User:Anti2390/Cadence

This is the beginning of a possible reform to the article "Cadence (music)." Caplin topics: -cadence (43-45) -versus codetta (16, 107, 264n.14, 273n.83) -misconceptions of (42) -and tight-knit/loose continuum (84) -cadence phrase (16, 273n.85) -cadence theme (20, 273n.85) -cadential arrival (43, 101, 123) -cadential closure (51) -lack of (75, 79-81, 237, 239, 249) -cadential function (20, 43, 113, 140) -versus postcadential (16, 265n.42, 273nn.83, 85)- -abandoned cadence (106-7, 157, 183, 191, 223, 265n.39, 284n.25) -deceptive cadence (43, 57, 84, 167, 186, 209, 213, 225) -aesthetic effect (107) -versus evaded cadence (106, 227, 262n.20, 271nn.27,28) -substituting for IAC (271n.25) -evaded cadence (84, 125, 147, 207, 221, 239, 245) -aesthetic effect (107) -seldom used (109, 125)

-cadential progression (new article)

A cadence is a point of harmonic and thematic arrival at the end of a phrase. There is often, but not always, an accompanying sensation of rest and resolution at the cadence. There are many different kinds of cadences, and various melodic, harmonic, and form-functional gestures have been part of cadences over various time periods. In order to create a sense of closure, the rates of surficial and harmonic rhythmic change often increase as a cadence approaches (pg.120).

Perfect and Imperfect Authentic Cadence (PAC/IAC)

There are two principal types of cadences, especially in the Classical Era. They are the Authentic Cadence, and the Half Cadence. Authentic Cadences close with harmonic motion from Dominant to Tonic harmony (V-I), while Half Cadences go only half as far, and stop on a Dominant Harmony (typically V). Authentic Cadences are further classified into Perfect Authentic Cadences (PAC) or Imperfect Authentic Cadences (IAC), based usually on the motion of the outer voices. Some theorists go further, and classify IACs into various categories. A PAC is, however, rarely flexible in its requirement of ^5-^1 motion in the bass voice, and ^7-^1 or ^2-^1 motion in the soprano voice.

IAC paragraph

Contrapuntal and linear paragraph In general theory, an Imperfect Authentic Cadence could also take place with bass motion from ^7-^1 or ^2-^1 (pg.122). However, it would be wise to take caution when labelling these as Authentic Cadences, as they may in fact be a Contrpuntal Cadence (which prolongs Tonic harmony without being a true Authentic Cadence). Common contrapuntal cadences include the motion from V43-I, and vii06-I (or in minor) with the inherently necessary bass motion of ^2-^1. (pg.245) If there is a question as to whether a similar cadence-like motion is an authentic cadence, or simply an inauthentic/contrapuntal cadence, then an analysis of form may help to give an answer. --> "leading tone IAC?" --> other IAC types?

In minor mode, two particular chromatic alterations are common. The first is the inclusion of the leading tone (rather than subtonic), which is done by raising the third of the Dominant chord by one semitone to make it a major triad. This is a necessary chromatic alteration, because with the strong tendency of the leading to to return to the tonic tone, the motion from a minor dominant chord to the tonic chord is unlikely to be construed as a cadence at all. The second common chromatic alteration involves the raising of ^3 by one semitone, so that the tonic chord becomes a major triad. This practice is called a "Picardy Third," and was very popular in the late Renaissance and early Baroque periods (pg.122).

Half Cadences (HC)

Half Cadences are not usually classified by strength, unlike Authentic Cadences. However, the Dominant harmony (a dominant triad) places ^5 in the bass voice, and ^7 or more commonly ^2 in the soprano voice. Although dominant-seventh chords are not considered allowable in Half Cadences in the Classical Era, Romantic composers do use it this way.

Phrygian Half Cadences only occur in the minor mode, and they are identified uniquely from other Half Cadences because of the distinctive semitone between b^6 and ^5 in the bass voice. The harmonies used are biv6-V, usually supporting ^4-^5 in the soprano voice. It should be noted that, while the same progression can take place in the major mode (as IV6-V), it much less common than a Phrygian Half Cadence.(pg.219)

Plagal Cadences and "Plagal Cadences" (non-Cadential Extensions)

True Plagal Cadences must not have been immediately preceded by a strong cadence (usually a PAC). These plagal cadences do happen in Common Practice music. What is usually taught as a "plagal cadence," however, is actually a linear (non-cadential) extension, or a plagal prolongation of tonic. These so-called "plagal cadences" 'are' immediately preceded by a strong cadence, and lack the tonal clarity of that strong cadence. The bass voice moves either an ascending perfect fifth, or a descending perfect fourth (compared to the PAC's descending fifth or ascending fourth). Furthermore, ^1 is common to both I (or i) and IV (or iv), which disallows the strong tendency of the leading tone (present in V) to resolve upwards to ^1.

Alternate Names (Especially Those of the Royal Conservatory of Music in Toronto)

Perfect Authentic Cadences (PAC) are called "Closed, Perfect Cadences" by the Royal Conservatory of Music (RCM). They are sometimes also called a closed cadence, or a standard cadence.

Imperfect Authentic Cadences (IAC) are called "Open, Perfect Cadences" by the RCM.

Half Cadences (HC) are called "Imperfect Cadences" by the RCM, and Phrygian Imperfect Cadences are not in the syllabus (is this true - is it relevant?)

The plagal post cadential extension (see below) is sometimes also called an "Amen Cadence" due to its frequent appearance in hymns (with the word "amen"). These are sometimes also (perhaps incorrectly) called plagal cadences (see above).

Post-Cadential Extension

Yet to be written.

Deceptive Motion

One common use of the submediant triad (vi or bVI) is as a substitute for tonic in a so-called "deceptive cadence" (which is also not a cadence, but rather another prolongation of tonic, like the plagal post-cadential extension). This technique is most effective when the listener expects to hear a PAC, but instead the cadential motion is thwarted and the submediant triad appears. This deceptive motion is not considered a cadence, because upon its arrival, the submediant triad serves as a tonic substitute, and then typically a pre-dominant lead-in, which builds to a true PAC (or more rarely, and IAC). It should be noted that the progression must include vi (or bVI) in root position, lest the motion be heard as V-I with a suspended sixth that should be resolved downward to ^5, completing the tonic harmony. If one sees this situation on analysis, one should consider that the motion may actually be an Authentic Cadence (possibly even Perfect, if the right soprano-voice motion is present). Of course, it may be part of an embedded cadential motion...

Embedded Cadential Motion (ECM)

It is possible to have Authentic Cadence-like motion with hearing it as an AC. A progression such as I-IV6-V65-I-IV-V-I is unlikely to be heard as having two cadences. Factors that lead to this analysis are the use of inversions during the inauthentic part of the progression, voice-leading that may have been used to avoid a PAC-sounding soprano voice, duration of notes, and other things. When such a progression happens, the inauthentic part is called "Embedded Cadential Motion," and is considered to be prolonging Tonic harmony. (pg.244, 245)

The Caesura and Cadences

(pg.250-1)A caesura is a break in the melodic line, and often happens at a cadence to help with the sense of closure. However, a caesura may also happen in the middle of a phrase without a cadence (possibly as part of an ECM), and there need not be a caesura for a cadence to exist.