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pattern that is characteristic of the cadences in that piece. This method of ending a phrase with some distinctive rhythmic pattern has been called a "rhythmic cadence"; rhythmic cadences continue to function without harmony or melody, for example at the ends of phrases in music for drums. Some styles of music rely on frequent regular rhythmic cadences as a unifying feature of that style. The example below shows a characteristic rhythmic cadence (i.e. many of the cadences in this piece share this rhythmic pattern) at the end of the first phrase (in particular the last two notes and the following rest, contrasted with the regular pattern set up by all the notes before them) of
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2194:, Op. 109, bars 97ā112, "a striking passage that used to pre-occupy theorists". The music at this point is in B minor, and carries the expectation is that the chord of F sharp (Chord V) will be followed by the tonic chord of B. However, "Dynamics become softer and softer; dominant and tonic chords of B minor appear isolated on the first beat of a bar, separated by silences: until in sudden fortissimo ... the recapitulation bursts on us in the tonic E minor, the B minor dominants left unresolved."
2102:
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2391:(originally called a "turnback" which is more accurate); this is when a cadence functions as a return to an already existing part of a song form such as AABA. In an AABA form, there are two turnbacks: at the end of the first A (A1) in order to repeat it (A2), and at the end of the B section in order to play the A a third time (A3). (The transition from the second A to the B is not a turnback, because the B section is being heard for the first time.)
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Cadences often include (and may be emphasized or signalled by) a change in the prevailing rhythmic pattern; in such cases the final note of the cadence usually takes more time (a longer note value, or followed by a rest, or both), and within a piece of music the cadences may also share a rhythmic
1581:
In a melodic half step, listeners of the time perceived no tendency of the lower tone toward the upper, or the upper toward the lower. The second tone was not the 'goal' of the first. Instead, musicians avoided the half step in clausulas because, to their ears, it lacked clarity as an interval.
153:
plays an important part in determining where a cadence occurs. The word "cadence" sometimes slightly shifts its meaning depending on the context; for example, it can be used to refer to the last few notes of a particular phrase, or to just the final chord of that phrase, or to types of chord
1148:(or Picardy cadence) is a harmonic device that originated in Western music in the Renaissance era. It refers to the use of a major chord of the tonic at the end of a musical section that is either modal or in a minor key. The example below shows a picardy third in the final chord, from
2429:
2405:
1033:. The music progresses to an implied E minor dominant (B) with a rapid chromatic scale upwards but suddenly sidesteps to C major. The same device is used again in the recapitulation; this time the sidestep isāas one would expectāto F major, the tonic key of the whole Symphony.
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the last chord. It may be restricted only to the perfect and imperfect cadence, or only to the perfect cadence, or it may apply to cadences of all types. To distinguish them from this form, the other, more common forms of cadences listed above are known as
2118:
442:
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." Authentic cadences are generally classified as either
2248:, in this Toccata, "the already much-delayed resolution is thwarted (m204) by what was the most spectacular 'deceptive cadence' anyone had composed as of the second decade of the eighteenth century ... producing an especially pungent effect."
1984:
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591:). Because the seventh of the dominant chord must fall stepwise to the third of the tonic chord, it forces the cadence to resolve to the less stable first inversion chord. To achieve this, a root position V usually changes to a V
2189:
Some varieties of deceptive cadence that go beyond the usual VāVI pattern lead to some startling effects. For example, a particularly dramatic and abrupt deceptive cadence occurs in the second Presto movement of
Beethovenās
2119:
899:
A minor plagal cadence, also known as a perfect plagal cadence, uses the minor iv instead of a major IV. With a very similar voice leading to a perfect cadence, the minor plagal cadence is a strong resolution to the tonic.
1985:
1203:
2172:
637:) is any cadence ending on V, whether preceded by II (V of V), ii, vi, IV, or Iāor any other chord. Because it sounds incomplete or suspended, the half cadence is considered a weak cadence that calls for continuation.
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amongst others, is a form of plagal cadence in which the outer notes of the first chord each move inwards by a tone to the second. (IV ā I). An early suggestion of the
Moravian cadence in classical music occurs in
1212:
1167:
696:
A Phrygian half cadence is a half cadence ivāV in minor, so named because the semitonal motion in the bass (sixth degree to fifth degree) resembles the half-step heard in the iiāI of the 15th-century cadence in the
2327:
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705:, the Phrygian cadence often concluded a slow movement immediately followed by a faster one. With the addition of motion in the upper part down to the sixth degree before rising to the tonic, it becomes the
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Also known as an interrupted or false cadence, the deceptive cadence is a cadence from V to any chord other than the tonic (I), usually the submediant (VI). This is the most important
685:
2091:
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Debussy's
Prelude āLa fille aux cheveux de linā (see also above) concludes with a passage featuring a deceptive (interrupted) cadence that progresses, not from VāVI, but from VāIV:
2322:
Instead, at bar 60, Bach inserts a deceptive cadence (VāVI in F minor), leading to a lengthy digression of some dozen bars before reaching resolution on the final (VāI) cadence.
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is in the highest voice of the final chord. This is generally considered the strongest type of cadence and often found at structurally defining moments. Music theorist
701:. Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (vāivāV). A characteristic gesture in
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periods in the 16th and 17th centuries, the
English cadence is described as sounding archaic or old-fashioned. It was first given its name in the 20th century.
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A plagal cadence was found occasionally as an interior cadence, with the lower voice in two-part writing moving up a perfect fifth or down a perfect fourth.
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1220:
1246:, a debate over which was documented in Rome c. 1540. The final three written notes in the upper voice are printed BāCāD, in which case the customary
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1983:
827:
The rare plagal half cadence involves a IāIV progression. Like an authentic cadence (VāI), the plagal half cadence involves an ascending fourth (or, by
2170:
2357:
2299:, the opening theme returns and seems headed towards a possible final resolution on an authentic (perfect) cadence. What the listener may expect is:
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does not resolve as expected, and the voices together resolve to a consonance other than an octave or unison (a perfect fifth, a sixth, or a third).
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progressions, the use of such progressions does not necessarily constitute a cadenceāthere must be a sense of closure, as at the end of a phrase.
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is similar to the
Phrygian half cadence, involving ivāV in the minor. The difference is that in the Lydian cadence, the whole iv is raised by a
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pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives.
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2147:
2113:(The Waldstein Sonata), Op. 53 features a minor key passage where an authentic (perfect) cadence precedes a deceptive (interrupted) one:
3988:
3000:"Bohuslav MartinÅÆ's Notes on JanĆ”Äek's Introduction to the Moravian Folksongs Newly Collected (NĆ”rodnĆ PĆsnÄ MoravskĆ© V NovÄ NasbĆranĆ©)"
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in the opening phrase of the opera is finally resolved "three enormous acts and five hours later" in the form of a minor plagal cadence:
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follows a familiar pattern of a pair of phrases, one ending with a half (imperfect) cadence and the other with an authentic cadence:
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The classical and romantic periods of musical history provide many examples of the way the different cadences are used in context.
2329:
2270:
2143:, Op. 72, No. 2 features deceptive (interrupted), half (imperfect) and authentic (perfect) cadences within its first sixteen bars:
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Metrically accented cadences are considered stronger and are generally of greater structural significance. In the past, the terms
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on the second to last note should be played using D and C. However, convention implied that the written C should be played as a C
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cadences are common in jazz if not clichĆ©. For example, the ascending diminished seventh chord half-step cadence, whichāusing a
2228:
1472:
In three voices, the third voice often adds a falling fifth creating a cadence similar to the authentic cadence in tonal music.
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were sometimes used to describe rhythmically "strong" or "weak" cadences, but this terminology is no longer acceptable to some.
