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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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2221:, 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."
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2418:(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
1608:
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.
901:
An examination of the classical repertory reveals that such a cadence rarely exists. ... Inasmuch as the progression IVāI 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
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
1175:(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
902:
serving a variety of formal functions ā not, however a cadential one. Most examples of plagal cadences given in textbooks actually represent a postcadential codetta function: that is, the IVāI progression follows an authentic cadence but does not itself create genuine cadential closure.
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1060:. 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
2145:
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
2275:, 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."
2011:
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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
2216:
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
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926:
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.
2012:
1230:
2199:
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.
960:
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
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1194:
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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
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1974:
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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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1220:
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2355:
1973:
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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:
2118:
2193:
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:
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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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1621:
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.
689:
1247:
1273:, 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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2010:
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
2197:
2384:
910:
in which the IV chord becomes the I chord of the new tonic key and the I chord of the previous key is now a dominant chord in the modulated key. (Cf.
2326:, 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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2013:
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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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2174:
2140:(The Waldstein Sonata), Op. 53 features a minor key passage where an authentic (perfect) cadence precedes a deceptive (interrupted) one:
4049:
3061:"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.
2356:
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2170:, Op. 72, No. 2 features deceptive (interrupted), half (imperfect) and authentic (perfect) cadences within its first sixteen bars:
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1940:
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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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disputes the existence of plagal cadences in music of the classical era although they begin to appear in the nineteenth century:
2424:
cadences are common in jazz if not clichĆ©. For example, the ascending diminished seventh chord half-step cadence, whichāusing a
2255:
1499:
In three voices, the third voice often adds a falling fifth creating a cadence similar to the authentic cadence in tonal music.
1490:
1136:
were sometimes used to describe rhythmically "strong" or "weak" cadences, but this terminology is no longer acceptable to some.
2218:
2137:
2120:
2412:
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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3159:
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1930:
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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
2021:
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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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1957:
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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,
4909:
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1802:
3301:
Musica Ficta: Theories of
Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino
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31:
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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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1269:
This example from a well-known 16th-century lamentation shows a cadence that appears to imply the use of an
1057:
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2989:
Notley, Margaret (2005). "Plagal
Harmony as Other: Asymmetrical Dualism and Instrumental Music by Brahms".
1983:
1948:
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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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Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven
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2847:. "the unexpected motion of a cadential dominant chord to a I (instead of the typically cadential I)"
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2428: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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119:
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46:
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2128:
2113:ā, a phrase ending in a deceptive cadence repeats with the cadence changed to an authentic one:
1109:
A metrically accented cadence has its final note in a metrically strong position, typically the
2965:
Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents
2837:
Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata
1881:) 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
1425:
A clausula or clausula vera ("true close") is a dyadic or intervallic, rather than chordal or
1356:
799:
792:
519:(shown below): Similar to a perfect authentic cadence, but the highest voice is not the tonic.
111:
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writes that the perfect authentic cadence "achieves complete harmonic and melodic closure."
408:
228:
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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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1598:{\displaystyle {\frac {\frac {4}{3}}{\left({\frac {9}{8}}\right)^{2}}}={\frac {256}{243}}}
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1140:
has written extensively on the gendered terminology of music and music theory in her book
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165:
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3566:, 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
2775:
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2276:
1817:
1813:
1765:
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855:āit is used to complete not just a musical phrase but an entire section of a movement.
840:
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735:
545:
484:
123:
91:
83:
2036:āLa Fille aux Cheveux de Linā contains a plagal cadence in its 2nd and 3rd bars :
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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
1049:, the listener hears a string of many deceptive cadences progressing from V to IV.
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The plagal cadence may be interpreted as IāV if the IV-I cadence is perceived as a
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162:
69:
57:
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1885:, a composer who used them profusely. Similar to a clausula vera, it includes an
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1227:
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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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2293:, 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
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4185:
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rather than chords. The first theoretical mention of cadences comes from
169:
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1760:
pattern particular to the authentic or perfect cadence. It features the
17:
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3457:. If the clash cadence is already "archaic, mannered" in the music of
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103:
72:
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3518:
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
1375:, 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
2409:
2102:
865:
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but can also have a more precise meaning depending on the chord
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3847:
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3303:, p. 148. Cambridge and New York: Cambridge University Press.
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progressions that are suitable for phrase endings in general.
2345:
Bach, Prelude in F minor, bars 57ā60 with expected conclusion
2337:
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):
3499:
Roots of the Classical: The Popular Origins of Western Music
3426:
Roots of the Classical: The Popular Origins of Western Music
2283:
of the seventh chord, who would not be enthralled by that?"
1889:
in the upper voice, which briefly narrows the interval to a
1209:
1105:
Cadences can also be classified by their rhythmic position:
4734:
3728:
145:
While cadences are usually classified by specific chord or
4449:
4586:
2498:
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1454:
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1399:
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1336:
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1155:
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1030:
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988:
Audio playback is not supported in your browser. You can
952:
The Moravian cadence, which can be found in the works of
936:
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883:
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811:
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775:
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718:
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673:
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646:
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613:
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529:
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496:
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383:
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45:
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2240:
Beethoven Piano Sonata Op 109, 2nd movement, bars 97ā112
2232:
Beethoven Piano Sonata Op 109, 2nd movement, bars 97ā112
1683:, an evaded cadence is one where one of the voices in a
471:
In a perfect authentic cadence (PAC), the chords are in
2807:(5th ed.). Boston: McGraw-Hill. pp. 148ā149.
1699:, or Corelli clash, named for its association with the
1071:" 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
2006:
culminates powerfully with an iterated plagal cadence:
1429:, cadence. In a clausula vera, two voices approach an
870:
because of its frequent setting to the text "Amen" in
2623:
The Harvard Concise Dictionary of Music and Musicians
1544:
440:
The Harvard Concise Dictionary of Music and Musicians
3673:. Vol. II (8th ed.). Boston: McGraw-Hill.
2136:
The exposition of the first movement of Beethovenās
657:
Several types of half cadences are described below.
4398:
4347:
4173:
4082:
4012:
3944:
3935:
3881:
2244:An equally startling example occurs in J.S. Bach's
2159:
Beethoven Piano Sonata 21, 1st movement, bars 78ā84
2151:
Beethoven Piano Sonata 21, 1st movement, bars 78-84
1597:
1309:. Presumably, the debate was over whether to use D
423:(V); the dominant chord may also be preceded by a
1291:on the second to last note would then require a D
839:phrase commences. One example of this use is in "
2212:Debussy, La Fille aux cheveux de lin, bars 26ā29
2204:Debussy, La Fille aux cheveux de lin, bars 26ā29
566:An evaded cadence moves from a dominant seventh
3598:Norman Carey (Spring, 2002). Untitled review: "
2866:Introduction to the Theory of Heinrich Schenker
2754:Thomas Benjamin, Johann Sebastian Bach (2003).
