What is the fundamental definition of a cadence in Western musical theory?

In Western musical theory, a cadence is defined as the conclusion of a musical phrase where the melody or harmony creates a sense of full or partial resolution. This sense of closure is a key characteristic, particularly in music from the 16th century onwards. It essentially marks the end of a musical thought or section.

What is the etymological origin of the word 'cadence'?

The word 'cadence' originates from the Latin word 'cadentia,' which translates to 'a falling.' This etymology reflects the sense of descent or conclusion often associated with the resolution of a musical phrase.

Besides harmonic progressions, what other element can contribute to a cadence?

In addition to harmonic progressions, a cadence can also be indicated by a characteristic rhythmic pattern, referred to as a rhythmic cadence. This pattern helps to signal the end of a musical phrase, independent of the harmony or melody.

How are cadences classified in terms of the finality they convey?

Cadences are classified as either 'weak' or 'strong' based on the impression of finality they create. A strong cadence provides a definitive sense of conclusion, while a weak cadence suggests continuation.

What is the significance of cadences in establishing the tonal center of a piece?

Cadences serve as strong indicators of the tonic, or central pitch, of a musical passage or entire work. Musicologist Edward Lowinsky even proposed that the cadence was the 'cradle of tonality,' highlighting its foundational role in establishing key centers.

What are the four primary classifications of cadences based on harmonic progression?

The four main types of cadences, classified by their harmonic progression, are authentic (which includes perfect and imperfect), half, plagal, and deceptive cadences. These classifications help describe how chords move to create a sense of closure or expectation.

What defines an authentic cadence in musical terms?

An authentic cadence is characterized by a progression from the dominant chord (V) to the tonic chord (I). This movement is considered fundamental to establishing the key and providing a strong sense of resolution.

What is the specific characteristic of a perfect authentic cadence (PAC)?

A perfect authentic cadence (PAC) occurs when both the dominant and tonic chords are in root position, meaning their roots are in the bass. Additionally, the tonic note must be in the highest voice of the final chord, creating the strongest sense of harmonic and melodic closure.

How does an imperfect authentic cadence (IAC) differ from a perfect authentic cadence?

An imperfect authentic cadence (IAC) still progresses from the dominant to the tonic, but it lacks the strict requirements of a PAC. This can mean that one or both chords are inverted (not in root position), or that the highest voice of the final chord is not the tonic, resulting in a less definitive sense of closure.

What is an 'evaded cadence' and how is it achieved?

An evaded cadence is a subtype of the imperfect authentic cadence where the expected resolution to a root-position tonic chord is avoided. This is typically achieved by moving from a dominant seventh chord in third inversion (V4/2) to a first inversion tonic chord (I6), forcing the cadence to resolve to a less stable position.

What is a half cadence, and what are its common synonyms?

A half cadence, also known as an imperfect cadence or semicadence, is any cadence that ends on the dominant chord (V). It creates a feeling of suspension or incompleteness, often leading the listener to expect continuation.

What is a Phrygian half cadence and what is its historical context?

A Phrygian half cadence is a specific type of half cadence found in minor keys, characterized by the progression iv6 to V. It is named after the Phrygian mode due to the semitonal motion in the bass (from the sixth to the fifth scale degree), and it was a common feature in Baroque music, often used to transition between sections.

How does a Lydian cadence differ from a Phrygian half cadence?

A Lydian cadence is similar to a Phrygian half cadence in that it involves a iv6 to V progression in a minor key. The key difference is that in a Lydian cadence, the iv6 chord is raised by a half step, meaning it is built on the raised fourth scale degree, whereas the Phrygian half cadence uses the natural fourth scale degree.

What characterizes Burgundian cadences?

Burgundian cadences became popular in Burgundian music and are noted for their use of parallel fourths between the upper voices. These cadences were a distinctive feature of the musical style in that region during a specific period.

What is a plagal half cadence, and where might it be found?

A plagal half cadence is a relatively rare progression involving a I to IV chord movement. It functions as a weak cadence, often concluding an antecedent phrase, and can be heard in pieces like 'Auld Lang Syne' and notably in a section of Brahms' Clarinet Trio, Op. 114.

What is a plagal cadence, and why is it sometimes called the 'Amen cadence'?

