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Cadence

From Wikipedia, the free encyclopedia
End of a musical phrase with resolution
For other uses, seeCadence (disambiguation).
The final two chords present an authentic (or perfect) cadence withroots in the bass lines and thetonic note in the highest voice of the final chord): the three chords are aii–V–I progression in C major, in four-partharmony[1]

InWesternmusical theory, acadence (from Latin cadentia 'a falling') is the end of aphrase in which themelody orharmony creates a sense of full or partialresolution, especially in music of the 16th century onwards.[2] A harmonic cadence is aprogression of two or morechords thatconcludes a phrase,section, orpiece ofmusic.[3] A rhythmic cadence is a characteristicrhythmic pattern that indicates the end of a phrase.[4] A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives.

While cadences are usually classified by specific chord ormelodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase.Harmonic rhythm plays an important part in determining where a cadence occurs. The word "cadence" sometimes slightly shifts its meaning depending on the context; for example, it can be used to refer to the last few notes of a particular phrase, or to just the final chord of that phrase, or to types of chord progressions that are suitable for phrase endings in general.

Cadences are strong indicators of thetonic or central pitch of a passage or piece.[2] ThemusicologistEdward Lowinsky proposed that the cadence was the "cradle oftonality".[5]

Nomenclature across the world

[edit]
Terms used for cadences[6]
US usageBritish usageSpanish usageItalian usageFrench usageGerman usageTypical harmonic sequence
authentic cadenceperfect cadencecadencia auténticacadenza perfettacadence parfaiteGanzschlussV → I (dominant totonic)
half cadenceimperfect cadencesemicadenciacadenza sospesademi-cadenceHalbschlussI, II, IV or VI → V (tonic,supertonic,subdominant orsubmediant to dominant)
plagal cadenceplagal cadencecadencia plagalcadenza plagalecadence plagaleplagale KadenzIV → I (subdominant to tonic)
deceptive cadenceinterrupted cadencecadencia rotacadenza d'ingannocadence rompueTrugschlussV → vi (dominant to submediant)

Common classifications

[edit]

Cadences are divided into four main types, according to their harmonic progression:authentic (typicallyperfect authentic orimperfect authentic),half,plagal, anddeceptive. Typically, phrases end on authentic or half cadences, and the termsplagal anddeceptive refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using theRoman numeral system of namingchords.

Authentic cadence

[edit]
The final two chords represent a perfect authentic cadence; fromBeethoven'sPiano Sonata No. 8, mvmt. III, mm. 16–17.[7]

An authentic cadence is a cadence from thedominant chord (V) to theroot chord (I). During the dominant chord, aseventh above the dominant may be added to create adominant seventh chord (V7); the dominant chord may also be preceded by acadential6
4
chord
.The Harvard Concise Dictionary of Music and Musicians says, "This cadence is a microcosm of the tonal system, and is the most direct means of establishing a pitch as tonic. It is virtually obligatory as the final structural cadence of a tonal work."[2] Authentic cadences are generally classified as eitherperfect orimperfect. The phraseperfect cadence is sometimes used as a synonym forauthentic cadence but can also have a more precise meaning depending on the chordvoicing.

Perfect authentic cadence

[edit]

In a perfect authentic cadence (PAC), the chords are inroot position – that is, theroots of both chords are in the bass – and thetonic is in the highest voice of the final chord. This is generally considered the strongest type of cadence and often found at structurally defining moments.[8] Music theoristWilliam Caplin writes that the perfect authentic cadence "achieves complete harmonic and melodic closure."[9]


   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             b1 c
             }
         \new Voice \relative c'' {
             \stemDown
              g1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             d1 e
             }
         \new Voice \relative c' {
             \stemDown
             g1 c, \bar "||"
             }
         >>
    >>

Imperfect authentic cadence

[edit]

There are three types of imperfect authentic cadences (IAC):[10]

  • Root position IAC (shown below): Similar to a perfect authentic cadence, but the highest voice is not the tonic.