2025:Handel, Messiah, Hallelujah Chorus closing bars
2017:Handel, Messiah, Hallelujah Chorus closing bars
899:
3669:Benward, Bruce; Saker, Marilyn Nadine (2009).
2372:A similar passage occurs at the conclusion of
1654:, mm. 3ā5, shows a rest in the third measure.
999:A deceptive cadence in the second movement of
4750:
4602:
4465:
4236:
3859:
3744:
3372:
3370:
2055:Debussy La Fille aux Cheveux de Lin, bars 1-4
2047:Debussy la Fille aux cheveux de lin, bars 1-4
1968:follows the same pattern, but in a minor key:
168:proposed that the cadence was the "cradle of
8:
3532:Beethoven's Piano Sonatas: a Short Companion
3376:
3327:
3287:
2657:
2653:
2651:
2642:
2599:
2399:Mozart Fantasia on D minor K397 closing bars
2391: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
3654:. Vol. I (7th ed.). McGraw-Hill.
3475:Music Theory in Seventeenth-Century England
2968:. University of Chicago Press. p. 29.
407:An authentic cadence is a cadence from the
4757:
4743:
4735:
4609:
4595:
4587:
4472:
4458:
4450:
4243:
4229:
4221:
3941:
3866:
3852:
3844:
3751:
3737:
3729:
3620:
3618:
3346:Studies in the Origin of Harmonic Tonality
3323:
3321:
3319:
3317:
1790:āD. Popular with English composers of the
1491:Magnificat Secundi Toni: Deposuit potentes
1041:At the beginning of the final movement of
3624:Richard Lawn, Jeffrey L. Hellmer (1996).
3119:Modern Harmony in its Theory and Practice
1585:
1574:
1560:
1545:
1543:
479:of both chords are in the bass ā and the
138:. A rhythmic cadence is a characteristic
3110:
3108:
2857:
2855:
2853:
2614:
2612:
2610:
2608:
2489:in G major, BMV 1048, mvmt. I, mm. 1ā2:
179:
3650:Benward, Bruce; Saker, Marilyn (2003).
3587:Johann Sebastian Bach Organ Masterworks
3275:
3195:10.1093/gmo/9781561592630.article.18241
2709:10.1093/gmo/9781561592630.article.04523
2592:
2267:Bach Toccata in F, BWV 540 bars 197ā207
2259:Bach Toccata in F, BWV 540 bars 197ā207
2092:Wagner, Tristan, Liebestod closing bars
2084:Wagner, Tristan, Liebestod closing bars
27:End of a musical phrase with resolution
3409:
3164:The Concise Oxford Dictionary of Music
3099:
1259:
791:Burgundian cadences became popular in
157:Cadences are strong indicators of the
3461:(1585-1672) it must surely be so now.
3390:Modal Counterpoint, Renaissance Style
2946:
2889:
2246:Toccata and Fugue in F major, BWV 540
1987:Beethoven Presto from Quartet Op. 130
1979:Beethoven Presto from Quartet Op. 130
1952:Mozart Romanze from Piano Concerto 20
1944:Mozart Romanze from Piano Concerto 20
1348:In medieval and Renaissance polyphony
601:
7:
1922:Authentic cadences and half cadences
1820:, as shown below in an excerpt from
3564:The Oxford History of Western Music
3211:"Guidelines for Nonsexist Language"
2368:Bach, Prelude in F minor bars 57ā70
2360:Bach, Prelude in F minor bars 57ā70
2312:Chopin Fantaisie in F minor, Op. 49
2304:Chopin Fantaisie in F minor, Op. 49
1801:The hallmark of this device is the
1523:, "as late as the 13th century the
1084: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
3697:(Thesis). Arizona State University
2426:secondary diminished seventh chord
2189:DvoÅĆ”k Slavonic Dance Op 72, No. 2
2181:DvoÅĆ”k Slavonic Dance Op 72, No. 2
1707:, is a cadence characterized by a
1260:Problems playing these files? See
415:(I). During the dominant chord, a
25:
3688:Crane-Waleczek, Jennifer (2011).
1484:A three-voice clausula vera from
911:
4575:
4338:
1244:
1225:
1190:
760:
747:
316:V ā vi (dominant to submediant)
2927:The Harvard Dictionary of Music
2872:), p. 24. Trans. John Rothgeb.
2756:The Craft of Tonal Counterpoint
2672:Tonal Structures in Early Music
629:A half cadence (also called an
293:IV ā I (subdominant to tonic)
3612:, vol. 24, no. 1, pp. 121ā134.
3548:Beethoven and the Voice of God
3353:. Princeton University Press.
2557:List of Caribbean music genres
1:
3712:The Oxford Companion to Music
3245:University of Minnesota Press
3049:Crane-Waleczek (2011), p. 18
2733:. Prentice-Hall. p. 34.
2695:Rockstro, William S. (2001).
2132:From Bach chorale, Wachet auf
2124:From Bach chorale, Wachet auf
1752:Another "clash cadence", the
1727:. An example is shown below.
1410:A clausula vera cadence from
1303:, the upper leading-tone of D
176:Nomenclature across the world
3710:Latham, Alison, ed. (2002).
3671:Music in Theory and Practice
3652:Music in Theory and Practice
2901:Finn Egeland Hansen (2006).
2835:Darcy and Hepokoski (2006).
2495:
2458:
2434:
1899:
1846:
1733:
1660:
1627:
1505:
1470:
1451:
1396:
1333:
1185:(Jesus, My Joy), mm. 12ā13.
1152:
1027:
985:
933:
880:
808:
772:
715:
670:
643:
610:
526:
493:
380:
258:I, II, IV or VI ā V (tonic,
42:
3272:Harvard Dictionary of Music
3215:Western Michigan University
2703:. Oxford University Press.
1996:The Hallelujah Chorus from
1015:, most commonly Vāvi (or Vā
508:Imperfect authentic cadence
4931:
4542:List of chord progressions
4212:List of chord progressions
3140:Music Theory Resource Book
1816:between the split seventh
1203:Upper leading-tone cadence
802:between the upper voices.
204:Typical harmonic sequence
60:in the bass lines and the
29:
4787:Consonance and dissonance
4772:
4624:
4573:
4487:
4439:List of musical intervals
4434:
4336:
4258:
4252:Consonance and dissonance
4209:
3766:
3626:Jazz: Theory and Practice
2992:The Journal of Musicology
2903:Layers of Musical Meaning
2803:; Payne, Dorothy (2004).
847:of the first movement of
467:Perfect authentic cadence
3534:. Yale University Press.
3445:Carver, Anthony (1988).
3388:Schubert, Peter (1999).
3377:Benward & Saker 2009
3328:Benward & Saker 2009
3288:Benward & Saker 2009
3207:Society for Music Theory
2674:. Routledge. p. 6.