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are usually simply called cadences, as in common practice harmony. However, a certain category of cadence is referred to as a
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One of the most striking uses of this cadence is in the A-minor section at the end of the exposition in the first movement of
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An
Overview of Bohuslav MartinÅÆ's Piano Style with a Guide to Analysis and Interpretation of the Fantasie et Toccata, H. 281
1994:
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right before resolution, thereby "evading" the root-position I chord that would usually follow a root-position V. (See also
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VI) in major or VāVI in minor. This is considered a weak cadence because of the "hanging" (suspended) feeling it invokes.
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The example below shows a metrically unaccented cadence (IVāVāI). The final chord is postponed to fall on a weak beat.
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and Iris
Winkler (translated by Regina Piskorsch-Feick), 2001, from liner notes p. 4 for recording by Franz Hauk,
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Musica Ficta: Theories of
Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino
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A metrically unaccented cadence has its final note in a metrically weak position, for instance, after a long
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1242:
This example from a well-known 16th-century lamentation shows a cadence that appears to imply the use of an
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Notley, Margaret (2005). "Plagal
Harmony as Other: Asymmetrical Dualism and Instrumental Music by Brahms".
1956:
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A deceptive cadence is a useful means for extending a musical narrative. In the closing passage of Bachās
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Beginning in the 13th century, cadences begin to require motion in one voice by half step and the other a
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refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the
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Classical Form: A Theory of Formal
Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
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Judd, Christle Collins (1998). "Introduction: Analyzing Early Music". In Judd, Christle Collins (ed.).
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2820:. "the unexpected motion of a cadential dominant chord to a I (instead of the typically cadential I)"
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2401:ācreates momentum between two chords a major second apart (with the diminished seventh in between).
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831:, a descending fifth). The plagal half cadence is a weak cadence, ordinarily at the ending of an
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2086:ā, a phrase ending in a deceptive cadence repeats with the cadence changed to an authentic one:
1082:
A metrically accented cadence has its final note in a metrically strong position, typically the
2936:
Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents
2810:
Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata
1854:) is a cadence that was used extensively in the 14th and early 15th century. It is named after
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was experienced as a problematic interval not easily understood, as the remainder between the
1398:
A clausula or clausula vera ("true close") is a dyadic or intervallic, rather than chordal or
1329:
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792:
519:(shown below): Similar to a perfect authentic cadence, but the highest voice is not the tonic.
111:
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1974:
1782:
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487:
writes that the perfect authentic cadence "achieves complete harmonic and melodic closure."
408:
228:
2252:
describes the effect of this cadence as follows: "the splendour of the end with the famous
557:: The penultimate (V) chord is replaced with a chord based on the leading-tone (vii chord).
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1571:{\displaystyle {\frac {\frac {4}{3}}{\left({\frac {9}{8}}\right)^{2}}}={\frac {256}{243}}}
1411:
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1257:
1113:
has written extensively on the gendered terminology of music and music theory in her book
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165:
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127:
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3505:, vol. 2, "Music of the Seventeenth and Eighteenth Centuries". Oxford University Press.
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Das Wesen des musikalischen Kunstwerks: Eine EinfĆ¼hrung in Die Lehre Heinrich Schenkers
2748:
2494:
2249:
1790:
1786:
1738:
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855:āit is used to complete not just a musical phrase but an entire section of a movement.
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743:
735:
545:
484:
123:
91:
83:
2009:āLa Fille aux Cheveux de Linā contains a plagal cadence in its 2nd and 3rd bars :
1623:
in one voice may also be used as a weak interior cadence. The example below, Lassus's
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Cadences are divided into four main types, according to their harmonic progression:
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The interrupted cadence is also frequently used in popular music. For example, the
1022:, the listener hears a string of many deceptive cadences progressing from V to IV.
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1858:, a composer who used them profusely. Similar to a clausula vera, it includes an
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742:. In other words, the Phrygian half cadence begins with the first chord built on
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One of the most famous endings in all music is found in the concluding bars of
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The descending diminished seventh chord half-step cadence is assisted by two
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1934:
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2266:, composed over a century later in 1841, features a similar harmonic jolt:
110:, especially in music of the 16th century onwards. A harmonic cadence is a
684:
The last two chords represent a Phrygian half cadence in Bach's four-part
4777:
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4568:
4241:
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3968:
3149:
1336:
rather than chords. The first theoretical mention of cadences comes from
169:
3018:
1733:
pattern particular to the authentic or perfect cadence. It features the
4584:
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4354:
3719:
3396:. If the clash cadence is already "archaic, mannered" in the music of
2509:
2079:
2002:
1399:
146:
103:
72:
4515:
3457:
Small, C. (1977, p. 15), Music-Society-Education. London, John Calder.
351:. Typically, phrases end on authentic or half cadences, and the terms
64:
note in the highest voice of the final chord): the three chords are a
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544:: Similar to a perfect authentic cadence, but one or both chords are
139:
99:
863:
A plagal cadence is a cadence from IV to I. It is also known as the
56:
The final two chords present an authentic (or perfect) cadence with
1348:, where he uses the term to mean where the two lines of a two-part
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The final two chords represent a perfect authentic cadence; from
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The Development of Sacred Polychoral Music to the Time of SchĆ¼tz
2382:
2075:
865:
459:
but can also have a more precise meaning depending on the chord
4677:
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3242:, p. 148. Cambridge and New York: Cambridge University Press.
154:
progressions that are suitable for phrase endings in general.
2318:
Bach, Prelude in F minor, bars 57ā60 with expected conclusion
2310:
Bach, Prelude in F minor, bars 57ā60 with expected conclusion
753:, while the Lydian half cadence is built on the scale degree
512:
There are three types of imperfect authentic cadences (IAC):
3438:
Roots of the Classical: The Popular Origins of Western Music
3365:
Roots of the Classical: The Popular Origins of Western Music
2256:
of the seventh chord, who would not be enthralled by that?"
1862:
in the upper voice, which briefly narrows the interval to a
1182:
1078:
Cadences can also be classified by their rhythmic position:
4673:
3667:
145:
While cadences are usually classified by specific chord or
4388:
4525:
2471:
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The Moravian cadence, which can be found in the works of
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2213:
Beethoven Piano Sonata Op 109, 2nd movement, bars 97ā112
2205:
Beethoven Piano Sonata Op 109, 2nd movement, bars 97ā112
1656:, an evaded cadence is one where one of the voices in a
471:
In a perfect authentic cadence (PAC), the chords are in
2780:(5th ed.). Boston: McGraw-Hill. pp. 148ā149.
1672:, or Corelli clash, named for its association with the
1044:" ends with such a cadence (at approximately 0:45ā50).
843:". But in one very unusual occurrence ā the end of the
98: 'a falling') is the end of a phrase in which the
1979:
culminates powerfully with an iterated plagal cadence:
1402:, cadence. In a clausula vera, two voices approach an
870:
because of its frequent setting to the text "Amen" in
2596:
The Harvard Concise Dictionary of Music and Musicians
1517:
440:
The Harvard Concise Dictionary of Music and Musicians
3612:. Vol. II (8th ed.). Boston: McGraw-Hill.
2109:
The exposition of the first movement of Beethovenās
657:
Several types of half cadences are described below.
4337:
4286:
4112:
4021:
3951:
3883:
3874:
3820:
2217:An equally startling example occurs in J.S. Bach's
2132:
Beethoven Piano Sonata 21, 1st movement, bars 78ā84
2124:
Beethoven Piano Sonata 21, 1st movement, bars 78-84
1570:
1282:. Presumably, the debate was over whether to use D
423:(V); the dominant chord may also be preceded by a
1264:on the second to last note would then require a D
839:phrase commences. One example of this use is in "
2185:Debussy, La Fille aux cheveux de lin, bars 26ā29
2177:Debussy, La Fille aux cheveux de lin, bars 26ā29
566:An evaded cadence moves from a dominant seventh
3537:Norman Carey (Spring, 2002). Untitled review: "
2837:Introduction to the Theory of Heinrich Schenker
2727:Thomas Benjamin, Johann Sebastian Bach (2003).
1998:Handel, Messiah, Hallelujah Chorus closing bars
1990:Handel, Messiah, Hallelujah Chorus closing bars
3608:Benward, Bruce; Saker, Marilyn Nadine (2009).
