Cadence: Difference between revisions

In [[Classical music|Western]] [[musical theory]], a '''cadence''' (Latin ''{{ety|la|cadentia'', "|a falling"}}) is the end of a phrase in which the [[melody]] or [[harmony]] creates a sense of full or partial [[resolution (music)|resolution]], especially in music of the 16th century onwards.<ref name="Randel">[[Don Michael Randel]] (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. {{ISBN|0-674-00084-6}}.</ref> A harmonic cadence is a [[chord progression|progression]] of two or more [[chord (music)|chord]]s that [[conclusion (music)|concludes]] a [[phrase (music)|phrase]], [[section (music)|section]], or [[composition (music)|piece]] of [[music]].{{sfn|Benward|Saker|2003|p=359}} A rhythmic cadence is a characteristic [[rhythm]]ic pattern that indicates the end of a phrase.<ref name="B&S 91">{{harvnb|Benward|Saker|2003|p=91}}</ref> A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or [[melodic]] 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.

| cadenza d'inganno

| V → VIvi (dominant to submediant)

</score>|width=300|caption=The final two chords represent a perfect authentic cadence; from [[Beethoven]]'s [[Piano Sonata No. 8 (Beethoven)|Piano Sonata No. 8]], mvmt. III, mm. 16–17.<ref>{{cite book|last=White|first=John D.|year=1976|title=The Analysis of Music|page=34|publisher=Prentice-Hall |isbn=0-13-033233-X}}.</ref>}}An authentic cadence is a cadence from the [[Dominant (music)|dominant]] chord (V) to the [[root (chord)|root chord]] (I). ADuring the dominant chord, a [[seventh (interval)|seventh]] above the rootdominant may be added to create a [[dominant seventh chord]] (V⁷), and; the dominant chord may also be preceded by a [[Cadential six-four|cadential {{music|64 chord}} 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."<ref name="Randel" /> Authentic cadences are generally classified as either ''perfect'' or ''imperfect''. The phrase ''perfect cadence'' is sometimes used as a synonym for ''authentic cadence'' but can also have a more precise meaning depending on the chord [[voicing (music)|voicing]].

An evaded cadence moves from a dominant seventh [[third inversion]] chord (V{{su|b=2|p=4}}) to a [[first inversion]] tonic chord (I{{su|p=6}}).<ref>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)"</ref> 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 V{{su|b=2|p=4}} right before resolution, thereby "evading" the cadenceroot-position I chord that would usually follow a root-position V. (See also [[#Inverted cadence|inverted cadence]] below.)

<!--[[Half cadence]], [[Half-cadence]] and [[semicadence]] redirect directly here-->A half cadence (also called an ''imperfect cadence'' or ''semicadence'') 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.<ref name="Jonas">[[Oswald Jonas|Jonas, 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}}.</ref><!--citation refers to semicadence-->

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 the [[Phrygian 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).<ref>Finn Egeland Hansen (2006). ''Layers of Musical Meaning'', p. 208. {{ISBN|87-635-0424-3}}.</ref> A characteristic gesture in [[Baroque music]], the Phrygian cadence often concluded a slow movement immediately followed by a faster one.<ref>[[Don Michael Randel|Randel, Don Michael]] (2003). ''The Harvard Dictionary of Music'', p. 130. {{ISBN|0-674-01163-5}}.</ref> With the addition of motion in the upper part down to the sixth degree before rising to the tonic, it becomes the [[Landini cadence]].<ref name="Randel" />

"AAlso cadenceknown isas calledan 'interrupted', 'deceptive' or 'false' wherecadence, the penultimate,deceptive dominant chordcadence is nota followedcadence byfrom theV expectedto tonic,any butchord byother anotherthan the tonic one(I), oftenusually the submediant (VI)."{{sfn|Latham|2002|p=193}} This is the most important [[irregular resolution]],<ref name="Foote">[[Arthur Foote|Foote, Arthur]] (2007). ''Modern Harmony in its Theory and Practice'', p. 93. {{ISBN|1-4067-3814-X}}.</ref> most commonly V⁷–vi (or V⁷–{{music|b}}VI) in major or V⁷–VI in minor.<ref name="Foote" /><ref>Owen, Harold (2000). ''Music Theory Resource Book'', p. 132. {{ISBN|0-19-511539-2}}.</ref> This is considered a weak cadence because of the "hanging" (suspended) feeling it invokes.