2658:Benward & Saker 2003
2643:Benward & Saker 2003
2600:Benward & Saker 2003
2105:'s harmonization of the
1359:cadences are based upon
1221:Upper-leading tone trill
1101:Rhythmic classifications
1069:Bring the Boys Back Home
181:Terms used for cadences
32:Cadence (disambiguation)
4844:Otonality and utonality
4070:Tadd Dameron turnaround
3589:, Guild Music GMCD 7217
3189:. Oxford Music Online.
3027:Oxford University Press
3005:10.1525/jm.2005.22.1.90
2729:White, John D. (1976).
2500:download the audio file
2463:download the audio file
2439:download the audio file
1904:download the audio file
1851:download the audio file
1738:download the audio file
1665:download the audio file
1652:Qui vult venire post me
1632:download the audio file
1510:download the audio file
1475:download the audio file
1456:download the audio file
1401:download the audio file
1338:download the audio file
1283:in this context, and a
1157:download the audio file
1032:download the audio file
990:download the audio file
938: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
4165:Montgomery-Ward bridge
4145:Royal road progression
4040:Montgomery-Ward bridge
3299:Berger, Karol (1987).
2400:
2392:
2369:
2361:
2346:
2338:
2313:
2305:
2268:
2260:
2241:
2233:
2213:
2205:
2190:
2182:
2160:
2152:
2133:
2125:
2093:
2085:
2056:
2048:
2026:
2018:
1988:
1980:
1953:
1945:
1914:Common practice period
1599:
1367:'s description of the
1214:
904:
853:Clarinet Trio, Op. 114
835:phrase, after which a
421:dominant seventh chord
323:Common classifications
4110:Borrowed (contrafact)
3609:Music Theory Spectrum
3138:Owen, Harold (2000).
3068:Musicologia Brunensia
2731:The Analysis of Music
2398:
2390:
2367:
2359:
2344:
2336:
2323:Well-Tempered Clavier
2311:
2303:
2266:
2258:
2239:
2231:
2211:
2203:
2188:
2180:
2158:
2150:
2131:
2123:
2091:
2083:
2054:
2046:
2024:
2016:
1986:
1978:
1966:String Quartet Op 130
1951:
1943:
1931:Piano Concerto No. 20
1875:Landini sixth cadence
1600:
1213:
1075:Other classifications
661:Phrygian half cadence
4864:Schenkerian analysis
4859:Progressive tonality
4201:Irregular resolution
3979:Backdoor progression
3776:Backdoor progression
3495:van der Merwe, Peter
3422:van der Merwe, Peter
3351:Robert O. Gjerdingen
3059:Zouhar, Vit (2013).
2485:Brandenburg Concerto
2320:from Book II of the
1929:ās Romanze from his
1613:in contrary motion.
1542:
1013:irregular resolution
922:Minor plagal cadence
361:Roman numeral system
301:interrupted cadence
246:cadencia imperfecta
68:in C major, in four-
30:For other uses, see
4915:Musical terminology
3600:Harmonic Experience
3183:"Medial cadence ".
3080:10.5817/MB2013-2-13
2949:, pp. 129ā130.
2923:Randel, Don Michael
2378:Fantasia in D minor
2219:Piano Sonata No. 30
2138:Piano Sonata No. 21
1893:before the octave.
1879:under-third cadence
1832:courtesy accidental
1005:Piano Sonata No. 10
823:Plagal half cadence
787:Burgundian cadences
631:imperfect cadence
337:imperfect authentic
215:cadencia autƩntica
182:
4802:Secondary function
4135:Passamezzo moderno
4095:Andalusian cadence
4025:Andalusian cadence
4004:Passamezzo moderno
3904:Constant structure
3875:Chord progressions
3471:Herissone, Rebecca
3240:Feminism and Music
3186:Grove Music Online
3029:. pp. 43ā45.
3019:Caplin, William E.
2701:Grove Music Online
2619:Don Michael Randel
2527:Cadential six-four
2517:Andalusian cadence
2401:
2393:
2370:
2362:
2347:
2339:
2318:Prelude in F minor
2314:
2306:
2269:
2261:
2242:
2234:
2214:
2206:
2191:
2183:
2161:
2153:
2134:
2126:
2097:Deceptive cadences
2094:
2086:
2066:Tristan und Isolde
2057:
2049:
2027:
2019:
1989:
1981:
1954:
1946:
1823:O sacrum convivium
1715:clash between the
1595:
1271:upper leading-tone
1215:
1182:Jesu, meine Freude
916:Secondary dominant
400:Piano Sonata No. 8
307:cadenza d'inganno
298:deceptive cadence
243:imperfect cadence
209:authentic cadence
180:
66:iiāVāI progression
4892:
4891:
4797:Diatonic function
4732:
4731:
4584:
4583:
4517:Chord progression
4447:
4446:
4218:
4217:
4195:Pachelbel's Canon
4130:Passamezzo antico
4078:
4077:
4045:Passamezzo antico
3999:Sixteen-bar blues
3964:VāIVāI turnaround
3959:iiāVāI turnaround
3841:
3840:
3821:VāIVāI turnaround
3816:iiāVāI turnaround
3680:978-0-07-310188-0
3661:978-0-07-294262-0
3634:978-0-88284-722-1
3530:. (2002, p. 232)
2776:Caplin, William E
2570:VāIVāI turnaround
2504:
2467:
2443:
2388:
2357:
2334:
2301:
2291:Fantaisie, Op. 49
2256:
2229:
2201:
2178:
2148:
2121:
2081:
2044:
2014:
1976:
1941:
1908:
1883:Francesco Landini
1869:(also known as a
1855:
1742:
1723:or the tonic and
1669:
1636:
1593:
1580:
1568:
1554:
1514:
1479:
1460:
1405:
1342:
1250:
1231:
1196:
1161:
1142:Feminine Endings.
1036:
994:
976:Deceptive cadence
942:
889:
817:
781:
724:
679:
652:
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
4922:
4910:Jazz terminology
4874:Tonality diamond
4782:Circle of fifths
4759:
4752:
4745:
4736:
4611:
4604:
4597:
4588:
4579:
4474:
4467:
4460:
4451:
4342:
4341:
4245:
4238:
4231:
4222:
4150:"Rhythm" changes
4120:Coltrane changes
4020:'50s progression
3989:Twelve-bar blues
3973:
3972:
3942:
3917:
3868:
3861:
3854:
3845:
3832:
3831:
3753:
3746:
3739:
3730:
3725:
3706:
3704:
3702:
3696:
3684:
3665:
3637:
3622:
3613:
3596:
3590:
3584:
3573:
3567:
3562:(2005, p. 213),
3557:
3551:
3550:. London, Faber.