2345:A similar passage occurs at the conclusion of
1627:, mm. 3ā5, shows a rest in the third measure.
972:A deceptive cadence in the second movement of
4689:
4541:
4404:
4175:
3798:
3683:
3311:
3309:
2028:Debussy La Fille aux Cheveux de Lin, bars 1-4
2020:Debussy la Fille aux cheveux de lin, bars 1-4
1941:follows the same pattern, but in a minor key:
168:proposed that the cadence was the "cradle of
8:
3471:Beethoven's Piano Sonatas: a Short Companion
3315:
3266:
3226:
2630:
2626:
2624:
2615:
2572:
2372:Mozart Fantasia on D minor K397 closing bars
2364:Mozart Fantasia on D minor K397 closing bars
419:above the dominant may be added to create a
161:or central pitch of a passage or piece. The
3593:. Vol. I (7th ed.). McGraw-Hill.
3414:Music Theory in Seventeenth-Century England
2939:. University of Chicago Press. p. 29.
407:An authentic cadence is a cadence from the
4696:
4682:
4674:
4548:
4534:
4526:
4411:
4397:
4389:
4182:
4168:
4160:
3880:
3805:
3791:
3783:
3690:
3676:
3668:
3559:
3557:
3285:Studies in the Origin of Harmonic Tonality
3262:
3260:
3258:
3256:
1763:āD. Popular with English composers of the
1464:Magnificat Secundi Toni: Deposuit potentes
1014:At the beginning of the final movement of
3563:Richard Lawn, Jeffrey L. Hellmer (1996).
3058:Modern Harmony in its Theory and Practice
1558:
1547:
1533:
1518:
1516:
479:of both chords are in the bass ā and the
138:. A rhythmic cadence is a characteristic
3049:
3047:
2828:
2826:
2587:
2585:
2583:
2581:
2462:in G major, BMV 1048, mvmt. I, mm. 1ā2:
179:
3589:Benward, Bruce; Saker, Marilyn (2003).
3526:Johann Sebastian Bach Organ Masterworks
3214:
3134:10.1093/gmo/9781561592630.article.18241
2682:10.1093/gmo/9781561592630.article.04523
2565:
2240:Bach Toccata in F, BWV 540 bars 197ā207
2232:Bach Toccata in F, BWV 540 bars 197ā207
2065:Wagner, Tristan, Liebestod closing bars
2057:Wagner, Tristan, Liebestod closing bars
27:End of a musical phrase with resolution
3348:
3103:The Concise Oxford Dictionary of Music
3038:
1232:
791:Burgundian cadences became popular in
157:Cadences are strong indicators of the
3400:(1585-1672) it must surely be so now.
3329:Modal Counterpoint, Renaissance Style
2917:
2860:
2219:Toccata and Fugue in F major, BWV 540
1960:Beethoven Presto from Quartet Op. 130
1952:Beethoven Presto from Quartet Op. 130
1925:Mozart Romanze from Piano Concerto 20
1917:Mozart Romanze from Piano Concerto 20
1321:In medieval and Renaissance polyphony
601:
7:
1895:Authentic cadences and half cadences
1793:, as shown below in an excerpt from
3503:The Oxford History of Western Music
3150:"Guidelines for Nonsexist Language"
2341:Bach, Prelude in F minor bars 57ā70
2333:Bach, Prelude in F minor bars 57ā70
2285:Chopin Fantaisie in F minor, Op. 49
2277:Chopin Fantaisie in F minor, Op. 49
1774:The hallmark of this device is the
1496:, "as late as the 13th century the
1057:An inverted cadence (also called a
690:Schau, lieber Gott, wie meine Feind
455:is sometimes used as a synonym for
106:creates a sense of full or partial
3636:(Thesis). Arizona State University
2399:secondary diminished seventh chord
2162:DvoÅĆ”k Slavonic Dance Op 72, No. 2
2154:DvoÅĆ”k Slavonic Dance Op 72, No. 2
1680:, is a cadence characterized by a
1233:Problems playing these files? See
415:(I). During the dominant chord, a
25:
3627:Crane-Waleczek, Jennifer (2011).
1457:A three-voice clausula vera from
4514:
4277:
1217:
1198:
1163:
760:
747:
316:V ā vi (dominant to submediant)
2898:The Harvard Dictionary of Music
2843:), p. 24. Trans. John Rothgeb.
2729:The Craft of Tonal Counterpoint
2645:Tonal Structures in Early Music
629:A half cadence (also called an
293:IV ā I (subdominant to tonic)
3551:, vol. 24, no. 1, pp. 121ā134.
3487:Beethoven and the Voice of God
3292:. Princeton University Press.
2530:List of Caribbean music genres
1:
3651:The Oxford Companion to Music
3184:University of Minnesota Press
2988:Crane-Waleczek (2011), p. 18
2706:. Prentice-Hall. p. 34.
2668:Rockstro, William S. (2001).
2105:From Bach chorale, Wachet auf
2097:From Bach chorale, Wachet auf
1725:Another "clash cadence", the
1700:. An example is shown below.
1383:A clausula vera cadence from
1276:, the upper leading-tone of D
176:Nomenclature across the world
3649:Latham, Alison, ed. (2002).
3610:Music in Theory and Practice
3591:Music in Theory and Practice
2872:Finn Egeland Hansen (2006).
2808:Darcy and Hepokoski (2006).
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1819:
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1600:
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1158:(Jesus, My Joy), mm. 12ā13.
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772:
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380:
258:I, II, IV or VI ā V (tonic,
42:
3211:Harvard Dictionary of Music
3154:Western Michigan University
2676:. Oxford University Press.
1969:The Hallelujah Chorus from
988:, most commonly Vāvi (or Vā
508:Imperfect authentic cadence
4870:
4481:List of chord progressions
4151:List of chord progressions
3079:Music Theory Resource Book
1789:between the split seventh
1176:Upper leading-tone cadence
802:between the upper voices.
204:Typical harmonic sequence
60:in the bass lines and the
29:
4726:Consonance and dissonance
4711:
4563:
4512:
4426:
4378:List of musical intervals
4373:
4275:
4197:
4191:Consonance and dissonance
4148:
3705:
3565:Jazz: Theory and Practice
2963:The Journal of Musicology
2874:Layers of Musical Meaning
2776:; Payne, Dorothy (2004).
847:of the first movement of
467:Perfect authentic cadence
3473:. Yale University Press.
3384:Carver, Anthony (1988).
3327:Schubert, Peter (1999).
3316:Benward & Saker 2009
3267:Benward & Saker 2009
3227:Benward & Saker 2009
3146:Society for Music Theory
2647:. Routledge. p. 6.
2631:Benward & Saker 2003
2616:Benward & Saker 2003
2573:Benward & Saker 2003
2078:'s harmonization of the
1332:cadences are based upon
1194:Upper-leading tone trill
1074:Rhythmic classifications
1042:Bring the Boys Back Home
181:Terms used for cadences
32:Cadence (disambiguation)
4783:Otonality and utonality
4009:Tadd Dameron turnaround
3528:, Guild Music GMCD 7217
3128:. Oxford Music Online.
2976:10.1525/jm.2005.22.1.90
2702:White, John D. (1976).
2473:download the audio file
2436:download the audio file
2412:download the audio file
1877:download the audio file
1824:download the audio file
1711:download the audio file
1638:download the audio file
1625:Qui vult venire post me
1605:download the audio file
1483:download the audio file
1448:download the audio file
1429:download the audio file
1374:download the audio file
1311:download the audio file
1256:in this context, and a
1130:download the audio file
1005:download the audio file
963:download the audio file
911:download the audio file
885:download the audio file
813:download the audio file
777:download the audio file
720:download the audio file
675:download the audio file
648:download the audio file
615:download the audio file
531:download the audio file
498:download the audio file
402:, mvmt. III, mm. 16ā17.