   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             d1 e
             }
         \new Voice \relative c'' {
             \stemDown
              g1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             b1 c
             }
         \new Voice \relative c' {
             \stemDown
             g1 c, \bar "||"
             }
         >>
    >>
  • Inverted IAC: Similar to a perfect authentic cadence, but one or both chords areinverted.
  • Leading-tone IAC: The penultimate (V) chord is replaced with a chord based on the leading-tone (viio chord).
Evaded cadence
[edit]

An evaded cadence (a subtype of the inverted IAC) moves from a dominant sevenththird inversion chord (V4
2
) to afirst inversion tonic chord (I6
).[11] Because the seventh of the dominant chord must fall stepwise to the third of the tonic chord, it forces the cadence to resolve to the less stable first inversion chord. To achieve this, a root position V usually changes to a V4
2
right before resolution, thereby "evading" the root-position I chord that would usually follow a root-position V. (See alsoinverted cadence below.)


   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             b1 c1
             }
         \new Voice \relative c'' {
             \stemDown
              g1 g1
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             d1 c1
             }
         \new Voice \relative c' {
             \stemDown
             g2 f e1 \bar "||"
             }
         >>
    >>

Half cadence

[edit]

A half cadence (also called animperfect cadence orsemicadence) is any cadence ending on V, whether preceded by II (V of V), ii, vi, IV, or I—or any other chord. Because it sounds incomplete or suspended, the half cadence is considered a weak cadence that calls for continuation.[12]


   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             c1 b
             }
         \new Voice \relative c'' {
             \stemDown
              g1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             e1 d
             }
         \new Voice \relative c {
             \stemDown
             c1 g' \bar "||"
             }
         >>
    >>

Several types of half cadences are described below.

Phrygian half cadence

[edit]
The last two chords represent a Phrygian half cadence in Bach's four-partchorale,Schau, lieber Gott, wie meine Feind[13]

A Phrygian half cadence is a half cadence iv6–V in minor, so named because the semitonal motion in the bass (sixth degree to fifth degree) resembles the half-step heard in the ii–I of the 15th-century cadence in thePhrygian mode. Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (v–iv6–V).[14] A characteristic gesture inBaroque music, the Phrygian cadence often concluded a slow movement immediately followed ("attacca") by a faster one.[15]


   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef treble \key c \minor \time 4/4
             f1 g
             }
         \new Voice \relative c' {
             \stemDown
              c1 d
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \minor \time 4/4
             c1 b
             }
         \new Voice \relative c' {
             \stemDown
             aes1 g \bar "||"
             }
         >>
    >>

Lydian cadence

[edit]

ALydian cadence is similar to the Phrygian half cadence, involving iv6–V in the minor. The difference is that in the Lydian cadence, the whole iv6 is raised by ahalf step. In other words, the Phrygian half cadence begins with the first chord built onscale degreescale degree 4, while the Lydian half cadence is built on the scale degreescale degree 4.[citation needed]


   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef treble \key c \minor \time 4/4
             fis1 g
             }
         \new Voice \relative c' {
             \stemDown
              cis1 d
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \minor \time 4/4
             cis1 b
             }
         \new Voice \relative c' {
             \stemDown
             a1 g \bar "||"
             }
         >>
    >>

Burgundian cadences

[edit]

Burgundian cadences became popular inBurgundian music. Note theparallelfourths between the upper voices.[16]



   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef treble \key c \major \time 4/4
             fis1 g
             }
         \new Voice \relative c' {
             \stemDown
              c1 d
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \clef bass \key c \major \time 4/4
             a1 g
             }
         >>
    >>

Plagal half cadence

[edit]

The rare plagal half cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half cadence involves an ascending fourth (or, byinversion, a descending fifth).[17] The plagal half cadence is a weak cadence, ordinarily at the ending of anantecedent phrase, after which aconsequent phrase commences. One example of this use is in "Auld Lang Syne". But in one very unusual occurrence – the end of theexposition of the first movement ofBrahms'Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.[18]

Plagal cadence

[edit]

A plagal cadence is a cadence from IV to I. It is also known as theAmen cadence because of its frequent setting to the text "Amen" inhymns.


   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             c1 c
             }
         \new Voice \relative c'' {
             \stemDown
              a1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             c1 e
             }
         \new Voice \relative c {
             \stemDown
             f1 c' \bar "||"
             }
         >>
    >>

William Caplin disputes the existence of plagal cadences in music of the classical era although they begin to appear in the nineteenth century:

An examination of the classical repertory reveals that such a cadence rarely exists. ... Inasmuch as the progression IV–I cannot confirm a tonality (it lacks any leading-tone resolution), it cannot articulate 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 IV–I progression follows an authentic cadence but does not itself create genuine cadential closure.[19]

The plagal cadence may be interpreted as I–V if the IV-I cadence is perceived as amodulation in which the IV chord becomes the I chord of the new tonic key and the I chord of the previous key is now a dominant chord in the modulated key.[12] (Cf.§Half cadence above andSecondary dominant.)

