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In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."〔Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6.〕 A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music.〔Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0.〕 A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase.〔Benward & Saker (2003). p. 91.〕 A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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. Cadences are strong indicators of the tonic or central pitch of a passage or piece.〔 Edward Lowinsky proposed that the cadence was the "cradle of tonality."〔Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.〕 ==Classification of cadences in common practice tonality with examples== In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords: ===Authentic cadence=== *Authentic (also closed, standard or perfect) cadence: V to I (or V–I). A seventh above the root is often added to create V7. The ''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."〔 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: * *Perfect authentic cadence: The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.〔Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4.〕 "This strong cadence achieves complete harmonic and melodic closure."〔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.〕 It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples. * *Imperfect authentic cadence (IAC), best divided into three separate categories: * * *''1. Root position IAC'': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord). * * *''2. Inverted IAC'': similar to a PAC, but one or both chords is inverted. * * *''3. Leading tone IAC'': the V chord is replaced with the viio/subV chord (but the cadence still ends on I). * *Evaded cadence: V to I.〔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 I6 (instead of the normatively cadential I)"〕 Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence. ===Half cadence=== *Half cadence (imperfect cadence or semicadence): any cadence ending on V, whether preceded by 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.〔 * *Phrygian half-cadence: a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).〔Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3.〕 A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.〔Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5.〕 With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.〔 * *Lydian cadence: The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5). * *Burgundian cadences: Became popular in Burgundian music. Note the parallel fourths between the upper voices.〔White (1976), p.129-130.〕 *Plagal half-cadence: The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement. ===Plagal cadence=== *Plagal cadence: IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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."〔 〕 It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.〔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.〕 The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I). 抄文引用元・出典: フリー百科事典『 *'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディア（Wikipedia）』 ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."〔Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6.〕 A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music.〔Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0.〕 A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase.〔Benward & Saker (2003). p. 91.〕 A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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. Cadences are strong indicators of the tonic or central pitch of a passage or piece.〔 Edward Lowinsky proposed that the cadence was the "cradle of tonality."〔Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.〕 ==Classification of cadences in common practice tonality with examples== In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords: ===Authentic cadence=== *Authentic (also closed, standard or perfect) cadence: V to I (or V–I). A seventh above the root is often added to create V7. The ''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."〔 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: * *Perfect authentic cadence: The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.〔Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4.〕 "This strong cadence achieves complete harmonic and melodic closure."〔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.〕 It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples. * *Imperfect authentic cadence (IAC), best divided into three separate categories: * * *''1. Root position IAC'': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord). * * *''2. Inverted IAC'': similar to a PAC, but one or both chords is inverted. * * *''3. Leading tone IAC'': the V chord is replaced with the viio/subV chord (but the cadence still ends on I). * *Evaded cadence: V to I.〔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 I6 (instead of the normatively cadential I)"〕 Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence. ===Half cadence=== *Half cadence (imperfect cadence or semicadence): any cadence ending on V, whether preceded by 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.〔 * *Phrygian half-cadence: a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).〔Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3.〕 A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.〔Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5.〕 With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.〔 * *Lydian cadence: The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5). * *Burgundian cadences: Became popular in Burgundian music. Note the parallel fourths between the upper voices.〔White (1976), p.129-130.〕 *Plagal half-cadence: The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement. ===Plagal cadence=== *Plagal cadence: IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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."〔 〕 It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.〔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.〕 The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I). 抄文引用元・出典: フリー百科事典『 *'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディア（Wikipedia）』 ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."〔Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6.〕 A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music.〔Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0.〕 A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase.〔Benward & Saker (2003). p. 91.〕 A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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. Cadences are strong indicators of the tonic or central pitch of a passage or piece.〔 Edward Lowinsky proposed that the cadence was the "cradle of tonality."〔Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.〕 ==Classification of cadences in common practice tonality with examples== In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords: ===Authentic cadence=== *Authentic (also closed, standard or perfect) cadence: V to I (or V–I). A seventh above the root is often added to create V7. The ''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."〔 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: * *Perfect authentic cadence: The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.〔Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4.〕 "This strong cadence achieves complete harmonic and melodic closure."〔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.〕 It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples. * *Imperfect authentic cadence (IAC), best divided into three separate categories: * * *''1. Root position IAC'': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord). * * *''2. Inverted IAC'': similar to a PAC, but one or both chords is inverted. * * *''3. Leading tone IAC'': the V chord is replaced with the viio/subV chord (but the cadence still ends on I). * *Evaded cadence: V to I.〔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 I6 (instead of the normatively cadential I)"〕 Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence. ===Half cadence=== *Half cadence (imperfect cadence or semicadence): any cadence ending on V, whether preceded by 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.〔 * *Phrygian half-cadence: a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).〔Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3.〕 A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.〔Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5.〕 With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.