Editing Cadence (section)

===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>