Minor plagal cadence

[edit]

A minor plagal cadence, also known as a perfect plagal cadence, uses the minor iv instead of a major IV. With a very similar voice leading to a perfect cadence, the minor plagal cadence is a strong resolution to the tonic.


   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             c1 c
             }
         \new Voice \relative c'' {
             \stemDown
              aes1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             c1 e
             }
         \new Voice \relative c {
             \stemDown
             f1 c' \bar "||"
             }
         >>
    >>

Moravian cadence

[edit]

The Moravian cadence, which can be found in the works ofLeoš Janáček andBohuslav Martinů amongst others, is a form of plagal cadence in which the outer notes of the first chord each move inwards by a tone to the second. (IVadd6 → I6).[20] An early suggestion of the Moravian cadence in classical music occurs inAntonín Dvořák’sNew World Symphony.[21]

Deceptive cadence

[edit]
A deceptive cadence in the second movement ofMozart'sPiano Sonata No. 10[12]

Also known as an interrupted or false cadence, the deceptive cadence is a cadence from V to any chord other than the tonic (I), usually the submediant (VI).[22] This is the most importantirregular resolution,[23] most commonly V7–vi (or V7VI) in major or V7–VI in minor.[23][24] This is considered a weak cadence because of the "hanging" (suspended) feeling it invokes.


   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             b1 c
             }
         \new Voice \relative c'' {
             \stemDown
              g1 e
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             d1 c
             }
         \new Voice \relative c' {
             \stemDown
             g1 a \bar "||"
             }
         >>
    >>

At the beginning of the final movement ofGustav Mahler's9th Symphony, the listener hears a string of many deceptive cadences progressing from V to IV6.[citation needed]

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 ofBrahms'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 is—as one would expect—to F major, the tonic key of the whole Symphony.[citation needed]

The interrupted cadence is also frequently used in popular music. For example, thePink Floyd song "Bring the Boys Back Home" ends with such a cadence (at approximately 0:45–50).[citation needed]

Other classifications

[edit]

Inverted cadence

[edit]

An inverted cadence (also called amedial 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.[25] To distinguish them from this form, the other, more common forms of cadences listed above are known asradical cadences.[26]

Rhythmic classifications

[edit]

Cadences can also be classified by their rhythmic position:

  • A metrically accented cadence has its final note in a metrically strong position, typically thedownbeat of ameasure.
  • A metrically unaccented cadence has its final note in a metrically weak position, for instance, after a longappoggiatura.

Metrically accented cadences are considered stronger and are generally of greater structural significance. In the past, the termsmasculine andfeminine were sometimes used to describe rhythmically "strong" or "weak" cadences, but these terms have not been generally used since at least the mid-1980s.[27][28]Susan McClary has written extensively on the gendered terminology of music and music theory in her bookFeminine Endings.[29]

The example below shows a metrically unaccented cadence (IV–V–I). The final chord is postponed to fall on a weak beat.[30]


   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             c2 b^~ b4 c2.
             }
         \new Voice \relative c' {
             \stemDown
              f2 d_~ d4 e2.
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             a2 g^~ g4 g2.
             }
         \new Voice \relative c, {
             \stemDown
             f2 g_~ g4 c2. \bar "||"
             }
         >>
    >>

Picardy third

[edit]

APicardy third (or 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. The example below shows a picardy third in the final chord, fromJ.S. Bach'sJesu, meine Freude (Jesus, My Joy), mm. 12–13.[31]


   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key e \minor \time 4/4
             \partial2 b4 b a g fis2 e1
             }
         \new Voice \relative c' {
             \stemDown
              \partial2 e4 e8 dis e fis g e e4 dis b1
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key e \minor \time 4/4
             \partial2 g8 a b4 c b cis b8 a! gis1
             }
         \new Voice \relative c {
             \stemDown
             \partial2 e8 fis g e c d e c ais4 b e,1
             }
         >>
    >>

Upper leading-tone cadence

[edit]

Problems playing these files? Seemedia help.

This example from a well-known 16th-century lamentation shows a cadence that appears to imply the use of anupper leading-tone, a debate over which was documented in Rome c. 1540.[32] The final three written notes in the upper voice are printed B–C–D, in which case the customarytrill on the second to last note should be played using D and C. However, convention implied that the written C should be played as a C in this context, and acadential trill of awhole tone on the second to last note would then require a D/E, the upper leading-tone of D. Presumably, the debate was over whether to use D–C or D–C for the trill.


