Editing Cadence (section)

== Other classifications ==

===Inverted cadence===
An inverted cadence (also called a ''medial cadence'') [[Inverted chord|inverts]] the last chord. It may be restricted only to the perfect and imperfect cadence, or only to the perfect cadence, or it may apply to cadences of all types.<ref>[[Michael Kennedy (music critic)|Kennedy, Michael]], ed. (2004). ''The Concise Oxford Dictionary of Music'', p. 116. {{ISBN|0-19-860884-5}}.</ref> To distinguish them from this form, the other, more common forms of cadences listed above are known as ''radical cadences''.<ref>"Medial cadence [inverted cadence]". ''[[Grove Music Online]]''. Oxford Music Online. {{doi|10.1093/gmo/9781561592630.article.18241}}</ref>

===Rhythmic classifications===

Cadences can also be classified by their rhythmic position:

* A metrically accented cadence has its final note in a metrically strong position, typically the [[Beat (music)#Downbeat and upbeat|downbeat]] of a [[bar (music)|measure]].
* A metrically unaccented cadence has its final note in a metrically weak position, for instance, after a long [[appoggiatura]].

Metrically accented cadences are considered stronger and are generally of greater structural significance. In the past, the terms ''masculine'' and ''feminine'' were sometimes used to describe rhythmically "strong" or "weak" cadences, but these terms have not been generally used since at least the mid-1980s.<ref>{{cite book |last1=Piston |first1=Walter |last2=DeVoto |first2=Mark |title=Harmony |date=1987 |publisher=W. W. Norton |location=New York |isbn=0- 393-95480-3 |page=181 |edition=5th |quote=The definitions just given are offered in this book instead of ''masculine cadence'' and ''feminine cadence'' respectively, terms that are no longer used.}}</ref><ref>{{Cite web
  | last = Society for Music Theory
  | author-link = Society for Music Theory
  | title = Guidelines for Nonsexist Language
  | publisher = [[Western Michigan University]]
  | date = 1996-06-06
  | url = http://www.wmich.edu/mus-theo/nsl.html
  | access-date = 2008-07-19}}</ref> [[Susan McClary]] has written extensively on the gendered terminology of music and music theory in her book ''Feminine Endings.''<ref>{{Cite book
  | last = McClary | first = Susan
  | author-link = Susan McClary
  | title = Feminism and Music
  | publisher = [[University of Minnesota Press]]
  | year = 2002
  | isbn = 0-8166-4189-7
  | url = https://books.google.com/books?id=7waGip0qN6sC}}</ref>

The example below shows a metrically unaccented cadence (IV–V–I). The final chord is postponed to fall on a weak beat.<ref>[[Willi Apel|Apel, Willi]] (1970). ''Harvard Dictionary of Music''. cited in {{harvnb|McClary|2002|p=9}}.</ref>

{{block indent|<score sound="1" override_midi="Metrically_unaccented_perfect_authentic_cadence_in_C.mid">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             c2 b^~ b4 c2.
             }
         \new Voice \relative c' {
             \stemDown
              f2 d_~ d4 e2.
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             a2 g^~ g4 g2.
             }
         \new Voice \relative c, {
             \stemDown
             f2 g_~ g4 c2. \bar "||"
             }
         >>
    >>
</score>}}

===Picardy third===
A [[Picardy third]] (or Picardy cadence) is a harmonic device that originated in Western music in the Renaissance era. It refers to the use of a major chord of the tonic at the end of a musical section that is either modal or in a minor key. The example below shows a picardy third in the final chord, from [[Johann Sebastian Bach|J.S. Bach]]'s ''[[Jesu, meine Freude, BWV 227|Jesu, meine Freude]]'' (Jesus, My Joy), mm. 12–13.{{sfn|Benward|Saker|2009|p=74}}

{{block indent|<score lang="lilypond" override_ogg="J.S.Bach, Jesu meine Freude, BWV817, mm.12-13.wav">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key e \minor \time 4/4
             \partial2 b4 b a g fis2 e1
             }
         \new Voice \relative c' {
             \stemDown
              \partial2 e4 e8 dis e fis g e e4 dis b1
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key e \minor \time 4/4
             \partial2 g8 a b4 c b cis b8 a! gis1
             }
         \new Voice \relative c {
             \stemDown
             \partial2 e8 fis g e c d e c ais4 b e,1
             }
         >>
    >>
</score>}}

===Upper leading-tone cadence===
{{Listen|type=music
|filename=Escribano - Lamentation, upper leading-tone cadence.mid|title=Upper-leading tone trill
|filename2=Escribano - Lamentation, upper leading-tone cadence diatonic.mid|title2=Diatonic trill}}
This example from a well-known 16th-century lamentation shows a cadence that appears to imply the use of an [[Upper leading tone|upper leading-tone]], a debate over which was documented in Rome c.&nbsp;1540.<ref>Berger, Karol (1987). ''Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino'', p. 148. Cambridge and New York: Cambridge University Press. {{ISBN|0-521-54338-X}}.</ref> The final three written notes in the upper voice are printed B–C–D, in which case the customary [[trill (music)|trill]] on the second to last note should be played using D and C. However, convention implied that the written C should be played as a C{{music|sharp}} in this context, and a [[cadential trill]] of a [[whole tone]] on the second to last note would then require a D{{music|sharp}}/E{{music|flat}}, the upper leading-tone of D{{music|natural}}. Presumably, the debate was over whether to use D{{music|sharp}}–C{{music|sharp}} or D–C{{music|sharp}} for the trill.

{{block indent|<score sound="1" override_midi="Escribano - Lamentation, upper leading-tone cadence.mid">
    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 2/2
            \relative c' {
                \clef treble \time 2/2
                e2 f2~ f4 e d2~ d4 \once \set suggestAccidentals = ##t cis8 b \once \set suggestAccidentals = ##t cis!2 d1\fermata
                }
            >>
        \new Staff <<
            \clef treble \time 2/2
            \new Voice \relative c' {
                r2 a f g a1 a1\fermata
                }
            >>
        \new Staff <<
            \clef bass \time 2/2
            \new Voice \relative c' {
                a1 d, e d\fermata
                }
            >>
        \new Staff <<
            \clef bass \time 2/2
            \new Voice \relative c {
                a1 bes a d\fermata \bar "|."
                }
            >>
    >>
>> }
</score>}}