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A clausula or clausula vera ("true close") is a dyadic or intervallic, rather than chordal or harmonic , cadence. In a clausula vera, two voices approach an octave or unison through stepwise motion [31] in contrary motion .
In three voices, the third voice often adds a falling fifth creating a cadence similar to the authentic cadence in tonal music.[31]
According to
half step was experienced as a problematic interval not easily understood, as the remainder between the
perfect fourth and the
ditone :
[32]
4
3
(
9
8
)
2
=
256
243
{\displaystyle {\frac {\frac {4}{3}}{\left({\frac {9}{8}}\right)^{2}}}={\frac {256}{243}}}
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.
Plagal cadence
A plagal cadence was found occasionally as an interior cadence, with the lower voice in two-part writing moving up a perfect fifth or down a perfect fourth.[33]
Rest
A rest in one voice may also be used as a weak interior cadence.[33] The example below, Lassus's Qui vult venire post me , mm. 3–5, shows a rest in the third measure.
Evaded cadence
In
suspension does not resolve as expected, and the voices together resolve to a consonance other than an octave or unison
[34] (a perfect fifth, a sixth, or a third).
Corelli cadence
The
English cadence
Another "clash cadence", the
Restoration periods in the 16th and 17th centuries, the English cadence is described as sounding archaic
[37] or old-fashioned.
[38] It was first given its name in the 20th century.
The hallmark of this device is the
courtesy accidental
on the tenor's G
♮ is editorial.
Landini cadence
A Landini cadence (also known as a Landini sixth , Landini sixth cadence , or under-third cadence [39] ) is a cadence that was used extensively in the 14th and early 15th century. It is named after Francesco Landini , a composer who used them profusely. Similar to a clausula vera, it includes an escape tone in the upper voice, which briefly narrows the interval to a perfect fifth before the octave.
Common practice period
The classical and romantic periods of musical history provide many examples of the way the different cadences are used in context.
Authentic cadences and half cadences
Beethoven’s
String Quartet Op 130 follows the same pattern, but in a minor key:
Beethoven Presto from Quartet Op. 130 Beethoven Presto from Quartet Op. 130
Plagal cadences
The Hallelujah Chorus from
Wagner’s opera
Tristan und Isolde , where the
dissonant chord in the opening phrase of the opera is finally resolved "three enormous acts and five hours later"
[40] in the form of a minor plagal cadence:
Wagner, Tristan, Liebestod closing bars Wagner, Tristan, Liebestod closing bars
Deceptive cadences
In
Wachet auf’, a phrase ending in a deceptive cadence repeats with the cadence changed to an authentic one:
From Bach chorale, Wachet auf From Bach chorale, Wachet auf The exposition of the first movement of Beethoven’s Piano Sonata No. 21
(The Waldstein Sonata), Op. 53 features a minor key passage where an authentic (perfect) cadence precedes a deceptive (interrupted) one:
Beethoven Piano Sonata 21, 1st movement, bars 78-84
Dvořák’s
Slavonic Dance , Op. 72, No. 2 features deceptive (interrupted), half (imperfect) and authentic (perfect) cadences within its first sixteen bars:
Dvořák Slavonic Dance Op 72, No. 2 Dvořák Slavonic Dance Op 72, No. 2
Debussy's Prelude “La fille aux cheveux de lin” (see also above) concludes with a passage featuring a deceptive (interrupted) cadence that progresses, not from V–VI, but from V–IV:
Debussy, La Fille aux cheveux de lin, bars 26–29
Debussy, La Fille aux cheveux de lin, bars 26–29
Some varieties of deceptive cadence that go beyond the usual V–VI pattern lead to some startling effects. For example, a particularly dramatic and abrupt deceptive cadence occurs in the second Presto movement of Beethoven’s Piano Sonata No. 30 , Op. 109, bars 97–112, "a striking passage that used to pre-occupy theorists".[41] The music at this point is in B minor, and carries the expectation is that the chord of F sharp (Chord V) will be followed by the tonic chord of B. However, "Dynamics become softer and softer; dominant and tonic chords of B minor appear isolated on the first beat of a bar, separated by silences: until in sudden fortissimo ... the recapitulation bursts on us in the tonic E minor, the B minor dominants left unresolved."[42]
Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
An equally startling example occurs in J.S. Bach's Toccata and Fugue in F major, BWV 540 :
Bach Toccata in F, BWV 540 bars 197–207
Bach Toccata in F, BWV 540 bars 197–207
According to Richard Taruskin , in this Toccata, "the already much-delayed resolution is thwarted (m204) by what was the most spectacular 'deceptive cadence' anyone had composed as of the second decade of the eighteenth century ... producing an especially pungent effect."[43] Hermann Keller describes the effect of this cadence as follows: "the splendour of the end with the famous third inversion of the seventh chord, who would not be enthralled by that?"[44]
, composed over a century later in 1841, features a similar harmonic jolt:
Chopin Fantaisie in F minor, Op. 49
Chopin Fantaisie in F minor, Op. 49
A deceptive cadence is a useful means for extending a musical narrative. In the closing passage of Bach’s
Well-Tempered Clavier
, the opening theme returns and seems headed towards a possible final resolution on an authentic (perfect) cadence. What the listener may expect is:
Bach, Prelude in F minor, bars 57–60 with expected conclusion
Bach, Prelude in F minor, bars 57–60 with expected conclusion
Instead, at bar 60, Bach inserts a deceptive cadence (V–VI in F minor), leading to a lengthy digression of some dozen bars before reaching resolution on the final (V–I) cadence.