〔 * *Lydian cadence: The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5). * *Burgundian cadences: Became popular in Burgundian music. Note the parallel fourths between the upper voices.〔White (1976), p.129-130.〕 *Plagal half-cadence: The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement. ===Plagal cadence=== *Plagal cadence: IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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."〔 〕 It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.〔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.〕 The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I). 抄文引用元・出典: フリー百科事典『 *'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディア（Wikipedia）』 ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."〔Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6.〕 A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music.〔Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0.〕 A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase.〔Benward & Saker (2003). p. 91.〕 A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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. Cadences are strong indicators of the tonic or central pitch of a passage or piece.〔 Edward Lowinsky proposed that the cadence was the "cradle of tonality."〔Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.〕 ==Classification of cadences in common practice tonality with examples== In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords: ===Authentic cadence=== *Authentic (also closed, standard or perfect) cadence: V to I (or V–I). A seventh above the root is often added to create V7. The ''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."〔 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: * *Perfect authentic cadence: The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.〔Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4.〕 "This strong cadence achieves complete harmonic and melodic closure."〔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.〕 It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples. * *Imperfect authentic cadence (IAC), best divided into three separate categories: * * *''1. Root position IAC'': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord). * * *''2. Inverted IAC'': similar to a PAC, but one or both chords is inverted. * * *''3. Leading tone IAC'': the V chord is replaced with the viio/subV chord (but the cadence still ends on I). * *Evaded cadence: V to I.〔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 I6 (instead of the normatively cadential I)"〕 Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence. ===Half cadence=== *Half cadence (imperfect cadence or semicadence): any cadence ending on V, whether preceded by 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.〔 * *Phrygian half-cadence: a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).〔Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3.〕 A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.〔Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5.〕 With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.〔 * *Lydian cadence: The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5). * *Burgundian cadences: Became popular in Burgundian music. Note the parallel fourths between the upper voices.〔White (1976), p.129-130.〕 *Plagal half-cadence: The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement. ===Plagal cadence=== *Plagal cadence: IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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."〔 〕 It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.〔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.〕 The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I). 抄文引用元・出典: フリー百科事典『 *'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディア（Wikipedia）』 ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."〔Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6.〕 A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music.〔Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0.〕 A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase.〔Benward & Saker (2003). p. 91.〕 A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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. Cadences are strong indicators of the tonic or central pitch of a passage or piece.〔 Edward Lowinsky proposed that the cadence was the "cradle of tonality."〔Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.〕 ==Classification of cadences in common practice tonality with examples== In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords: ===Authentic cadence=== *Authentic (also closed, standard or perfect) cadence: V to I (or V–I). A seventh above the root is often added to create V7. The ''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."〔 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: * *Perfect authentic cadence: The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.〔Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4.〕 "This strong cadence achieves complete harmonic and melodic closure."〔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.〕 It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples. * *Imperfect authentic cadence (IAC), best divided into three separate categories: * * *''1. Root position IAC'': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord). * * *''2. Inverted IAC'': similar to a PAC, but one or both chords is inverted. * * *''3. Leading tone IAC'': the V chord is replaced with the viio/subV chord (but the cadence still ends on I). * *Evaded cadence: V to I.〔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 I6 (instead of the normatively cadential I)"〕 Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence. ===Half cadence=== *Half cadence (imperfect cadence or semicadence): any cadence ending on V, whether preceded by 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.〔 * *Phrygian half-cadence: a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).〔Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3.〕 A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.〔Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5.〕 With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.〔 * *Lydian cadence: The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5). * *Burgundian cadences: Became popular in Burgundian music. Note the parallel fourths between the upper voices.〔White (1976), p.129-130.〕 *Plagal half-cadence: The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement. ===Plagal cadence=== *Plagal cadence: IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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."〔 〕 It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.〔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.〕 The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I). 抄文引用元・出典: フリー百科事典『 *'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディア（Wikipedia）』 ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."〔Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6.〕 A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music.〔Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0.〕 A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase.〔Benward & Saker (2003). p. 91.〕 A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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. Cadences are strong indicators of the tonic or central pitch of a passage or piece.〔 Edward Lowinsky proposed that the cadence was the "cradle of tonality."〔Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.〕 ==Classification of cadences in common practice tonality with examples== In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords: ===Authentic cadence=== *Authentic (also closed, standard or perfect) cadence: V to I (or V–I). A seventh above the root is often added to create V7. The ''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."〔 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: * *Perfect authentic cadence: The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.〔Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4.〕 "This strong cadence achieves complete harmonic and melodic closure."〔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.〕 It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples. * *Imperfect authentic cadence (IAC), best divided into three separate categories: * * *''1. Root position IAC'': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord). * * *''2. Inverted IAC'': similar to a PAC, but one or both chords is inverted. * * *''3. Leading tone IAC'': the V chord is replaced with the viio/subV chord (but the cadence still ends on I). * *Evaded cadence: V to I.