Cadence ( ital. Cadenza , from Latin cadere - “to fall”), also cadence fr. cadence ), in tonal music - a typical harmonic turn, completing the musical construction of any level (phrase, period, section of the form, the whole composition). A typical final harmonic and / or melodic turn in ancient modal music (XI-XVI centuries) is also called a cadence or clause .
Content
Typology
The last harmony in the cadence is called ultima , the penultimate penultimate , the third from the end - antepenultim . The following types of cadences are distinguished in the classic romantic tone (S = consonance of subdominants , D = dominants , T = tonics ):
I. By the effect of completeness:
I.1. Full, that is, ending with T;
I.1.1. Perfect (T in the melodic position of prima, after D or S, taken only in its main form);
I.1.2. Imperfect (if at least one condition inherent in a perfect cadence is not observed);
I.2. Half, that is, ending in D or (less commonly) S;
I.3. Interrupted, that is, avoiding the expected T (in the classical situation, the turn ends with a triad of the VI stage).
II. By functional composition :
II.1. Authentic (D - T);
II.2. Mental (S - T).
Authentic and plug-in chord turns (sequences, progressions), which are found in abundance in Renaissance music [1] , should be distinguished from authentic and plug-in cadences long before the concept of tonal functions of classical-romantic harmony was formed.
III. By location in the form :
III.1. Median;
III.2. Final;
III.3. Additional;
III.4. Invading (ultima cadence falls at the beginning of the next formal department).
IV. By the metric position of the ultima: [2]
IV.1. Male (ultima on a strong beat of tact );
IV.2. Female (ultima on a weak beat).
V. Special cadences :
V.1. Phrygian. Half cadence in minor species IV 6 -V. It got such a name by its similarity to the variety of Gothic cadence (sonant cell) in the music of the 13th-15th centuries, with a half-tone move from the penultima to the ultima in the lower voice ( Landini , Masho , Dufay , etc.), as if in the Phrygian fret . In the tonal system, it is considered modalism , it can be part of the Phrygian turnover , or it functions separately [3] .
V.2. Gothic [4] : a three-voice cadence (sonant cell) from the Concertz of Terzsext and Quintoctava, typical of the music of the late Middle Ages and early Renaissance [5] ;
V.3. In the ancient textual and musical form, cadences receive names depending on the corresponding sections of the textual (poetic, prosaic prayer-book) form. There are general, stanza, half-strophic, lowercase and in-line cadences. The degree of “severity” (hierarchical significance) of the cadence depends on the significance of the section of the poetic (textual) form to which this cadence refers. The most significant are the ultimas of the general and stanza cadences, the least - in-line.
Cadence Plan and Tone Plan
In modal polyphonic music, the arrangement of cadences is called the “cadenza plan” (from German Kadenzplan), whose logic (according to the modality principle) is to “bypass the steps” of the scale ( German Stufengang ). In classical tonal music, the ultimate in cadences is used to judge the tonal plane . The cadence plan and tonal plan represent the pillars of the fret unfolded in time, that is, the core of the fret at the (macro) level of a holistic musical form .
Historical Review
In the indicated meaning, the term was first recorded in the “Musical Book” (Liber musices) of Florence de Faxolis (1496) [6] . Powerful development was gained in the musical theory of the 16th – 17th centuries (treatises of this time contain extremely extensive and not quite ordered cadence systematics) [7] . The classification adopted in the system of classic-romantic tonality goes back to J. F. Rameau (1737) [8] .
As a fact of musical practice, cadences were described long before Rameau. For example, the cadence, which in the textbooks of classical tonal harmony is standardly described as “interrupted,” in Italian treatises of the 16th – 17th centuries (starting with Zarlino and Vicentino ) was called “slipping away” (cadenza fuggita, or sfuggita), also a “cadenza that avoids the conclusion "(Cadenza che fugge la conclusione), also" false "(cadenza d'inganno). “Escaping” was understood extremely broadly, from violating stereotypes of golosnovedenie (when leading from the penultima to the ultimatum) until replacing the permissive chord with a pause.
Notes
- ↑ Especially in secular polyphonic songs, such as frottola and villanella , but also in “learned” refined genres - motets , madrigals , in a polyphonic mass , etc.
- ↑ This classification parameter is accepted in German and English musicology, but is not common in Russian. See, for example, German Wikipedia: Männlicher Schluss - Weiblicher Schluss .
- ↑ See also Natural modes .
- ↑ The term M.A. Saponova . See: Saponov M. A. Menzural rhythm and its climax in the work of Guillaume de Masho // Problems of musical rhythm. Moscow, 1978.
- ↑ For more details see: S. Lebedev, On the Modal Harmony of the XIV Century // History of Harmonic Styles: Foreign Music of the Pre-Classical Period. Moscow, 1987, ss. 5-32.
- ↑ The word itself (Latin substantive participle “cadentia”) in the musical theoretical context occurs already in the 14th century by Jacob Liege ; With the word cadentia, Jacob calls "the natural tendency (inclinatio) of imperfect consonance to perfect," that is, the elementary (two-membered) sonant cell "dissonance-consonance" (imperfect consonance-perfect consonance), regardless of its position in musical form.
- ↑ The earliest detailed classification of cadences (with numerous musical examples of polyphonic music) belongs to N. Vicentino (1555), the most influential - J. Tsarlino (“Fundamentals of Harmonica”, 1558).
- ↑ Rameau called any transition from dominant to tonic (cadence parfaite, “perfect cadence”) or from subdominant to tonic (cadence imparfaite “imperfect cadence”, or cadence irréguliere, “irregular cadence”) cadence , without regard to the poetic text or divisions “ absolute "musical form .
Literature
- Smalzriedt S. Kadenz // Handwörterbuch der musikalischen Terminologie . Tübingen, 1974.
- Kholopov Yu. N. Harmony. Theoretical course. Moscow, 1988.
- Cadence // The Harvard Dictionary of Music , ed. by DMRandel. 4th ed. Cambridge (Mass.), 2003, p. 129-132.
Links
- Smalzriedt S. Kadenz (article from the authoritative German Dictionary of Musical Terms ; provides a detailed historical overview of the term and concept)
- Solovyov N.F. Kadans // Encyclopedic Dictionary of Brockhaus and Efron : 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.