    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 2/2
            \relative c' {
                \clef treble \time 2/2
                e2 f2~ f4 e d2~ d4 \once \set suggestAccidentals = ##t cis8 b \once \set suggestAccidentals = ##t cis!2 d1\fermata
                }
            >>
        \new Staff <<
            \clef treble \time 2/2
            \new Voice \relative c' {
                r2 a f g a1 a1\fermata
                }
            >>
        \new Staff <<
            \clef bass \time 2/2
            \new Voice \relative c' {
                a1 d, e d\fermata
                }
            >>
        \new Staff <<
            \clef bass \time 2/2
            \new Voice \relative c {
                a1 bes a d\fermata \bar "|."
                }
            >>
    >>
>> }

In medieval and Renaissance polyphony

[edit]

Medieval andRenaissance cadences are based upondyads rather than chords. The first theoretical mention of cadences comes fromGuido of Arezzo's description of theoccursus in hisMicrologus, where he uses the term to mean where the two lines of a two-partpolyphonic phrase end in aunison.

Clausula vera

[edit]
A clausula vera cadence fromLassus'sBeatus homo, mm. 34–35.[33]

A clausula or clausula vera ("true close") is a dyadic or intervallic, rather than chordal orharmonic, cadence. In a clausula vera, two voices approach anoctave orunison throughstepwise motion[33] incontrary motion.


    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 4/4
            \relative c'' {
                \clef treble \time 4/4
                b1 c
                }
            >>
        \new Staff <<
            \clef treble \time 4/4
            \new Voice \relative c' {
                d1 c \bar "||"
                }
            >>
    >>
>> }
A three-voice clausula vera fromPalestrina'sMagnificat Secundi Toni: Deposuit potentes, mm. 27–28.[33]

In three voices, the third voice often adds a falling fifth creating a cadence similar to the authentic cadence in tonal music.[33]


    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 4/4
            \relative c'' {
                \clef treble \time 4/4
                b1 c
                }
            >>
        \new Staff <<
            \clef treble \time 4/4
            \relative c' {
                d1 c
                }
            >>
        \new Staff <<
            \clef bass \time 4/4
            \relative c' {
                g1 c, \bar "||"
                }
            >>
    >>
>> }

According toCarl Dahlhaus, "as late as the 13th century thehalf step was experienced as a problematic interval not easily understood, as the remainder between theperfect fourth and theditone:[34]

43(98)2=256243{\displaystyle {\frac {\frac {4}{3}}{\left({\frac {9}{8}}\right)^{2}}}={\frac {256}{243}}}

In a melodic half step, listeners of the time perceived no tendency of the lower tone toward the upper, or the upper toward the lower. The second tone was not the 'goal' of the first. Instead, musicians avoided the half step in clausulas because, to their ears, it lacked clarity as an interval. Beginning in the 13th century, cadences begin to require motion in one voice by half step and the other awhole step in contrary motion.

Plagal cadence

[edit]

A plagal cadence was found occasionally as an interior cadence, with the lower voice in two-part writing moving up a perfect fifth or down a perfect fourth.[35]


    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 4/4
            \relative c'' {
                \clef treble \time 4/4
                e1 d
                }
            >>
        \new Staff <<
            \clef treble \time 4/4
            \new Voice \relative c' {
                c1 g' \bar "||"
                }
            >>
    >>
>> }

Rest

[edit]

Arest in one voice may also be used as a weak interior cadence.[35] The example below, Lassus'sQui vult venire post me, mm. 3–5, shows a rest in the third measure.


    { << \new StaffGroup <<
        \new Staff <<
            \set Score.tempoHideNote = ##t \tempo 2 = 66
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/2
            \relative c' {
                \clef "treble_8" \time 4/2 \key g \dorian
                r2 g a1 bes c bes r2 c
                }
            \addlyrics { ve -- ni -- re post me, ve -- }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef bass \time 4/2 \key g \dorian
            \new Voice \relative c {
                e1 f g f r2 g a1
                }
            \addlyrics { ni -- re post me, ve -- ni -- }
            >>
    >>
>> }

Evaded cadence

[edit]

Incounterpoint, an evaded cadence is one where one of the voices in asuspension does not resolve as expected, and the voices together resolve to a consonance other than an octave or unison[36] (a perfect fifth, a sixth, or a third).

