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The etymological origin of the term 'cadence' traces to the Latin word 'cadentia,' signifying 'a falling.'
Answer: True
The term 'cadence' is derived from the Latin word 'cadentia,' which literally translates to 'a falling,' reflecting the sense of conclusion or descent inherent in musical phrasing.
In Western musical theory, a cadence primarily serves to introduce new melodic material.
Answer: False
Contrary to introducing new material, a cadence fundamentally serves to conclude a musical phrase or section, providing a sense of resolution or expectation, rather than initiating melodic development.
A characteristic rhythmic pattern alone can signify the end of a musical phrase, functioning as a cadence.
Answer: True
While harmonic progressions are common, a distinctive rhythmic pattern, termed a rhythmic cadence, can also signal the conclusion of a musical phrase, independent of harmonic resolution.
Cadences are classified based on the degree of finality they convey, typically categorized as either 'strong' or 'weak.'
Answer: True
The perceived finality of a cadence is a primary basis for its classification, with cadences being described as either strong, providing a definitive sense of closure, or weak, suggesting continuation.
Cadences play a crucial role in establishing the dominant pitch of a musical composition.
Answer: False
Cadences are fundamentally associated with reinforcing the *tonic* pitch, serving as key indicators of the tonal center, rather than the dominant pitch.
The primary function of a cadence is to provide a sense of closure or resolution at the end of a musical phrase or section.
Answer: True
Indeed, the fundamental role of a cadence is to articulate the conclusion of musical segments, offering either a definitive sense of finality or a temporary pause that implies continuation.
What constitutes the fundamental definition of a cadence within the framework of Western musical theory?
Answer: The conclusion of a musical phrase creating a sense of resolution or closure.
The primary definition of a cadence in Western music theory centers on its function as a point of arrival or closure at the end of a musical phrase, section, or composition, providing a sense of resolution or expectation.
The word 'cadence' originates from the Latin word 'cadentia,' which translates to:
Answer: A falling
The etymological root of 'cadence' is the Latin word 'cadentia,' meaning 'a falling,' which aptly describes the sense of descent or conclusion often associated with musical phrasing.
Besides harmonic progressions, what other element can contribute to the definition of a cadence?
Answer: Characteristic rhythmic pattern
A distinctive rhythmic pattern, known as a rhythmic cadence, can independently signal the conclusion of a musical phrase, complementing or even substituting for harmonic resolution.
How are cadences primarily classified based on the impression of finality they create?
Answer: Weak and Strong
The degree of perceived finality is a key classification criterion, categorizing cadences as either 'strong' for definitive closure or 'weak' for a less conclusive effect.
What role do cadences play in establishing the tonal center of a musical passage?
Answer: They serve as strong indicators of the tonic pitch.
Cadences are instrumental in confirming and reinforcing the tonic pitch, thereby solidifying the tonal center of a musical work or passage.
The four principal classifications of cadences, delineated by their harmonic progression, are authentic, half, plagal, and deceptive.
Answer: True
These four types—authentic, half, plagal, and deceptive—represent the primary categories used to analyze and describe cadential harmonic movement in Western music.
An authentic cadence is defined by a progression from the subdominant chord (IV) to the tonic chord (I).
Answer: False
An authentic cadence is characterized by the progression from the dominant chord (V) to the tonic chord (I), which provides a strong sense of resolution. The progression from IV to I defines a plagal cadence.
A half cadence, also known as a semicadence, is characterized by ending on the tonic chord (I).
Answer: False
A half cadence, or semicadence, is defined by its resolution to the dominant chord (V), creating a sense of suspension and expectation rather than finality.
A plagal cadence is commonly referred to as the 'Amen cadence' due to its frequent use in hymns.
Answer: True
The progression from the subdominant (IV) to the tonic (I), known as the plagal cadence, is frequently associated with the word 'Amen' in hymnal settings, hence its common nickname.
A deceptive cadence occurs when the dominant chord (V) is followed by the tonic chord (I), creating an unexpected resolution.
