260 Chapter 10 Cadences A cadence is a musical point of arrival, normally produced by harmonic and melodic ‘means, which articulates the end of a musical group (such as a phrase, a period, a s tion, of, of course, a complete movement or piece). Cadences provide musical punc- tuation, and their function is similar to the function of periods and commas in written language. Some are conclusive and final (like periods), some are conclusive in a weaker way (like semicolons), and others are used to confirm or reiterate a conclusion. Or, in some other cases, cadences are not meant to produce any kind of closing effect, but rather to suspend momentarily musical motion (like commas). Because they mark the end of phrases, periods, and other musical units, cadences have an essential role in defining musical sections. The tonal, rhythmic, and thematic relationships among units (or sections (the “shape” of a composition) constitute musical form. As we will see in chapter 11, cadences are an element of formal articulation: They are sectional markers and also define the tonal goal or direction of sections. In this chapter we will study in some detail all the most frequent cadence types found in tonal music, Although we have already seen, in previous chapters, the authentic, half, plagal, and deceptive cadences, ‘we will now discuss each of them more specifically AUTHENTIC CADENCES ‘An authentic cadence includes a chord of the dominant family resolving to a tonic chord (for instance, VI, Vi-I, Ve-l, V-Ig, oF vii%e-D). As we saw in chapter 2, authentic, cadences can be of two types, perfect and imperfect, depending on the scale degrees in the upper voice and the position of the chords involved. The Perfect Authentic Cadence Mozart closes the last movement of his Piano Sonata in BM, K. 333 (anthology, no. 28) with a V;-I cadence, in which both V; and I are in root position, {is in the top voice in the final tonic, and itis approached by step from 7. This type of Vj-L or V-IChapter 10 Cadences 261 (Wy J. Haydn, Piano Sonata no. 32 in Clm, Hob. XVI:36, I, mm. 94-97 Cam: Yi vy Foy toy GE cadence is the most conclusive of all authentic cadences, and itis known as a perfect, authentic cadence (PAC). In a PAC, / is in the top voice in the last chord, it is ap- proached by step from Sr 7, and both the dominant and the tonic chords are in root position. ‘Many pieces and movements end with a PAC, and at times the cadence is reiterated several times to stress the sense of closure. To conclude the first movement of his Piano Sonata no. 36 in Cim (example 10.1), Haydn wrote a string of five cadential gestures, all of the PAC type. Verify that these are all indeed PACs, and notice the strongly con- clusive effect of the example. EXERCISES s To study voice leadings for PACs, refer to examples 10.7a and b. = To practice realizing PACS infour voices, refer to exercises 2aandbinworksheet 107 at the end of this chapter. Perfect authentic cadences are often embellished with a cadential § Study the ca- dence in example 10.2. First, find the § pitches in the melody (m. 5 of the example, to the words “Ey'rythin’s"), Does this melodic § resolve to $ in the next measure (“goin’ my")? Notice that the Bs that doubles the bass inthe melody in m. 5 moves to an Ab in 1m, 6, the seventh of the V, chord. The complete melodic figure in mm. 5-6 can then be represented as VE. If you look atthe accompaniment you will see another fre- quent possibility for approaching the seventh inthe V;, First, find the {in the piano part (m. 5) Then, verify tat, instead of moving down in a 6-5 figure, the 6th ofthe { moves up to the seventh in a 6-7 figure, hence the Roman numeral VE. Imperfect Authentic Cadences Composers at times want to end a musical statement with a less-conelusive gesture than the PAC. In the section immediately before the PAC cadence by Mozart men- tioned previously (anthology, n0. 