Corelli cadence

[edit]

TheCorelli cadence, or Corelli clash, named for its association with theviolin music of theCorelli school, is a cadence characterized by amajor and/orminor second clash between thetonic and theleading-tone or the tonic andsupertonic. An example is shown below.[37]


   \new PianoStaff <<
      \new Staff <<
         \set Score.tempoHideNote = ##t \tempo 4 = 72
         \set Staff.midiInstrument = #"voice oohs"
         \new Voice \relative c'' {
             \stemUp \clef treble \key a \minor \time 3/4
             c4 b4. a8 a2.
             }
         \new Voice \relative c'' {
             \stemDown
              a4 a4. gis8 a2.
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
            \set Staff.midiInstrument = #"voice oohs"
             \clef bass \key a \minor \time 3/4
             c8 d e4 e, a2.
             }
         >>
    >>

English cadence

[edit]

Another "clash cadence", theEnglish cadence, is acontrapuntal pattern particular to the authentic or perfect cadence. It features theblue seventh against thedominant chord,[38] which in thekey of C would beB and G–B–D. Popular with English composers of theHigh Renaissance andRestoration periods in the 16th and 17th centuries, the English cadence is described as sounding archaic[39] or old-fashioned.[40] It was first given its name in the 20th century.

The hallmark of this device is thedissonantaugmented octave (compoundaugmented unison) produced by afalse relation between the split seventhscale degree, as shown below in an excerpt fromO sacrum convivium byThomas Tallis. Thecourtesy accidental on the tenor's G is editorial.


    { 
#(set-global-staff-size 18)
      \override Score.SpacingSpanner.strict-note-spacing = ##t
  \set Score.proportionalNotationDuration = #(ly:make-moment 1/16)
    << \new StaffGroup <<
        \new Staff <<
            \set Score.tempoHideNote = ##t \tempo 4 = 72
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/4
            \relative c' {
                \clef treble \time 4/4
                f8 e a2 \once \override NoteHead.color = #red gis4 a1
                }
            \addlyrics { (su) -- _ _ mi -- tur, }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/4
            \new Voice \relative c' {
                d4. c8 b4 b a1
                }
            \addlyrics { su -- _ _ mi -- tur, }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/4
            \new Voice \relative c' {
                f4 f e4. d8 cis2. e4
                }
            \addlyrics { Chri -- stus su -- mi -- tur, re- }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef "treble_8" \time 4/4
            \new Voice \relative c' {
                a4 f \once \override NoteHead.color = #red g?4. f8 e1
                }
            \addlyrics { su -- _ _ mi -- tur, }
            >>
        \new Staff <<
            \clef bass \time 4/4
            \new Voice \relative c {
                d4 d e e a,1
                }
            \addlyrics { Chri -- stus su -- mi -- tur, }
            >>
    >>
>> }

Landini cadence

[edit]

ALandini cadence (also known as aLandini sixth,Landini sixth cadence, orunder-third cadence[41]) is a cadence that was used extensively in the 14th and early 15th century. It is named afterFrancesco Landini, a composer who used them profusely. Similar to a clausula vera, it includes anescape tone in the upper voice, which briefly narrows the interval to aperfect fifth before the octave.


    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 4/4
            \relative c'' {
                \clef treble \time 4/4
                b2 a c1
                }
            >>
        \new Staff <<
            \clef treble \time 4/4
            \new Voice \relative c' {
                d1 c \bar "||"
                }
            >>
    >>
>> }

Common practice period

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The classical and romantic periods of musical history provide many examples of the way the different cadences are used in context.

Authentic cadences and half cadences

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Mozart’s Romanze from hisPiano Concerto No. 20 follows a familiar pattern of a pair of phrases, one ending with a half (imperfect) cadence and the other with an authentic cadence:

Mozart Romanze from Piano Concerto 20
Mozart Romanze from Piano Concerto 20

Thepresto movement fromBeethoven’sString Quartet Op 130 follows the same pattern, but in a minor key:

Beethoven Presto from Quartet Op. 130
Beethoven Presto from Quartet Op. 130

Plagal cadences

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The Hallelujah Chorus fromHandel’sMessiah culminates powerfully with an iterated plagal cadence:

Handel, Messiah, Hallelujah Chorus closing bars
Handel, Messiah, Hallelujah Chorus closing bars

