Cadence

For other uses, see Cadence (disambiguation).
{ \new PianoStaff << \new Staff << \new Voice \relative c'' { \stemUp \clef treble \key c \major \time 4/4 d2 b c1 } \new Voice \relative c' { \stemDown f2 d e1 } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \major a2 g g1 } \new Voice \relative c { \stemDown d2 g, c1 \bar "||" } >> >> }
The final two chords present an authentic (or perfect) cadence with roots in the bass lines and the tonic note in the highest voice of the final chord): the three chords are a ii–V–I progression in C major, in four-part harmony[1]

In Western musical theory, a cadence (from Latin cadentia 'a falling') is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards.[2] A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music.[3] A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase.[4] A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives.

While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. The word "cadence" sometimes slightly shifts its meaning depending on the context; for example, it can be used to refer to the last few notes of a particular phrase, or to just the final chord of that phrase, or to types of chord progressions that are suitable for phrase endings in general.

Cadences are strong indicators of the tonic or central pitch of a passage or piece.[2] The musicologist Edward Lowinsky proposed that the cadence was the "cradle of tonality".[5]

  1. ^ Benward & Saker 2003, p. 90.
  2. ^ a b Don Michael Randel (1999). The Harvard Concise Dictionary of Music and Musicians, pp. 105-106. ISBN 0-674-00084-6.
  3. ^ Benward & Saker 2003, p. 359.
  4. ^ Benward & Saker 2003, p. 91
  5. ^ Judd, Christle Collins (1998). "Introduction: Analyzing Early Music". In Judd, Christle Collins (ed.). Tonal Structures in Early Music. Routledge. p. 6. ISBN 0-8153-3638-1.