385:download the audio file
47:download the audio file
4104:Montgomery-Ward bridge
4084:Royal road progression
3979:Montgomery-Ward bridge
3238:Berger, Karol (1987).
2373:
2365:
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1991:
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1953:
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1887:Common practice period
1572:
1340:'s description of the
1187:
853:Clarinet Trio, Op. 114
835:phrase, after which a
421:dominant seventh chord
323:Common classifications
4049:Borrowed (contrafact)
3548:Music Theory Spectrum
3077:Owen, Harold (2000).
3007:Musicologia Brunensia
2704:The Analysis of Music
2371:
2363:
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2296:Well-Tempered Clavier
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2019:
1997:
1989:
1959:
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1939:String Quartet Op 130
1924:
1916:
1904:Piano Concerto No. 20
1848:Landini sixth cadence
1573:
1186:
1048:Other classifications
661:Phrygian half cadence
4803:Schenkerian analysis
4798:Progressive tonality
4140:Irregular resolution
3918:Backdoor progression
3715:Backdoor progression
3434:van der Merwe, Peter
3361:van der Merwe, Peter
3290:Robert O. Gjerdingen
2998:Zouhar, Vit (2013).
2458:Brandenburg Concerto
2293:from Book II of the
1902:ās Romanze from his
1586:in contrary motion.
1515:
986:irregular resolution
895:Minor plagal cadence
361:Roman numeral system
301:interrupted cadence
246:cadencia imperfecta
68:in C major, in four-
30:For other uses, see
4854:Musical terminology
3539:Harmonic Experience
3122:"Medial cadence ".
3019:10.5817/MB2013-2-13
2920:, pp. 129ā130.
2894:Randel, Don Michael
2351:Fantasia in D minor
2192:Piano Sonata No. 30
2111:Piano Sonata No. 21
1866:before the octave.
1852:under-third cadence
1805:courtesy accidental
978:Piano Sonata No. 10
823:Plagal half cadence
787:Burgundian cadences
337:imperfect authentic
215:cadencia autƩntica
182:
4741:Secondary function
4074:Passamezzo moderno
4034:Andalusian cadence
3964:Andalusian cadence
3943:Passamezzo moderno
3843:Constant structure
3814:Chord progressions
3410:Herissone, Rebecca
3179:Feminism and Music
3125:Grove Music Online
2674:Grove Music Online
2592:Don Michael Randel
2500:Cadential six-four
2490:Andalusian cadence
2374:
2366:
2343:
2335:
2320:
2312:
2291:Prelude in F minor
2287:
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2234:
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2187:
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2156:
2134:
2126:
2107:
2099:
2070:Deceptive cadences
2067:
2059:
2039:Tristan und Isolde
2030:
2022:
2000:
1992:
1962:
1954:
1927:
1919:
1796:O sacrum convivium
1688:clash between the
1568:
1244:upper leading-tone
1188:
1155:Jesu, meine Freude
400:Piano Sonata No. 8
307:cadenza d'inganno
298:deceptive cadence
243:imperfect cadence
209:authentic cadence
180:
66:iiāVāI progression
4831:
4830:
4736:Diatonic function
4671:
4670:
4523:
4522:
4456:Chord progression
4386:
4385:
4157:
4156:
4134:Pachelbel's Canon
4069:Passamezzo antico
4017:
4016:
3984:Passamezzo antico
3938:Sixteen-bar blues
3903:VāIVāI turnaround
3898:iiāVāI turnaround
3780:
3779:
3760:VāIVāI turnaround
3755:iiāVāI turnaround
3619:978-0-07-310188-0
3600:978-0-07-294262-0
3573:978-0-88284-722-1
3469:. (2002, p. 232)
2749:Caplin, William E
2543:VāIVāI turnaround
2477:
2440:
2416:
2361:
2330:
2307:
2274:
2264:Fantaisie, Op. 49
2229:
2202:
2174:
2151:
2121:
2094:
2054:
2017:
1987:
1949:
1914:
1881:
1856:Francesco Landini
1842:(also known as a
1828:
1715:
1696:or the tonic and
1642:
1609:
1566:
1553:
1541:
1527:
1487:
1452:
1433:
1378:
1315:
1223:
1204:
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1134:
1115:Feminine Endings.
1009:
967:
949:Deceptive cadence
915:
889:
817:
781:
724:
679:
652:
631:imperfect cadence
619:
535:
517:Root position IAC
502:
457:authentic cadence
411:chord (V) to the
389:
371:Authentic cadence
333:perfect authentic
320:
319:
221:cadence parfaite
218:cadenza perfetta
51:
16:(Redirected from
4861:
4849:Jazz terminology
4813:Tonality diamond
4721:Circle of fifths
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4089:"Rhythm" changes
4059:Coltrane changes
3959:'50s progression
3928:Twelve-bar blues
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3501:(2005, p. 213),
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3489:. London, Faber.
3485:(1983, p. 210),
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3288:. Translated by
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3099:Kennedy, Michael
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2931:Harrison, Daniel
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2446:Rhythmic cadence
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2246:Richard Taruskin
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2203:
2175:
2152:
2122:
2095:
2055:
2018:
1988:
1950:
1915:
1812:
1811:
1807:on the tenor's G
1785:) produced by a
1783:augmented unison
1779:augmented octave
1765:High Renaissance
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1068:radical cadences
1053:Inverted cadence
993:
992:
931:Bohuslav MartinÅÆ
921:Moravian cadence
793:Burgundian music
765:
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602:inverted cadence
599:
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435:
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287:cadence plagale
284:cadenza plagale
281:cadencia plagal
249:cadenza sospesa
212:perfect cadence
183:
21:
18:Phrygian cadence
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4763:Major and minor
4753:Just intonation
4707:
4702:
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4637:Steps and skips
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4466:Harmonic rhythm
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4333:
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4120:Aeolian harmony
4108:
4013:
3947:
3923:Eight-bar blues
3909:
3908:
3876:
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3855:(Roman-numeral)
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3398:Heinrich SchĆ¼tz
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2254:third inversion
2224:
2197:
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2146:
2116:
2089:
2072:
2049:
2044:dissonant chord
2012:
1982:
1967:
1965:Plagal cadences
1944:
1909:
1897:
1889:
1884:
1883:
1882:
1880:
1840:Landini cadence
1836:
1834:Landini cadence
1831:
1830:
1829:
1827:
1809:
1808:
1758:
1757:
1749:
1748:
1741:, which in the
1727:English cadence
1723:
1721:English cadence
1718:
1717:
1716:
1714:
1670:Corelli cadence
1666:
1664:Corelli cadence
1650:
1645:
1644:
1643:
1641:
1617:
1612:
1611:
1610:
1608:
1592:
1529:
1528:
1513:
1512:
1490:
1489:
1488:
1486:
1470:
1469:
1468:
1455:
1454:
1453:
1451:
1436:
1435:
1434:
1432:
1416:contrary motion
1412:stepwise motion
1396:
1395:
1394:
1381:
1380:
1379:
1377:
1362:
1338:Guido of Arezzo
1323:
1318:
1317:
1316:
1314:
1300:for the trill.
