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Cadence (music) Perfect authentic cadence (V–I with roots in the bass parts and tonic in the highest voice of the final chord): ii–V–I progression in C major, four-part harmony (Benward & Saker 2003, p.90.). In Western musical theory, a cadence (Latin cadentia, "a falling") is, "a melodic or harmonic configuration that creates a sense ofresolution [finality or pause]." A harmonic cadence is aprogression of (at least) two chords that concludes a phrase, section, or piece of music A rhythmic cadence is a characteristic rhythmicpattern that indicates the end of a phrase. Cadences give phrases a distinctive ending that can, for example, indicate whether the piece is to continue or has concluded. An analogy may be made with linguistic punctuation. Weaker cadences act as "commas" that indicate a pause or momentary rest, while a stronger cadence acts as a "period" that signals the end of the phrase or sentence. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. While cadences are usually classified by specific chord or melodicprogressions, 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. Cadences are strong indicators of the tonic or central pitch of a passage or piece.[1] Edward Lowinsky proposed that the cadence was the "cradle of tonality." Classification of cadences in common practice tonality with examples PAC (V–I progression in C ) IAC (V–I progression in C ) Evaded cadence (V–V42–I6 progression in C ) In music of the common practice period, cadences are divided into four types according to their harmonic progression: authentic, plagal, half, and deceptive. Typically, phrases end on authentic or half cadences, and the terms plagal anddeceptive 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 Authentic (also closed, standard or perfect) cadence: V to I (or V–I). A seventh above the root is often added to create V7. The 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."[1] 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: Beethoven – Piano Sonata, Op. 13 perfect authentic cadence. Perfect authentic cadence: The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments. "This strong cadence achieves complete harmonic and melodic closure." Imperfect authentic cadence (IAC), best divided into three separate categories: 1. Root position IAC: similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord). 2. Inverted IAC: similar to a PAC, but one or both chords is inverted. 3. Leading tone IAC: the V chord is replaced with the viio/subV chord (but the cadence still ends on I). Evaded cadence: V4 2 to I6 . Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V4 2 right before resolution, thereby "evading" the cadence. Half cadence Half cadence (I–V progression in C major ) Phrygian half cadence (i–v6–iv6–V progression in c minor ) Phrygian cadence (voice-leading) on E) Lydian cadence (voice-leading) on E) Burgundian cadence on G) Phrygian cadence in Bach's Schau Lieber Gott Chorale.) Half cadence ("'Imperfect Cadence'" or semicadence): any cadence ending on V, whether preceded by 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. Phrygian half-cadence: a half cadence from iv6 to V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone heard in the ii–I of the ancient (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 by a faster one. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence. Lydian cadence: The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by 1/2 step – in other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale degree 4+ (augmented 4th).[citation needed] The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale degree P1) up by whole-tone → fifth (scale degree 2M), and the root (scale degree P4) up by whole-step → octave (scale degree P1/P8); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale degree 6M) down by whole-tone → bass (the root of the chord/scale degree P5), fifth (scale degree 1+) up by half-step → fifth (scale degree 2M), and the root (scale degree 4+) up by half-step → octave (scale degree P1/P8). Burgundian cadences: Became popular in Burgundian music. Note the parallel fourths between the upper voices. Plagal cadence Plagal cadence (IV-I progression in C ) Plagal cadence: IV to I, 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: "An examination of the classical repertory reveals that such a cadence rarely exists. [...] Inasmuch as the progression IV-I cannot confirm a tonality (it lacks any leading-tone resolution), it cannot articulate formal closure [...]. Rather, this progression is normally part of a tonic prolongation serving a variety of formal functions – not, however a cadential one. Most examples of plagal cadences given in textbooks actually represent a postcadential codetta function: that is, the IV-I progression follows an authentic cadence but does not itself create genuine cadential closure."[ It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V-I-V" rather than I-IV-I. The term "minor plagal cadence" is used to refer to the iv-I progression. Sometimes a combination of major and minor plagal cadence is used (IV-iv-I); for a progression with similar sonorities, seebackdoor progression. Interrupted (deceptive) cadence Deceptive cadence (V-vi progression in C ). Deceptive cadence in Mozart'sSonata in C Major, K. 330, second movement.) Interrupted cadence: V to vi. The most important irregular resolution most commonly V7- vi (or V7-bVI) in major or V7-VI in minor. This is considered a weak cadence because of the "hanging" (suspended) feel it invokes. One of the most famous examples is in the coda of the Passacaglia and Fugue in C minor, BWV 582 by Johann Sebastian Bach: Bach repeats a chord sequence ending with V over and over, leading the listener to expect resolution to I—only to be thrown off completely with a fermata on a striking, D-flat major chord in first inversion (♭II–the Neapolitan chord). After a pregnant pause, the "real" ending commences. At the beginning of the final movement of Gustav Mahler's 9th Symphony, the listener hears a string of many deceptive cadences progressing from V to IV6. Inverted cadence An inverted cadence (also called a medial cadence) inverts the last chord. It may be restricted only to the perfect and imperfect cadence, or only to the perfect cadence, or it apply to cadences of all types. To distinguish them from this form, the other, more common forms of cadences listed above are known as "radical cadences." Upper leading-tone cadence Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540 For example, in the image (right), the final three written notes in the upper voice are B–C–D, in which case a trill on C produces D. However, convention implied a C♯, and a cadential trill of a whole tone on the second to last note produces D♯/E♭, the upper leading-tone of D♮. Presumably the debate was over whether to use C♯-D♯ or C♯-D for the trill. Rhythmic classifications Cadences can also be classified by their rhythmic position. A "metrically accented cadence" occurs on a strong position, typically the downbeat of a measure. A "metrically unaccented cadence" occurs in a metrically weak position, for instance, after a long appoggiatura. Metrically accented cadences are considered stronger and are generally of greater structural significance.
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