28), be avoids a conclusive cadence in order 19262 PARTI Nari Diatonic Harmony Oscar Hammerstein II-Richard Rodgers, “Oh, What a Beautiful Mornin,’ from Oklahoma! build up tension toward the end and also to achieve a stronger closing effect after he finally reaches the final PAC. The series of V-1, cadences that he writes (mm. 206-222; see especially mm. 207, 210, 213, 218, and 222) do not ereate a sense of conclusion because the tonic in first inversion is a weak sonority for ending a piece. ‘These are imperfect authentic cadences (IAC). In an LAC, one of the chords is not in root position (or both chords are not), or Tis notin the top voice. The cadences in mm, 206-222 of anthology, no. 28 illustrate the first type (e chord is in inversion). An ‘example of the second type is found earlier in the same movement: Although in m. 20 “Mozart closes a phrase with a V-I cadence and both chords are in root position, it is a nonconclusive IAC because 3 is in the top voice (the upper-voice cadential motion is here 5-3), The vil cadence (which we studied in chapter 9) isa special ype of IAC called leading-tone eadence, and it is more common in Renaissance music than in the common practice repertoireChapter 10 Cadences 263 EXERCISES To study voice leadings for IACS, refer to examples 10.7d to h. To practice realizing IACS in four voices, refer to exercises 2e to hin worksheet 10 at the end of this chapter. ‘THE HALF CADENCE Examine now the opening period of the same sonata movement by Mozart (anthology, no, 28, mm. 1-8). The statement ends on a PAC. Atm. 4, however, the first phrase ends ona V chord, creating a definite need to resolve the harmonic tension, and thus to continue to the second phrase, as in a question-answer structure. A cadence on V (often preceded by the tonic orby a pre-dominant chord) is called a half eadence (HC), The most frequent melodic motion at a HC is 3-2. Instead of immediately effecting a melodic resolution down tol, aphrase interrupted at a HC usually begins all over again and eventually reaches Closure with the resolution of the melodic 3 to {in the PAC at the end of the period. Half cadences are very effective musical "marks of punctuation’: They allow for clear articulation ofthe musical flow (we can clearly finish a phrase on a HC), and yet they create a harmonic need to “move forward.” Listen to the Fm phrase by Pauline Viardot-Garcia in example 10.3; although we realize that this is indeed a phrase, we also know that the music will go on. Further, we expect the next phrase to begin on an Fm tonic chord because the phrase ends on a dominant harmony in Fm, a half cadence, The Phrygian Cadence Refer to anthology, no. 50 (Schumann, Album for the Young, “Folk Song”). The first phrase ends at m. 4 with a half cadence (on V of Dm). Because V is preceded by iv, 5 in the bass is approached by half-step motion, BA. This special type of half cadence PSCUYCRMEN Pauline Viardot-Garcia: “Die Beschwérung,” mm. 60-63 weil off noch schwer mich Zwei = fel264 PART 1 04 Diatonic Harmony in minor,in which V is preceded by iv, is called Phrygian cadence (Ph.C.), because of the prominent half-step motion in the bass (which, in the Phrygian mode, takes place both between degrees 1-2 and 3-6), EXERCISES To study voice leadings for HCs, refer to examples 10.7i tol To practice realizing HCs in four voices, refer to exercises 2i to lin worksheet 10 at the end of this chapter. THE PLAGAL CADENCE ‘The IV-I cadence is known as a plagal eadence (PC). In chapter 3 we explained that the plagal cadence is sometimes used by composers to prolong the final tone, follow- ing a more conclusive PAC. After @ PAC, a plagal cadence has the effect of strongly confirming the conclusion of a piece. Such an extended prolongation ofthe final tonic can be seen in example 10.4, Brahms closes his Romance in FM, op. 118, no. 