A plagal cadence is a progression from the subdominant chord (IV) to the tonic chord (I). It is often referred to as the 'Amen cadence' because it was frequently used to set the word 'Amen' at the end of hymns, providing a gentle and conclusive sound.

What is the 'Amen cadence'?

The 'Amen cadence' is another name for the plagal cadence, which is a chord progression from the subdominant (IV) to the tonic (I). This nickname arises from its common use in hymns to set the final word 'Amen'.

What is a minor plagal cadence?

A minor plagal cadence, also known as a perfect plagal cadence, utilizes the minor subdominant chord (minor iv) instead of the major subdominant (IV) when progressing to the tonic (I). This variation offers a strong resolution to the tonic, similar in effect to a perfect cadence.

What is a Moravian cadence, and in whose works might it be found?

A Moravian cadence is a type of plagal cadence where the outer notes of the first chord move inwards by a tone to the second chord (IVadd6 → I6). This cadence can be found in the works of composers like Leoš Janáček and Bohuslav Martinů, with an early suggestion appearing in Dvořák's 'New World' Symphony.

What defines a deceptive cadence, and what is its typical resolution?

A deceptive cadence, also known as an interrupted or false cadence, occurs when the dominant chord (V) is followed by a chord other than the tonic (I), most commonly the submediant chord (VI). This progression creates a sense of surprise or suspension, as the expected resolution is thwarted.

What is the most common progression for a deceptive cadence in major and minor keys?

The most frequent progression for a deceptive cadence is V7 to vi in major keys and V7 to VI in minor keys. This unexpected move away from the tonic creates a 'hanging' or suspended feeling, making it a weak cadence in terms of finality.

What is an inverted cadence, and how does it differ from a radical cadence?

An inverted cadence, also called a medial cadence, is characterized by the inversion of the final chord. In contrast, the more common forms of cadences, such as perfect or imperfect authentic cadences, are referred to as radical cadences when their final chord is in root position.

How were cadences classified rhythmically in the past, and what terms are used now?

Historically, cadences were sometimes described as 'masculine' or 'feminine' based on whether their final note occurred on a metrically strong or weak beat, respectively. However, these gendered terms have largely fallen out of use since the mid-1980s, with modern terminology focusing on 'metrically accented' (strong) or 'metrically unaccented' (weak) cadences.

What is a Picardy third, and when is it typically used?

A Picardy third, or Picardy cadence, is a harmonic device originating in the Renaissance era where a major tonic chord is used at the end of a musical section that is otherwise in a minor key or modal. This creates a bright, conclusive ending, as exemplified in J.S. Bach's 'Jesu, meine Freude'.

What is an upper leading-tone cadence, and what historical debate surrounds it?

An upper leading-tone cadence involves a specific melodic movement where a leading tone is used in the upper voice, creating a debate in 16th-century Rome about its proper execution, particularly concerning the trill on the penultimate note. The debate centered on whether to use a diatonic or chromatic (leading tone) interval for the trill.

How did cadences function in medieval and Renaissance polyphony compared to later periods?

In medieval and Renaissance polyphony, cadences were primarily based on the interaction of dyads (two-note intervals) rather than full chords. The focus was on intervallic relationships and voice leading, such as the 'clausula vera,' where two voices move stepwise to an octave or unison in contrary motion.

What is a 'clausula vera'?

A clausula vera, meaning 'true close,' is a type of cadence found in early polyphony that is defined by intervallic movement rather than harmonic progression. It involves two voices moving stepwise in contrary motion to resolve to an octave or unison.

What is the significance of the half step in early cadences, according to Carl Dahlhaus?

According to Carl Dahlhaus, the half step was considered a problematic interval in the 13th century, lacking a clear tendency for resolution. Musicians often avoided it in cadences until the 13th century, when cadences began to commonly feature one voice moving by half step and another by whole step in contrary motion.

What is a Corelli cadence, and what characteristic clash does it involve?

The Corelli cadence, named after the composer Arcangelo Corelli, is characterized by a clash between the tonic and leading-tone, or the tonic and supertonic, involving major and/or minor seconds. This creates a distinctive harmonic tension, often associated with violin music of the Corelli school.

What is an English cadence, and what makes it sound archaic?

