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

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-->

"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.