3546:(1983, p. 210),
3541:
3535:
3525:
3519:
3516:
3510:
3492:
3486:
3468:
3462:
3443:
3437:
3419:
3413:
3407:
3401:
3386:
3380:
3374:
3365:
3364:
3349:. Translated by
3337:
3331:
3325:
3312:
3297:
3291:
3285:
3279:
3265:
3259:
3258:
3231:
3225:
3224:
3222:
3221:
3203:
3197:
3181:
3175:
3160:Kennedy, Michael
3157:
3151:
3136:
3130:
3112:
3103:
3097:
3091:
3090:
3088:
3086:
3065:
3056:
3050:
3047:
3041:
3040:
3015:
3009:
3008:
2986:
2980:
2979:
2960:Harrison, Daniel
2956:
2950:
2944:
2938:
2920:
2914:
2899:
2893:
2887:
2881:
2859:
2848:
2833:
2827:
2826:
2797:
2791:
2773:
2767:
2752:
2746:
2744:
2726:
2720:
2719:
2717:
2715:
2692:
2686:
2685:
2667:
2661:
2655:
2646:
2640:
2634:
2616:
2603:
2597:
2579:
2578:
2473:Rhythmic cadence
2389:
2358:
2335:
2302:
2273:Richard Taruskin
2257:
2230:
2202:
2179:
2149:
2122:
2082:
2045:
2015:
1977:
1942:
1839:
1838:
1834:on the tenor's G
1812:) produced by a
1810:augmented unison
1806:augmented octave
1792:High Renaissance
1788:
1787:
1779:
1778:
1604:
1602:
1601:
1596:
1594:
1586:
1581:
1579:
1578:
1573:
1569:
1561:
1547:
1546:
1379:phrase end in a
1326:
1325:
1320:
1319:
1314:
1313:
1308:
1307:
1302:
1301:
1296:
1295:
1282:
1281:
1252:
1251:
1233:
1232:
1212:
1198:
1197:
1095:radical cadences
1080:Inverted cadence
1020:
1019:
958:Bohuslav MartinÅÆ
948:Moravian cadence
793:Burgundian music
765:
764:
758:
757:
752:
751:
602:inverted cadence
599:
598:
590:
589:
578:
577:
435:
434:
433:
287:cadence plagale
284:cadenza plagale
281:cadencia plagal
249:cadenza sospesa
212:perfect cadence
183:
21:
4930:
4929:
4925:
4924:
4923:
4921:
4920:
4919:
4895:
4894:
4893:
4888:
4824:Major and minor
4814:Just intonation
4768:
4763:
4733:
4728:
4698:Steps and skips
4620:
4615:
4585:
4580:
4571:
4527:Harmonic rhythm
4483:
4478:
4448:
4443:
4430:
4394:
4343:
4339:
4334:
4254:
4249:
4219:
4214:
4205:
4181:Aeolian harmony
4169:
4074:
4008:
3984:Eight-bar blues
3970:
3969:
3937:
3931:
3916:(Roman-numeral)
3915:
3877:
3872:
3842:
3837:
3829:
3828:
3762:
3757:
3722:
3709:
3700:
3698:
3694:
3687:
3681:
3668:
3662:
3649:
3646:
3641:
3640:
3623:
3616:
3597:
3593:
3578:
3574:
3570:
3558:
3554:
3542:
3538:
3526:
3522:
3517:
3513:
3493:
3489:
3469:
3465:
3459:Heinrich SchĆ¼tz
3444:
3440:
3420:
3416:
3408:
3404:
3387:
3383:
3375:
3368:
3361:
3339:
3338:
3334:
3326:
3315:
3298:
3294:
3286:
3282:
3266:
3262:
3255:
3233:
3232:
3228:
3219:
3217:
3205:
3204:
3200:
3182:
3178:
3158:
3154:
3137:
3133:
3113:
3106:
3098:
3094:
3084:
3082:
3063:
3058:
3057:
3053:
3048:
3044:
3037:
3017:
3016:
3012:
2988:
2987:
2983:
2976:
2958:
2957:
2953:
2945:
2941:
2921:
2917:
2900:
2896:
2888:
2884:
2860:
2851:
2834:
2830:
2815:
2799:
2798:
2794:
2774:
2770:
2753:
2749:
2741:
2728:
2727:
2723:
2713:
2711:
2694:
2693:
2689:
2682:
2669:
2668:
2664:
2656:
2649:
2641:
2637:
2625:, pp. 105-106.
2617:
2606:
2598:
2594:
2589:
2584:
2576:
2575:
2512:
2507:
2506:
2505:
2503:
2475:
2470:
2469:
2468:
2466:
2446:
2445:
2444:
2442:
2406:
2383:
2352:
2329:
2296:
2281:third inversion
2251:
2224:
2196:
2173:
2143:
2116:
2099:
2076:
2071:dissonant chord
2039:
2009:
1994:
1992:Plagal cadences
1971:
1936:
1924:
1916:
1911:
1910:
1909:
1907:
1867:Landini cadence
1863:
1861:Landini cadence
1858:
1857:
1856:
1854:
1836:
1835:
1785:
1784:
1776:
1775:
1768:, which in the
1754:English cadence
1750:
1748:English cadence
1745:
1744:
1743:
1741:
1697:Corelli cadence
1693:
1691:Corelli cadence
1677:
1672:
1671:
1670:
1668:
1644:
1639:
1638:
1637:
1635:
1619:
1556:
1555:
1540:
1539:
1517:
1516:
1515:
1513:
1497:
1496:
1495:
1482:
1481:
1480:
1478:
1463:
1462:
1461:
1459:
1443:contrary motion
1439:stepwise motion
1423:
1422:
1421:
1408:
1407:
1406:
1404:
1389:
1365:Guido of Arezzo
1350:
1345:
1344:
1343:
1341:
1327:for the trill.