Debussy’sprelude ‘La Fille aux Cheveux de Lin’ contains a plagal cadence in its 2nd and 3rd bars :

Debussy la Fille aux cheveux de lin, bars 1-4
Debussy La Fille aux Cheveux de Lin, bars 1-4

One of the most famous endings in all music is found in the concluding bars ofWagner’s operaTristan und Isolde, where thedissonant chord in the opening phrase of the opera is finally resolved "three enormous acts and five hours later"[42] in the form of a minor plagal cadence:

Wagner, Tristan, Liebestod closing bars
Wagner, Tristan, Liebestod closing bars

Deceptive cadences

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InBach's harmonization of thechoraleWachet auf’, a phrase ending in a deceptive cadence repeats with the cadence changed to an authentic one:

From Bach chorale, Wachet auf
From Bach chorale, Wachet auf

The exposition of the first movement of Beethoven’sPiano Sonata No. 21 (The Waldstein Sonata), Op. 53 features a minor key passage where an authentic (perfect) cadence precedes a deceptive (interrupted) one:

Beethoven Piano Sonata 21, 1st movement, bars 78-84
Beethoven Piano Sonata 21, 1st movement, bars 78–84

Dvořák’sSlavonic Dance, Op. 72, No. 2 features deceptive (interrupted), half (imperfect) and authentic (perfect) cadences within its first sixteen bars:

Dvořák Slavonic Dance Op 72, No. 2
Dvořák Slavonic Dance Op 72, No. 2

Debussy's Prelude “La fille aux cheveux de lin” (see also above) concludes with a passage featuring a deceptive (interrupted) cadence that progresses, not from V–VI, but from V–IV:

Debussy, La Fille aux cheveux de lin, bars 26–29
Debussy, La Fille aux cheveux de lin, bars 26–29

Some varieties of deceptive cadence that go beyond the usual V–VI pattern lead to some startling effects. For example, a particularly dramatic and abrupt deceptive cadence occurs in the second Presto movement of Beethoven’sPiano Sonata No. 30, Op. 109, bars 97–112, "a striking passage that used to pre-occupy theorists".[43] The music at this point is in B minor, and carries the expectation is that the chord of F sharp (Chord V) will be followed by the tonic chord of B. However, "Dynamics become softer and softer; dominant and tonic chords of B minor appear isolated on the first beat of a bar, separated by silences: until in sudden fortissimo ... the recapitulation bursts on us in the tonic E minor, the B minor dominants left unresolved."[44]

Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112

An equally startling example occurs in J.S. Bach'sToccata and Fugue in F major, BWV 540:

Bach Toccata in F, BWV 540 bars 197–207
Bach Toccata in F, BWV 540 bars 197–207

According toRichard Taruskin, in this Toccata, "the already much-delayed resolution is thwarted (m204) by what was the most spectacular 'deceptive cadence' anyone had composed as of the second decade of the eighteenth century ... producing an especially pungent effect."[45]Hermann Keller describes the effect of this cadence as follows: "the splendour of the end with the famousthird inversion of the seventh chord, who would not be enthralled by that?"[46]

Chopin'sFantaisie, Op. 49, composed over a century later in 1841, features a similar harmonic jolt:

Chopin Fantaisie in F minor, Op. 49
Chopin Fantaisie in F minor, Op. 49

A deceptive cadence is a useful means for extending a musical narrative. In the closing passage of Bach’sPrelude in F minor from Book II of theWell-Tempered Clavier, the opening theme returns and seems headed towards a possible final resolution on an authentic (perfect) cadence. What the listener may expect is:

Bach, Prelude in F minor, bars 57–60 with expected conclusion
Bach, Prelude in F minor, bars 57–60 with expected conclusion

Instead, at bar 60, Bach inserts a deceptive cadence (V–VI in F minor), leading to a lengthy digression of some dozen bars before reaching resolution on the final (V–I) cadence.

Bach, Prelude in F minor bars 57–70
Bach, Prelude in F minor bars 57–70

A similar passage occurs at the conclusion ofMozart'sFantasia in D minor, K397:

Mozart Fantasia on D minor K397 closing bars
Mozart Fantasia on D minor K397 closing bars

Jazz

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Cadences injazz are usually simply called cadences, as in common practice harmony. However, a certain category of cadence is referred to as aturnaround (originally called a "turnback" which is more accurate); this is when a cadence functions as a return to an already existing part of a song form such as AABA. In an AABA form, there are two turnbacks: at the end of the first A (A1) in order to repeat it (A2), and at the end of the B section in order to play the A a third time (A3). (The transition from the second A to the B is not a turnback, because the B section is being heard for the first time.)