Answer: False
A deceptive cadence is defined by the dominant chord (V) resolving to a chord *other than* the tonic (I), typically the submediant (VI), thus thwarting the expected resolution.
The most common progression for a deceptive cadence in major keys is V7 to VI.
Answer: True
In major keys, the deceptive cadence most frequently involves the dominant seventh chord (V7) progressing to the submediant chord (vi), creating an unexpected harmonic turn.
A minor plagal cadence uses the major subdominant chord (IV) progressing to the tonic (I).
Answer: False
A minor plagal cadence typically involves the minor subdominant chord (iv) progressing to the tonic (i) in a minor key. The progression IV to I in a major key is a standard plagal cadence.
A deceptive cadence, also known as an interrupted cadence, avoids the expected resolution by moving from the dominant chord (V) to the submediant chord (VI).
Answer: True
This description accurately defines a deceptive cadence: the dominant chord (V) is followed by a non-tonic chord, most commonly the submediant (VI), thereby interrupting the expected V-I resolution.
Which of the following is NOT one of the four primary classifications of cadences based on harmonic progression?
Answer: Modal cadence
The four principal harmonic classifications are authentic, half, plagal, and deceptive cadences. 'Modal cadence' is not among these primary categories.
An authentic cadence is fundamentally characterized by which chord progression?
Answer: V to I
The defining progression for an authentic cadence is the movement from the dominant chord (V) to the tonic chord (I), signifying a strong resolution.
What is the defining characteristic of a half cadence?
Answer: It ends on the dominant chord (V).
A half cadence, also known as a semicadence, is characterized by its resolution to the dominant chord (V), creating a sense of suspension and incompleteness.
The harmonic progression IV to I is characteristic of which type of cadence?
Answer: Plagal cadence
The progression from the subdominant chord (IV) to the tonic chord (I) is the defining characteristic of a plagal cadence.
Why is the plagal cadence often referred to as the 'Amen cadence'?
Answer: It was frequently used to set the word 'Amen' at the end of hymns.
The nickname 'Amen cadence' for the plagal cadence (IV-I) arises from its historical prevalence in hymnals, where it was commonly employed to set the final word 'Amen'.
What defines a deceptive cadence?
Answer: A progression where the dominant chord (V) is followed by a chord other than the tonic (I).
A deceptive cadence is characterized by the dominant chord (V) resolving to a chord other than the expected tonic (I), thereby creating an unexpected harmonic turn.
In major keys, what is the most common progression for a deceptive cadence?
Answer: V7 to vi
The most frequent progression for a deceptive cadence in major keys is from the dominant seventh chord (V7) to the submediant chord (vi).
What is the typical harmonic progression of a plagal cadence, often called the 'Amen cadence'?
Answer: IV - I
The plagal cadence, frequently referred to as the 'Amen cadence,' is defined by the harmonic progression from the subdominant chord (IV) to the tonic chord (I).
How does a deceptive cadence differ fundamentally from an authentic cadence?
Answer: A deceptive cadence moves from V to a non-tonic chord (like VI), while an authentic cadence resolves V to I.
The fundamental difference lies in their resolution: an authentic cadence resolves from the dominant (V) to the tonic (I), providing closure, whereas a deceptive cadence moves from V to a non-tonic chord (typically VI), creating an unexpected turn.
A Perfect Authentic Cadence (PAC) requires both the dominant and tonic chords to be in root position, with the tonic note in the highest voice.
Answer: True
The stringent criteria for a Perfect Authentic Cadence (PAC) include the V-I progression, both chords in root position, and the tonic note appearing in the uppermost melodic line of the final chord, creating maximum finality.
An Imperfect Authentic Cadence (IAC) requires the dominant chord to be inverted but the tonic chord must be in root position.
Answer: False
An Imperfect Authentic Cadence (IAC) still involves a V-I progression but lacks the strict requirements of a PAC. This can mean either chord is inverted, or the tonic note is not in the highest voice, resulting in less definitive closure.
The Phrygian half cadence involves a progression from the dominant chord (V) to the subdominant chord (IV) in a major key.
Answer: False
The Phrygian half cadence is specifically found in minor keys and is characterized by the progression iv6 to V, not V to IV in a major key.
