Editing Cadence (section)

===Plagal cadence===<!--[[Plagal cadence]] redirects directly here.-->

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]].

{{block indent|<score sound="1">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             c1 c
             }
         \new Voice \relative c'' {
             \stemDown
              a1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             c1 e
             }
         \new Voice \relative c {
             \stemDown
             f1 c' \bar "||"
             }
         >>
    >>
</score>}}

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

{{Quote|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.<ref>
{{Cite book
 | last = Caplin
 | first = William E.
 | author-link = William Caplin
 | title = Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven
 | publisher = [[Oxford University Press]]
 | year = 1998
 | pages = 43–45
 | isbn = 0-19-510480-3}}</ref>|sign=|source=}}

The plagal cadence may be interpreted as I–V if the IV-I cadence is perceived as a [[Modulation (music)|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.<ref name="Jonas"/> (Cf. [[Cadence#Half_cadence|§Half cadence]] above and [[Secondary dominant]].)

==== Minor plagal cadence ====
A minor plagal cadence, also known as a perfect plagal cadence, uses the minor iv instead of a major IV. With a very similar voice leading to a perfect cadence, the minor plagal cadence is a strong resolution to the tonic.

{{block indent|<score sound="1">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             c1 c
             }
         \new Voice \relative c'' {
             \stemDown
              aes1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             c1 e
             }
         \new Voice \relative c {
             \stemDown
             f1 c' \bar "||"
             }
         >>
    >>
</score>}}
====Moravian cadence====
The Moravian cadence, which can be found in the works of [[Leoš Janáček]] and [[Bohuslav Martinů]] amongst others, is a form of plagal cadence in which the outer notes of the first chord each  move inwards by a tone to the second.   (IV<sup>add6</sup> → I<sup>6</sup>).<ref>Crane-Waleczek (2011), p. 18 </ref> An early suggestion of the Moravian cadence in classical music occurs in [[Antonín Dvořák]]’s [[Symphony No. 9 (Dvořák)|''New World'' Symphony]].<ref>{{cite journal |last1=Zouhar |first1=Vit |date=2013 |title=Bohuslav Martinů's Notes on Janáček's Introduction to the Moravian Folksongs Newly Collected (Národní Písně Moravské V Nově Nasbírané) |url=https://digilib.phil.muni.cz/_flysystem/fedora/pdf/129661.pdf |journal=Musicologia Brunensia|volume=48 |issue=2 |pages=191–199 |doi= 10.5817/MB2013-2-13|access-date=20 November 2022}}</ref>