* A metrically accented cadence occurshas onits final note in a metrically strong position, typically the [[Beat (music)#Downbeat and upbeat|downbeat]] of a [[bar (music)|measure]].

* A metrically unaccented cadence occurshas its final note in a metrically weak position, for instance, after a long [[appoggiatura]].

TheThis example belowfrom a well-known 16th-century lamentation shows a cadence featuringthat appears to imply the use of an [[Upper leading tone|upper leading-tone]] from, a well-known 16th-century lamentation, the debate over which was documented in Rome c.&nbsp;1540.<ref>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}}.</ref> The final three written notes in the upper voice are printed B–C–D, in which case athe customary [[trill (music)|trill]] on Cthe producessecond to last note should be played using D and C. However, convention implied that the written C should be played as a C{{music|sharp}} in this context, and a [[cadential trill]] of a [[whole tone]] on the second to last note produceswould then require a D{{music|sharp}}/E{{music|flat}}, the upper leading-tone of D{{music|natural}}. Presumably, the debate was over whether to use CD{{music|sharp}}–D–C{{music|sharp}} or CD–C{{music|sharp}}–D for the trill.

=== PauseRest ===

A [[rest (music)|pauserest]] in one voice may also be used as a weak interior cadence.<ref name="B&S 14" /> The example below, Lassus's ''Qui vult venire post me'', mm. 3–5, shows a pauserest in the third measure.

In [[counterpoint]], an evaded cadence is one where one of the voices in a [[suspension (music)|suspension]] does not resolve as expected, and the voices together resolvedresolve to a consonance other than an octave or unison<ref>Schubert, Peter (1999). ''Modal Counterpoint, Renaissance Style'', p. 132. {{ISBN|0-19-510912-0}}.</ref> (a perfect fifth, a sixth, or a third).

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’s [[Piano Sonata No. 30 (Beethoven)|Piano Sonata No. 30]], Op. 109, bars 97–112, "a striking passage that used to pre-occupy [music] theorists".<ref>[[Charles Rosen|Rosen, Charles]]. (2002, p. 232) ''Beethoven's Piano Sonatas: a Short Companion''. Yale University Press.</ref> 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&nbsp;... the recapitulation bursts on us in the tonic E minor, the B minor dominants left unresolved."<ref>[[Wilfrid Mellers|Mellers, W.]] (1983, p. 210), ''Beethoven and the Voice of God''. London, Faber.</ref>

RhythmicCadences cadencesoften {{what?|date=Novemberinclude 2022}}often(and featuremay be emphasized or signalled by) a change in the prevailing rhythmic pattern; in such cases the final note longer thanof the prevailingcadence usually takes more time (a longer note valuesvalue, or followed by a rest, or both), and thiswithin oftena followspiece 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 repeatedhas been called a "rhythmic cadence"; rhythmic cadences continue to function without harmony or melody, for example at the endends of thephrases phrasein music for drums. Some styles of music rely on frequent regular rhythmic cadences as a unifying feature of that style.<ref name="B&S 91"/> 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) of [[Johann Sebastian Bach|J.S. Bach]]'s [[Brandenburg Concertos#No. 3 in G major, BWV 1048|''Brandenburg Concerto'' No. 3]] in G major, BMV 1048, mvmt. I, mm. 1–2:

* {{cite book|last1=Benward|first1=Bruce|last2=Saker|first2=Marilyn|year=2003|title=Music in Theory and Practice|volume=I|publisher=McGraw-Hill |edition=7th|isbn=978-0-07-294262-0}}