1296:
1295:
1290:
1289:
1284:
1283:
1278:
1277:
1272:
1271:
1266:
1265:
1258:cadential trill
1252:
1251:
1240:
1239:
1231:
1229:
1228:
1227:
1226:
1218:
1215:
1209:
1208:
1207:
1199:
1196:
1189:
1183:
1178:
1173:
1172:
1164:
1142:
1137:
1136:
1135:
1133:
1076:
1055:
1050:
1012:
1011:
1010:
1008:
990:
989:
982:
981:
980:
970:
969:
968:
966:
951:
923:
918:
917:
916:
914:
897:
892:
891:
890:
888:
861:
825:
820:
819:
818:
816:
789:
784:
783:
782:
780:
759:
755:
754:
746:
732:
727:
726:
725:
723:
707:Landini cadence
694:
693:
692:
682:
681:
680:
678:
663:
655:
654:
653:
651:
627:
622:
621:
620:
618:
597:
594:
593:
592:
588:
586:
585:
584:
581:first inversion
576:
573:
572:
571:
568:third inversion
564:
538:
537:
536:
534:
510:
505:
504:
503:
501:
475:ā that is, the
469:
453:perfect cadence
432:
429:
428:
427:
426:
405:
404:
403:
392:
391:
390:
388:
373:
325:
310:cadence rompue
290:plagale Kadenz
278:plagal cadence
275:plagal cadence
178:
166:Edward Lowinsky
151:Harmonic rhythm
114:of two or more
77:
76:
75:
54:
53:
52:
50:
35:
28:
23:
22:
15:
12:
11:
5:
4867:
4865:
4857:
4856:
4851:
4846:
4836:
4835:
4829:
4828:
4826:
4825:
4820:
4815:
4810:
4805:
4800:
4795:
4790:
4785:
4780:
4775:
4770:
4765:
4760:
4755:
4750:
4745:
4744:
4743:
4733:
4731:Diatonic scale
4728:
4723:
4718:
4712:
4709:
4708:
4703:
4701:
4700:
4693:
4686:
4678:
4669:
4668:
4666:
4665:
4660:
4655:
4650:
4644:
4639:
4634:
4629:
4624:
4619:
4614:
4609:
4608:
4607:
4597:
4592:
4590:Melodic motion
4587:
4582:
4577:
4572:
4564:
4561:
4560:
4555:
4553:
4552:
4545:
4538:
4530:
4521:
4520:
4513:
4511:
4509:
4508:
4503:
4498:
4493:
4488:
4483:
4478:
4476:List of chords
4473:
4468:
4463:
4458:
4453:
4448:
4443:
4438:
4433:
4427:
4424:
4423:
4418:
4416:
4415:
4408:
4401:
4393:
4384:
4383:
4381:
4380:
4374:
4371:
4370:
4368:
4367:
4362:
4357:
4352:
4347:
4341:
4339:
4335:
4334:
4332:
4331:
4326:
4321:
4316:
4311:
4309:Perfect fourth
4306:
4301:
4296:
4290:
4288:
4284:
4283:
4276:
4274:
4272:
4271:
4266:
4265:
4264:
4259:
4254:
4249:
4247:Changing tones
4244:
4234:
4229:
4224:
4219:
4214:
4209:
4204:
4198:
4195:
4194:
4189:
4187:
4186:
4179:
4172:
4164:
4155:
4154:
4149:
4146:
4145:
4143:
4142:
4137:
4127:
4122:
4116:
4114:
4110:
4109:
4107:
4106:
4101:
4096:
4091:
4086:
4081:
4076:
4071:
4066:
4061:
4056:
4051:
4046:
4044:"Bird" changes
4041:
4036:
4031:
4025:
4023:
4019:
4018:
4015:
4014:
4012:
4011:
4006:
4001:
3996:
3986:
3981:
3976:
3971:
3966:
3961:
3955:
3953:
3949:
3948:
3946:
3945:
3940:
3935:
3932:"Bird" changes
3925:
3920:
3915:
3905:
3900:
3895:
3889:
3887:
3878:
3872:
3871:
3869:
3868:
3863:
3858:
3850:
3845:
3840:
3835:
3830:
3824:
3822:
3818:
3817:
3812:
3810:
3809:
3802:
3795:
3787:
3778:
3777:
3775:
3774:
3764:
3763:
3762:
3757:
3747:
3742:
3737:
3732:
3727:
3722:
3717:
3712:
3706:
3703:
3702:
3697:
3695:
3694:
3687:
3680:
3672:
3666:
3665:
3659:
3646:
3624:
3618:
3605:
3599:
3584:
3581:
3578:
3577:
3553:
3530:
3507:
3491:
3475:
3467:Rosen, Charles
3459:
3450:
3426:
3402:
3377:
3353:
3351:, p. 192.
3341:
3320:
3305:
3298:
3280:Dahlhaus, Carl
3271:
3252:
3231:
3219:
3199:
3192:
3174:McClary, Susan
3165:
3148:(1996-06-06).
3137:
3115:
3101:, ed. (2004).
3091:
3070:
3043:
3041:, p. 193.
3031:
3013:(2): 191ā199.
2990:
2981:
2970:(1): 114ā130.
2952:
2945:
2922:
2910:
2886:
2865:
2853:
2822:
2801:
2786:
2774:Kostka, Stefan
2765:
2741:
2720:
2712:
2694:
2660:
2653:
2635:
2620:
2618:, p. 359.
2608:
2577:
2564:
2563:
2561:
2558:
2556:
2555:
2545:
2540:
2527:
2522:
2517:
2512:
2507:
2502:
2497:
2495:Approach chord
2492:
2486:
2484:
2481:
2470:
2467:
2465:
2464:
2447:
2444:
2433:
2430:
2428:
2427:
2409:
2406:
2404:
2403:
2378:
2375:
2250:Hermann Keller
2141:Slavonic Dance
2071:
2068:
1966:
1963:
1933:movement from
1896:
1893:
1888:
1885:
1874:
1871:
1869:
1868:
1835:
1832:
1821:
1818:
1816:
1815:
1813:is editorial.
1787:false relation
1745:of C would be
1739:dominant chord
1722:
1719:
1708:
1705:
1703:
1702:
1678:Corelli school
1665:
1662:
1649:
1648:Evaded cadence
1646:
1635:
1632:
1630:
1629:
1616:
1613:
1602:
1599:
1597:
1596:
1591:
1590:Plagal cadence
1588:
1579:
1578:
1565:
1562:
1557:
1550:
1545:
1540:
1537:
1532:
1526:
1523:
1502:perfect fourth
1480:
1477:
1475:
1474:
1456:
1445:
1442:
1440:
1439:
1438:
1437:
1426:
1423:
1421:
1420:
1382:
1371:
1368:
1366:
1365:
1364:
1363:
1361:
1358:
1322:
1319:
1308:
1305:
1303:
1302:
1230:
1216:
1213:Diatonic trill
1211:
1210:
1197:
1192:
1191:
1190:
1181:
1180:
1179:
1177:
1174:
1161:
1160:
1141:
1138:
1127:
1124:
1122:
1121:
1099:
1098:
1091:
1075:
1072:
1059:medial cadence
1054:
1051:
1049:
1046:
1031:Third Symphony
1002:
999:
997:
996:
971:
960:
957:
955:
954:
953:
952:
950:
947:
936:AntonĆn DvoÅĆ”k
922:
919:
908:
905:
903:
902:
896:
893:
882:
879:
877:
876:
860:
859:Plagal cadence
857:
841:Auld Lang Syne
824:
821:
810:
807:
805:
804:
788:
785:
774:
771:
769:
768:
736:Lydian cadence
731:
730:Lydian cadence
728:
717:
714:
712:
711:
683:
672:
669:
667:
666:
665:
664:
662:
659:
645:
642:
640:
639:
626:
623:
612:
609:
607:
606:
595:
587:
583:tonic chord (I
574:
563:
562:Evaded cadence
560:
559:
558:
549:
528:
525:
523:
522:
521:
520:
509:
506:
495:
492:
490:
489:
485:William Caplin
468:
465:
430:
393:
382:
379:
377:
376:
375:
374:
372:
369:
324:
321:
318:
317:
314:
311:
308:
305:
304:cadencia rota
302:
299:
295:
294:
291:
288:
285:
282:
279:
276:
272:
271:
256:
253:
250:
247:
244:
241:
237:
236:
225:
222:
219:
216:
213:
210:
206:
205:
202:
199:
196:
195:Italian usage
193:
192:Spanish usage
190:
189:British usage
187:
177:
174:
84:musical theory
55:
44:
41:
39:
38:
37:
36:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4866:
4855:
4852:
4850:
4847:
4845:
4842:
4841:
4839:
4824:
4823:Voice leading
4821:
4819:
4816:
4814:
4811:
4809:
4806:
4804:
4801:
4799:
4796:
4794:
4791:
4789:
4786:
4784:
4781:
4779:
4776:
4774:
4771:
4769:
4766:
4764:
4761:
4759:
4756:
4754:
4751:
4749:
4746:
4742:
4739:
4738:
4737:
4734:
4732:
4729:
4727:
4724:
4722:
4719:
4717:
4714:
4713:
4710:
4706:
4699:
4694:
4692:
4687:
4685:
4680:
4679:
4676:
4664:
4663:Voice leading
4661:
4659:
4656:
4654:
4651:
4648:
4645:
4643:
4640:
4638:
4635:
4633:
4630:
4628:
4625:
4623:
4620:
4618:
4615:
4613:
4610:
4606:
4603:
4602:
4601:
4598:
4596:
4593:
4591:
4588:
4586:
4583:
4581:
4578:
4576:
4573:
4571:
4570:
4566:
4565:
4562:
4558:
4551:
4546:
4544:
4539:
4537:
4532:
4531:
4528:
4517:
4507:
4506:Voice leading
4504:
4502:
4499:
4497:
4494:
4492:
4489:
4487:
4484:
4482:
4479:
4477:
4474:
4472:
4471:Harmonization
4469:
4467:
4464:
4462:
4459:
4457:
4454:
4452:
4449:
4447:
4444:
4442:
4439:
4437:
4434:
4432:
4431:Accompaniment
4429:
4428:
4425:
4421:
4414:
4409:
4407:
4402:
4400:
4395:
4394:
4391:
4379:
4376:
4375:
4372:
4366:
4365:Major seventh
4363:
4361:
4360:Minor seventh
4358:
4356:
4353:
4351:
4348:
4346:
4343:
4342:
4340:
4336:
4330:
4327:
4325:
4322:
4320:
4317:
4315:
4314:Perfect fifth
4312:
4310:
4307:
4305:
4302:
4300:
4297:
4295:
4292:
4291:
4289:
4285:
4270:
4267:
4263:
4260:
4258:
4255:
4253:
4250:
4248:
4245:
4243:
4240:
4239:
4238:
4237:Nonchord tone
4235:
4233:
4230:
4228:
4225:
4223:
4220:
4218:
4215:
4213:
4210:
4208:
4205:
4203:
4200:
4199:
4196:
4192:
4185:
4180:
4178:
4173:
4171:
4166:
4165:
4162:
4152:
4147:
4141:
4138:
4135:
4131:
4128:
4126:
4123:
4121:
4118:
4117:
4115:
4111:
4105:
4102:
4100:
4097:
4095:
4092:
4090:
4087:
4085:
4082:
4080:
4077:
4075:
4072:
4070:
4067:
4065:
4062:
4060:
4057:
4055:
4052:
4050:
4047:
4045:
4042:
4040:
4037:
4035:
4032:
4030:
4027:
4026:
4024:
4020:
4010:
4007:
4005:
4002:
4000:
3997:
3994:
3990:
3987:
3985:
3982:
3980:
3977:
3975:
3972:
3970:
3967:
3965:
3962:
3960:
3957:
3956:
3954:
3950:
3944:
3941:
3939:
3936:
3933:
3929:
3926:
3924:
3921:
3919:
3916:
3914:
3913:VIIāV cadence
3906:
3904:
3901:
3899:
3896:
3894:
3891:
3890:
3888:
3886:
3882:
3879:
3873:
3867:
3864:
3862:
3861:Rewrite rules
3859:
3857:
3851:
3849:
3846:
3844:
3841:
3839:
3836:
3834:
3831:
3829:
3826:
3825:
3823:
3819:
3815:
3808:
3803:
3801:
3796:
3794:
3789:
3788:
3785:
3773:
3772:VIIāV cadence
3765:
3761:
3758:
3756:
3753:
3752:
3751:
3748:
3746:
3745:Picardy third
3743:
3741:
3738:
3736:
3733:
3731:
3728:
3726:
3723:
3721:
3718:
3716:
3713:
3711:
3708:
3707:
3704:
3700:
3693:
3688:
3686:
3681:
3679:
3674:
3673:
3670:
3662:
3660:0-19-866212-2
3656:
3652:
3647:
3632:
3631:
3625:
3621:
3615:
3611:
3606:
3602:
3596:
3592:
3587:
3586:
3582:
3574:
3570:
3567:, pp. 97-98.
3566:
3560:
3558:
3554:
3550:
3549:
3544:
3543:W. A. Mathieu
3540:
3534:
3531:
3527:
3521:
3516:
3511:
3508:
3504:
3500:
3495:
3492:
3488:
3484:
3479:
3476:
3472:
3468:
3463:
3460:
3454:
3451:
3447:
3446:0-19-816647-8
3443:
3439:
3435:
3430:
3427:
3423:
3422:0-19-816700-8
3419:
3415:
3411:
3406:
3403:
3399:
3395:
3394:0-521-30398-2
3391:
3387:
3381:
3378:
3374:
3373:0-19-816647-8
3370:
3366:
3362:
3357:
3354:
3350:
3345:
3342:
3338:
3337:0-19-510912-0
3334:
3330:
3324:
3321:
3317:
3312:
3310:
3306:
3301:
3299:0-691-09135-8
3295:
3291:
3287:
3286:
3281:
3275:
3272:
3268:
3263:
3261:
3259:
3257:
3253:
3249:
3248:0-521-54338-X
3245:
3241:
3235:
3232:
3229:, p. 74.
3228:
3223:
3220:
3216:
3212:
3208:
3203:
3200:
3195:
3193:0-8166-4189-7
3189:
3185:
3181:
3180:
3175:
3169:
3166:
3155:
3151:
3147:
3141:
3138:
3135:
3131:
3127:
3126:
3119:
3116:
3112:
3111:0-19-860884-5
3108:
3104:
3100:
3095:
3092:
3088:
3087:0-19-511539-2
3084:
3080:
3074:
3071:
3067:
3066:1-4067-3814-X
3063:
3059:
3055:
3054:Foote, Arthur
3050:
3048:
3044:
3040:
3035:
3032:
3020:
3016:
3012:
3008:
3001:
2994:
2991:
2985:
2982:
2977:
2973:
2969:
2965:
2964:
2956:
2953:
2948:
2942:
2938:
2937:
2932:
2926:
2923:
2919:
2914:
2911:
2907:
2906:0-674-01163-5
2903:
2899:
2895:
2890:
2887:
2883:
2882:87-635-0424-3
2879:
2875:
2869:
2866:
2863:, p. 38.
2862:
2857:
2854:
2850:
2849:0-582-28227-6
2846:
2842:
2838:
2834:
2833:Jonas, Oswald
2829:
2827:
2823:
2819:
2818:0-19-514640-9
2815:
2811:
2805:
2802:
2797:
2793:
2789:
2783:
2779:
2778:Tonal Harmony
2775:
2769:
2766:
2762:
2761:0-19-514399-X
2758:
2754:
2750:
2745:
2742:
2738:
2737:0-415-94391-4
2734:
2730:
2724:
2721:
2715:
2713:0-13-033233-X
2709:
2705:
2698:
2695:
2683:
2679:
2675:
2671:
2664:
2661:
2656:
2654:0-8153-3638-1
2650:
2646:
2639:
2636:
2632:
2627:
2625:
2621:
2617:
2612:
2609:
2605:
2604:0-674-00084-6
2601:
2597:
2593:
2588:
2586:
2584:
2582:
2578:
2575:, p. 90.
