabled":false,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p1ar9H-4NP","jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/posts\/18465","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/users\/17897162"}],"replies":[{"embeddable":true,"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/comments?post=18465"}],"version-history":[{"count":0,"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/posts\/18465\/revisions"}],"wp:attachment":[{"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/media?parent=18465"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/categories?post=18465"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/tags?post=18465"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
https:\/\/musictheory.pugetsound.edu\/mt21c\/TheCadentialSixFourChord.html<\/a>
https:\/\/imslp.org\/wiki\/Piano_Sonata_No.11_in_A_major%2C_K.331\/300i_%28Mozart%2C_Wolfgang_Amadeus%29<\/a><\/p>\n