1323:
1322:
1317:
1316:
1311:
1310:
1305:
1304:
1299:
1298:
1293:
1292:
1285:cadential trill
1279:
1278:
1267:
1266:
1258:
1256:
1255:
1254:
1253:
1245:
1242:
1236:
1235:
1234:
1226:
1223:
1216:
1210:
1205:
1200:
1199:
1191:
1169:
1164:
1163:
1162:
1160:
1103:
1082:
1077:
1039:
1038:
1037:
1035:
1017:
1016:
1009:
1008:
1007:
997:
996:
995:
993:
978:
950:
945:
944:
943:
941:
924:
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:
4928:
4926:
4918:
4917:
4912:
4907:
4897:
4896:
4890:
4889:
4887:
4886:
4881:
4876:
4871:
4866:
4861:
4856:
4851:
4846:
4841:
4836:
4831:
4826:
4821:
4816:
4811:
4806:
4805:
4804:
4794:
4792:Diatonic scale
4789:
4784:
4779:
4773:
4770:
4769:
4764:
4762:
4761:
4754:
4747:
4739:
4730:
4729:
4727:
4726:
4721:
4716:
4711:
4705:
4700:
4695:
4690:
4685:
4680:
4675:
4670:
4669:
4668:
4658:
4653:
4651:Melodic motion
4648:
4643:
4638:
4633:
4625:
4622:
4621:
4616:
4614:
4613:
4606:
4599:
4591:
4582:
4581:
4574:
4572:
4570:
4569:
4564:
4559:
4554:
4549:
4544:
4539:
4537:List of chords
4534:
4529:
4524:
4519:
4514:
4509:
4504:
4499:
4494:
4488:
4485:
4484:
4479:
4477:
4476:
4469:
4462:
4454:
4445:
4444:
4442:
4441:
4435:
4432:
4431:
4429:
4428:
4423:
4418:
4413:
4408:
4402:
4400:
4396:
4395:
4393:
4392:
4387:
4382:
4377:
4372:
4370:Perfect fourth
4367:
4362:
4357:
4351:
4349:
4345:
4344:
4337:
4335:
4333:
4332:
4327:
4326:
4325:
4320:
4315:
4310:
4308:Changing tones
4305:
4295:
4290:
4285:
4280:
4275:
4270:
4265:
4259:
4256:
4255:
4250:
4248:
4247:
4240:
4233:
4225:
4216:
4215:
4210:
4207:
4206:
4204:
4203:
4198:
4188:
4183:
4177:
4175:
4171:
4170:
4168:
4167:
4162:
4157:
4152:
4147:
4142:
4137:
4132:
4127:
4122:
4117:
4112:
4107:
4105:"Bird" changes
4102:
4097:
4092:
4086:
4084:
4080:
4079:
4076:
4075:
4073:
4072:
4067:
4062:
4057:
4047:
4042:
4037:
4032:
4027:
4022:
4016:
4014:
4010:
4009:
4007:
4006:
4001:
3996:
3993:"Bird" changes
3986:
3981:
3976:
3966:
3961:
3956:
3950:
3948:
3939:
3933:
3932:
3930:
3929:
3924:
3919:
3911:
3906:
3901:
3896:
3891:
3885:
3883:
3879:
3878:
3873:
3871:
3870:
3863:
3856:
3848:
3839:
3838:
3836:
3835:
3825:
3824:
3823:
3818:
3808:
3803:
3798:
3793:
3788:
3783:
3778:
3773:
3767:
3764:
3763:
3758:
3756:
3755:
3748:
3741:
3733:
3727:
3726:
3720:
3707:
3685:
3679:
3666:
3660:
3645:
3642:
3639:
3638:
3614:
3591:
3568:
3552:
3536:
3528:Rosen, Charles
3520:
3511:
3487:
3463:
3438:
3414:
3412:, p. 192.
3402:
3381:
3366:
3359:
3341:Dahlhaus, Carl
3332:
3313:
3292:
3280:
3260:
3253:
3235:McClary, Susan
3226:
3209:(1996-06-06).
3198:
3176:
3162:, ed. (2004).
3152:
3131:
3104:
3102:, p. 193.
3092:
3074:(2): 191ā199.
3051:
3042:
3035:
3010:
2999:(1): 114ā130.
2981:
2974:
2951:
2939:
2915:
2894:
2882:
2849:
2828:
2813:
2801:Kostka, Stefan
2792:
2768:
2747:
2739:
2721:
2687:
2680:
2662:
2647:
2645:, p. 359.
2635:
2604:
2591:
2590:
2588:
2585:
2583:
2582:
2572:
2567:
2554:
2549:
2544:
2539:
2534:
2529:
2524:
2522:Approach chord
2519:
2513:
2511:
2508:
2497:
2494:
2492:
2491:
2474:
2471:
2460:
2457:
2455:
2454:
2436:
2433:
2431:
2430:
2405:
2402:
2277:Hermann Keller
2168:Slavonic Dance
2098:
2095:
1993:
1990:
1960:movement from
1923:
1920:
1915:
1912:
1901:
1898:
1896:
1895:
1862:
1859:
1848:
1845:
1843:
1842:
1840:is editorial.
1814:false relation
1772:of C would be
1766:dominant chord
1749:
1746:
1735:
1732:
1730:
1729:
1705:Corelli school
1692:
1689:
1676:
1675:Evaded cadence
1673:
1662:
1659:
1657:
1656:
1643:
1640:
1629:
1626:
1624:
1623:
1618:
1617:Plagal cadence
1615:
1606:
1605:
1592:
1589:
1584:
1577:
1572:
1567:
1564:
1559:
1553:
1550:
1529:perfect fourth
1507:
1504:
1502:
1501:
1483:
1472:
1469:
1467:
1466:
1465:
1464:
1453:
1450:
1448:
1447:
1409:
1398:
1395:
1393:
1392:
1391:
1390:
1388:
1385:
1349:
1346:
1335:
1332:
1330:
1329:
1257:
1243:
1240:Diatonic trill
1238:
1237:
1224:
1219:
1218:
1217:
1208:
1207:
1206:
1204:
1201:
1188:
1187:
1168:
1165:
1154:
1151:
1149:
1148:
1126:
1125:
1118:
1102:
1099:
1086:medial cadence
1081:
1078:
1076:
1073:
1058:Third Symphony
1029:
1026:
1024:
1023:
998:
987:
984:
982:
981:
980:
979:
977:
974:
963:AntonĆn DvoÅĆ”k
949:
946:
935:
932:
930:
929:
923:
920:
895:William Caplin
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:
4927:
4916:
4913:
4911:
4908:
4906:
4903:
4902:
4900:
4885:
4884:Voice leading
4882:
4880:
4877:
4875:
4872:
4870:
4867:
4865:
4862:
4860:
4857:
4855:
4852:
4850:
4847:
4845:
4842:
4840:
4837:
4835:
4832:
4830:
4827:
4825:
4822:
4820:
4817:
4815:
4812:
4810:
4807:
4803:
4800:
4799:
4798:
4795:
4793:
4790:
4788:
4785:
4783:
4780:
4778:
4775:
4774:
4771:
4767:
4760:
4755:
4753:
4748:
4746:
4741:
4740:
4737:
4725:
4724:Voice leading
4722:
4720:
4717:
4715:
4712:
4709:
4706:
4704:
4701:
4699:
4696:
4694:
4691:
4689:
4686:
4684:
4681:
4679:
4676:
4674:
4671:
4667:
4664:
4663:
4662:
4659:
4657:
4654:
4652:
4649:
4647:
4644:
4642:
4639:
4637:
4634:
4632:
4631:
4627:
4626:
4623:
4619:
4612:
4607:
4605:
4600:
4598:
4593:
4592:
4589:
4578:
4568:
4567:Voice leading
4565:
4563:
4560:
4558:
4555:
4553:
4550:
4548:
4545:
4543:
4540:
4538:
4535:
4533:
4532:Harmonization
4530:
4528:
4525:
4523:
4520:
4518:
4515:
4513:
4510:
4508:
4505:
4503:
4500:
4498:
4495:
4493:
4492:Accompaniment
4490:
4489:
4486:
4482:
4475:
4470:
4468:
4463:
4461:
4456:
4455:
4452:
4440:
4437:
4436:
4433:
4427:
4426:Major seventh
4424:
4422:
4421:Minor seventh
4419:
4417:
4414:
4412:
4409:
4407:
4404:
4403:
4401:
4397:
4391:
4388:
4386:
4383:
4381:
4378:
4376:
4375:Perfect fifth
4373:
4371:
4368:
4366:
4363:
4361:
4358:
4356:
4353:
4352:
4350:
4346:
4331:
4328:
4324:
4321:
4319:
4316:
4314:
4311:
4309:
4306:
4304:
4301:
4300:
4299:
4298:Nonchord tone
4296:
4294:
4291:
4289:
4286:
4284:
4281:
4279:
4276:
4274:
4271:
4269:
4266:
4264:
4261:
4260:
4257:
4253:
4246:
4241:
4239:
4234:
4232:
4227:
4226:
4223:
4213:
4208:
4202:
4199:
4196:
4192:
4189:
4187:
4184:
4182:
4179:
4178:
4176:
4172:
4166:
4163:
4161:
4158:
4156:
4153:
4151:
4148:
4146:
4143:
4141:
4138:
4136:
4133:
4131:
4128:
4126:
4123:
4121:
4118:
4116:
4113:
4111:
4108:
4106:
4103:
4101:
4098:
4096:
4093:
4091:
4088:
4087:
4085:
4081:
4071:
4068:
4066:
4063:
4061:
4058:
4055:
4051:
4048:
4046:
4043:
4041:
4038:
4036:
4033:
4031:
4028:
4026:
4023:
4021:
4018:
4017:
4015:
4011:
4005:
4002:
4000:
3997:
3994:
3990:
3987:
3985:
3982:
3980:
3977:
3975:
3974:VIIāV cadence
3967:
3965:
3962:
3960:
3957:
3955:
3952:
3951:
3949:
3947:
3943:
3940:
3934:
3928:
3925:
3923:
3922:Rewrite rules
3920:
3918:
3912:
3910:
3907:
3905:
3902:
3900:
3897:
3895:
3892:
3890:
3887:
3886:
3884:
3880:
3876:
3869:
3864:
3862:
3857:
3855:
3850:
3849:
3846:
3834:
3833:VIIāV cadence
3826:
3822:
3819:
3817:
3814:
3813:
3812:
3809:
3807:
3806:Picardy third
3804:
3802:
3799:
3797:
3794:
3792:
3789:
3787:
3784:
3782:
3779:
3777:
3774:
3772:
3769:
3768:
3765:
3761:
3754:
3749:
3747:
3742:
3740:
3735:
3734:
3731:
3723:
3721:0-19-866212-2
3717:
3713:
3708:
3693:
3692:
3686:
3682:
3676:
3672:
3667:
3663:
3657:
3653:
3648:
3647:
3643:
3635:
3631:
3628:, pp. 97-98.
3627:
3621:
3619:
3615:
3611:
3610:
3605:
3604:W. A. Mathieu
3601:
3595:
3592:
3588:
3582:
3577:
3572:
3569:
3565:
3561:
3556:
3553:
3549:
3545:
3540:
3537:
3533:
3529:
3524:
3521:
3515:
3512:
3508:
3507:0-19-816647-8
3504:
3500:
3496:
3491:
3488:
3484:
3483:0-19-816700-8
3480:
3476:
3472:
3467:
3464:
3460:
3456:
3455:0-521-30398-2
3452:
3448:
3442:
3439:
3435:
3434:0-19-816647-8
3431:
3427:
3423:
3418:
3415:
3411:
3406:
3403:
3399:
3398:0-19-510912-0
3395:
3391:
3385:
3382:
3378:
3373:
3371:
3367:
3362:
3360:0-691-09135-8
3356:
3352:
3348:
3347:
3342:
3336:
3333:
3329:
3324:
3322:
3320:
3318:
3314:
3310:
3309:0-521-54338-X
3306:
3302:
3296:
3293:
3290:, p. 74.
3289:
3284:
3281:
3277:
3273:
3269:
3264:
3261:
3256:
3254:0-8166-4189-7
3250:
3246:
3242:
3241:
3236:
3230:
3227:
3216:
3212:
3208:
3202:
3199:
3196:
3192:
3188:
3187:
3180:
3177:
3173:
3172:0-19-860884-5
3169:
3165:
3161:
3156:
3153:
3149:
3148:0-19-511539-2
3145:
3141:
3135:
3132:
3128:
3127:1-4067-3814-X
3124:
3120:
3116:
3115:Foote, Arthur
3111:
3109:
3105:
3101:
3096:
3093:
3081:
3077:
3073:
3069:
3062:
3055:
3052:
3046:
3043:
3038:
3036:0-19-510480-3
3032:
3028:
3024:
3020:
3014:
3011:
3006:
3002:
2998:
2994:
2993:
2985:
2982:
2977:
2971:
2967:
2966:
2961:
2955:
2952:
2948:
2943:
2940:
2936:
2935:0-674-01163-5
2932:
2928:
2924:
2919:
2916:
2912:
2911:87-635-0424-3
2908:
2904:
2898:
2895:
2892:, p. 38.
2891:
2886:
2883:
2879:
2878:0-582-28227-6
2875:
2871:
2867:
2863:
2862:Jonas, Oswald
2858:
2856:
2854:
2850:
2846:
2845:0-19-514640-9
2842:
2838:
2832:
2829:
2824:
2820:
2816:
2810:
2806:
2805:Tonal Harmony
2802:
2796:
2793:
2789:
2788:0-19-514399-X
2785:
2781:
2777:
2772:
2769:
2765:
2764:0-415-94391-4
2761:
2757:
2751:
2748:
2742:
2740:0-13-033233-X
2736:
2732:
2725:
2722:
2710:
2706:
2702:
2698:
2691:
2688:
2683:
2681:0-8153-3638-1
2677:
2673:
2666:
2663:
2659:
2654:
2652:
2648:
2644:
2639:
2636:
2632:
2631:0-674-00084-6
2628:
2624:
2620:
2615:
2613:
2611:
2609:
2605:
2602:, p. 90.
