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Cadence (music)
From Wikipedia, the free encyclopedia
Cadences are strong indicators of the tonic or central pitch of a passage or piece.[1] Edward
Lowinsky proposed that the cadence was the "cradle of tonality."[4]
Contents
1 Classification of cadences in common practice tonality with examples
1.1 Authentic cadence
1.2 Half cadence
1.3 Plagal cadence
1.4 Interrupted (deceptive) cadence
1.5 Inverted cadence
1.6 Upper leading-tone cadence
1.7 Rhythmic classifications
1.8 Picardy Cadence
2 In medieval and Renaissance polyphony
3 Classical cadential trill
4 Jazz
5 Popular music
6 Rhythmic cadence
7 See also
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8 References
Authentic cadence
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1. Root position IAC: similar to a PAC, but the highest voice is not the tonic ("do"
or the root of the tonic chord).
2. Inverted IAC: similar to a PAC, but one or both chords is inverted.
3. Leading tone IAC: the V chord is replaced with the viio/subV chord (but the
cadence still ends on I).
4
Evaded cadence: V2 to I .[8] Because the seventh must fall step wise, it forces the
cadence to resolve to the less stable first inversion chord. Usually to achieve this a root
4
Half cadence
Half cadence (imperfect cadence or semicadence): any cadence ending on V, whether
preceded by V of V, ii, vi, IV, or Ior any other chord. Because it sounds incomplete or
suspended, the half cadence is considered a weak cadence that calls for continuation.[11]
Phrygian half-cadence: a half cadence iv6V in minor, so named because the semitonal
motion in the bass (sixth degree to fifth degree) resembles the semitone heard in the iiI
of the 15th-century cadence in the Phrygian mode. Due to its being a survival from
modal Renaissance harmony this cadence gives an archaic sound, especially when
preceded by v (viv6V).[12] A characteristic gesture in Baroque music, the Phrygian
cadence often concluded a slow movement immediately followed by a faster one.[13]
With the addition of motion in the upper part to the sixth degree, it becomes the Landini
cadence.[1]
Lydian cadence: The Lydian half-cadence is similar to the Phrygian-half, involving
iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by a
half-step. In other words, the Phrygian-half begins with the first chord built on scale
degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The
Phrygian cadence ends with the movement from iv6 V of bass (3rd of the chord/scale
degree 6m) down by semi-tone bass (the root of the chord/scale degree P5), fifth
(scale-degree P1) up by whole-tone fifth (scale-degree 2M), and the root (scale
degree P4) up by whole-step octave (scale-degree P5); the Lydian half-cadence ends
with the movement from a iv6 (raised by half step) V of bass (3rd of the chord/scaledegree 6M) down by whole-tone bass (the root of the chord/scale-degree P5), fifth
(scale degree 1+) up by half-step fifth (scale-degree 2M), and the root (scale degree
4+) up by half-step octave (scale-degree P5).
Burgundian cadences: Became popular in Burgundian music. Note the parallel fourths
between the upper voices.[9]
Plagal half-cadence: The rare plagal half-cadence involves a IIV progression. Like an
authentic cadence (VI), the plagal half-cadence involves a descending fifth (or, by inversion,
an ascending fourth).[14] The plagal half-cadence is a weak cadence, ordinarily at the ending
of an antecedent phrase, after which a consequent phrase commences. One example of this
use is in Auld Lang Syne. But in one very unusual occurrence the end of the exposition of
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Plagal cadence
Plagal cadence: IV to I, also known as the "Amen Cadence"
because of its frequent setting to the text "Amen" in hymns.
William Caplin disputes the existence of plagal cadences in
music of the classical era: "An examination of the classical
repertory reveals that such a cadence rarely exists. ...
Inasmuch as the progression IVI cannot confirm a tonality
Plagal cadence (IVI
(it lacks any leading-tone resolution), it cannot articulate
progression in C Play )
formal closure .... Rather, this progression is normally part of
a tonic prolongation serving a variety of formal functions
not, however a cadential one. Most examples of plagal cadences given in textbooks actually
represent a postcadential codetta function: that is, the IVI progression follows an authentic
cadence but does not itself create genuine cadential closure."[16] It may be noticed that the
plagal cadence, "leaves open the possibility of interpretation as VIV" rather than IIVI.[11]
The term "minor plagal cadence" is used to refer to the ivI progression. Sometimes a
combination of major and minor plagal cadence is used (IVivI).