Half-step cadences are common in jazz if not cliché.[clarification needed][47] For example, the ascending diminished seventh chord half-step cadence, which—using asecondary diminished seventh chord—creates momentum between two chords a major second apart (with the diminished seventh in between).[48]

 {
    \relative c' {
        \time 4/4
        <b d f aes>1 <c es g bes> \bar "||"
    }
}

The descending diminished seventh chord half-step cadence is assisted by twocommon tones.[48]

 {
    \relative c' {
        \time 4/4
        <des e g bes>1 <c es g bes> \bar "||"
    }
}

Rhythmic cadence

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Cadences often include (and may be emphasized or signalled by) a change in the prevailing rhythmic pattern; in such cases the final note of the cadence usually takes more time (a longer note value, or followed by a rest, or both), and within a piece of music the cadences may also share a rhythmic pattern that is characteristic of the cadences in that piece. This method of ending a phrase with some distinctive rhythmic pattern has been called a "rhythmic cadence"; rhythmic cadences continue to function without harmony or melody, for example at the ends of phrases in music for drums. Some styles of music rely on frequent regular rhythmic cadences as a unifying feature of that style.[4] The example below shows a characteristic rhythmic cadence (i.e. many of the cadences in this piece share this rhythmic pattern) at the end of the first phrase (in particular the last two notes and the following rest, contrasted with the regular pattern set up by all the notes before them) ofJ.S. Bach'sBrandenburg Concerto No. 3 in G major, BMV 1048, mvmt. I, mm. 1–2:


\relative c'' {

   \set Staff.midiInstrument = #"violin"
   \clef treble
   \time 2/2
   \key g \major
   \set Score.tempoHideNote = ##t \tempo 4 = 96

   \partial8 g16 fis 16
   g8[ d16 c] d8[ g16 fis] g8[ b,16 a] b8[ g'16 fis]
   g8[ g,16 a] b8[ cis] d4 r
}