5 with a J. Brahms, Romance, op. 118, no. 5, mm, 53-57Chapter 10 PAC in mm, 53-54, followed by four measures of tonic prolongation, which include a ‘prominent plagal cadence in mm. 55-56. Notice the unusual final sonority in this piece. Jn what position is the final tonic chord in m. 57? THE DECEPTIVE CADENCE 'A deceptive cadence (DC) is cadential progression of the dominant toa chord other than the expected (and, in principle, prescribed) tonic. In example 10.5, Mozart first delays the PAC that eventually closes the Fantasia in Cm, K.475, by means of a decep- tive cadence, V;-VI, in m. 179. (The V; chord is preceded by & slight elaboration of the standard cadental figure.) A repeat n octave lower of the same cadential gesture leads to a PAC in m. 180, confirmed by a second PAC in mm, 180-181 (this time with a standard voice leading for the cadential that is, #3) ‘The V-vi (or V-VI in a minor key) progression is the most frequent type of decep- tive cadence. A slight variation of this progression is occasionally found in the literature: 'V may resolve deceptively to IV, instead of vi (see anthology, no. 9, m. 3). In a decep- tive cadence the leading tone still resolves to the tonic (7-1), thus providing melodic closure, as in the top voce ofthe Mozart example. But because the $n the bass resolves to 6 instead off, we hear this cadence as an inconclusive (and usually unexpected and surprising) harmonic motion. Because it requires continuation to some kind of closure, itis often used to delay the end ofa harmonic phrase asin example 10.5 ‘The passage by Palestrina in example 10.6 combines two ofthe cadences we just studied. In m, 40 we hear what might be the approach to a PAC. Instead, the domi- nant atthe end of m. 40 resolves deceptively, tothe VI in m. 41, which immediately tums into an extended iv chord. What kind of cadence, then isthe final cadence in mm. 42-44? What kind of tonic chord do we end on? This beautiful cadence, which W. A. Mozart, Fantasia in Cm, K. 475, mm. 179-181 Cadences266 PART 1 Diatonic Harmony Giovanni Pierluigi da Palestrina, “Hosanna in excelsis,” from Missa Gabriel Archangelus, mm. 40-44 definitely has a conclusive effect, does not include a PAC at all, Moreover, although the movement could end on a PAC in m., 41 (we actually reach melodic closure in this cadence, with the 7~i in the soprano), the deceptive and plagal cadences that follow allow fora few measures of cadential extension, a concept we will study in more detail in chapter 12. EXERCISES To study voice leadings for plagal and deceptive cadences, refer to examples 10.7m too. To practice realizing plagal and deceptive cadences in four voices, refer to exer- cises 2m and n in worksheet 10 at the end of his chapter, Typical Errors to Avoid ‘Doubling the LT (and resolving both of them to i, with resulting parallel 8ves). [Not raising 7 in minor modes. ‘Not resolving the LT, especially when it is placed in the soprano, ‘Woiting parallel Sths or 8ves in progressions by step, such as IV-V and V-vi. Writing parallel Sths or &ves in the progression IV,-V, (double-check the part writing for this progression in example 10.7e)Chapter 10 Cadences 267 Oe tt vies Imperet Autentc hr an i 4 3 24 2 8 Soe 3 Or ee he tl state v row ot co “ roy WN%CADENCES: SUMMARY AND VOICE LEADING Example 10.7 provides a variety of voice-leading models for each of the cadences, previously discussed. Authentic and half cadences are represented by three-chard progressions using only I, IV, and V. The following comments will help you understand these examples. 1. Examples 10.7a-c illustrate three frequent upper-voice figures in PACs: 4-3 ~i, 71, and, with a dominant ccadential ‘Notice that, in the cadena f, 3(the bass) is doubled. 