An English cadence is a contrapuntal cadence featuring a 'blue seventh' against the dominant chord, creating a dissonant augmented octave through false relation. This device, popular among English composers in the 16th and 17th centuries, is described as sounding archaic or old-fashioned.

What defines a Landini cadence, and who is it named after?

A Landini cadence, also known as a 'Landini sixth' or 'under-third cadence,' was frequently used in the 14th and early 15th centuries, notably by composer Francesco Landini. It features an escape tone in the upper voice that briefly narrows the interval to a perfect fifth before resolving to an octave.

How are authentic and half cadences typically used in paired phrases during the common practice period?

In the common practice period, phrases are often paired, with the first phrase typically ending in a half (imperfect) cadence, creating expectation, and the second phrase concluding with a more definitive authentic cadence, providing resolution. This structure is evident in works by composers like Mozart and Beethoven.

What is the function of a 'turnaround' in jazz music?

In jazz, a 'turnaround' is a type of cadence that serves to return the music to an existing part of the song form, such as repeating a section. It creates a cyclical movement, facilitating the repetition of musical ideas within a song's structure.

What are 'half-step cadences' in jazz, and how do they create momentum?

Half-step cadences in jazz, such as those using ascending or descending diminished seventh chords, are common devices that create momentum between chords separated by a major second. They often involve secondary diminished seventh chords, contributing to the characteristic harmonic language of jazz.

What is meant by a 'rhythmic cadence' in music?

A rhythmic cadence refers to the use of a distinctive rhythmic pattern to signal the end of a musical phrase. This pattern often involves longer note values or rests and can provide a sense of closure even in music without harmony or melody, as seen in pieces for percussion or in specific stylistic conventions.

What is the 'clausula vera' in the context of medieval and Renaissance polyphony?

The 'clausula vera' was a type of cadence used in early polyphony, focusing on the intervallic relationship between two voices rather than chords. It typically involved two voices moving stepwise in contrary motion to resolve to an octave or unison, creating a sense of finality.

What is the 'Amen cadence' and why is it named so?

The 'Amen cadence' is another name for the plagal cadence (IV-I progression). It earned this name because it was frequently used in hymns to set the word 'Amen,' providing a gentle and conclusive ending.

How does a deceptive cadence differ from an authentic cadence?

An authentic cadence resolves from the dominant (V) to the tonic (I), providing a strong sense of closure. A deceptive cadence, conversely, moves from the dominant (V) to a chord other than the tonic, typically the submediant (VI), creating an unexpected turn and a weaker sense of finality.

What is the role of the dominant seventh chord (V7) in cadences?

The dominant seventh chord (V7) is frequently used in authentic and deceptive cadences. Its inherent tension, particularly the tritone interval within the chord, creates a strong pull towards resolution, either to the tonic (in authentic cadences) or to another chord (in deceptive cadences).

What is the typical harmonic progression of a plagal cadence?

A plagal cadence is defined by the harmonic progression from the subdominant chord (IV) to the tonic chord (I). This movement is often described as gentle and conclusive, commonly associated with hymns.

What is the primary function of a cadence in musical structure?

The primary function of a cadence is to provide a sense of closure or resolution at the end of a musical phrase, section, or entire piece. Cadences help to delineate musical structure and establish the tonal center.

Can a cadence occur without a harmonic progression?

Yes, a cadence can also be identified through a rhythmic pattern that signals the end of a phrase, known as a rhythmic cadence. This is particularly relevant in music that may lack traditional harmony or melody, such as percussion ensembles.

What is the relationship between a cadence and the tonic pitch?

Cadences are crucial in establishing and reinforcing the tonic pitch of a musical composition. By resolving to the tonic chord, cadences confirm the key center and provide a sense of arrival.

What does the term 'cadentia' mean in Latin?

The Latin term 'cadentia,' from which 'cadence' is derived, means 'a falling.' This relates to the sense of conclusion or descent often experienced at the end of a musical phrase.

What is the significance of the 'clausula vera' in early music?

The 'clausula vera' was a fundamental cadence type in medieval and Renaissance polyphony, characterized by two voices moving stepwise in contrary motion to resolve to an octave or unison. It represented a primary means of achieving closure before the widespread use of chords.

How did the perception of the half step influence early cadences?

