|
In Western musical theory a cadence (Latin cadentia, "a falling") is a particular series of intervals or chords that ends a phrase, section, or piece of music. Cadences give phrases a distinctive ending, that can, for example, indicate to the listener whether the piece is to be continued or concluded. An analogy can be made with punctuation, with some weaker cadences acting as commas, indicating a pause or momentary rest, while a stronger cadence will then act as the period, indicating the end of the phrase or musical sentence. Cadences are called "weak" or "strong" the more or less final the sensation they create. It should be noted that while cadences are usually classified by specific chord or melodic progressions, the use of such a progression 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. Edward Lowinsky considered the cadence the "cradle of tonality." (Judd, 1998)
Classification of cadences in common practice tonality In music of the common practice period, cadences are divided into four types according to their harmonic progression: authentic, plagal, half, and deceptive. Each cadence can be described using the Roman numeral system of naming triads (see chord): Cadences can also be classified by their rhythmic position. A masculine cadence occurs on a strong position, typically the downbeat of a measure. A feminine cadence occurs in a metrically weak position, for instance, after a long appoggiatura (see also feminine ending). Masculine cadences are considered stronger and are generally of greater structural significance. These words are sometimes avoided because of their sexist connotation, but no substitutes have become as common. Cadences in medieval polyphony Medieval cadences are based upon dyads rather than chords. A clausula is a dyadic or intervallic, rather than chordal or harmonic, cadence. It requires at least two voices in contrary motion. According to Carl Dahlhaus (1990), "as late at the 13th century the half step was experienced as a problematic interval not easily understood, as the irrational remainder between the perfect fourth and the ditone (4/3) / (9/8)2 = 256/243 ." In a melodic half step, no "tendency was perceived of the lower tone toward the upper, or of the upper toward the lower. The second tone was not taken to be the 'goal' of the first. Instead, the half step was avoided in clausulas because it lacked clarity as an interval." Beginning in the 13th century cadences begin to require motion in one voice by half step and the other a whole step in contrary motion. Classical cadential trill In the Classical period, composers often drew out the authentic cadences at the ends of sections; the V part of the cadence might take a measure or two. During these two measures, the solo instrument (in a concerto) often played a trill on the supertonic. These were by far most frequent in Mozart's music, and although they were also found in early Romantic music, their use was restricted chiefly to piano concerti (and to a lesser extent, violin concerti) because they were most easily played and most effective on the piano and violin; the cadential trill and resolution would be generally followed by an orchestral coda. Because the music generally became louder and more dramatic in the music leading up to the cadence, they were used for climactic effect, and were often embellished by Romantic composers. Later on in the Romantic era, however, other dramatic virtuosic movements were often used to close sections instead. Source See also | ||||||||
|
| |||||||||
 |
|
| |