〔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 I6 (instead of the normatively cadential I)"〕 Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence. ===Half cadence=== *Half cadence (imperfect cadence or semicadence): any cadence ending on V, whether preceded by 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.〔 * *Phrygian half-cadence: a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).〔Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3.〕 A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.〔Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5.〕 With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.〔 * *Lydian cadence: The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5). * *Burgundian cadences: Became popular in Burgundian music. Note the parallel fourths between the upper voices.〔White (1976), p.129-130.〕 *Plagal half-cadence: The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement. ===Plagal cadence=== *Plagal cadence: IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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."〔 〕 It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.〔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.〕 The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I). 抄文引用元・出典: フリー百科事典『 *'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディア（Wikipedia）』 ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."〔Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6.〕 A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music.〔Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0.〕 A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase.〔Benward & Saker (2003). p. 91.〕 A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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. Cadences are strong indicators of the tonic or central pitch of a passage or piece.〔 Edward Lowinsky proposed that the cadence was the "cradle of tonality."〔Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.〕 ==Classification of cadences in common practice tonality with examples== In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords: ===Authentic cadence=== *Authentic (also closed, standard or perfect) cadence: V to I (or V–I). A seventh above the root is often added to create V7. The ''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."〔 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: * *Perfect authentic cadence: The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.〔Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4.〕 "This strong cadence achieves complete harmonic and melodic closure."〔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.〕 It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples. * *Imperfect authentic cadence (IAC), best divided into three separate categories: * * *''1. Root position IAC'': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord). * * *''2. Inverted IAC'': similar to a PAC, but one or both chords is inverted. * * *''3. Leading tone IAC'': the V chord is replaced with the viio/subV chord (but the cadence still ends on I). * *Evaded cadence: V to I.〔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 I6 (instead of the normatively cadential I)"〕 Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence. ===Half cadence=== *Half cadence (imperfect cadence or semicadence): any cadence ending on V, whether preceded by 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.〔 * *Phrygian half-cadence: a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).〔Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3.〕 A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.〔Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5.〕 With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.〔 * *Lydian cadence: The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5). * *Burgundian cadences: Became popular in Burgundian music. Note the parallel fourths between the upper voices.〔White (1976), p.129-130.〕 *Plagal half-cadence: The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement. ===Plagal cadence=== *Plagal cadence: IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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."〔 〕 It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.〔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.〕 The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I). 抄文引用元・出典: フリー百科事典『 harmonic cadence ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む ■*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).">ウィキペディアで「In Western musical theory, a '''cadence''' (Latin ''cadentia'', "a falling") is "a melodic or harmonic configuration that creates a sense of resolution (or pause )."Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p. 105. ISBN 0-674-00084-6. A '''harmonic cadence''' is a progression of (at least) two chords that concludes a phrase, section, or piece of music.Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p. 359. 7th ed. ISBN 978-0-07-294262-0. A '''rhythmic cadence''' is a characteristic rhythmic pattern that indicates the end of a phrase.Benward & Saker (2003). p. 91. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. 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.Cadences are strong indicators of the tonic or central pitch of a passage or piece. Edward Lowinsky proposed that the cadence was the "cradle of tonality."Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', . (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.==Classification of cadences in common practice tonality with examples==In music of the common practice period, cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' 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 system of naming chords:===Authentic cadence===Perfect authentic cadence redirects directly here.-->*'''Authentic''' (also '''closed''', '''standard''' or '''perfect''')''' cadence''': V to I (or V–I). A seventh above the root is often added to create V7. The ''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." 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:**'''Perfect authentic cadence''': The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4. "This strong cadence achieves complete harmonic and melodic closure."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. It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is inverted.***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/subV chord (but the cadence still ends on I).**'''Evaded cadence''': V to I.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 I6 (instead of the normatively cadential I)" Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V right before resolution, thereby "evading" the cadence.===Half cadence===Half cadence, Half-cadence and semicadence redirect directly here-->*'''Half cadence''' ('''imperfect cadence''' or '''semicadence'''): any cadence ending on V, whether preceded by 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.**'''Phrygian half-cadence''': a half cadence iv6–V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone 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–iv6–V).Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3. A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p. 130. ISBN 0-674-01163-5. With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence.**'''Lydian cadence''': The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale-degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale-degree P1) up by whole-tone → fifth (scale-degree 2M), and the root (scale degree P4) up by whole-step → octave (scale-degree P5); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale-degree 6M) down by whole-tone → bass (the root of the chord/scale-degree P5), fifth (scale degree 1+) up by half-step → fifth (scale-degree 2M), and the root (scale degree 4+) up by half-step → octave (scale-degree P5).**'''Burgundian cadences''': Became popular in Burgundian music. Note the parallel fourths between the upper voices.White (1976), p.129-130.*'''Plagal half-cadence''': The rare plagal half-cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half-cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half-cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in Auld Lang Syne. But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement.===Plagal cadence===Plagal cadence redirects directly here.-->*'''Plagal cadence''': IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "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." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V–I–V" rather than I–IV–I.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. The term "minor plagal cadence" is used to refer to the iv–I progression. Sometimes a combination of major and minor plagal cadence is used (IV–iv–I).」の詳細全文を読む ■harmonic cadence スポンサード リンク
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