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. 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.

| 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). During the dominant chord, a [[seventh (interval)|seventh]] above the dominant may be added to create a [[dominant seventh chord]] (V⁷); 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 root-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.

* {{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}}