Editing Cadence (section)

=== Clausula vera ===
{{Image frame|content=<score sound="1">
    { << \new StaffGroup <<
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/2
            \relative c'' {
                \clef treble \time 4/2
                c4 a d1 cis2 d\breve
                }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/2
            \new Voice \relative c' {
                f2 e4 d e2 e d\breve \bar "|."
                }
            >>
    >>
>> }
</score>|width=300|caption=A clausula vera cadence from [[Lassus]]'s ''[[Beatus homo]]'', mm. 34–35.<ref name="B&S" /> }}

A clausula or clausula vera ("true close") is a dyadic or intervallic, rather than chordal or [[harmony|harmonic]], cadence. In a clausula vera, two voices approach an [[octave]] or [[unison]] through [[steps and skips|stepwise motion]]<ref name="B&S">{{harvnb|Benward|Saker|2009|p=13}}</ref> in [[contrapuntal motion|contrary motion]].

{{block indent|<score sound="1" override_midi="Renaissance full cadence.mid">
    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 4/4
            \relative c'' {
                \clef treble \time 4/4
                b1 c
                }
            >>
        \new Staff <<
            \clef treble \time 4/4
            \new Voice \relative c' {
                d1 c \bar "||"
                }
            >>
    >>
>> }
</score>}}

{{Image frame|content=<score sound="1">
    { 
      \override Score.SpacingSpanner.strict-note-spacing = ##t
  \set Score.proportionalNotationDuration = #(ly:make-moment 1/2)
    << \new StaffGroup <<
        \new Staff <<
            \set Score.tempoHideNote = ##t \tempo 2 = 60
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/2
            \relative c'' {
                \clef treble \time 4/2 \key g \dorian
                bes4 a g1 fis2 g\breve
                }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef "treble_8" \time 4/2 \key g \dorian
            \new Voice \relative c' {
                g1 a g\breve
                }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef bass \time 4/2 \key g \dorian
            \new Voice \relative c {
                es1 d g,\breve \bar "|."
                }
            >>
    >>
>> }
</score>|width=340|caption=A three-voice clausula vera from [[Giovanni Pierluigi da Palestrina|Palestrina]]'s ''[[Magnificat Secundi Toni: Deposuit potentes]]'', mm. 27–28.<ref name="B&S" />}}

In three voices, the third voice often adds a falling fifth creating a cadence similar to the authentic cadence in tonal music.<ref name="B&S" />

{{block indent|<score sound="1">
    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 4/4
            \relative c'' {
                \clef treble \time 4/4
                b1 c
                }
            >>
        \new Staff <<
            \clef treble \time 4/4
            \relative c' {
                d1 c
                }
            >>
        \new Staff <<
            \clef bass \time 4/4
            \relative c' {
                g1 c, \bar "||"
                }
            >>
    >>
>> }
</score>}}

According to [[Carl Dahlhaus]], "as late as the 13th century the [[half step]] was experienced as a problematic interval not easily understood, as the remainder between the [[perfect fourth]] and the [[ditone]]:<ref>{{cite book|last=Dahlhaus|first=Carl|author-link=Carl Dahlhaus|title=Studies in the Origin of Harmonic Tonality|translator=[[Robert Gjerdingen|Robert O. Gjerdingen]]|publisher=Princeton University Press|year=1990|isbn=0-691-09135-8|url=https://archive.org/details/studiesonorigino0000dahl}}</ref>

:<math>\frac{\frac43}{\left(\frac98\right)^2} = \frac{256}{243}</math>
In a melodic half step, listeners of the time perceived no tendency of the lower tone toward the upper, or the upper toward the lower. The second tone was not the 'goal' of the first. Instead, musicians avoided the half step in clausulas because, to their ears, 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.