According to musicologist Carl Dahlhaus, the half step was initially perceived as a problematic interval in the 13th century, lacking a clear sense of resolution. This led musicians to avoid it in cadences until later periods when its role in creating tension and resolution became more understood and utilized.

What is a 'deceptive cadence' in the context of jazz?

In jazz, a deceptive cadence can function as a 'turnaround,' a progression that leads back to the beginning of a song section, such as repeating an 'A' section in an AABA form. This cyclical function helps maintain the song's structure and flow.

What is the 'Corelli cadence' known for?

The Corelli cadence is recognized for its characteristic harmonic clash, often involving a major or minor second between the tonic and leading-tone or supertonic. This creates a distinctive tension, particularly noted in the violin music associated with the composer Corelli.

What is the 'English cadence' and what interval is key to its sound?

The English cadence is a contrapuntal cadence featuring a dissonant augmented octave, created by a false relation between the seventh scale degree and the dominant chord. This distinctive interval contributes to its archaic or old-fashioned sound.

What is a 'Landini cadence' and when was it most prevalent?

The Landini cadence, named after composer Francesco Landini, was widely used in the 14th and early 15th centuries. It is characterized by an escape tone in the upper voice that momentarily narrows the interval to a perfect fifth before resolving to an octave.

How does Debussy utilize deceptive cadences in 'La fille aux cheveux de lin'?

In Debussy's piano prelude 'La fille aux cheveux de lin,' deceptive cadences are used in a less conventional manner. For instance, one passage features a deceptive cadence that progresses from V to IV, rather than the typical V to VI, creating a unique harmonic effect.

Cadence Wiki: The Cadence Unveiled: Structure, Function, and Evolution in Music

Dive in with Flashcard Learning!

When you are ready...
🎮 Play the Wiki2Web Clarity Challenge Game🎮

Defining the Cadence

Musical Resolution

In Western musical theory, a cadence signifies the conclusion of a musical phrase. It is achieved through specific melodic or harmonic progressions that create a sense of resolution, ranging from complete finality to partial suspension. The term originates from the Latin word cadentia, meaning "a falling," reflecting its role in bringing a musical idea to a close.

Harmonic and Rhythmic Aspects

Harmonically, a cadence is a sequence of two or more chords that concludes a musical passage. Rhythmically, it can be marked by a distinctive pattern that signals the end of a phrase. The perception of a cadence as "strong" or "weak" depends on the degree of finality it imparts, often influenced by harmonic rhythm and the placement of the final chord.

Indicators of Tonality

Cadences are crucial indicators of a piece's tonic or central pitch. Musicologists like Edward Lowinsky have posited that cadences were fundamental in the development of tonality, serving as the "cradle" for establishing key centers and providing structural coherence throughout a composition.

Global Terminology

Diverse Nomenclature

The terminology for cadences varies across different musical traditions and languages. While "authentic cadence" is common in American usage, "perfect cadence" is often used in British contexts. Other terms like "semicadence" (Spanish), "cadenza sospesa" (Italian), "demi-cadence" (French), and "Halbschluss" (German) describe similar concepts, often relating to half cadences. The table below illustrates these variations and typical harmonic sequences.

US Usage	British Usage	Spanish Usage	Italian Usage	French Usage	German Usage	Typical Harmonic Sequence
Authentic Cadence	Perfect Cadence	Cadencia auténtica	Cadenza perfetta	Cadence parfaite	Ganzschluss	V → I (Dominant to Tonic)
Half Cadence	Imperfect Cadence	Semicadencia	Cadenza sospesa	Demi-cadence	Halbschluss	I, II, IV or VI → V (Tonic, Supertonic, Subdominant, or Submediant to Dominant)
Plagal Cadence	Plagal Cadence	Cadencia plagal	Cadenza plagale	Cadence plagale	Plagale Kadenz	IV → I (Subdominant to Tonic)
Deceptive Cadence	Interrupted Cadence	Cadencia rota	Cadenza d'inganno	Cadence rompue	Trugschluss	V → vi (Dominant to Submediant)

Core Classifications

Authentic Cadence

This cadence progresses from the dominant chord (V) to the tonic chord (I). It is considered the most direct means of establishing a pitch as the tonic and is often crucial for structural closure. It can be further classified as perfect (both chords in root position, tonic in the highest voice) or imperfect (lacking one or both of these conditions).

