The main tonal goals of the Menuet are achieved by means of the familiar voice- leading patterns we call cadences. The following example excerpts the composition's three cadences:
As this illustrates, the first is an authentic cadence on the dominant. In mm. 15-16, we hear a half cadence on the dominant. Finally, at the end of the Menuet is an authentic cadence on the tonic. Each of these is felt as a point of arrival, though only the last imparts a convincing sense of closure. Performers pay special attention to cadences like these, often emphasizing them by means of touch and tempo, because they articulate the important sectional divisions of the piece. Can you detect significant differences in the three cadences? If you can, you've recognized that each has a different function and degree of importance within the context of the composition!
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