2574:
2569:
2566:
2559:
2554:
2553:VIIāV cadence
2546:
2544:
2541:
2539:
2538:cadence rampa
2535:
2534:cadence-lypso
2531:
2528:
2526:
2523:
2521:
2518:
2516:
2513:
2511:
2508:
2506:
2503:
2501:
2498:
2496:
2493:
2491:
2488:
2487:
2482:
2474:
2463:
2461:
2459:
2454:
2445:
2437:
2426:
2424:
2413:
2402:
2400:
2396:
2392:
2390:
2389:
2384:
2376:
2370:
2354:
2352:
2348:
2339:
2323:
2316:
2300:
2298:
2297:
2292:
2283:
2267:
2265:
2261:
2257:
2255:
2251:
2247:
2244:According to
2238:
2222:
2220:
2211:
2195:
2193:
2183:
2167:
2160:
2144:
2142:
2138:
2130:
2114:
2112:
2103:
2087:
2085:
2081:
2077:
2069:
2063:
2047:
2045:
2041:
2040:
2035:
2026:
2010:
2008:
2004:
1996:
1980:
1978:
1977:
1972:
1964:
1958:
1942:
1940:
1936:
1932:
1923:
1907:
1905:
1901:
1894:
1892:
1886:
1878:
1867:
1865:
1864:perfect fifth
1861:
1857:
1853:
1849:
1845:
1844:Landini sixth
1841:
1833:
1825:
1814:
1806:
1802:
1801:Thomas Tallis
1798:
1797:
1792:
1788:
1784:
1780:
1777:
1772:
1770:
1766:
1762:
1753:
1744:
1740:
1736:
1732:
1728:
1720:
1712:
1701:
1699:
1695:
1691:
1687:
1683:
1679:
1676:music of the
1675:
1671:
1663:
1661:
1659:
1655:
1647:
1639:
1628:
1626:
1622:
1614:
1606:
1595:
1589:
1587:
1585:
1563:
1560:
1555:
1548:
1543:
1538:
1535:
1530:
1524:
1521:
1511:
1510:
1509:
1507:
1503:
1499:
1495:
1494:Carl Dahlhaus
1492:According to
1484:
1473:
1466:
1465:
1460:
1449:
1430:
1419:
1417:
1413:
1409:
1405:
1401:
1392:
1391:
1386:
1375:
1360:Clausula vera
1359:
1357:
1355:
1351:
1347:
1343:
1339:
1335:
1331:
1327:
1320:
1312:
1301:
1263:
1259:
1249:
1245:
1238:
1236:
1214:
1195:
1175:
1159:
1157:
1156:
1151:
1147:
1146:Picardy third
1140:Picardy third
1139:
1131:
1120:
1117:
1116:
1112:
1111:Susan McClary
1108:
1104:
1096:
1092:
1089:
1085:
1081:
1080:
1079:
1073:
1071:
1069:
1064:
1060:
1052:
1047:
1045:
1043:
1039:
1034:
1032:
1028:
1023:
1021:
1017:
1016:Gustav Mahler
1006:
995:
987:
979:
975:
964:
948:
946:
944:
942:
937:
932:
928:
920:
912:
901:
894:
886:
875:
873:
869:
867:
858:
856:
854:
850:
846:
842:
838:
834:
830:
822:
814:
803:
801:
798:
794:
786:
778:
767:
763:
750:
745:
741:
737:
729:
721:
710:
708:
704:
703:Baroque music
700:
699:Phrygian mode
691:
687:
676:
660:
658:
649:
638:
636:
632:
624:
616:
605:
603:
582:
569:
561:
556:
554:
550:
547:
543:
540:
539:
532:
518:
515:
514:
513:
507:
499:
488:
486:
482:
478:
474:
473:root position
466:
464:
462:
458:
454:
451:. The phrase
450:
446:
441:
437:
422:
418:
414:
410:
401:
397:
386:
370:
368:
366:
362:
358:
354:
350:
346:
342:
338:
334:
330:
322:
315:
312:
309:
306:
303:
300:
297:
296:
292:
289:
286:
283:
280:
277:
274:
273:
270:to dominant)
269:
265:
261:
257:
254:
252:demi-cadence
251:
248:
245:
242:
240:half cadence
239:
238:
234:
230:
226:
223:
220:
217:
214:
211:
208:
207:
203:
201:German usage
200:
198:French usage
197:
194:
191:
188:
185:
184:
175:
173:
171:
167:
164:
160:
155:
152:
148:
143:
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137:
133:
129:
125:
121:
117:
113:
109:
105:
101:
97:
93:
89:
85:
82:
74:
71:
67:
63:
59:
48:
33:
19:
4818:Tonicization
4793:Polytonality
4788:Parallel key
4748:Figured bass
4715:
4574:
4567:
4501:Simultaneity
4445:
4436:Alberti bass
4350:Major second
4345:Minor second
4232:Musical note
4216:
4099:Tadd-Dameron
3848:Double tonic
3650:
3638:. Retrieved
3629:
3609:
3590:
3564:
3546:
3538:
3533:
3525:
3510:
3502:
3499:Taruskin, R.
3494:
3486:
3478:
3470:
3462:
3453:
3437:
3429:
3413:
3405:
3385:
3380:
3364:
3356:
3344:
3328:
3323:
3318:, p. 14
3284:
3274:
3269:, p. 13
3239:
3234:
3222:
3217:, p. 9.
3215:McClary 2002
3210:
3202:
3178:
3168:
3157:. Retrieved
3140:
3123:
3118:
3102:
3094:
3078:
3073:
3057:
3034:
3022:. Retrieved
3010:
3006:
2993:
2984:
2967:
2961:
2955:
2935:
2925:
2913:
2897:
2889:
2873:
2868:
2856:
2840:
2836:
2809:
2804:
2777:
2768:
2752:
2744:
2728:
2723:
2703:
2697:
2685:. Retrieved
2673:
2663:
2644:
2638:
2633:, p. 91
2611:
2595:
2568:
2515:Drum cadence
2457:
2449:
2423:common tones
2420:
2393:
2387:
2381:Cadences in
2380:
2344:
2321:
2294:
2288:
2258:
2243:
2216:
2188:
2165:
2135:
2108:
2073:
2042:, where the
2037:
2031:
2001:
1975:
1968:
1928:
1898:
1890:
1851:
1847:
1843:
1837:
1794:
1791:scale degree
1773:
1755:
1746:
1737:against the
1735:blue seventh
1731:contrapuntal
1724:
1694:leading-tone
1686:minor second
1667:
1654:counterpoint
1651:
1624:
1618:
1593:
1580:
1491:
1471:
1467:, mm. 27ā28.
1462:
1397:
1393:, mm. 34ā35.
1388:
1341:
1324:
1241:
1153:
1143:
1118:
1114:
1106:
1102:
1100:
1095:appoggiatura
1077:
1067:
1058:
1056:
1035:
1024:
1020:9th Symphony
1013:
983:
940:
927:LeoÅ” JanĆ”Äek
924:
898:
864:
862:
826:
790:
744:scale degree
733:
695:
656:
634:
630:
628:
625:Half cadence
565:
553:Leading-tone
551:
542:Inverted IAC
541:
516:
511:
470:
456:
452:
448:
444:
439:
406:
356:
352:
348:
344:
340:
336:
332:
328:
326:
313:Trugschluss
255:Halbschluss
224:Ganzschluss
163:musicologist
156:
144:
95:
87:
78:
4808:Sonata form
4773:Neotonality
4338:Dissonances
4324:Major sixth
4319:Minor sixth
4304:Major third
4299:Minor third
4287:Consonances
4257:Preparation
4252:Pedal point
4130:Ground bass
3999:IVāVāiiiāvi
3821:Terminology
3640:11 November
3545:", p. 125.
3518: [
3515:Hauk, Franz
3483:Mellers, W.
3349:Latham 2002
3213:. cited in
3207:Apel, Willi
3039:Latham 2002
3024:20 November
2687:20 November
2525:Lament bass
1860:escape tone
1769:Restoration
1390:Beatus homo
1330:Renaissance
795:. Note the
635:semicadence
331:(typically
264:subdominant
112:progression
4838:Categories
4768:Modulation
4441:Banjo roll
4262:Resolution
4207:Avoid note
3866:Turnaround
3750:Turnaround
3710:Andalusian
3440:, p. 501.
3416:, p. 170.