Bach, Prelude in F minor bars 57–70
Bach, Prelude in F minor bars 57–70
A similar passage occurs at the conclusion of
, K397:
Mozart Fantasia on D minor K397 closing bars
Mozart Fantasia on D minor K397 closing bars
Jazz
Cadences in jazz are usually simply called cadences, as in common practice harmony. However, a certain category of cadence is referred to as a turnaround (originally called a "turnback" which is more accurate); this is when a cadence functions as a return to an already existing part of a song form such as AABA. In an AABA form, there are two turnbacks: at the end of the first A (A1) in order to repeat it (A2), and at the end of the B section in order to play the A a third time (A3). (The transition from the second A to the B is not a turnback, because the B section is being heard for the first time.)
secondary diminished seventh chord—creates momentum between two chords a major second apart (with the diminished seventh in between).
[46]
The descending diminished seventh chord half-step cadence is assisted by two common tones .[46]
Rhythmic cadence
Cadences often include (and may be emphasized or signalled by) a change in the prevailing rhythmic pattern; in such cases the final note of the cadence usually takes more time (a longer note value, or followed by a rest, or both), and within a piece of music the cadences may also share a rhythmic pattern that is characteristic of the cadences in that piece. This method of ending a phrase with some distinctive rhythmic pattern has been called a "rhythmic cadence"; rhythmic cadences continue to function without harmony or melody, for example at the ends of phrases in music for drums. Some styles of music rely on frequent regular rhythmic cadences as a unifying feature of that style.[4] The example below shows a characteristic rhythmic cadence (i.e. many of the cadences in this piece share this rhythmic pattern) at the end of the first phrase (in particular the last two notes and the following rest, contrasted with the regular pattern set up by all the notes before them) of J.S. Bach 's Brandenburg Concerto No. 3 in G major, BMV 1048, mvmt. I, mm. 1–2:
See also
References
^ .
^ a b Benward & Saker 2003 , p. 91
.
. Retrieved 20 November 2022 .
. .
.
.
.
. "the unexpected motion of a cadential dominant chord to a I6 (instead of the typically cadential I)"
^ .
.
.
.
.
^ Crane-Waleczek (2011), p. 18
. Retrieved 20 November 2022 .
.
.
^ Society for Music Theory (1996-06-06). "Guidelines for Nonsexist Language" . Western Michigan University . Retrieved 2008-07-19 .
.
^ Apel, Willi (1970). Harvard Dictionary of Music . cited in McClary 2002 , p. 9.
.
^ a b c d Benward & Saker 2009 , p. 13
.
^ a b Benward & Saker 2009 , p. 14
.
.
(1585-1672) it must surely be so now.
.
.
^ Small, C. (1977, p. 15), Music-Society-Education. London, John Calder.
^ Rosen, Charles . (2002, p. 232) Beethoven's Piano Sonatas: a Short Companion . Yale University Press.
^ Mellers, W. (1983, p. 210), Beethoven and the Voice of God . London, Faber.
^ Taruskin, R. (2005, p. 213), The Oxford History of Western Music , vol. 2, "Music of the Seventeenth and Eighteenth Centuries". Oxford University Press.
^ Hauk, Franz [de ] and Iris Winkler (translated by Regina Piskorsch-Feick), 2001, from liner notes p. 4 for recording by Franz Hauk, Johann Sebastian Bach Organ Masterworks , Guild Music GMCD 7217
^ Norman Carey (Spring, 2002). Untitled review: "Harmonic Experience by W. A. Mathieu ", p. 125. Music Theory Spectrum , vol. 24, no. 1, pp. 121–134.
^ .
Sources
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