An inverted cadence, also known as a medial cadence, is characterized by the final chord being in root position.
Answer: False
An inverted cadence, or medial cadence, is defined by the inversion of its final chord. Cadences with the final chord in root position are typically referred to as radical or fundamental cadences.
What specific conditions must be met for a cadence to be classified as a Perfect Authentic Cadence (PAC)?
Answer: Both chords in root position, tonic note in the highest voice.
A Perfect Authentic Cadence (PAC) requires the V-I progression with both chords in root position and the tonic note in the highest voice, representing the strongest form of harmonic and melodic closure.
How does an Imperfect Authentic Cadence (IAC) differ from a Perfect Authentic Cadence (PAC)?
Answer: An IAC lacks the strict root-position and highest-voice requirements of a PAC.
While both are authentic cadences (V-I), an Imperfect Authentic Cadence (IAC) deviates from the PAC's strict criteria regarding chord inversion or the melodic placement of the tonic note, resulting in less definitive finality.
Which specific type of half cadence is found in minor keys and characterized by the progression iv6 to V?
Answer: Phrygian half cadence
The Phrygian half cadence, common in minor keys, is identified by the specific progression of the first inversion subdominant chord (iv6) to the dominant chord (V).
What is the primary characteristic of an inverted cadence, also called a medial cadence?
Answer: The final chord of the cadence is in inversion.
An inverted cadence, or medial cadence, is distinguished by the inversion of its final chord, differentiating it from radical cadences where the final chord is in root position.
Historically, cadences were sometimes described as 'masculine' or 'feminine' based on the metrical position of the final note.
Answer: True
These gendered terms were historically used to denote whether the final note of a cadence fell on a metrically strong ('masculine') or weak ('feminine') beat, though modern terminology favors 'metrically accented' and 'metrically unaccented'.
In medieval and Renaissance polyphony, cadences were primarily based on the interaction of full chords.
Answer: False
During the medieval and Renaissance periods, cadences were predominantly defined by intervallic relationships and voice leading between dyads, rather than the full harmonic chords characteristic of later periods.
The 'clausula vera' is a type of cadence defined by two voices moving stepwise in contrary motion to resolve to an octave or unison.
Answer: True
The 'clausula vera,' meaning 'true close,' was a foundational cadence in early polyphony, characterized by specific stepwise contrary motion in two voices leading to an octave or unison.
According to Carl Dahlhaus, the half step was considered a straightforward interval with clear resolution tendencies in the 13th century.
Answer: False
Musicologist Carl Dahlhaus posits that in the 13th century, the half step was perceived as a problematic interval lacking clear resolution tendencies, and its integration into cadential practice evolved over time.
In paired phrases during the common practice period, the second phrase typically ends with a half cadence, while the first ends with an authentic cadence.
Answer: False
The typical structure for paired phrases in the common practice period involves the first phrase concluding with a half cadence (creating expectation) and the second phrase resolving with an authentic cadence (providing closure).
In jazz, a 'turnaround' is a type of cadence used to transition to a new, unrelated section of the song.
Answer: False
In jazz, a 'turnaround' typically functions as a cyclical harmonic progression designed to lead back to the beginning of a song section or chorus, facilitating repetition rather than introducing new material.
Half-step cadences in jazz often utilize diminished seventh chords to create momentum between chords.
Answer: True
Diminished seventh chords, particularly through their chromatic voice leading and tendency to resolve by half step, are frequently employed in jazz to generate harmonic momentum and create sophisticated transitions.
Which terms have largely replaced the historical gendered terms 'masculine' and 'feminine' for classifying cadences rhythmically?
Answer: Metrically accented and Metrically unaccented
Modern terminology has largely superseded the historical 'masculine' and 'feminine' classifications with 'metrically accented' and 'metrically unaccented' to describe the rhythmic placement of the cadence's final note.
In medieval and Renaissance polyphony, cadences were primarily defined by:
Answer: The interaction of dyads and intervallic relationships.