Beethoven's Piano Sonata No. 8: Perfect Authentic Cadence

Imperfect Authentic Cadence (Root Position)

Half Cadence

A half cadence concludes on the dominant chord (V), creating a sense of incompleteness or suspension that invites continuation. It can be preceded by various chords (II, ii, vi, IV, etc.) and is considered a weak cadence. Notable types include the Phrygian half cadence (iv⁶–V in minor) and the Lydian cadence.

J.S. Bach's Chorale: Phrygian Half Cadence

Standard Half Cadence

Plagal Cadence

Characterized by the progression from the subdominant chord (IV) to the tonic (I), the plagal cadence is often referred to as the "Amen cadence" due to its frequent use in hymns. While generally considered weaker than authentic cadences, it provides a distinct sense of resolution.

Standard Plagal Cadence

Minor Plagal Cadence

Deceptive Cadence

Also known as an interrupted or false cadence, this occurs when the expected tonic chord following the dominant (V) is replaced by another chord, most commonly the submediant (VI). This creates a sense of surprise or suspension, often used to extend a musical phrase or create harmonic interest.

Mozart's Piano Sonata No. 10: Deceptive Cadence

V-VI Deceptive Cadence

Medieval & Renaissance Roots

Early Forms

In medieval and Renaissance polyphony, cadences were primarily dyadic (based on intervals) rather than chordal. Guido of Arezzo's concept of the occursus described the meeting of two voices in unison. The clausula vera, a key early cadence, involves two voices moving stepwise in contrary motion to an octave or unison.

Lassus's "Beatus homo": Clausula Vera

Palestrina's "Magnificat Secundi Toni": Clausula Vera

Landini & Burgundian Cadences

The 14th and 15th centuries saw the rise of specific cadential forms. The Landini cadence, named after Francesco Landini, features an escape tone in the upper voice, creating a brief narrowing to a perfect fifth before resolving to an octave. Burgundian cadences, popular in the Burgundian School, are characterized by parallel fourths between upper voices.

Landini Cadence

Burgundian Cadence

Common Practice Period

Phrase Structure

In the common practice period (roughly Baroque to Romantic eras), cadences are fundamental to phrase structure. A typical pattern involves a pair of phrases: the first ending with a half cadence (imperfect), and the second concluding with an authentic cadence (perfect), providing a sense of question and answer.

Mozart: Piano Concerto No. 20, Romanze

Dramatic Cadences

Composers often employed cadences for dramatic effect. Deceptive cadences, in particular, were used to subvert expectations, creating surprise or tension. Examples include Beethoven's startling shift from B minor to E minor in his Piano Sonata Op. 109, or Bach's famous deceptive cadence in the Toccata and Fugue in F major, BWV 540.

J.S. Bach: Toccata and Fugue in F Major, BWV 540

Cadences in Context

The placement and type of cadence significantly shape a piece's narrative. For instance, a deceptive cadence might delay resolution, as seen in Bach's Prelude in F minor, BWV 881, or Mozart's Fantasia in D minor, K. 397, where the expected resolution is artfully postponed, adding depth and complexity.

Mozart: Fantasia in D minor, K. 397

Cadences in Jazz

Turnarounds and Momentum

In jazz, cadences are often referred to as "turnarounds" when they facilitate a return to an earlier section of a song form, such as the A section in AABA. These progressions are vital for maintaining musical momentum and creating cyclical structures within improvisational frameworks.

Diminished Seventh Cadences

Jazz frequently employs half-step cadences, particularly those involving diminished seventh chords. The ascending diminished seventh chord cadence, often utilizing a secondary diminished seventh chord, creates strong forward motion between chords separated by a major second. Conversely, the descending diminished seventh chord cadence leverages common tones for a smoother transition.

Ascending Diminished Seventh Cadence

Descending Diminished Seventh Cadence

The Rhythmic Cadence

Rhythmic Signatures

Beyond harmonic function, cadences can be strongly indicated by rhythmic patterns. A "rhythmic cadence" involves a distinct rhythmic gesture that signals the end of a phrase. This can be achieved through longer note values, rests, or characteristic rhythmic figures that provide closure, even in the absence of harmonic resolution.

