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==Common classifications== Cadences are divided into four main types, according to their harmonic progression: ''authentic'' (typically ''perfect authentic'' or ''imperfect authentic''), ''half'', ''plagal'', and ''deceptive''. Typically, phrases end on authentic or half cadences, and the terms ''plagal'' and ''deceptive'' refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the [[Roman numeral analysis|Roman numeral system]] of naming [[chord (music)|chords]]. ===Authentic cadence===<!--[[Perfect authentic cadence]] redirects directly here.--> {{Image frame|content=<score sound="1" override_midi="Beethoven - Piano Sonata, Op. 13 perfect authentic cadence.mid"> { \override Score.SpacingSpanner.strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1/8) \new PianoStaff << \new Staff << \relative c'' { \clef treble \key c \minor \time 4/4 c4-. d-.(\f\trill \grace {c16 d} es4-.) <b d b'>-. <c es c'> } >> \new Staff << \relative c' { \clef bass \key c \minor \time 4/4 c4-. <g b>-. <c, c'>-. <g g'>-. <c, c'> } >> >> } </score>|width=300|caption=The final two chords represent a perfect authentic cadence; from [[Beethoven]]'s [[Piano Sonata No. 8 (Beethoven)|Piano Sonata No. 8]], mvmt. III, mm. 16–17.<ref>{{cite book|last=White|first=John D.|year=1976|title=The Analysis of Music|page=34|publisher=Prentice-Hall |isbn=0-13-033233-X}}.</ref>}}An authentic cadence is a cadence from the [[Dominant (music)|dominant]] chord (V) to the [[root (chord)|root chord]] (I). During the dominant chord, a [[seventh (interval)|seventh]] above the dominant may be added to create a [[dominant seventh chord]] (V<sup>7</sup>); the dominant chord may also be preceded by a [[Cadential six-four|cadential {{music|64 chord}} chord]]. ''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."<ref name="Randel" /> Authentic cadences are generally classified as either ''perfect'' or ''imperfect''. 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 (music)|voicing]]. ====Perfect authentic cadence==== In a perfect authentic cadence (PAC), the chords are in [[root position]] – that is, the [[root (chord)|roots]] of both chords are in the bass – and the [[Tonic (music)|tonic]] is in the highest voice of the final chord. This is generally considered the strongest type of cadence and often found at structurally defining moments.<ref>Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p. 284. {{ISBN|0-415-94391-4}}.</ref> Music theorist [[William Caplin]] writes that the perfect authentic cadence "achieves complete harmonic and melodic closure."<ref>[[William Caplin|Caplin, William E]]. (2000). ''Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven'', p. 51. {{ISBN|0-19-514399-X}}.</ref> {{block indent|<score sound="1"> \new PianoStaff << \new Staff << \new Voice \relative c'' { \stemUp \clef treble \key c \major \time 4/4 b1 c } \new Voice \relative c'' { \stemDown g1 g } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \major \time 4/4 d1 e } \new Voice \relative c' { \stemDown g1 c, \bar "||" } >> >> </score>}} ====Imperfect authentic cadence==== There are three types of imperfect authentic cadences (IAC):<ref name="K&P 246">{{Cite book|title=Tonal Harmony|last1=Kostka|first1=Stefan|author1-link=Stefan Kostka|last2=Payne|first2=Dorothy|date=2004|publisher=McGraw-Hill|isbn=0072852607|edition=5th|location=Boston|pages=148–149|oclc=51613969}}</ref> *''Root position IAC'' (shown below): Similar to a perfect authentic cadence, but the highest voice is not the tonic. {{block indent|<score sound="1"> \new PianoStaff << \new Staff << \new Voice \relative c'' { \stemUp \clef treble \key c \major \time 4/4 d1 e } \new Voice \relative c'' { \stemDown g1 g } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \major \time 4/4 b1 c } \new Voice \relative c' { \stemDown g1 c, \bar "||" } >> >> </score>}} *''Inverted IAC'': Similar to a perfect authentic cadence, but one or both chords are [[Inverted chord|inverted]]. *''[[Leading-tone]] IAC'': The penultimate (V) chord is replaced with a chord based on the leading-tone (vii<sup>o</sup> chord). =====Evaded cadence===== An evaded cadence (a subtype of the inverted IAC) moves from a dominant seventh [[third inversion]] chord (V{{su|b=2|p=4}}) to a [[first inversion]] tonic chord (I{{su|p=6}}).