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In Western musical theory, a cadence (from Latin cadentia 'a falling') is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. 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 progressions that are suitable for phrase endings in general. Cadences are strong indicators of the tonic or central pitch of a passage or piece. The musicologist Edward Lowinsky proposed that the cadence was the "cradle of tonality". Nomenclature across the world Cadence names may differ between usage. This article follows US usage. Common classifications Cadences are divided into four main types, according to their harmonic progression: authentic (typically perfect authentic or imperfect authentic), half, plagal, and deceptive. Typically, phrases end on authentic or half cadences, and the terms plagal and deceptive refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the Roman numeral system of naming chords. Authentic cadence An authentic cadence is a cadence from the dominant chord (V) to the root chord (I). During the dominant chord, a seventh above the dominant may be added to create a dominant seventh chord (V7); the dominant chord may also be preceded by a cadential 64 chord. The Harvard Concise Dictionary of Music and Musicians says, "This cadence is a microcosm of the tonal system, and is the most direct means of establishing a pitch as tonic. It is virtually obligatory as the final structural cadence of a tonal work." Authentic cadences are generally classified as either perfect or imperfect. The phrase perfect cadence is sometimes used as a synonym for authentic cadence but can also have a more precise meaning depending on the chord voicing. Perfect authentic cadence In a perfect authentic cadence (PAC), the chords are in root position – that is, the roots of both chords are in the bass – and the tonic 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 William Caplin writes that the perfect authentic cadence "achieves complete harmonic and melodic closure." Imperfect authentic cadence There are three types of imperfect authentic cadences (IAC): Root position IAC (shown below): Similar to a perfect authentic cadence, but the highest voice is not the tonic. Inverted IAC: Similar to a perfect authentic cadence, but one or both chords are inverted. Leading-tone IAC: The penultimate (V) chord is replaced with a chord based on the leading-tone (viio chord). Evaded cadence An evaded cadence moves from a dominant seventh third inversion chord (V42) to a first inversion tonic chord (I6). 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 V42 right before resolution, thereby "evading" the root-position I chord that would usually follow a root-position V. (See also inverted cadence below.) Half cadence A half cadence (also called an imperfect cadence or semicadence) is any cadence ending on V, whether preceded by II (V of V), ii, vi, IV, or I—or any other chord. Because it sounds incomplete or suspended, the half cadence is considered a weak cadence that calls for continuation. Several types of half cadences are described below. Phrygian half cadence A Phrygian half cadence is a half cadence iv6–V in minor, so named because the semitonal motion in the bass (sixth degree to fifth degree) resembles the half-step heard in the ii–I of the 15th-century cadence in the Phrygian mode. Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (v–iv6–V). A characteristic gesture in Baroque music, 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 Landini cadence. Lydian cadence A Lydian cadence is similar to the Phrygian half cadence, involving iv6–V in the minor. The difference is that in the Lydian cadence, the whole iv6 is raised by a half step. In other words, the Phrygian half cadence begins with the first chord built on scale degree , while the Lydian half cadence is built on the scale degree ♯. Burgundian cadences Burgundian cadences became popular in Burgundian music. Note the parallel fourths between the upper voices. Plagal half cadence The rare plagal half cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half cadence involves an ascending fourth (or, by inversion, a descending fifth). The plagal half cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences. One example of this use is in "Auld Lang Syne". But in one very unusual occurrence – the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114—it is used to complete not just a musical phrase but an entire section of a movement. Plagal cadence A plagal cadence is a cadence from IV to I. It is also known as the Amen cadence because of its frequent setting to the text "Amen" in hymns. Minor plagal cadence 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. Moravian cadence The Moravian cadence, which can be found in the works of Leoš Janáček and Bohuslav Martinů 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. (IVadd6 → I6). An early suggestion of the Moravian cadence in classical music occurs in Antonín Dvořák’s New World Symphony. Deceptive cadence "A cadence is called 'interrupted', 'deceptive' or 'false' where the penultimate, dominant chord is not followed by the expected tonic, but by another one, often the submediant." This is the most import.... Discover the Cadence Keys popular books. Find the top 100 most popular Cadence Keys books.