Cadence - WikiHQ

In Western musical theory, a cadence () is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. 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.

Cadences are strong indicators of the tonic or central pitch of a passage or piece.

Nomenclature across the world

{| class="wikitable"

|+ Terms used for cadences

! 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

| 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)

Common classifications

Cadences are divided into four main types, according to their harmonic progression: authentic (typically perfect authentic or imperfect authentic), half, plagal, and deceptive. Typically, phrases end on authentic or half cadences, and the terms plagal and deceptive refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the Roman numeral system of naming chords.

===Authentic cadence===

An authentic cadence is a cadence from a dominant-functioning chord (commonly V) to the tonic chord (I). During the dominant chord, a seventh above the dominant may be added to create a dominant seventh chord (V7); other dominant-functioning chords such as a leading tone triad or seventh chord can also take its place. The dominant chord may also be preceded by a cadential 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." Music theorist William Caplin writes that the perfect authentic cadence "achieves complete harmonic and melodic closure."

Imperfect authentic cadence

There are three types of imperfect authentic cadences (IAC):

Root position IAC (shown below): Similar to a perfect authentic cadence, but the highest voice is not the tonic.

Inverted IAC: Similar to a perfect authentic cadence, but one or both chords are inverted.
Leading-tone IAC: The penultimate (V) chord is replaced with a chord based on the leading-tone (viio chord).

Evaded cadence

An evaded cadence (a subtype of the inverted IAC) moves from a dominant seventh third inversion chord (V) to a first inversion tonic chord (I). 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 right before resolution, thereby "evading" the root-position I chord that would usually follow a root-position V. (See also inverted cadence below.)

Half cadence

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.

Several types of half cadences are described below.

Phrygian half cadence

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). A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed ("attacca") by a faster one.

Lydian cadence

A Lydian cadence is similar to the Phrygian half cadence, involving iv6–V in the minor. The difference is that in the Lydian cadence, the whole iv6 is raised by a half step. In other words, the Phrygian half cadence begins with the first chord built on scale degree , while the Lydian half cadence is built on the scale degree .

Burgundian cadences

Burgundian cadences became popular in Burgundian music. Note the parallel fourths between the upper voices.

Plagal half cadence

The rare plagal half cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half cadence involves an ascending fourth (or, by inversion, a descending fifth). The plagal half cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in "Auld Lang Syne". But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.

Plagal cadence

A plagal cadence is a cadence from IV to I. It is also known as the Amen cadence because of its frequent setting to the text "Amen" in hymns.

William Caplin disputes the existence of plagal cadences in music of the classical era although they begin to appear in the nineteenth century:

The plagal cadence may be interpreted as I–V if the IV–I cadence is perceived as a modulation in which the IV chord becomes the I chord of the new tonic key and the I chord of the previous key is now a dominant chord in the modulated key. An early suggestion of the Moravian cadence in classical music occurs in Antonín Dvořák’s New World Symphony.

Deceptive cadence