<ref>Darcy and Hepokoski (2006). ''Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata'', p.. {{ISBN|0-19-514640-9}}. "the unexpected motion of a cadential dominant chord to a I<sup>6</sup> (instead of the typically cadential I)"</ref> Because the seventh of the dominant chord must fall stepwise to the third of the tonic chord, it forces the cadence to resolve to the less stable first inversion chord. To achieve this, a root position V usually changes to a V{{su|b=2|p=4}} right before resolution, thereby "evading" the root-position I chord that would usually follow a root-position V. (See also [[#Inverted cadence|inverted cadence]] below.) {{block indent|<score sound="1"> \new PianoStaff << \new Staff << \new Voice \relative c'' { \stemUp \clef treble \key c \major \time 4/4 b1 c1 } \new Voice \relative c'' { \stemDown g1 g1 } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \major \time 4/4 d1 c1 } \new Voice \relative c' { \stemDown g2 f e1 \bar "||" } >> >> </score>}} ===Half cadence=== <!--[[Half cadence]], [[Half-cadence]] and [[semicadence]] redirect directly here-->A half cadence (also called an ''imperfect cadence'' or ''semicadence'') is any cadence ending on V, whether preceded by II (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.<ref name="Jonas">[[Oswald Jonas|Jonas, Oswald]] (1982). ''Introduction to the Theory of Heinrich Schenker'' (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''), p. 24. Trans. John Rothgeb. {{ISBN|0-582-28227-6}}.</ref><!--citation refers to semicadence--> {{block indent|<score sound="1"> \new PianoStaff << \new Staff << \new Voice \relative c'' { \stemUp \clef treble \key c \major \time 4/4 c1 b } \new Voice \relative c'' { \stemDown g1 g } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \major \time 4/4 e1 d } \new Voice \relative c { \stemDown c1 g' \bar "||" } >> >> </score>}} Several types of half cadences are described below. ====Phrygian half cadence==== {{Image frame|content=<score sound="1" override_midi="Bach - Chorale- Schau Lieber Gott phrygian cadence.mid"> { \new PianoStaff << \new Staff << \new Voice \relative c'' { \stemUp \clef treble \key e \minor \time 4/4 \partial4 a4 b8 a g4 fis e8 fis g4 a b \fermata } \new Voice \relative c' { \stemDown \partial4 d4 d8 dis e4 dis e8 dis e[ g] fis e dis4 } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key e \minor \time 4/4 \partial4 a g8 a b4 b b8 a b4 c fis, } \new Voice \relative c { \stemDown \partial4 fis4 g8 fis e4 b'8[ a] g fis e d c4 b_\fermata } >> >> } </score>|width=420|caption=The last two chords represent a Phrygian half cadence in Bach's four-part [[List of chorale harmonisations by Johann Sebastian Bach|chorale]], [[Schau, lieber Gott, wie meine Feind, BWV 153|Schau, lieber Gott, wie meine Feind]].{{sfn|White|1976|p=38}}}} A Phrygian half cadence is a half cadence iv<sup>6</sup>–V in minor, so named because the semitonal motion in the bass (sixth degree to fifth degree) resembles the half-step heard in the ii–I of the 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–iv<sup>6</sup>–V).<ref>Finn Egeland Hansen (2006). ''Layers of Musical Meaning'', p. 208. {{ISBN|87-635-0424-3}}.</ref> A characteristic gesture in [[Baroque music]], the Phrygian cadence often concluded a slow movement immediately followed ("attacca") by a faster one.<ref>[[Don Michael Randel|Randel, Don Michael]] (2003). ''The Harvard Dictionary of Music'', p. 130. {{ISBN|0-674-01163-5}}.</ref> {{block indent|<score sound="1"> \new PianoStaff << \new Staff << \new Voice \relative c' { \stemUp \clef treble \key c \minor \time 4/4 f1 g } \new Voice \relative c' { \stemDown c1 d } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \minor \time 4/4 c1 b } \new Voice \relative c' { \stemDown aes1 g \bar "||" } >> >> </score>}} ====Lydian cadence==== A [[Lydian cadence]] is similar to the Phrygian half cadence, involving iv<sup>6</sup>–V in the minor. The difference is that in the Lydian cadence, the whole iv<sup>6</sup> is raised by a [[half step]]. In other words, the Phrygian half cadence begins with the first chord built on [[Degree (music)|scale degree]] {{music|scale|4}}, while the Lydian half cadence is built on the scale degree {{music|sharp}}{{music|scale|4}}.{{citation needed|date=April 2012}} {{block indent|<score sound="1"> \new PianoStaff << \new Staff << \new Voice \relative c' { \stemUp \clef treble \key c \minor \time 4/4 fis1 g } \new Voice \relative c' { \stemDown cis1 d } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \minor \time 4/4 cis1 b } \new Voice \relative c' { \stemDown a1 g \bar "||" } >> >> </score>}} ====Burgundian cadences==== Burgundian cadences became popular in [[Burgundian School|Burgundian music]]. Note the [[Contrapuntal motion#Parallel motion|parallel]] [[Fourth (interval)|fourths]] between the upper voices.