3388:, p. 136.
3367:, p. 492.
3331:, p. 132.
3159:2008-07-19
3105:, p. 116.
3081:, p. 132.
2946:0226318087
2918:White 1976
2900:, p. 130.
2876:, p. 208.
2861:White 1976
2787:0072852607
2751:. (2000).
2731:, p. 284.
2560:References
2388:turnaround
2084:Wachet auf
1781:(compound
1698:supertonic
1658:suspension
1584:whole step
1459:Palestrina
1350:polyphonic
1346:Micrologus
1262:whole tone
1235:media help
1038:Pink Floyd
845:exposition
837:consequent
833:antecedent
425:cadential
413:root chord
363:of naming
268:submediant
260:supertonic
108:resolution
90:(from
4653:Ululation
4461:Four-part
4004:Romanesca
3989:IāVāviāIV
3974:viāiiāVāI
3877:of chords
3875:By number
3853:Notation
3060:, p. 93.
2755:, p. 51.
2670:"Cadence"
2453:J.S. Bach
2395:Half-step
2036:ās opera
1935:Beethoven
1776:dissonant
1498:half step
1150:J.S. Bach
1103:masculine
941:New World
829:inversion
740:half step
449:imperfect
396:Beethoven
357:deceptive
349:deceptive
329:authentic
186:US usage
120:concludes
4844:Cadences
4778:Ostinato
4705:Tonality
4649:(figure)
4632:Sequence
4617:Phrasing
4600:Ornament
4580:Interval
4569:Balungan
4496:Sequence
4242:Cambiata
4227:Interval
4202:Argument
4125:Chaconne
4039:Backdoor
3910:♭
3893:IāIVāVāI
3769:♭
3699:Cadences
3436:(2005).
3412:(2001).
3363:(2005).
3282:(1990).
3209:(1970).
3176:(2002).
3056:(2007).
2933:(1994).
2896:(2003).
2835:(1982).
2796:51613969
2594:(1999).
2550:♭
2483:See also
2353:, K397:
1810:♮
1759:♮
1750:♭
1692:and the
1504:and the
1410:through
1400:harmonic
1342:occursus
1326:Medieval
1297:♯
1291:♯
1285:♯
1279:♮
1273:♭
1267:♯
1253:♯
1107:feminine
1084:downbeat
991:♭
943:Symphony
797:parallel
756:♯
604:below.)
570:chord (V
546:inverted
409:dominant
229:dominant
170:tonality
140:rhythmic
96:cadentia
4716:Cadence
4612:Pattern
4585:Melisma
4575:Cadence
4446:Cadence
4420:Harmony
4355:Tritone
4269:Spectra
4217:Cadence
4212:Beating
4113:Related
4079:Ragtime
4064:Omnibus
4022:By name
3930: (
3838:Changes
3833:Cadence
3735:Landini
3730:English
3725:Corelli
3720:Cadenza
3583:Sources
2839:(1934:
2510:Cadenza
2080:chorale
2007:prelude
2003:Debussy
1976:Messiah
1729:, is a
1684:and/or
1344:in his
1088:measure
1063:inverts
868:cadence
800:fourths
686:chorale
579:) to a
461:voicing
445:perfect
417:seventh
227:V ā I (
147:melodic
128:section
104:harmony
88:cadence
81:Western
73:harmony
4642:Timbre
4627:Rhythm
4557:Melody
4329:Octave
4294:Unison
4054:Circle
3828:Bridge
3740:Lydian
3657:
3616:
3597:
3571:
3444:
3420:
3392:
3371:
3335:
3296:
3246:
3190:
3109:
3085:
3064:
2943:
2904:
2880:
2847:
2816:
2812:, p..
2794:
2784:
2759:
2735:
2710:
2651:
2602:
2520:Kadans
2347:Mozart
2260:Chopin
2137:DvoÅĆ”k
2034:Wagner
1971:Handel
1931:presto
1900:Mozart
1803:. The
1754:and Gā
1674:violin
1506:ditone
1408:unison
1404:octave
1385:Lassus
1354:unison
1294:or DāC
1040:song "
1027:Brahms
974:Mozart
849:Brahms
365:chords
353:plagal
347:, and
345:plagal
124:phrase
116:chords
100:melody
4658:Voice
4622:Pitch
4605:Trill
4595:Motif
4491:Pitch
4451:Chord
4222:Chord
4094:Stomp
3969:FolĆa
3885:Three
3634:(PDF)
3522:]
3003:(PDF)
2460:No. 3
1850:, or
1690:tonic
1682:major
1334:dyads
1260:of a
1248:trill
1086:of a
872:hymns
481:tonic
477:roots
436:chord
233:tonic
159:tonic
136:music
132:piece
130:, or
118:that
94:
92:Latin
62:tonic
58:roots
4647:Type
4486:Note
3993:list
3952:Four
3655:ISBN
3642:2022
3614:ISBN
3595:ISBN
3569:ISBN
3442:ISBN
3418:ISBN
3390:ISBN
3369:ISBN
3333:ISBN
3294:ISBN
3244:ISBN
3188:ISBN
3107:ISBN
3083:ISBN
3062:ISBN
3026:2022
2941:ISBN
2902:ISBN
2878:ISBN
2845:ISBN
2814:ISBN
2792:OCLC
2782:ISBN
2757:ISBN
2733:ISBN
2708:ISBN
2689:2022
2649:ISBN
2600:ISBN
2536:and
2505:Coda
2383:jazz
2377:Jazz
2076:Bach
1929:The
1767:and
1668:The
1621:rest
1615:Rest
1328:and
1105:and
929:and
866:Amen
355:and
341:half
86:, a
70:part
4758:Key
4029:50s
3541:by
3130:doi
3015:doi
2972:doi
2678:doi
2455:'s
2349:'s
2262:'s
2139:ās
2074:In
2005:ās
1973:ās
1937:ās
1799:by
1743:key
1652:In
1564:243
1561:256
1461:'s
1414:in
1406:or
1387:'s
1152:'s
1018:'s
976:'s
938:ās
633:or
555:IAC
447:or
398:'s
339:),
335:or
266:or
231:to
172:".
134:of
102:or
79:In
4840::
3653:.
3556:^
3520:de
3308:^
3255:^
3186:.
3182:.
3152:.
3046:^
3011:48
3009:.
3005:.
2968:22
2966:.
2825:^
2790:.
2672:.
2623:^
2580:^
2532::
2425:.
2221::
1846:,
1838:A
1619:A
1508::
1418:.
1356:.
1288:āC
1270:/E
1144:A
1070:.
1061:)
1029:'
945:.
874:.
851:'
766:.
734:A
709:.
688:,
463:.
438:.
367:.
343:,
262:,
235:)
126:,
122:a
4697:e
4690:t
4683:v
4549:e
4542:t
4535:v
4412:e
4405:t
4398:v
4183:e
4176:t
4169:v
4136:)
4132:(
3995:)
3991:(
3934:)
3806:e
3799:t
3792:v
3691:e
3684:t
3677:v
3663:.
3644:.
3622:.
3603:.
3575:.
3448:.
3424:.
3375:.
3339:.
3302:.
3250:.
3196:.
3162:.
3132::
3113:.
3089:.
3068:.
3028:.
3017::
2978:.
2974::
2949:.
2908:.
2884:.
2851:.
2798:.
2763:.
2739:.
2718:.
2716:.
2691:.
2680::
2657:.
2606:.
2475:.
2438:.
2414:.
2082:ā
1879:.
1826:.
1756:B
1747:B
1713:.
1640:.
1607:.
1556:=
1549:2
1544:)
1539:8
1536:9
1531:(
1525:3
1522:4
1485:.
1450:.
1431:.
1376:.
1313:.
1237:.
1132:.
1097:.
1090:.
1007:.
965:.
913:.
887:.
815:.
779:.
722:.
677:.
650:.
617:.
596:2
575:2
548:.
533:.
500:.
431:4
387:.
49:.
34:.
20:)
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