See also

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References

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  1. ^Benward & Saker 2003, p. 90.
  2. ^abcDon Michael Randel (1999).The Harvard Concise Dictionary of Music and Musicians, pp. 105-106.ISBN 0-674-00084-6.
  3. ^Benward & Saker 2003, p. 359.
  4. ^abBenward & Saker 2003, p. 91
  5. ^Judd, Christle Collins (1998). "Introduction: Analyzing Early Music". In Judd, Christle Collins (ed.).Tonal Structures in Early Music. Routledge. p. 6.ISBN 0-8153-3638-1.
  6. ^Rockstro, William S. (2001)."Cadence".Grove Music Online. Oxford University Press.doi:10.1093/gmo/9781561592630.article.04523. Retrieved20 November 2022.
  7. ^White, John D. (1976).The Analysis of Music. Prentice-Hall. p. 34.ISBN 0-13-033233-X..
  8. ^Thomas Benjamin, Johann Sebastian Bach (2003).The Craft of Tonal Counterpoint, p. 284.ISBN 0-415-94391-4.
  9. ^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.
  10. ^Kostka, Stefan; Payne, Dorothy (2004).Tonal Harmony (5th ed.). Boston: McGraw-Hill. pp. 148–149.ISBN 0072852607.OCLC 51613969.
  11. ^Darcy and Hepokoski (2006).Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata, p..ISBN 0-19-514640-9. "the unexpected motion of a cadential dominant chord to a I6 (instead of the typically cadential I)"
  12. ^abcJonas, Oswald (1982).Introduction to the Theory of Heinrich Schenker (1934:Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p. 24. Trans. John Rothgeb.ISBN 0-582-28227-6.
  13. ^White 1976, p. 38.
  14. ^Finn Egeland Hansen (2006).Layers of Musical Meaning, p. 208.ISBN 87-635-0424-3.
  15. ^Randel, Don Michael (2003).The Harvard Dictionary of Music, p. 130.ISBN 0-674-01163-5.
  16. ^White 1976, pp. 129–130.
  17. ^Harrison, Daniel (1994).Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents. University of Chicago Press. p. 29.ISBN 0226318087.
  18. ^Notley, Margaret (2005). "Plagal Harmony as Other: Asymmetrical Dualism and Instrumental Music by Brahms".The Journal of Musicology.22 (1):114–130.doi:10.1525/jm.2005.22.1.90.
  19. ^Caplin, William E. (1998).Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven.Oxford University Press. pp. 43–45.ISBN 0-19-510480-3.
  20. ^Crane-Waleczek (2011), p. 18
  21. ^Zouhar, Vit (2013)."Bohuslav Martinů's Notes on Janáček's Introduction to the Moravian Folksongs Newly Collected (Národní Písně Moravské V Nově Nasbírané)"(PDF).Musicologia Brunensia.48 (2):191–199.doi:10.5817/MB2013-2-13. Retrieved20 November 2022.
  22. ^Latham 2002, p. 193.
  23. ^abFoote, Arthur (2007).Modern Harmony in its Theory and Practice, p. 93.ISBN 1-4067-3814-X.
  24. ^Owen, Harold (2000).Music Theory Resource Book, p. 132.ISBN 0-19-511539-2.
  25. ^Kennedy, Michael, ed. (2004).The Concise Oxford Dictionary of Music, p. 116.ISBN 0-19-860884-5.
  26. ^"Medial cadence [inverted cadence]".Grove Music Online. Oxford Music Online.doi:10.1093/gmo/9781561592630.article.18241
  27. ^Piston, Walter; DeVoto, Mark (1987).Harmony (5th ed.). New York: W. W. Norton. p. 181.ISBN 0- 393-95480-3.The definitions just given are offered in this book instead ofmasculine cadence andfeminine cadence respectively, terms that are no longer used.
  28. ^Society for Music Theory (1996-06-06)."Guidelines for Nonsexist Language".Western Michigan University. Retrieved2008-07-19.
  29. ^McClary, Susan (2002).Feminism and Music.University of Minnesota Press.ISBN 0-8166-4189-7.
  30. ^Apel, Willi (1970).Harvard Dictionary of Music. cited inMcClary 2002, p. 9.
  31. ^Benward & Saker 2009, p. 74.
  32. ^Berger, Karol (1987).Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino, p. 148. Cambridge and New York: Cambridge University Press.ISBN 0-521-54338-X.
  33. ^abcdBenward & Saker 2009, p. 13
  34. ^Dahlhaus, Carl (1990).Studies in the Origin of Harmonic Tonality. Translated byRobert O. Gjerdingen. Princeton University Press.ISBN 0-691-09135-8.
  35. ^abBenward & Saker 2009, p. 14
  36. ^Schubert, Peter (1999).Modal Counterpoint, Renaissance Style, p. 132.ISBN 0-19-510912-0.
  37. ^Latham 2002, p. 192.
  38. ^van der Merwe, Peter (2005).Roots of the Classical: The Popular Origins of Western Music, p. 492.ISBN 0-19-816647-8.
  39. ^Carver, Anthony (1988).The Development of Sacred Polychoral Music to the Time of Schütz, p. 136.ISBN 0-521-30398-2. If the clash cadence is already "archaic, [and/or] mannered" in the music ofHeinrich Schütz (1585-1672) it must surely be so now.
  40. ^Herissone, Rebecca (2001).Music Theory in Seventeenth-Century England, p. 170.ISBN 0-19-816700-8.
  41. ^van der Merwe, Peter (2005).Roots of the Classical: The Popular Origins of Western Music, p. 501.ISBN 0-19-816647-8.
  42. ^Small, C. (1977, p. 15), Music-Society-Education. London, John Calder.
  43. ^Rosen, Charles. (2002, p. 232)Beethoven's Piano Sonatas: a Short Companion. Yale University Press.
  44. ^Mellers, W. (1983, p. 210),Beethoven and the Voice of God. London, Faber.
  45. ^Taruskin, R. (2005, p. 213),The Oxford History of Western Music, vol. 2, "Music of the Seventeenth and Eighteenth Centuries". Oxford University Press.
  46. ^Hauk, Franz [de] and Iris Winkler (translated by Regina Piskorsch-Feick), 2001, from liner notes p. 4 for recording by Franz Hauk,Johann Sebastian Bach Organ Masterworks, Guild Music GMCD 7217
  47. ^Norman Carey (Spring, 2002). Untitled review: "Harmonic Experience byW. A. Mathieu", p. 125.Music Theory Spectrum, vol. 24, no. 1, pp. 121–134.
  48. ^abRichard Lawn, Jeffrey L. Hellmer (1996).Jazz: Theory and Practice, pp. 97-98.ISBN 978-0-88284-722-1.

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