One of the most striking uses of this cadence is in the A minor section at the end of the exposition
in the First Movement of Brahms' Third Symphony. The music progresses to an implied E minor
dominant (B7) with a rapid chromatic scale upwards, but suddenly sidesteps to C major. The same
device is used again in the recapitulation; this time the sidestep isas one would expectto F
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Inverted cadence
An inverted cadence (also called a medial cadence) inverts the last chord. It may be restricted only
to the perfect and imperfect cadence, or only to the perfect cadence, or it may apply to cadences of
all types.[19] To distinguish them from this form, the other, more common forms of cadences listed
above are known as "radical cadences."[20]
Rhythmic classifications
Cadences can also be classified by their rhythmic position. A "metrically accented cadence" occurs
on a strong position, typically the downbeat of a measure. A "metrically unaccented cadence"
occurs in a metrically weak position, for instance, after a long appoggiatura. Metrically accented
cadences are considered stronger and are generally of greater structural significance. In the past the
terms "masculine" and "feminine" were sometimes used to describe rhythmically "strong" or
"weak" cadences, but this terminology is no longer acceptable to some.[22] Susan McClary has
written extensively on the gendered terminology of music and music theory in her book Feminine
Endings.[23]
Likewise, cadences can be classified as either transient (a pause, like a comma in a linguistic
sentence, that implies the piece will continue after a brief lift in the voice) or terminal (more
conclusive, like a period, that indicates the sentence is done). Most transient cadences are half
cadences (which stop momentarily on a dominant chord), though IAC or deceptive cadences are
also usually transient, as well as Phrygian cadences. Terminal cadences are normally perfect, and
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rarely plagal.
Metrically unaccented
cadence (IV6/4V7I
progression in C Play ).
Final chord postponed to fall
on a weak beat.[24]
Picardy Cadence
A picardy cadence is a harmonic device that originated in Western music in the Renaissance era. It
refers to the use of a major chord of the tonic at the end of a musical section that is either modal or
in a minor key.
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chord); although supertonic and subtonic trills had been common in the Baroque era, they usually
lasted only a half measure (e.g., the supertonic trill in the final cadence from Bach's Wachet auf,
ruft uns die Stimme, BWV 140). Play Extended cadential trills were by far most frequent in
Mozart's music, and although they were also found in early Romantic music, their use was
restricted chiefly to piano concerti (and to a lesser extent, violin concerti) because they were most
easily played and most effective on the piano and violin; the cadential trill and resolution would be
generally followed by an orchestral coda. Beethoven was a good example of this, limiting it almost
entirely to his concerti, and most other Romantic composers including Chopin and Schumann
followed suit; Schubert, who never wrote concerti, hardly used it at all (the Adagio and Rondo
Concertante D. 487, a chamber work, being one prominent exception). At the other end of the
spectrum, even Mozart rarely used the trill in symphonies. Because the music generally became
louder and more dramatic leading up to it, a cadence was used for climactic effect, and was often
embellished by Romantic composers. Later on in the Romantic era, however, other dramatic
virtuosic movements were often used to close sections instead.
Jazz
In jazz a cadence is often referred to as a turnaround, chord
progressions that lead back and resolve to the tonic (for
example, the ii-V-I turnaround). Turnarounds may be used at
any point and not solely before the tonic.
Half-step cadences are common in jazz if not clich.[31] For
example, the ascending diminished seventh chord half-step
cadence, whichusing a secondary diminished seventh
chordcreates momentum between two chords a major second
apart (with the diminished seventh in between).[30] The
descending diminished seventh chord half-step cadence is
assisted by two common tones.[30]
Popular music
Popular music uses the cadences of the common practice period and jazz, with the same or different
voice leading.
Rhythmic cadence
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See also
Andalusian cadence
Approach chord
Cadenza
Corelli cadence
Drum cadence
English cadence
Kadans
Lament bass
List of Caribbean music genres: cadence-lypso and cadence rampa
Picardy third
VIVI turnaround
VIIV7 cadence
References
1. Don Michael Randel (1999). The Harvard
Concise Dictionary of Music and Musicians, p.
105-106. ISBN 0-674-00084-6.
2. Benward & Saker (2003). Music: In Theory
and Practice, Vol. I, p. 359. 7th ed. ISBN
978-0-07-294262-0.
3. Benward & Saker (2003). p. 91.
4. Judd, Cristle Collins (1998). "Introduction:
Analyzing Early Music", Tonal Structures of
Early Music,. (ed. Judd). New York: Garland
Publishing. ISBN 0-8153-2388-3.
5. White, John D. (1976). The Analysis of Music,
p.34. ISBN 0-13-033233-X.
6. Thomas Benjamin, Johann Sebastian Bach
(2003). The Craft of Tonal Counterpoint, p.284.
ISBN 0-415-94391-4.
7. Caplin, William E. (2000). Classical Form: A
Theory of Formal Functions for the
Instrumental Music of Haydn, Mozart, and
Beethoven, p.51. ISBN 0-19-514399-X.
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