{{sfn|White|1976|pp=129–130}} {{block indent|<score sound="1"> \new PianoStaff << \new Staff << \new Voice \relative c' { \stemUp \clef treble \key c \major \time 4/4 fis1 g } \new Voice \relative c' { \stemDown c1 d } >> \new Staff << \new Voice \relative c' { \clef bass \key c \major \time 4/4 a1 g } >> >> </score>}} ====Plagal half cadence==== The rare plagal half cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half cadence involves an ascending fourth (or, by [[Inverted chord|inversion]], a descending fifth).<ref>{{cite book|last=Harrison|first=Daniel|author-link=Daniel Harrison (musicologist)|title=Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents|date=1994|publisher=University of Chicago Press|isbn=0226318087|page=29|url=https://books.google.com/books?id=_SyNx1vr-AkC}}</ref> The plagal half cadence is a weak cadence, ordinarily at the ending of an [[Antecedent (music)|antecedent]] phrase, after which a [[Consequent (music)|consequent]] phrase commences. One example of this use is in "[[Auld Lang Syne]]". But in one very unusual occurrence – the end of the [[exposition (music)|exposition]] of the first movement of [[Johannes Brahms|Brahms]]' [[Clarinet Trio (Brahms)|Clarinet Trio, Op. 114]]—it is used to complete not just a musical phrase but an entire section of a movement.<ref>{{cite journal|last1=Notley|first1=Margaret|title=Plagal Harmony as Other: Asymmetrical Dualism and Instrumental Music by Brahms|journal=[[The Journal of Musicology]]|date=2005|volume=22|issue=1|pages=114–130|doi=10.1525/jm.2005.22.1.90}}</ref> ===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> ===Deceptive cadence{{anchor|Interrupted_(deceptive)_cadence}}=== <!--[[Deceptive cadence]] and [[Interrupted cadence]] redirect directly here--> {{Image frame|content=<score sound="1" override_midi="Mozart - Sonata in C Major, K. 330, 2nd Movement deceptive cadence.mid"> { \new PianoStaff << \new Staff << \relative c'' { \tempo "Andante cantabile" \clef treble \key f \major \time 3/4 \partial4. c8-.(_\markup { \italic dolce } c-. c-.) c8.[ \grace { d32^( c b c } f16)] c8-. a( c e,) g4( f8) } >> \new Staff << \new Voice \relative c { \clef bass \key f \major \time 3/4 \partial4. r8 r4 <f a c>2 <c g' bes>4 \stemUp bes'^( a8) } \new Voice \relative c { \stemDown \partial4. s8 s4 s2. d4. } >> >> } </score>|width=350|caption=A deceptive cadence in the second movement of [[Mozart]]'s [[Piano Sonata No. 10 (Mozart)|Piano Sonata No. 10]].<ref name="Jonas"/>}} Also known as an interrupted or false cadence, the deceptive cadence is a cadence from V to any chord other than the tonic (I), usually the submediant (VI).{{sfn|Latham|2002|p=193}} This is the most important [[irregular resolution]],<ref name="Foote">[[Arthur Foote|Foote, Arthur]] (2007). ''Modern Harmony in its Theory and Practice'', p. 93. {{ISBN|1-4067-3814-X}}.</ref> most commonly V<sup>7</sup>–vi (or V<sup>7</sup>–{{music|b}}VI) in major or V<sup>7</sup>–VI in minor.<ref name="Foote" /><ref>Owen, Harold (2000). ''Music Theory Resource Book'', p. 132. {{ISBN|0-19-511539-2}}.</ref> This is considered a weak cadence because of the "hanging" (suspended) feeling it invokes. {{block indent|<score sound="1"> \new PianoStaff << \new Staff << \new Voice \relative c'' { \stemUp \clef treble \key c \major \time 4/4 b1 c } \new Voice \relative c'' { \stemDown g1 e } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \major \time 4/4 d1 c } \new Voice \relative c' { \stemDown g1 a \bar "||" } >> >> </score>}} At the beginning of the final movement of [[Gustav Mahler]]'s [[Symphony No. 9 (Mahler)|9th Symphony]], the listener hears a string of many deceptive cadences progressing from V to IV<sup>6</sup>.{{Citation needed|date=October 2018}} One of the most striking uses of this cadence is in the A-minor section at the end of the exposition in the first movement of [[Johannes Brahms|Brahms]]' [[Symphony No. 3 (Brahms)|Third Symphony]]. The music progresses to an implied E minor dominant (B<sup>7</sup>) with a rapid chromatic scale upwards but suddenly sidesteps to C major. The same device is used again in the recapitulation; this time the sidestep is—as one would expect—to F major, the tonic key of the whole Symphony.{{citation needed|date=October 2018}} The interrupted cadence is also frequently used in popular music. For example, the [[Pink Floyd]] song "[[Bring the Boys Back Home]]" ends with such a cadence (at approximately 0:45–50).{{citation needed|date=October 2018}}
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