J.S. Bach: Brandenburg Concerto No. 3, 1st Movement

Teacher's Corner

Edit and Print this course in the Wiki2Web Teacher Studio

Edit and Print Materials from this study in the wiki2web studio

Click here to open the "Cadence" Wiki2Web Studio curriculum kit

Use the free Wiki2web Studio to generate printable flashcards, worksheets, exams, and export your materials as a web page or an interactive game.

True or False?

Test Your Knowledge!

Gamer's Corner

Are you ready for the Wiki2Web Clarity Challenge?

Learn about cadence while playing the wiki2web Clarity Challenge game.

Unlock the mystery image and prove your knowledge by earning trophies. This simple game is addictively fun and is a great way to learn!

Play now

Explore More Topics

Discover other topics to study!

magyarization

crimea in the soviet union

infrastructure investment and jobs act

social alternative

metacomet

ranavalona i

early scandinavian dublin

lymphopoiesis

barclays bank enfield

alms

References

Apel, Willi (1970). Harvard Dictionary of Music. cited in McClary 2002, p. 9.

Rosen, Charles. (2002, p. 232) Beethoven's Piano Sonatas: a Short Companion. Yale University Press.

Mellers, W. (1983, p. 210), Beethoven and the Voice of God. London, Faber.

Taruskin, R. (2005, p. 213), The Oxford History of Western Music, vol. 2, "Music of the Seventeenth and Eighteenth Centuries". Oxford University Press.

A full list of references for this article are available at the Cadence Wikipedia page

Feedback & Support

To report an issue with this page, or to find out ways to support the mission, please click here.

Academic Disclaimer

Important Considerations

This content has been meticulously crafted by an AI, drawing upon established musicological texts and historical analyses. It is intended for advanced academic and educational purposes, providing a comprehensive overview of musical cadences.

This is not a substitute for professional musical or academic consultation. While every effort has been made to ensure accuracy and depth, users should always cross-reference information with primary sources and consult with qualified music theorists or historians for specific research or performance needs. The information provided reflects current understanding but is not exhaustive.

The creators of this platform are not liable for any interpretations, applications, or omissions related to the information presented herein.

The Cadence Unveiled

💡 Dive in with Flashcard Learning! 💡

Defining the Cadence 🎵

🎶 Musical Resolution

⚖️ Harmonic and Rhythmic Aspects

📍 Indicators of Tonality

Global Terminology 🌍

🗣️ Diverse Nomenclature

Core Classifications 🗂️

➡️ Authentic Cadence

❓ Half Cadence

🙏 Plagal Cadence

💔 Deceptive Cadence

Medieval & Renaissance Roots 📜

🏛️ Early Forms

💡 Landini & Burgundian Cadences

Common Practice Period 🎻

🔄 Phrase Structure

💥 Dramatic Cadences

🎶 Cadences in Context

Cadences in Jazz 🎷

🔄 Turnarounds and Momentum

🎶 Diminished Seventh Cadences

The Rhythmic Cadence 🥁

⏳ Rhythmic Signatures

Teacher's Corner 🧑‍🏫

Edit and Print this course in the Wiki2Web Teacher Studio

True or False? 🤔

❓ Test Your Knowledge! ❓

Gamer's Corner 🎮

Are you ready for the Wiki2Web Clarity Challenge?

Explore More Topics

📜 Discover other topics to study!

References

📜 References

Feedback & Support 👍

To report an issue with this page, or to find out ways to support the mission, please click here.

Academic Disclaimer ⚠️

📜 Important Considerations

Dive in with Flashcard Learning!

Defining the Cadence

Musical Resolution

Harmonic and Rhythmic Aspects

Indicators of Tonality

Global Terminology

Diverse Nomenclature

Core Classifications

Authentic Cadence

Half Cadence

Plagal Cadence

Deceptive Cadence

Medieval & Renaissance Roots

Early Forms

Landini & Burgundian Cadences

Common Practice Period

Phrase Structure

Dramatic Cadences

Cadences in Context

Cadences in Jazz

Turnarounds and Momentum

Diminished Seventh Cadences

The Rhythmic Cadence

Rhythmic Signatures

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Academic Disclaimer

Important Considerations