2601:
2596:
2593:
2586:
2581:
2580:VIIāV cadence
2573:
2571:
2568:
2566:
2565:cadence rampa
2562:
2561:cadence-lypso
2558:
2555:
2553:
2550:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2520:
2518:
2515:
2514:
2509:
2501:
2490:
2488:
2486:
2481:
2472:
2464:
2453:
2451:
2440:
2429:
2427:
2423:
2419:
2417:
2416:
2411:
2403:
2397:
2381:
2379:
2375:
2366:
2350:
2343:
2327:
2325:
2324:
2319:
2310:
2294:
2292:
2288:
2284:
2282:
2278:
2274:
2271:According to
2265:
2249:
2247:
2238:
2222:
2220:
2210:
2194:
2187:
2171:
2169:
2165:
2157:
2141:
2139:
2130:
2114:
2112:
2108:
2104:
2096:
2090:
2074:
2072:
2068:
2067:
2062:
2053:
2037:
2035:
2031:
2023:
2007:
2005:
2004:
1999:
1991:
1985:
1969:
1967:
1963:
1959:
1950:
1934:
1932:
1928:
1921:
1919:
1913:
1905:
1894:
1892:
1891:perfect fifth
1888:
1884:
1880:
1876:
1872:
1871:Landini sixth
1868:
1860:
1852:
1841:
1833:
1829:
1828:Thomas Tallis
1825:
1824:
1819:
1815:
1811:
1807:
1804:
1799:
1797:
1793:
1789:
1780:
1771:
1767:
1763:
1759:
1755:
1747:
1739:
1728:
1726:
1722:
1718:
1714:
1710:
1706:
1703:music of the
1702:
1698:
1690:
1688:
1686:
1682:
1674:
1666:
1655:
1653:
1649:
1641:
1633:
1622:
1616:
1614:
1612:
1590:
1587:
1582:
1575:
1570:
1565:
1562:
1557:
1551:
1548:
1538:
1537:
1536:
1534:
1530:
1526:
1522:
1521:Carl Dahlhaus
1519:According to
1511:
1500:
1493:
1492:
1487:
1476:
1457:
1446:
1444:
1440:
1436:
1432:
1428:
1419:
1418:
1413:
1402:
1387:Clausula vera
1386:
1384:
1382:
1378:
1374:
1370:
1366:
1362:
1358:
1354:
1347:
1339:
1328:
1290:
1286:
1276:
1272:
1265:
1263:
1241:
1222:
1202:
1186:
1184:
1183:
1178:
1174:
1173:Picardy third
1167:Picardy third
1166:
1158:
1147:
1144:
1143:
1139:
1138:Susan McClary
1135:
1131:
1123:
1119:
1116:
1112:
1108:
1107:
1106:
1100:
1098:
1096:
1091:
1087:
1079:
1074:
1072:
1070:
1066:
1061:
1059:
1055:
1050:
1048:
1044:
1043:Gustav Mahler
1033:
1022:
1014:
1006:
1002:
991:
975:
973:
971:
969:
964:
959:
955:
947:
939:
928:
921:
919:
917:
913:
912:Ā§Half cadence
909:
903:
898:
896:
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:
141:
137:
133:
129:
125:
121:
117:
113:
109:
105:
101:
97:
93:
89:
85:
82:
74:
71:
67:
63:
59:
48:
33:
19:
4879:Tonicization
4854:Polytonality
4849:Parallel key
4809:Figured bass
4776:
4635:
4628:
4562:Simultaneity
4506:
4497:Alberti bass
4411:Major second
4406:Minor second
4293:Musical note
4277:
4160:Tadd-Dameron
3909:Double tonic
3711:
3699:. Retrieved
3690:
3670:
3651:
3625:
3607:
3599:
3594:
3586:
3571:
3563:
3560:Taruskin, R.
3555:
3547:
3539:
3531:
3523:
3514:
3498:
3490:
3474:
3466:
3446:
3441:
3425:
3417:
3405:
3389:
3384:
3379:, p. 14
3345:
3335:
3330:, p. 13
3300:
3295:
3283:
3278:, p. 9.
3276:McClary 2002
3271:
3263:
3239:
3229:
3218:. Retrieved
3201:
3184:
3179:
3163:
3155:
3139:
3134:
3118:
3095:
3083:. Retrieved
3071:
3067:
3054:
3045:
3022:
3013:
2996:
2990:
2984:
2964:
2954:
2942:
2926:
2918:
2902:
2897:
2885:
2869:
2865:
2836:
2831:
2804:
2795:
2779:
2771:
2755:
2750:
2730:
2724:
2712:. Retrieved
2700:
2690:
2671:
2665:
2660:, p. 91
2638:
2622:
2595:
2542:Drum cadence
2484:
2476:
2450:common tones
2447:
2420:
2414:
2408:Cadences in
2407:
2371:
2348:
2321:
2315:
2285:
2270:
2243:
2215:
2192:
2162:
2135:
2100:
2069:, where the
2064:
2058:
2028:
2002:
1995:
1955:
1925:
1917:
1878:
1874:
1870:
1864:
1821:
1818:scale degree
1800:
1782:
1773:
1764:against the
1762:blue seventh
1758:contrapuntal
1751:
1721:leading-tone
1713:minor second
1694:
1681:counterpoint
1678:
1651:
1645:
1620:
1607:
1518:
1498:
1494:, mm. 27ā28.
1489:
1424:
1420:, mm. 34ā35.
1415:
1368:
1351:
1268:
1180:
1170:
1145:
1141:
1133:
1129:
1127:
1122:appoggiatura
1104:
1094:
1085:
1083:
1062:
1051:
1047:9th Symphony
1040:
1010:
967:
954:LeoÅ” JanĆ”Äek
951:
925:
905:
900:
893:
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:
4869:Sonata form
4834:Neotonality
4399:Dissonances
4385:Major sixth
4380:Minor sixth
4365:Major third
4360:Minor third
4348:Consonances
4318:Preparation
4313:Pedal point
4191:Ground bass
4060:IVāVāiiiāvi
3882:Terminology
3701:11 November
3606:", p. 125.
3579: [
3576:Hauk, Franz
3544:Mellers, W.
3410:Latham 2002
3274:. cited in
3268:Apel, Willi
3100:Latham 2002
3085:20 November
2714:20 November
2552:Lament bass
1887:escape tone
1796:Restoration
1417:Beatus homo
1357:Renaissance
795:. Note the
635:semicadence
331:(typically
264:subdominant
112:progression
4899:Categories
4829:Modulation
4502:Banjo roll
4323:Resolution
4268:Avoid note
3927:Turnaround
3811:Turnaround
3771:Andalusian
3501:, p. 501.
3477:, p. 170.
3449:, p. 136.
3428:, p. 492.
3392:, p. 132.
3220:2008-07-19
3166:, p. 116.
3142:, p. 132.
2975:0226318087
2947:White 1976
2929:, p. 130.
2905:, p. 208.
2890:White 1976
2814:0072852607
2778:. (2000).
2758:, p. 284.
2587:References
2415:turnaround
2111:Wachet auf
1808:(compound
1725:supertonic
1685:suspension
1611:whole step
1486:Palestrina
1377:polyphonic
1373:Micrologus
1289:whole tone
1262:media help
1065:Pink Floyd
914:above and
908:modulation
845:exposition
837:consequent
833:antecedent
425:cadential
413:root chord
363:of naming
268:submediant
260:supertonic
108:resolution
90:(from
4714:Ululation
4522:Four-part
4065:Romanesca
4050:IāVāviāIV
4035:viāiiāVāI
3938:of chords
3936:By number
3914:Notation
3121:, p. 93.