2, Examples 10:7d-e show IACs in which one of the two ceadential chords isin first inversion. In 10,76, more- lover, the upper voice cadential pattern, 1-2-3, does not end on 3. Examples 10.7£-h feature root-position chords, but the upper voice does not end on All three melodie pater, ace typical of JACS. EXERCISES: 4 Examples 10.71 show four HC, The isto repre sent frequent melodic ates in HGs, 1-7 and 3-2 ‘he 3-3-3 pattem in example 107k results from a £5 embellishment of the cadntal V. Finally, « Pygin cadence appears in example 10.7 5 The pagal cadence in example 107m doesnot require any commen, ter than noticing that, ni ae the bustin {appear ine upper voce 6, Two deceptive cadences (V-vi and V-1V) appear in examples 10a. The progression Vii a progres- sion by sep ofthe type in which, n principe we ree ommended that alle upper voces nove in contrary tmoton with the bass The Tin hs cadence, howevec, Should sil resolve. The rot and third of V wil thus tmovea t_pup, wile te oer vo vies move down ‘his voice leading resus in doubled shid inthe vi chord (or a doubled fifth in the V-IV, variant). To practice analyzing a variety of cadences, refer to exercise 1 in worksheet 10. To practice writing progressions ending on one of the cadences we have studied in this chapter, refer to exercise 3. To practice realizing a figured bass and harmonizing a melody, refer to exercises 4and 5. FOR FURTHER STUDY For additional analysis using materials studied in this chapter, refer to the Harmony in Context Web page at www:mhhe.com ‘oigfrancoliz, ASSIGNMENT AND KEYBOARD EXERCISES For analytical and written assignments and keyboard exercises hased on the materials learned inthis chapter, refer to chapter 10 in the workbook, PITCH PATTERNS ‘Sing the pitch patterns in example 10.8. Hear the different cadences as you sing them, and understand the characteristics that define each of the cadences, as well as their funetions, 268Chapter 10 Cadences 269 Terms for Review Cadence Leading-tone cadence Form Half cadence ‘Authentic cadence Phrygian cadence Perfect authentic cadence Plagal cadence Imperfect authentic cadence Deceptive cadenceWorksheet 10 EXERCISE 1 Analysis. Study and label each of the following cadences, Name the cadence type and provide specific (Roman numerals) RNs and other characteristics (such as upper-voice melodic motion) to justify your choice. 1. Example 109. Bas eugueniey J. S. Bach, Chorale 143, “In dulci jubilo,” mm. 29-32 29 2. Example 10.10. R, Schumann, “Wenn ich in deinen Augen sehy’ from Dichterliebe, op. 48, no. 4, mm. 8-12 Ost erat och wenn ber mish wie Him - mets ost 4. ae soe Ween a 270Chapter 10 Cadences am 3. Example 10.11. 2) Identify the two cadences as marked, 'b) Comment on the resolution ofthe first cadence to the chord atthe beginning of the next measure, : MOSEG J.S. Bach, Chorale 197, “Christ ist erstanden,” mm. 27-29 4, Example 10.12. Raven J. Lennon-P. McCartney, “Got to Get You into My Life,” from the album Revolver (verse) Ev - ‘ty sin gle oM: IV iy Vy 1 5. Anthology, no. 26, Mozart, Sonata in CM, IH, m. 8, 6. Anthology, no. 18, Amalie, Sonata in FM, m. 21 7. Anthology, no. 11, Bach, Minuet from French Suite no. 3, m. 8. 8, Anthology, no. 47, Schumann, “Ich grolle nich,” mm, 11-12,2m PART1 — Diatonic Harmony 9. Anthology, no. 32, Beethoven, Sonata in Fm, op. 2, no. 1, m. 8 EXERCISE 2 Realize the following cadences in four voices as required. Some so- prano melodic patterns are provided, and so are some Roman numerals, Provide RNs ‘where missing. rac , 4 me Pac. a Be i 4 i Ad at e mac fac. ue, 7 mac . EM: AWM: Ig Ve He RC HC Pac Em Ve i Fm:Chapter 10 Cadences 273 EXERCISE 3 Finish each of the following short progressions with the required ca- dence type (and realize the complete progression in four voices). 2 6 « pac. EXERCISE 4 Realize the following progressions in four voices. Remember to double-check your outer-voice frame for good first-species counterpoint. RT gi ee EXERCISE 5 Provide a RN analysis and realize in four voices.