Early polyphonic cadences were primarily concerned with intervallic relationships and voice leading between pairs of voices (dyads), rather than the full chordal structures that became prevalent later.
What defines a 'clausula vera' in early polyphony?
Answer: Two voices moving stepwise in contrary motion to an octave or unison.
The 'clausula vera' is a type of cadence in early polyphony characterized by two voices moving stepwise in contrary motion to resolve to an octave or unison.
According to Carl Dahlhaus, how was the half step perceived in the 13th century regarding cadences?
Answer: As a problematic interval lacking clear resolution tendencies.
Carl Dahlhaus noted that in the 13th century, the half step was often viewed as an interval without a strong tendency for resolution, influencing its use in cadential structures of the period.
In the common practice period, how are paired phrases typically structured regarding cadences?
Answer: The first phrase ends with a half cadence, the second with an authentic cadence.
A common structural device in the common practice period involves paired phrases where the antecedent (first) phrase concludes with a half cadence, and the consequent (second) phrase resolves with an authentic cadence.
What is the primary function of a 'turnaround' cadence in jazz music?
Answer: To return the music to an existing part of the song form for repetition.
In jazz, a 'turnaround' is a harmonic progression that facilitates the return to the beginning of a song section or chorus, thereby enabling structural repetition within the piece.
A Picardy third is a harmonic device where a minor tonic chord concludes a piece in a minor key.
Answer: False
A Picardy third, or Picardy cadence, involves the use of a *major* tonic chord to conclude a piece or section in a minor key, creating a brighter, more conclusive ending.
The Corelli cadence is known for its use of parallel fifths between the upper voices.
Answer: False
The Corelli cadence is characterized by a distinctive clash involving seconds (e.g., between tonic and leading-tone or supertonic), not parallel fifths.
An English cadence features a 'blue seventh' against the dominant chord, creating a dissonant augmented octave.
Answer: True
The English cadence is recognized for its contrapuntal nature, specifically the use of a 'blue seventh' which, through false relation, creates a dissonant augmented octave against the dominant harmony.
The Landini cadence, popular in the 14th and 15th centuries, features an escape tone that narrows the interval to a perfect fourth before resolving.
Answer: False
The Landini cadence, prevalent in the 14th and early 15th centuries, is characterized by an upper voice's escape tone that narrows the interval to a *perfect fifth* before resolving to an octave, not a perfect fourth.
The final cadence in Wagner's 'Tristan und Isolde' resolves the opening 'Tristan chord' using a perfect authentic cadence.
Answer: False
The concluding cadence of Wagner's 'Tristan und Isolde,' which resolves the famous 'Tristan chord,' is a minor plagal cadence, not a perfect authentic cadence.
What is a Picardy third, often used at the end of pieces in a minor key?
Answer: A major tonic chord.
A Picardy third refers to the use of a major tonic chord at the conclusion of a piece or section that is otherwise in a minor key, providing a bright, unexpected resolution.
What characteristic harmonic feature is associated with the Corelli cadence?
Answer: A clash involving seconds between tonic/leading-tone or tonic/supertonic.
The Corelli cadence is recognized for its distinctive harmonic tension, often created by a clash involving seconds between the tonic and leading-tone or supertonic.
The distinctive sound of an English cadence, often described as archaic, is created by:
Answer: A 'blue seventh' against the dominant chord, creating an augmented octave.
The English cadence achieves its characteristic archaic sound through the contrapuntal device of a 'blue seventh' against the dominant chord, resulting in a dissonant augmented octave via false relation.
The Landini cadence, prevalent in the 14th and 15th centuries, is notable for:
Answer: An escape tone in the upper voice narrowing the interval to a perfect fifth.
The Landini cadence is distinguished by a specific melodic figure where an escape tone in the upper voice momentarily narrows the interval to a perfect fifth before resolving to an octave.
Which type of cadence concludes Wagner's opera 'Tristan und Isolde', resolving the famous 'Tristan chord'?
Answer: Minor Plagal Cadence
The resolution of the iconic 'Tristan chord' at the conclusion of Wagner's opera 'Tristan und Isolde' is achieved through a minor plagal cadence.