2782:, p. 51.
2697:"Cadence"
2480:J.S. Bach
2422:Half-step
2063:ās opera
1962:Beethoven
1803:dissonant
1525:half step
1177:J.S. Bach
1130:masculine
968:New World
829:inversion
740:half step
449:imperfect
396:Beethoven
357:deceptive
349:deceptive
329:authentic
186:US usage
120:concludes
4905:Cadences
4839:Ostinato
4766:Tonality
4710:(figure)
4693:Sequence
4678:Phrasing
4661:Ornament
4641:Interval
4630:Balungan
4557:Sequence
4303:Cambiata
4288:Interval
4263:Argument
4186:Chaconne
4100:Backdoor
3971:♭
3954:IāIVāVāI
3830:♭
3760:Cadences
3497:(2005).
3473:(2001).
3424:(2005).
3343:(1990).
3270:(1970).
3237:(2002).
3117:(2007).
3021:(1998).
2962:(1994).
2925:(2003).
2864:(1982).
2823:51613969
2621:(1999).
2577:♭
2510:See also
2380:, K397:
1837:♮
1786:♮
1777:♭
1719:and the
1531:and the
1437:through
1427:harmonic
1369:occursus
1353:Medieval
1324:♯
1318:♯
1312:♯
1306:♮
1300:♭
1294:♯
1280:♯
1134:feminine
1111:downbeat
1018:♭
970:Symphony
797:parallel
756:♯
604:below.)
570:chord (V
546:inverted
409:dominant
229:dominant
170:tonality
140:rhythmic
96:cadentia
18:Cadences
4777:Cadence
4673:Pattern
4646:Melisma
4636:Cadence
4507:Cadence
4481:Harmony
4416:Tritone
4330:Spectra
4278:Cadence
4273:Beating
4174:Related
4140:Ragtime
4125:Omnibus
4083:By name
3991: (
3899:Changes
3894:Cadence
3796:Landini
3791:English
3786:Corelli
3781:Cadenza
3644:Sources
2868:(1934:
2537:Cadenza
2107:chorale
2034:prelude
2030:Debussy
2003:Messiah
1756:, is a
1711:and/or
1371:in his
1115:measure
1090: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
4703:Timbre
4688:Rhythm
4618:Melody
4390:Octave
4355:Unison
4115:Circle
3889:Bridge
3801:Lydian
3718:
3677:
3658:
3632:
3505:
3481:
3453:
3432:
3396:
3357:
3307:
3251:
3170:
3146:
3125:
3033:
2972:
2933:
2909:
2876:
2843:
2839:, p..
2821:
2811:
2786:
2762:
2737:
2678:
2629:
2547:Kadans
2374:Mozart
2287:Chopin
2164:DvoÅĆ”k
2061:Wagner
1998:Handel
1958:presto
1927:Mozart
1830:. The
1781:and Gā
1701:violin
1533:ditone
1435:unison
1431:octave
1412:Lassus
1381:unison
1321:or DāC
1067:song "
1054:Brahms
1001:Mozart
849:Brahms
365:chords
353:plagal
347:, and
345:plagal
124:phrase
116:chords
100:melody
4719:Voice
4683:Pitch
4666:Trill
4656:Motif
4552:Pitch
4512:Chord
4283:Chord
4155:Stomp
4030:FolĆa
3946:Three
3695:(PDF)
3583:]
3064:(PDF)
2487:No. 3
1877:, or
1717:tonic
1709:major
1361:dyads
1287:of a
1275:trill
1113: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
4708:Type
4547:Note
4054:list
4013:Four
3716:ISBN
3703:2022
3675:ISBN
3656:ISBN
3630:ISBN
3503:ISBN
3479:ISBN
3451:ISBN
3430:ISBN
3394:ISBN
3355:ISBN
3305:ISBN
3249:ISBN
3168:ISBN
3144:ISBN
3123:ISBN
3087:2022
3031:ISBN
2970:ISBN
2931:ISBN
2907:ISBN
2874:ISBN
2841:ISBN
2819:OCLC
2809:ISBN
2784:ISBN
2760:ISBN
2735:ISBN
2716:2022
2676:ISBN
2627:ISBN
2563:and
2532:Coda
2410:jazz
2404:Jazz
2103:Bach
1956:The
1794:and
1695:The
1648:rest
1642:Rest
1355:and
1132:and
956:and
866:Amen
355:and
341:half
86:, a
70:part
4819:Key
4090:50s
3602:by
3191:doi
3076:doi
3001:doi
2705:doi
2482:'s
2376:'s
2289:'s
2166:ās
2101:In
2032:ās
2000:ās
1964:ās
1826:by
1770:key
1679:In
1591:243
1588:256
1488:'s
1441:in
1433:or
1414:'s
1179:'s
1045:'s
1003:'s
965:ās
918:.)
633:or
555:IAC
447:or
398:'s
339:),
335:or
266:or
231:to
172:".
134:of
102:or
79:In
4901::
3714:.
3617:^
3581:de
3369:^
3316:^
3247:.
3243:.
3213:.
3107:^
3072:48
3070:.
3066:.
3025:.
2997:22
2995:.
2852:^
2817:.
2699:.
2650:^
2607:^
2559::
2452:.
2248::
1873:,
1865:A
1646:A
1535::
1445:.
1383:.
1315:āC
1297:/E
1171:A
1097:.
1088:)
1056:'
972:.
874:.
851:'
766:.
734:A
709:.
688:,
463:.
438:.
367:.
343:,
262:,
235:)
126:,
122:a
4758:e
4751:t
4744:v
4610:e
4603:t
4596:v
4473:e
4466:t
4459:v
4244:e
4237:t
4230:v
4197:)
4193:(
4056:)
4052:(
3995:)
3867:e
3860:t
3853:v
3752:e
3745:t
3738:v
3724:.
3705:.
3683:.
3664:.
3636:.
3509:.
3485:.
3436:.
3400:.
3363:.
3311:.
3257:.
3223:.
3193::
3174:.
3150:.
3129:.
3089:.
3078::
3039:.
3007:.
3003::
2978:.
2937:.
2913:.
2880:.
2825:.
2790:.
2766:.
2745:.
2743:.
2718:.
2707::
2684:.
2633:.
2502:.
2465:.
2441:.
2109:ā
1906:.
1853:.
1783:B
1774:B
1740:.
1667:.
1634:.
1583:=
1576:2
1571:)
1566:8
1563:9
1558:(
1552:3
1549:4
1512:.
1477:.
1458:.
1403:.
1340:.
1264:.
1159:.
1124:.
1117:.
1034:.
992:.
940:.
887:.
815:.
779:.
722:.
677:.
650:.
617:.
596:2
575:2
548:.
533:.
500:.
431:4
387:.
49:.
34:.
20:)
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